#acting techniques

Director Ark Saroj reposted this acting technique infographic from shaanema on instagram and I thought it could be fun and informative to connect the different styles with QL. Acting is not a one-size fits all method. Different methods fit different actors. There's not one method that's inherently better than others, although some might be more appropriate for the direction and tone of a work than others. This isn't a battle of who's better. It's a look an appreciation for different approaches to the craft. Most actors don't even rely on a single method, anyways. Everyone listed and plenty who are not listed are incredible performers who commit lots of time and effort to the art of acting.

Classical Acting

Seiyo Uchino: He's played both Hamlet and King Lear in major productions, and the linked interview with the director of his Hamlet production really gets at the heart of the classical approach: use your technique to elevate the text and don't get in the way or distract from it. No real feelings necessary, and certainly no improv.

Side note: For another side of classical performance training Um Apasiri was trained in Likay, traditional Thai theater and dance, and I'm sure some of the Japanese actors have some training in Noh or Kabuki.

Stanislavski System

Apo Nattawin: he describes perfectly Stanislavski's approach that acting involves recalling, understanding, and "experiencing feelings analogous" to the characters in one's own life to reduce the performativity. It's not becoming the character, it's appreciating that the character is a reflection of real feelings and actions that anyone can experience and drawing from those connections.

Chekhov Technique

Tay Tawan: On the promo tour for A Dog and A Plane, Tay Tawan discussed switching back and forth between that series and A Scarlet Heart, using a specific pose to get him into character for both, and then tiktok clips of Mark Pakin and walking around like he had "big balls" for ADAAP in particular. Getting in character was outer work.

Expressionist Acting

Krist Perawat in Wu: This is an approach rarely being utilized in QL. Even the darkness of BoC tends to remain in the realms of realism. But Wu's fantasy allows for Krist to go to extremes, and boy does he commit in one of the most out-there unnerving performances in the genre.

Method Acting

Tor Thanapob: Nanon is well-known for method acting and you can see him discuss it in the clip with Ohm Pawat below, but adding Tor here for people who want another reference. He describes how he uses method, living out as his characters, for developing them.

Physical Acting

Off Jumpol in Burnout Syndrome: Discussed for the public as if Off just needed to look sexy, but Koh's extremely lean body (to my eyes at least) also conveyed his obsessiveness and depression. Other than general muscle-building and weight loss to appear generically attractive, though, physical transformation is a rare thing in the QL industry.

Meisner Technique

Ohm Pawat: Ohm doesn't use the term Meisner, but his description here (in comparison to Nanon's method approach), and Aof Noppharnach's descriptions of Ohm having to do multiple takes because what he felt in the moment of the scene didn't match the direction of the scene seem very much in line with Meisner technique. He's also known to try to make his partners break character to create more authentic moments of interaction.

Comedic Acting

Tanaka Kei in Ossan’s Love: Briefly discussed in this interview--and to be fair most comedic actors don't spend much time articulating some specific technique of comedic acting when it really tends to be in-the-moment sense of timing and exaggeration--but here Tanaka touches on both the elements of taking the character seriously and the ability to react and play with your castmates.

Naturalistic Acting

Timothée Chalamet stands out as one of the most influential actors of his generation. He blends emotional vulnerability with intellectual depth in his roles. His career highlights a shift toward nuanced, character-driven stories. Authenticity and introspection now rival traditional star power. Chalamet builds a diverse portfolio across independent films, prestige dramas, and blockbusters. He…

After watching "Oscar-winning actor & writer Tom Hanks gives the Oxford Union an acting lesson" on YouTube I felt inspired to write this blog. The link below if interested.

Public speaking is an art that transcends mere words; it involves a deep understanding of human psychology, effective communication techniques, and the strategic use of rhetorical devices. Among these, repetition stands out as a powerful tool that can elevate a speech from ordinary to extraordinary. In this blog, we delve into the Repetition class in speaking, exploring how this technique can captivate audiences, enhance message retention, and leave a lasting impact.

