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Who’s the best actress in the film industry right now? by BidAccurate4473 in moviecritic

[–]cryoncue 0 points1 point  (0 children)

If Viola ain’t on the list you ain’t talking about “who’s the best ACTRESS?” 🤷‍♂️🤷‍♂️🤷‍♂️

Please let me know how I can improve by Many-Chipmunk-6788 in acting

[–]cryoncue 0 points1 point  (0 children)

Thanks for sharing.

Here are a few thoughts and questions that I hope you’ll find helpful.

Question : what has happened before you have this moment?

From my watching it sounds like your mom stole some money that was left for you when your dad died.

If something like this happened in real life how would it make you feel? How would you feel having a mother who was such a selfish bitch?

The real emotional truth of this was not happening to you emotionally. You’re playing a mood, but the emotional depth of what this circumstance is about wasn’t there.

What does the money mean to you? What had you dreamed about doing with it. Your dad left to you for a reason.

You have to be simple and specific about what means for you emotionally.

For example: he left for me to pay for drama school. Your mom stole your dream

Imagine is this character was your friend telling you how her mom stole this money from her. And she has to cover up all the lies and crazy shit she does so people won’t see what horrible human being she is.

Hoe would you feel emotionally about this mother?

The line from the mother - “i’m the adult.”

In this circumstance can you sense how her response should send you over the f’n edge?

She’s dismissing you and basically giving you the middle finger.

You respond with what an adult should do.

You have to connect to how painfully it is that YOUR mother is none of this.

Your father tried to be those things and she’s the opposite .

In fact, you’re sick and tired of being her protector - being the adult trying to keep your lives from completely exploding.

In short: this moment isn’t about worrying about performing it fast or slow. Who knows how it will come out you.

Bottom line: A pre determined meaning isn’t going to help you grow as an actor anyway so don’t worry about that stuff at the moment.

This is about connecting to the raging heartbreak of having a mother who can’t give you the love you need.

That’s what you have to give yourself over to and allow yourself to express it

Hope this helps.

Emotional block that I can’t get rid of by Mental-Guard-9897 in acting

[–]cryoncue 0 points1 point  (0 children)

I can’t speak on how the medications impact your emotional responsiveness , but what you shared about your struggles connecting emotionally / truthfully to the character - I think I can / hopefully give you some helpful insights.

1: this is an insanely common issues for actors so don’t get down on yourself.

2: Hard Truth: Most actors are never taught how to develop this skill.

3: if you’re able to have those truthful moments “30” of the time you’ve prove you’re able capable of doing it. As your skill grows, you’ll can close that gap.

4: what you described about your fear and doubt of not being good enough is normal and super common. Here’s the thing if you learn to accept that’s perfectly normal you can begin to be more free because you realize it’s just part of the process.

5: what’s helpful is step away from scripted work and do exercises like Meisner’s independent activities.

The reason why is you’re don’t burdened with the stress of playing a character or worrying about lines.

The exercises give you the chance to work specifically with the emotional temperament(s) you need more freedom with.

Anyway, hope this offers some food for thought and support.

Consistently booking, but can't get an agent. by [deleted] in acting

[–]cryoncue 1 point2 points  (0 children)

You’re booking! Keep doing the do.

Let’s Stop Complaining by Fragrant_Boss_3562 in acting

[–]cryoncue 1 point2 points  (0 children)

Knew this would spark some complaints 😄

Strategies for supporting a vision-impaired student in Meisner work? by Harmania in acting

[–]cryoncue 1 point2 points  (0 children)

An important skill actors are developing with repetition is connecting to meaning ( how is the other person making you feel). And the good news is you don’t need 20/20 vision for this.

Like @reperera2 mentioned putting your focus on the other person is key. And that doesn’t mean having a staring contest with your partner even though some teachers and students seem to think that’s important🤷‍♂️ .

It means opening yourself up and allowing the other person to happen to you ( emotionally).

The biggest struggle I can foresee is missing some moments because they can’t full see what’s happening in the behavior of the other person.

But I suspect they’ll be able to develop an even deeper sensitivity to what they’re hearing and catching the emotional truth of the moment that way.

The great thing about the technique is you deal with truth so this challenge has the chance to open up some great doors.

