If You A Mediocre Actor, Don't Read | Learn Practical Aesthetics

Most admired Bollywood Star Shahid Kapoor with many stunning performances who learned Practical Aesthetics

Not For You! You Are Just A So-So Actor 

This Is Not For Those Whom  A Failure Is An Option. Foolish Dreamers Who Are Just Struggling Without Any Belief In A Professional Approach-Goal Setting, Personalized Training, Action Plan And Hard Work.
Please Don't Waste Your Time. Continue Your Easy And Comfortable Living 

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Simple explanation of the acting technique-Practical Aesthetics

Who-You-Truly-Are 

This technique is focalized in two parts

A. Act Before You Think and Think Before You Act. Script Analysis and Performance Technique classes focus on analyzing a script by understanding the story and given circumstances and then going through the process of choosing an action and making specific choices that will create a character.
B. Actors learn to focus on what is actually happening in the scene and focus on creating and pursuing of an action.

Bollywood Films And TV serials

My 2 lines to aspiring actors and even long-time strugglers
Acting can be taught, and if taught, then learned and then anyone could learn to act and act well. To be an actor, does not require the mysterious thing called talent, or the ability to 'become' the character and in my strong opinion, none of these things are within our control.

The Practical Approach

Practical Aesthetics is a practical approach to acting, developed by the director and playwright David Mamet and actor William H Macy. It was developed as a better option to the confusing, mostly impractical acting approaches, maybe casually mentioned and perhaps briefly explained by acting schools in actor training.
It's simplified works from the acting theories and works of legendary Stanislavsky, the works of Sanford Meisner, Joseph Campbell, Aristotle, Carl Jung and philosophy of others.

Its principle is simple and effective and is an essential tool for anyone who feels they have never had a truly reliable and systematic technique from which to approach any and every script.  Too many systems and teachers ask you to ‘have a technique’ without ever giving you a basic foundation on which to develop your own personal approach easily suited. This is not another 12-20 step system that tends to confuse you further.  This is a simple 4 steps technique that will do the only thing an acting technique should do, set you free!

This technique is focused in two parts

• Act Before You Think and Think Before You Act. Script Analysis and Performance Technique classes focus on analyzing a script by understanding the story and given circumstances and then going through the process of choosing an action and making specific choices that will create a character.
•  Actors learn to focus on what is literally happening in the scene and focus on the pursuit of an action. Developed by David Mamet and William H. Macy, script analysis explores what the character is “actually doing,” what the character “wants,” and what is playable “action”.

Why it's easy, practical and most relevant for all types of actors? Talent, skills, body, figure not a learning and an essential requirement to become an actor

The technique focuses and comes straight on 

A.The useful and practical- "The Script Analysis And Creating a Character"
B. Simple storytelling rather than going round about on different techniques and their complexities,

The Script

1) The essential and most basic description of what is taking place in a scene.
2) The "Want": What does one character ultimately want the other character to say or do.
3) The "Essential Action": The relevant description of what the actor wants within the scene. It is essential to understand that what the character is doing and what the actor objective to do are separate.
4) The "As If": For example if I'm so and so (the character's role in the script or scene), what will I do?
This relates the "essential action" to the actor's own life.

"Essential Action"means? Example – To get back what is rightfully mine. "As If" – My brother has fraudulently transferred the property to his name and trying to throw me out. I need to retrieve it because it is mine.
This step of "As if"is from the memories of his/her life, a spark to involve the actor in the scene. It helps the actor escape the fiction, find the truth, and apply it

Script Analysis

Actors read a script for action to be taken through lines. What obstacles are presented to the character and what actions do they take in order to overcome those obstacles?

Steps

What the character in the story is actually doing.  provides a solid foundation, a sheet anchor for the scene, and reminds the actor of what the audience sees on the simplest level. An example: A married couple are talking about the husband's problems at work.

The next step is to express the character's want for that scene. Helps an actor to know the difference and division between him/her as an actor and character. It is expressed as what my character wants the other character to do further. As in example given above, the character may want her husband who is being bullied at work to be a strong man.
Lastly, the actor seeks an essential action that requires meeting the character's goal in that scene alone. This is expressed in the form of 'to get something from someone'. An example for our married couple, to get someone to stand up for themselves, to get a loved one to take chance.

The choice of actions can be tested against the checklist of basic six criteria. These are

1) It must be in line with the story writer's objectives and intentions
2) It must NOT be like a short journey or just a job
3) It must have a climax (a cap)
4) It must be specific
5) It must be physically capable of being done
6) It must fun
If the action changes, a new beat begins and a new analysis is performed.
(Beat: A beat is the timing and movement in a scene, a situation or due to in a character's objective, attitudes and desired emotional and physical responses. If action has to change (in the context of a scene or script), it usually represents a pause in dialogue, speech, voice, volume, speed etc)

Additionally, Practical Aesthetics employs techniques for getting the actor out of their own head and set mind. This is done by repetition exercise  based on and created by Sanford Meisner

Conclusion

The technique is simple. Like other forms of actor training, it is rigorous; it requires the development of skills, the adjustment of poor habits of an actor and the ability to create interest, truthfulness and an exciting emotional involvement to the role in the scene or moment before viewers in a film or an audience in a  stage play.
But Practical Aesthetics is NOT complicated; the technique is quick to learn (and like all things worthy of our time difficult to master).
However, in India, though schools and individuals may claim, you must learn from an expert and 'one on one' acting coach