The Basics of Repetition:

Repetition involves the intentional reuse of words, phrases, or ideas within a speech. When employed thoughtfully, it can create emphasis, reinforce key points, and establish a rhythm that resonates with the audience. There are various forms of repetition, each serving a unique purpose:

Anaphora: This involves repeating the same word or phrase at the beginning of successive clauses or sentences. For example, Martin Luther King Jr.'s iconic "I Have a Dream" speech masterfully uses anaphora with the repetition of "I have a dream."

Epistrophe: In contrast to anaphora, epistrophe repeats a word or phrase at the end of successive clauses or sentences. Winston Churchill's famous "We shall fight on the beaches" speech is a classic example of epistrophe in action.

Anadiplosis: This technique involves repeating the last word of one clause or sentence at the beginning of the next. This creates a seamless connection between ideas and builds momentum. Yoda's sage advice, "Fear is the path to the dark side. Fear leads to anger, anger leads to hate, hate leads to suffering," is an example of anadiplosis.

The Impact of Repetition:

Emphasis: Repetition serves as a spotlight, directing the audience's attention to specific words or ideas. By repeating a key point, a speaker can emphasize its importance, making it more likely to be remembered.

Rhythm and Flow: A well-crafted repetition adds a musical quality to a speech, creating a rhythmic flow that engages the audience. This cadence can make the message more memorable and enjoyable.

Connection: Repetition helps to establish connections between different parts of a speech. It ties ideas together, creating a cohesive narrative that is easier for the audience to follow.

Persuasion: Through repetition, a speaker can subtly persuade the audience to adopt a particular viewpoint or take action. The consistent reinforcement of a message can influence attitudes and beliefs.

Practical Tips for Using Repetition Effectively:

Choose Key Points: Identify the core messages you want to convey, and strategically repeat key words or phrases associated with these points.

Consider Your Audience: Tailor your repetition to resonate with your audience. Understanding their preferences, values, and expectations will help you use repetition more effectively.

Vary Your Approach: While repetition is a powerful tool, overusing it can diminish its impact. Vary your repetition techniques to keep the audience engaged and interested.

Practice Pacing: The timing and pacing of repetition are crucial. Practice delivering your speech with the right rhythm to maximize its impact.

As someone who does act, and have trained in professional techniques with professionals in the industry I still don’t have the mastery of answers, however I know I’m more qualified to say l some people just really don’t know acting and why someone preforms/preformed well.

In my opinion it’s better to not know, and just say that you liked their performance, rather than give out information that isn’t in the ballpark or quite right, when you’ve never studied it or have good quality facts on it.

The upcoming show I’m in has me die on stage (twice!) with me laying basically at the audience members feet. I’m facing up, and should be laying there for about two-ish minutes at a time. Please drop some knowledge for and/or links that might help me if you can :)

Interviewer:Let’s talk a bit about your writing process. I know you don’t consider yourself as a screenwriter, but obviously you are, and a good one... What did you take from acting, as an actor, to help you write?

You know, Kenneth Lonergan, who’s one of our greatest living writers - and directors too, I suppose - ... every time I would ask him for some help, he would just say: Just ask yourself, what would YOU do? What’d you say next?

Maybe he’s keeping some secrets, but... the simplicity of that? And the lack of artifice, just have people talk the way that they talk, and let them behave the way you can imagine them behaving - that was just a guiding light for me, in part because it was also a way of doing things that was easy enough for me to handle... it wasn’t like: Now you have to build in this fancy writing tool thing, and then you do this fancy writing trick, and then you have to create your b-story, it has to have a “false victory” here... so it really was like: Just think about what people would do....

Of course, he is way more advanced then that, and he can follow that line of thinking and end up with a 400 page script, and then pair it down with his understanding of drama, in a way that I can’t... So, in many ways, that is exactly the approach that I have as an actor, which is just to say: Would I say this? Why does he say that? Like, it doesn’t make any sense that someone says... ask him if he wants soup or something, and he responds in this way, that doesn’t feel authentic to me... and nobody is an expert, which is nice, which is why it’s a fun thing to do, there’s no right answer, there’s just kinda like YOUR answer.

And so writing the screenplay became very much the process that it would have been if I had picked up someone else’s screenplay and start to think about how to play the scene.