演员的诞生（二）For the love of the stage（2）

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本期的节目让我们一起来听听，在澳大利亚的舞台上，演员是如何诞生的。

演员的诞生（二）For the love of the stage（2）

Steve Grimwade 
I get a sense though that this is also connecting who you are very muchinternally and physically with a sense of empathy. There seems to be then - itstarts there but then it transmits outwards.

Rinske Ginsberg 
Yeah. One of the things that is primary for the actor is to be abl e totransform really into different characters or in different situations, and soin a way there's a bit of a fallacy that acting is a natural thing. It's not.It's quite unnatural to be natural. It's all about pretending really well. Soone of the things that you start off doing, as I said, is attending to how youare naturally and then beginning to have a sense of exploring differentqualities of how you engage with say weight or space or time. 

Time and space for me arefundamental areas of life, but particularly teasing out how an actor respondsto constraints and invitations to explore facets of that is where an actorunderstands how the body can express an internal state, and how their bodiescan inhabit an imagined place that then the audience is enlisted in.

Steve Grimwade 
Does it come from the heart and mind of the actor to pretend what is this otherlived state, or does there need to be a study of other people and the way otherpeople are to really do it successfully?

Rinske Grimwade 
Yes. Simply, yes, to all of that. It is all of that because in the beginning itmust be technique. You have to be able to analyse movement in a way. That's oneof the things that we do over time - is that the student or the actor begins tounderstand what they're doing posturally, gesturally, spatially et cetera, etcetera. 

Then people watching andobservation is critical because people are kind of crazy. They're stranger thanwe imagine. Stranger than fiction. Stranger than you can make up in a way. Soto really understand that there is an enormous scope in the palate of how youwould be posturally or gesturally.

Steve Grimwade 
You spoke earlier about how training like this is an absolute luxury, so Iguess many of us don't pay that attention, not only to ourselves but to theother. We just walk through life and see 10 per cent of it, 50 percent of it,but not all of it.

Rinske Ginsberg 
That's exactly right. So we're unconscious most of the time and in fact it'snecessary to be unconscious, otherwise if you were conscious of everything youdid, every thought you had, that's the definition of madness. So you want tohave that integrated and certain patterns and habits that we have in the way inwhich we move, which we learned very early on, for an actor some of thosehabits have to be re-renovated actually so that they are not impeding thepossibility of taking on other roles. However, you don't want an actor to loseeverything because that's what makes them them. 

So it's a really - look anactor's job is really hard. It is craft combined with practise so that all thethings that we're talking about - the techniques, the analysis, theunderstanding and particularly in roles there's an enormous amount of textanalysis and character lists you have to make and objectives and all kinds -depending on which methodology you're using. But the actor who can fuse thatover time with impulse that's where you want to go. That is the virtuosic actor- is the one whose craft is now invisible and the practise of lying is soimpulsive and alert. That's what you're aiming for.

Steve Grimwade 
I'm wondering how the teaching of acting has changed over the time that you'vebeen doing it.

Rinske Ginsberg 
You know in some ways I would say it hasn't hugely. I think the principles ofactor training are - what would you call it - they're fundamental and theyhaven't changed enormously, but what has begun to change is a realunderstanding of embodiment and that neurologically all the ways in which youwould train an actor are supported by current neuroscience - discoveries inneuroscience and cognition. So that's really exciting. The true connectionbetween the mind and the body is really the thing that is 21st century. When Iwas first here as a student in 1977…

Steve Grimwade 
Child actor obviously.

Rinske Ginsberg 
Oh dear, that's very flattering. But it was a Stanislavskian approach and atthat time it was a cerebral - a more cerebral approach to the acting processthan is the case now.

Steve Grimwade 
Can you tell me a little bit about your research because I believe there's somesort of connection between acting and teaching and learning and how the skillsof one can inform the other.

Rinski Ginsberg 
There's a huge connection. My connection to that is in relation to what I'vebeen doing with lecturers and tutors in the university really. I was approachedby a scientist really. He's a statistician, a brilliant statistician who, after14 years of doing his bachelor's, master's, doctorate, postdoc, got a fabulousjob in the university, and the first teaching he had to do was in front of 600people. He is a deep introvert so standing there facing this enormous wall offaces was just crippling to him, and he just had this suspicion that he neededtraining - well not just a suspicion but his suspicion was that actor trainingcould help him.

So he and I got together over aperiod of time and created a bit of a grant and we got a grant to start theseworkshops. I worked with a friend of mine who's a voice teacher and a dialectcoach and accent coach; similar age. We have quite a lot of experience togetherand so we began to take these workshops - actor training methods for lecturersand tutors - which over the last three years have been without any kind ofpublicity. They roll on and they're really effective. So we've had the greatopportunity to work with academic librarians, with School of Biomed, anatomyand neuroscience, business and economics, computing and information. 

It goes on and it's reallyexciting because people - what we do in a classroom or in a lecture hall isinteractive and it a way it is performative, because you are the focus of howthe information is being imparted. So in a way it's the corollary to acting.

Steve Grimwade 
It speaks to that - probably one of the problems at the heart of a largeresearch institution is that you have researchers. You don't necessarily haveteachers. They are totally different skills. I'm really glad that thatstatistician has used his mind to realise he needs to train his body.

Rinske Ginsberg 
He is such a great guy, but the other thing - we're lucky because we're quitewell-resourced because there is the Centre for the Study of Higher Education andthe Graduate School of Education is doing similar work. It's a known quantitybut I guess what I bring to it is an understanding of nonverbal communication;what the body is saying really and how to bring that under your consciouscontrol, and how to - it be effective in connecting in all kinds of differentcircumstances. My colleague, Anna McCrossin-Owen, is similarly skilled.

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