About Arlene Schulman Expertise I have been a director, dramaturg, actor and acting coach for over twenty-five years and am happy to share my expertise in learning to act, character development, taking direction, acting styles and techniques, auditioning techniques, how to choose an audition monologue or song (but NOT specific audition songs or monologues), learning lines, script analysis, acting in musicals, dramas, comedies, farces, mysteries and even new plays in their first productions.
I am NOT a voice teacher or vocal coach. My expertise is in acting and directing, not in singing. I can not advise you on specific audition songs, vocal exercises, how to stretch your range or on solving vocal problems. For that you need an expert on singing and vocal work. And there is at least one very good one on this list.
Experience I have been a director, dramaturg, actor and acting coach in the NYC/NJ area for over twenty-four years. I have directed dramas, comedies, musicals, mysteries, thrillers and farces as well as directing original plays in staged readings, workshops, showcases and world premieres. I have worked with all level of actors from amateurs to Equity, from children to seniors.
Organizations Society of Stage Directors and Choreographers - associate member Literary Managers & Dramaturgs of America - associate member Shakespeare Association of America The Shakespeare Instititute - MA candidate - "Shakespeare & Theatre"
Expert: Arlene Schulman Date: 5/5/2008 Subject: over acting
Question I have just been given a wonderful roll in the female version of "The Odd Couple". This is my first roll of this depth and I am thrilled. During the rehersal process I have noticed that my interpritation of the character (Florence) is very different than the director's. I want to do what the director wants (ultimatly my job) however, I feel somewhat like the character in "The Goodbye Girl". In thatI feel like I am being directed to over act. The director keeps telling me to give bigger emotions. I respect her vision of the play and I want to do what she wants, but I don't want to look like a fool either. How can I be "bigger" "more emotional" and "Lucy-like" without over doing it? Any advice would be helpful.
Answer Hi Jessica,
I apologize for the delay in getting back to you. My daughter just gave birth to my new grandson and I had to go out of state to help her.
Differences in interpretation between actors and director is a common problem. Ultimately it comes to your trusting the director to do what is best for the show. Her job is to make you look good - if you look like a fool, then so does she, so, believe me, she doesn't want that any more than you do.
Your director isn't asking you to over-act. She is asking you to be "big" enough those emotions to be both clear, natural and funny in the context of the play - from the point of view of the audience. One thing to keep in mind is that it is virtually impossible for you, as the actor, to evaluate what you are projecting to the audience. That is one of the main reasons we have directors - to be the audience's eye for the actors and to be able to see them objectively as the audience does. It is often the case that an actor may feel as though they are emotional enough, and they may be - internally. But that emotion may not be projecting to the audience, and the director may not be seeing it. Sometimes what feels like "too much" to the actor, come across as totally appropriate from the audience point of view.
I always tell my actors, especially in comedy, to give me as much as they can. It is always much easier for a director to tone an actor down that it is to get them to give more.
Keep in mind, too, that while Neil Simon does write character comedy - that is, comedy that is based on the inherent humor in the characters themselves, their relationships with each other, and the situations they find themselves in, this is comedy. And comedy, by its very nature, needs the characters to be strongly defined. Not over-acted, but with their foibles and idiocyncrasies strongly played. This requires perhaps a more externalized character than you might be used to playing. There is nothing unnatural in this. I know plenty of people in real life who express their emotions with more passion and physicality than I do - and I use that example when I am acting comedy. You do have to find within you a "bigger", more physical and verbal way to express those emotions, in part by creating a character who is naturally more passionate than you might feel comfortable with, and, in part, by finding emotional justification for bigger reactions. Remember that, in all theatre, but in comedy particularly, all emotions and actions are heightened - that's what makes them dramatic - and comedic!
I hope that helps a little and I hope it didn't come to late to be helpful... If you haved any other questions, Jessica, I'll be happy to try to answer them for you.
