THINK THE THOUGHTS, SAY THE WORDS

Some actors make the mistake of just “acting the words”.

It’s as if they are only performing the words and not the thought behind the words.

When I see an actor doing this, I will usually say, “It seems that you are just on the words.”

These actors are not concerned with the inner journey of the character, only the outer effect of their performance.

This is called being “result-oriented”.

Think about how most beginning actors approach a text:

First, they memorize the lines much the same way they’d memorize any facts or figures. (To them, the words might just as well be a series of mathematical symbols, which they must jam into their heads.)

Then, they say the words the way they’d imagine the character would say them, which is usually based on some similar past performance they’ve seen, which may have been predictable and unoriginal to begin with.

High school productions are full of “earnest” young thespians coloring their words, trying to make it all sound very dramatic and entertaining.

But this is not how real people behave.

Real people never have a prepared speech.

Real people never know quite what they’re going to say, or how they’re going to say it.

Real people don’t “color” or “act” their words. They are too busy coming up with what they want to say.

Real people have interesting thoughts, often experienced as images and feelings, and then search for the words to express those thoughts.

They attempt to communicate their thoughts with words that are chosen in the moment and not always successfully.

A person might have many thoughts in their head at any moment. The words we use to communicate a thought are not as important as the thought itself.

You must strive to think the character’s thoughts, and let the words become an extension of that.

It is not about the words, it’s about the thought.

Think the thought, and say the words.

And what are the character’s thoughts?

That is completely up to the whim of whatever actor is playing the role at the time. And the thoughts will be different for that actor each time he plays it.

You don’t want to plan out your thoughts, because then they won’t surprise you in the performance.

In the end, your goal is to allow thoughts (images, ideas, opinions and feelings) to surprise you during the performance of the scene. That way you can have an honest reaction to that thought in the moment of the performance.

And the good news is that you don’t even really have to have any thoughts. You can just have faith that you’re having the character’s thoughts. That will be enough, if you believe it can be.

Besides, remember that the audience will project upon a blank moment what they believe the character is thinking. So even if you just took a beat and stared out into space, it would appear you were having fascinating thoughts. And chances are, if you left that moment of silence, an interesting thought would occur to you.

So just to clarify:

You must want more than to just say the character’s words.

You must want to THINK the character’s thoughts, and then say the words, as if you are choosing them in that moment.

The script provides you with the words, but let the thoughts come in the moment of performance.

Don’t plan the thoughts - let them surprise you.

That way you can have an honest reaction to that thought.

That is what makes sparks fly in a performance.

That is the magic of acting!