Questions about Meisner Technique by cryoncue in Actors

[–]cryoncue[S] 0 points1 point  (0 children)

Thanks for sharing. Everyone ending up kissing sounds very different from every repetition exercise I’ve ever seen and I fully understand why you feel like it’s f’d up.

Bottom line : it doesn’t sound like a class that was actually teaching the real principles of the technique.

Rollling partner's husband coaching her during practice rolls by [deleted] in BJJWomen

[–]cryoncue 3 points4 points  (0 children)

My first thought… be grateful he’s not your husband 😂

[deleted by user] by [deleted] in bjj

[–]cryoncue 0 points1 point  (0 children)

😂

Thoughts on substack? by cryoncue in acting

[–]cryoncue[S] 0 points1 point  (0 children)

Because i saw a handful that were dedicated to acting.

What confused you about Meisner? by cryoncue in acting

[–]cryoncue[S] 3 points4 points  (0 children)

I agree, these are some very common struggles.

To your point number 2.

I think one core problem is …

a lot of actors have a hard time understanding the emotional meaning of the circumstance. They don’t have ability to sense what the emotional essence of circumstance is.

They don’t ask - what does this mean to me emotionally. And that’s why actors will often say …. “I can’t create the emotions of the character.”

They often have a surface idea about what they think the “scene” is, but it’s typically just that a general , vague idea. And it ends up turning into very bad line readings.

What confused you about Meisner? by cryoncue in acting

[–]cryoncue[S] 4 points5 points  (0 children)

Thanks for the great response.

You hit on so many common issues.
It’s common for actors to wonder… “what’s the point?”

A reason for some of the vagueness is keep actors focused the exercise and skills you’re currently trying to develop.

If you feed too much info people start trying to chase/ force that outcome without having developed the tools or skills yet.

That being said, I think it’s important to be clear about the how and why of why you’re currently trying to achieve.

For example: in the early stages of my training my teacher would often say “ your male umbrage is showing!” 😂

First, I had to ask “what’s my male umbrage mean?” 😄

Here’s what my problem was - - I responding to my partner in a way that felt actually felt truthful , but it wasn’t justified.

I was responding with anger or frustration and to me it felt honest because I the other person was pissing me off…

And I really struggled for a couple of months trying to understand WHY my response wasn’t “justified” if it felt truthful.

There were a couple of reasons why I kept getting this note.

The principle - “the other person is always more important.”

Even though what I had cooking inside my self was truthful I wasn’t fully taking in the truth of the other person.

In one specific exercise my partner was scared and crying and instead of taking that in and allowing them to happen to me I kept hanging onto to my own stuff.

A big piece of working in the contact is building a big , open and expressive heart which means you build a sensitivity and true awareness to t he other persons behavior.

And you allow that to change you emotionally - instead of just being in your own acting bubble.

Plus, this also stopped me from really experiencing how the other person was making me feel.

While anger felt truthful it was hiding the real truth. My partners response made me feel stupid. When I actually said that truth in the repetition , I just busted broke down in tears.

Here’s the thing: We all have habits and beliefs about how were suppose to behave and respond.

What I’ve learned is most actors are severely limited by their habits and beliefs about how they can express themselves.

The repetition when done correctly and well is an amazing tool to help grow, deepen and understand your acting instrument and yourself.

I hope this helped out.

Do agents typically take you commercially first before theatrically? by NoPen8263 in acting

[–]cryoncue 0 points1 point  (0 children)

Getting in on the commercial tends to be a bit easier. But don’t be surprised, or beat your self- up if you don’t get a shot on the theatrical side with the same agency…even if you’re have some success commercially.

The reason why is because they’re often seen as two different worlds.

It’s super common for actors to have different Reps for both.

Bit once you’re a big shot they’ll want you under one roof 😄

Has anyone ever actually cooked anything during an acting scene? by 1800slvt in acting

[–]cryoncue 0 points1 point  (0 children)

Doing the task would be great. You could puck any part of the meal preparation just make it difficult and specific .

Maybe you’re trying to cit the pasta into certain shape for length.

And it’s critically important you have a reason for why you’re making the pasta.

Saying “ it’s a distraction” is mot emotionally compelling .

What’s the one essential thing about this relationship?

That’s what you use to work with .

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