Literature Review 1

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.