Title: Uta Hagen Respect for
Acting
Published: September 1973 by Wiley
Publishing
Final Edition: 2015
As my inquiry will be based around
transitioning from a Musical Theatre background to a career in straight acting
both on stage and for camera; I decided too read Uta Hagen’s book about her
experiences as a professional actress both on stage and screen and her life as
an influential Drama teacher.
Uta was a German-American actress renowned
for her work on Broadway and her short lived career in Hollywood. She was black listed from the film
industry due too her association with Paul Robeson. She later taught at the
Prestigious Herbert studios in New
York.
I read the whole of Uta's book and was
utterly fascinated by her passion and dedication for the Arts and also her
intricate ways of developing 'real life' Characters. From reading other BAPP
blogs I have established that our Literature reviews at this stage are too be
kept brief and are there too provide us with subject and research knowledge or
our potential inquiry topics. For this reason I decided too focus on aspects of
the book in which I could relate too my developing questions and current
professional practice.
The book focuses particularly on acting in
straight plays, however, occasionally makes reference too film. What I found
interesting is that Uta refers too acting and character development as a whole.
She does not discuss these in terms of mediums which suggest to me she uses the
same technique regardless of the medium, having said that, this is just an
assumption. Uta only makes brief comments about her film career; if she were
too discuss this in more detail, my findings may differ.
In Part
1, The Actor, Page 17-18, Uta
Discusses two types of acting.
Representational (external): 'deliberately chooses to imitate or
illustrate the character’s behaviour'
Presentational (Internal): 'attempts to reveal human behaviour through
a use of himself, through an understanding of himself and consequently an
understanding of the character he is portraying'
She explains how she uses Presentational
Acting in her own work and also teaches using this method.
'I teach acting as I approach it, from the
human and technical problems which I have experienced through living and
practice' Uta Hagen, Respect for Acting, Page 18.
Uta recognises that every actor is
individual and can be successful regardless of the technique they choose too
adopt.
'I do not reject in toto the
representational, to do so would be to reject actors of brilliance who have
found success along the path' Uta
Hagen, Respect for Acting, Page 18
This quote relates too an early potential
line of inquiry question I proposed. 'Which is better, Technique or Method
acting?' the quote has enabled me too re evaluate my question and realise that
my question is unethical as I made the assumption that one is better than the
other. I plan too look through my other inquiry questions and check for bias
and assumptions.
Uta later discusses the importance of
training the outer instrument (voice and body). This is a pivotal part of
Musical Theatre training in most establishments. We train our bodies through
dance and our voice through both singing and speech. This certainly is an
aspect of my training which lends its self too acting in all mediums, I also
studied 'Alexander technique' which I am aware is very popular both on acting
and Musical theatre courses across the UK. Alexander technique is a method
used all over the world to improve posture and voice.
In Part 3 of her book 'The play and the
role', Uta discusses the process of bringing a character too life. An
interesting point Uta Makes is that during the first read through of a script,
we are audience members rather than actors. We laugh, we cry, we imagine the
characters, relationships and circumstances as audience members. She emphasises
the importance of reading the play as a whole too make considerations before
delving into interpreting character. Regardless of the medium audience members
are a vital part of our performance and it is important too see from their
point of view.
Throughout the book Uta makes reference
too a set of questions she uses too create a character:
Who am I?
What Time is it?
Where am I?
What surrounds me?
What are the given circumstances?
What is my relationship?
What do I want?
What is in my way?
What do I need to do too get what I want?
Uta answers these in depth. I am aware of
these questions and was encouraged too use them throughout my musical theatre
training to develop character. I have never looked at these questions in as
much detail as Uta. Uta considers every intricate detail. She believes that the
more background knowledge we have about our character the more human behaviours
will arise out of instinct and in turn create a realistic character.
The rehearsal
Uta discusses ethical principles which she
deems important when beginning rehearsals. In my opinion these are relevant too
all mediums and therefore trans-disciplinary.
'Be good colleagues! Be professional in
the best sense of the word. Never tell each other what to do or what not to do.
Make yourself responsible for serving the play and your colleagues, but don’t
make them responsible for being at your service. Remember that egomania has
been one of the chief causes of something being rotten in the state of the theatre.
Don’t let yourself be a part of that'
As well as some of the above rules being
natural instinct, I learnt about remaining professional, not directing other
cast members and remaining grounded, through working in Musical Theatre.
Uta discusses the rehearsal process step
by step through out this chapter. Uta’s experience of rehearsing for a straight
play seems too differ quite a bit from any Musical Theatre. The process seems
much slower and focuses intensely on building relationships and creating
contexts and character building. For example, Uta discusses the stage around
her. She asks her self more questions. This time regarding her relationships
and the circumstances. She delves deep into aspects that some actors may over
look. If there is a window on stage Uta sees beyond the window. She takes into
consideration what she can see out the window, the curtains, what's on the
window ledge? In my experience, Musical Theatre rehearsals focus on character
building and building relationships but nowhere near as in depth. Rehearsals
are not as long and emphasis is paced on choreography and learning music.
Another aspect of Uta’s work that differs
from Musical Theatre is how she believes actors should have free reign too jump
in and cut your line or maybe move too a different place across the stage. I do
have my doubts about this statement. As even in straight plays the director has
final say and if actors go against blocking set in rehearsals it may affect
lighting cues etc. In terms of Musical theatre, if blocking was changed actors
in the scene may disrupt choreography, or if a line is cut it could be detrimental
too music ques.
