Here's something you might be interested in.
What is good acting? It’s hard to say. It’s easier to recognize bad acting. Perhaps we can start there.
Bad acting is obvious at any level of theater. How is it obvious? As an audience member you have a sinking feeling when you see the actor walk back on stage.
In a production of The Merry Wives of Windsor, one of the secondary actors was so bad that every time he entered a scene I sat there and tried to will him off stage.
I was hoping that by some miracle, Shakespeare would be re-written and that character would no longer exist. Yes, I was hoping to edit The Bard, it was that bad.
Why was he bad? His entire performance was full of antics. He was continuously presenting different “bits” that he probably thought were funny. None of his bits seemed to be based on the character.
His bits were selfish. He was trying to add content and significance to the character. His acting, if we can call it that, was serving his own ambition instead of the function that Shakespeare had in mind.
I am sure that he was hoping to stand out in his supporting role. He did stand out, so much that I am now writing about how much he stood out.
What is a bit? It’s usually a type of mannerism that an actor has developed for the character.
An example of a bit that went well was “The Fonz” (from Happy Days) sticking both thumbs up and saying “Aaaaaaaaa”. Silly—right? Maybe a little but it was simple and effective.
Henry Winkler used that bit over and over and it worked in different circumstances. The Fonz could be pleased and say “Aaaaaaaaa” with his thumbs or he could be sad, indifferent, or any other emotion and say “Aaaaaaa” with his thumbs. We always knew what he meant and it added depth to a sitcom character.
Bits are important because everyone has mannerisms. Most of us don’t develop our mannerisms in front of a mirror, they’re just a part of who we are.
Bad, or maybe I should say immature, actors will stand in front of a mirror and work out a bit that they think is funny or insightful. The actor can become emotionally attached to the bit and will present it to the audience, even if it doesn’t work.
It’s almost as if they’re saying, “I worked this little bit up and you’re going to see it, like it or not.”
Most of the time the audience doesn’t like it.
What is good acting? It’s hard to say. It’s easier to recognize bad acting. Perhaps we can start there.
Bad acting is obvious at any level of theater. How is it obvious? As an audience member you have a sinking feeling when you see the actor walk back on stage.
In a production of The Merry Wives of Windsor, one of the secondary actors was so bad that every time he entered a scene I sat there and tried to will him off stage.
I was hoping that by some miracle, Shakespeare would be re-written and that character would no longer exist. Yes, I was hoping to edit The Bard, it was that bad.
Why was he bad? His entire performance was full of antics. He was continuously presenting different “bits” that he probably thought were funny. None of his bits seemed to be based on the character.
His bits were selfish. He was trying to add content and significance to the character. His acting, if we can call it that, was serving his own ambition instead of the function that Shakespeare had in mind.
I am sure that he was hoping to stand out in his supporting role. He did stand out, so much that I am now writing about how much he stood out.
What is a bit? It’s usually a type of mannerism that an actor has developed for the character.
An example of a bit that went well was “The Fonz” (from Happy Days) sticking both thumbs up and saying “Aaaaaaaaa”. Silly—right? Maybe a little but it was simple and effective.
Henry Winkler used that bit over and over and it worked in different circumstances. The Fonz could be pleased and say “Aaaaaaaaa” with his thumbs or he could be sad, indifferent, or any other emotion and say “Aaaaaaa” with his thumbs. We always knew what he meant and it added depth to a sitcom character.
Bits are important because everyone has mannerisms. Most of us don’t develop our mannerisms in front of a mirror, they’re just a part of who we are.
Bad, or maybe I should say immature, actors will stand in front of a mirror and work out a bit that they think is funny or insightful. The actor can become emotionally attached to the bit and will present it to the audience, even if it doesn’t work.
It’s almost as if they’re saying, “I worked this little bit up and you’re going to see it, like it or not.”
Most of the time the audience doesn’t like it.