Actor Movement & Believability: A Practical Path to Freedom

Do you frequently wonder what to do with your hands 
on stage?

Do you ever feel naked or unnatural on the set unless 
you are moving? 

Does walking and turning on stage suddenly become 
cumbersome?

Do you ever feel stiffness across your chest when the 

last thing you want to be is wooden?

You've moved your body around for years without even 

thinking about it, yet at some point in every actor's life, 

body awareness can get in the way.

Here are 3 things you can do to forever free your body 

(and mind!) from stilted movement on stage and in front 

of the camera. Here, you'll find solutions to the issues of

• Too Much Movement
• Fear of Movement
• Stiff, Unnatural Movement

On camera, dishonesty (or over-acting) is less forgivable 

than on stage. Whether your voice or body betrays your 

lack of skill first will depend on whether you move or 

speak first. In a future article, I'll tackle the voice as the 
window to the character's soul--for until you are relaxed 
and in control physically, your voice and speech will 
continue reflect body tension.  For now, I'll provide a 
practical solution to achieve natural stage movement.

These examples contain the keys that will unlock the 
freedom you need for honest and natural acting for the 
whole spectrum--from broad character work to down-to-
earth roles.  If your character is one who is supposed to 
have the upper hand in the scene or monologue, be 
aware that too much movement is probably dissipating 
your energy -- and power.  Movement does necessarily 
not equate to stage presence.

If you're in front of the camera, you'll be told over and 
over again to "do less," "be still" or "pull it back."

The first key is to pay attention to how you feel. 

Forget for a moment about what the character is 
supposed to be feeling... How do YOU feel?

Do you feel awkward, stilted or stiff when you are 
moving? Are you often told you are doing too much?

Close your eyes now -- well, after you finish reading 
this exercise -- and picture yourself performing the 
material you're working on.  (If you are not in a class 
or in a production, and if there are no auditions 
coming up for you, then file this piece away for 
later!)  If you have an entire role before you, then 
just pick one scene or moment that feels awkward or 
unnatural.  Once you ground that one, bringing the 
rest of the character into alignment will be easier.  

So... picture yourself in that particular awkward moment 
of the play, or in that scene in class, monologue or song.  
Close your eyes and WATCH yourself go from start to finish.  
(Really, I'm serious about this. Do it.)

If there are "blind" spots -- places where you are UNABLE 
to see yourself -- those are areas that are particularly 
disconnected somewhere between your head and heart/guts.  
Your movement and speech are affected.  (If you cannot see 
yourself mentally at all, keep working through this article -- 
we'll get you grounded yet.)

When you watch yourself in this mental movie, some of the 
stilted movement will often make itself known -- things you 
didn't know you were doing, like rhythmically moving that 
leg, or pinning your left arm to your side.

Just noticing these things will help, but it's time to take 
concrete action.

The following exercises are ones that will help ground you.

Problem:  TOO MUCH MOVEMENT
Solution:  Change the environment of the piece so that you 
can minimize everything.  If it's a stage piece, forget about 
projection.  Speak in your own "quiet conversation" voice...
much too quiet for the stage.  If the setting of the script is 
large and open, change it to an intimate setting -- just for 
the purposes of this process. Don't move at all unless 
absolutely necessary; every move must mean something specific.
 
Now,  I'm not suggesting that you "freeze."  Think low-key. Think 
film noir.  Play it like this a few times, and notice the movements 
that seem to WANT to come out of you.  When you have the piece 
grounded like this, then get back to whatever environmental 
requirements are called for the in the script -- and work the middle 
ground between where you usually operate, and your latest 
discoveries.  Remember: This is a PROCESS, so you need to allow 
time to adjust.

Problem:  AFRAID TO MOVE
Solution:  Secretly select a piece of music, preferably calm and 
flowing (even if that kind of music goes against the grain of the 
scripted material you are working on) and, in private, dance. 

Slow, flowing, outstretched arms, whether you have formal dance 
training or not. If you do, great. Then you'll understand this and 
have no problem with it. At any rate, you've certainly SEEN dance.  
The point is to MOVE...  Okay, I know this is wacky, but you're alone, 
right?  Shades drawn, doors locked...   Once you break any barrier of 
inhibition, then put the scripted words to it, and, now... sing it.  
Like an opera kind of thing.  Make the flow of words match 
the music and the movement. Remember, even if it's supposed
to be a "choppy" rapid-fire piece, change it to a smooth flowing 
one. Do this a few times in succession until it becomes easier.

Now... change gears. Drop the dance as such. Begin speaking the 
piece again, but find the middle ground in terms of pace and tone, 
and allow some purposeful movement. (Movement for movement's 
sake is just as bad as refraining from movement due to fear.)

In the end--in performance--your movements don't necessarily need 
to be flowing.  The reason for doing this exercise was to break the 
inhibition to move.  Short jerky movements are fine--as long as 
they are a deliberate choice to fit your characterization.  And 
anyway, now that you've danced it, you've subconsciously given 
yourself permission to move, which will make your movement 
naturally better at rehearsal, in performance, and at the audition.

Problem:  STIFF, UNNATURAL MOVEMENT
Solution:  Whatever the content of the piece, sit down at the 
breakfast table with it. Preferably after you've just gotten out 
of bed, and before you've even had your coffee.  (I know, I know
...don't look at me like that.)  Run the piece then, as you're 
spreading butter on your waffles or shoveling eggs into your 
mouth...or just leafing through the paper.  You'll be groggy, 
your movements purposeful, since they have nothing to do 
with the play.  You'll utter the lines between sniffs as the 
contents of your sinuses shift -- okay, sorry, you're eating, 
that was gross -- and the clearing of your throat, rubbing 
your eyes, etc.  If you have anyone who wants to look at 
you that early (unless you arise at the crack of noon), it 
would be great to have them run the lines with you. 

Still unclear on the purpose?  Okay, then run the lines as 
you unload and load the dishwasher.  Or hey, forget the 
dishwasher and do them by hand. The cool thing is, the
content of the scripted piece will begin to inform your 
movement.  You will begin to respond naturally, which is 
what you want in the first place.
 
Eventually, get the piece back in context of the whole so 
that movement is related in the reality of the drama.

The entire purpose of these and similar exercises is to 
give yourself permission to move, and move with 
purpose.

And Now: The Bottom Line:

If you've just read all of these exercises and thought, 
"Hm, yeah, neat -- I'll never do any of that," fine.  

There's an easier way. You can forget about the hands, 
the feet and the rest of your body... as long as you are 
firmly focused on choosing specific, active and powerful 
intentions for your character.  FOCUS ON WHAT YOUR 
CHARACTER IS FOCUSED ON.  These intentions (always 
expressed as concise action verbs) should carry you 
through, moment to moment, throughout the song, 
the monologue, the scene, the role.

If your intentions are specific, active and powerful 
enough, all else will follow.

Still have a movement issue?  Email me, and we'll set 
up a time to talk. 

Here's to Your Empowerment!

--Tom

Copyright © 2010 Tom Brooks and The Empowered Actor Initiative

You have permission to reprint this article in its entirety, as long as you include the copyright line, and link back to www.EmpoweredActor.com