3 Ways to create roles
The genius, the timing of the comedy, and the accented way are all good, but they don't show up. Acting has character. Some people escape without creating characters for certain movies, but the audience almost always knows the difference, especially on stage. They may not be able to say why some actors are “great” and others are not worthy of comment, but this is usually because some are character shapers and others take no time.
With this in mind, here are three ways to create and inhabit credible, cohesive, and complete characters that can interact with the script’s story and the world. Although some methods are strict and require actors to follow an out-and-out characterization approach, the following are three different starting points. They can be used in combination or in isolation, but the ultimate goal has always remained the same: to create a character that appeals to the audience, satisfies the game, and uses your imagination.
1. Goals, stakes and obstacles.
In order to create your character, dig for clues about what you need in the script. Unless they want something important, they will not be involved. Even the smallest character has a purpose and found it to be the difference between standing on the stage and spinning a finger and creating an active character.
When looking for a character’s goals, risks, and obstacles, there are few wrong answers, but it’s important to remember that the most obvious answer is not necessarily the most interesting. Interesting needs, high stakes and multiple obstacles often make the most compelling characters a reality.
Goals: Also called intention, desire, motivation and goal. The main or super goal of the character should be the foundation of the story. Olga and Irina announced in the "Three Sisters" that they are eager to return to Moscow within a few seconds of the beginning of the show.
But more than just discovering a wish, digging deeper and determining why the character wants it, and whether there is another more interesting idea behind it. In the "Three Sisters", Moscow represents one million things: youth, life, vitality, excitement, potential, escape.
Stakes: Without goals, goals are meaningless. If there is no bet, why should the audience care about the character? For Dorothy in "The Wizard of Oz," the stakes are high. If her super goal is to return to Kansas, the bet is to return home safely rather than never seeing home again. As a general rule, try to balance the best.
Obstacles: There is no drama that will prevent your character from achieving its goals, and it usually takes a lot of effort or the help of others to overcome it. In "Rocky", the opponent is an obvious obstacle, but if you look closely, you will find that Rocky's lack of self-confidence, his amateur status and shyness prevent him from declaring his love for Adrian, which is also an obstacle.
2. Who, when and where.
Answering questions such as "Who am I?" "Where am I?" and "Where am I going?" Let the actor know a character deeply. First find out as much content as possible from the script, including what other characters have to say about you. Once you have these, work backwards. Ask questions such as "Where was I born?" "What are my parents like?" "What is my first love experience?" "What is my greatest fear?" It may be useful to build a backstory, or even some mundane questions, such as "How much money can I make? "?" and "How did I sleep last night?" may show up when they begin to portray your character offstage. For some people, just like in real life, it is vital to understand their origin and whereabouts. If it is not in the script, please use your imagination (within a reasonable range).
Knowing the history and social background of your character is essential to creating your own imaginary playground. For example, if you play Nora in the "dollhouse", your biggest fear will not be credit card fraud, and this will be based on her experience in Norway in the 1870s. Studying the time and place of the script will bring the world to life and inform the character's behaviour. Why does Stanley play his role in "A Streetcar Named Desire"? You might think it has something to do with the heat, the small apartment, and the resonance of the "ape" and "Polack" that Blanche labelled him.
But what if the writer has few clues? What if they are unwilling to help you answer the question? When a young actor asked Harold Pinter for the background story of his character in the "birthday party", the playwright's answer was "Watch your own business." Some people use this moment to Prove that instinct is better than research. In fact, I think this can perfectly prove that something useful and interesting for you may not be for others. The purpose of all background work is to enable you to play your role naturally, take root in your private knowledge and make decisions and be able to react to anything. Your director may help you decide on the role's common experience in table work, but everything else depends on you.
3. Sound, body and costume
An integral part of Laurence Olivier's process is the use of putty to change the nose. Maggie Gyllenhaal took off a wig and defined her role in The Deuce. Matthew McConaughey lost weight for the "Dallas Buyers Club", and countless actors have staged it. For some actors, voice, body or clothing may be the starting point for a role to be productive. No matter where in the process (even if you don't make any changes), it is also important to consider the appearance, voice, and movement of the character.
The body is not only affected by our changes, but also by the environment. If you are cold, then you will become tense and nervous. If you are exhausted, you cannot stand upright. If you are a drama, your character will not use modern gestures. Consider how the story world affects your body. It may not look different, but it can help you determine the physical condition of your character.
Voice and accent are often confused, but the quality of character voice should be developed separately from learning an accent. Sound is taking advantage of changes in breathing, speed, volume, range, and quality (ie, clarity or nasal cavity). Listen to the voices of friends and family members within the same accent range, and you will notice a variety of voices.
In terms of clothing, you may or may not have a choice, but if you do, it is equally effective to choose based on your character's discovery and instincts and to stimulate your imagination. Heavy, stiff clothing may do more for you than detailed research. If you play a real person, this may be the basis of your role.
Discover the value of the qualities and experiences shared with the characters. However, putting yourself in too many roles (and vice versa) can be emotionally exhausting and can even cause destruction. Conducting research may put you at risk. Performance is not a free therapy, but an imaginative form of entertainment that can entertain others. Even if you are playing the worst person in the world, no matter how you shape this character, remember to make them something you can enter and exit and enjoy.