hello I hope you’re all comfortable with deja vu I’d like to start with an
deja vu I’d like to start with an
deja vu I’d like to start with an exercise that might feel familiar I have
exercise that might feel familiar I have
exercise that might feel familiar I have a feeling I’d like to invite you to
a feeling I’d like to invite you to
a feeling I’d like to invite you to close your eyes for a moment turn your
close your eyes for a moment turn your
close your eyes for a moment turn your attention inwards focusing on your heart
attention inwards focusing on your heart
attention inwards focusing on your heart are you aware of the beating in your
are you aware of the beating in your
are you aware of the beating in your chest can you count your heartbeats
maintaining your focus inward increase
maintaining your focus inward increase your heart rate and accelerate your
your heart rate and accelerate your
your heart rate and accelerate your breathing and gently open your eyes and
breathing and gently open your eyes and
breathing and gently open your eyes and look at the person sitting next to you
look at the person sitting next to you
look at the person sitting next to you your right
observe how they are sitting and copy
observe how they are sitting and copy their position
what you just did is acting in its
what you just did is acting in its purest form you altered your physical
purest form you altered your physical
purest form you altered your physical state your stance your breath your
state your stance your breath your
state your stance your breath your heartbeat to become other and that
heartbeat to become other and that
heartbeat to become other and that physical state is intimately connected
physical state is intimately connected
physical state is intimately connected you’re in the world your world of
you’re in the world your world of
you’re in the world your world of emotions my breathing for instance is so
emotions my breathing for instance is so
emotions my breathing for instance is so intimately connected to how I’m feeling
intimately connected to how I’m feeling
intimately connected to how I’m feeling that just like the chicken and the egg
that just like the chicken and the egg
that just like the chicken and the egg we can ask which came first breath or
we can ask which came first breath or
we can ask which came first breath or emotion does my breath become shallow
emotion does my breath become shallow
emotion does my breath become shallow and and irregular unfeeling anxious just
and and irregular unfeeling anxious just
and and irregular unfeeling anxious just like this or do I feel anxious if I
like this or do I feel anxious if I
like this or do I feel anxious if I breathe that way
breathe that way
breathe that way conversely don’t we all try to calm
conversely don’t we all try to calm
conversely don’t we all try to calm ourselves by breathing slowly and deeply
ourselves by breathing slowly and deeply
ourselves by breathing slowly and deeply so as you can see there is a correlation
so as you can see there is a correlation
so as you can see there is a correlation here and the exercise young we ask you
here and the exercise young we ask you
here and the exercise young we ask you to do can be understood as a basis for
to do can be understood as a basis for
to do can be understood as a basis for acting now the work of an actor can in
acting now the work of an actor can in
acting now the work of an actor can in very simple terms be understood as the
very simple terms be understood as the
very simple terms be understood as the charting and navigating of an emotional
charting and navigating of an emotional
charting and navigating of an emotional and physical route that is not their own
and physical route that is not their own
and physical route that is not their own that is indeed other throughout the
that is indeed other throughout the
that is indeed other throughout the centuries acting has changed and evolved
centuries acting has changed and evolved
centuries acting has changed and evolved enormously what we consider to be good
enormously what we consider to be good
enormously what we consider to be good acting or believable acting has shifted
acting or believable acting has shifted
acting or believable acting has shifted and even the definition of acting itself
and even the definition of acting itself
and even the definition of acting itself has been the subject of much discussion
has been the subject of much discussion
has been the subject of much discussion now we can create categories to classify
now we can create categories to classify
now we can create categories to classify different types of schools or traditions
different types of schools or traditions
different types of schools or traditions of acting according to a range of
of acting according to a range of
of acting according to a range of criteria but today actually it is
criteria but today actually it is
criteria but today actually it is tonight already I would like to focus on
tonight already I would like to focus on
tonight already I would like to focus on the creative tension between the inner
the creative tension between the inner
the creative tension between the inner and outer world between emotion and body
and outer world between emotion and body
and outer world between emotion and body so first category the inside-out
so first category the inside-out
so first category the inside-out tradition these schools of acting favor
tradition these schools of acting favor
tradition these schools of acting favor emotional and psychological work the
emotional and psychological work the
emotional and psychological work the actor starts from and the focus is
actor starts from and the focus is
actor starts from and the focus is primarily on the feeling expecting the
primarily on the feeling expecting the
primarily on the feeling expecting the the body the physical manifestation of
the body the physical manifestation of
the body the physical manifestation of that feeling to naturally or more or
that feeling to naturally or more or
that feeling to naturally or more or less organically follow now the
less organically follow now the
less organically follow now the outside-in tradition second category the
outside-in tradition second category the
outside-in tradition second category the discourse of acting focus on physical
discourse of acting focus on physical
discourse of acting focus on physical and vocal work the actor develops what
and vocal work the actor develops what
and vocal work the actor develops what the audience sees and hears and expects
the audience sees and hears and expects
the audience sees and hears and expects them to identify and recognize those
them to identify and recognize those
them to identify and recognize those elements as an emotional journey so was
elements as an emotional journey so was
elements as an emotional journey so was it what does it feel like this sense of
it what does it feel like this sense of
it what does it feel like this sense of becoming other when you tried it just
becoming other when you tried it just
becoming other when you tried it just now was it immediately clear or did it
now was it immediately clear or did it
now was it immediately clear or did it develop what was the difference between
develop what was the difference between
develop what was the difference between your experience of your breathing
your experience of your breathing
your experience of your breathing originally and your breathing after you
originally and your breathing after you
originally and your breathing after you tried to change it and when you adopted
tried to change it and when you adopted
tried to change it and when you adopted the position of the person sitting next
the position of the person sitting next
the position of the person sitting next to you was it still their position or
to you was it still their position or
to you was it still their position or was it now yours what I’m getting at is
was it now yours what I’m getting at is
was it now yours what I’m getting at is a distinction that’s often taken for
a distinction that’s often taken for
a distinction that’s often taken for granted in a modern individualistic
granted in a modern individualistic
granted in a modern individualistic society between a sense of self and a
society between a sense of self and a
society between a sense of self and a sense of other I’m me everyone else was
sense of other I’m me everyone else was
sense of other I’m me everyone else was everyone else
everyone else
everyone else it’s a dichotomy so embedded in popular
it’s a dichotomy so embedded in popular
it’s a dichotomy so embedded in popular culture sometimes it’s like a secret
culture sometimes it’s like a secret
culture sometimes it’s like a secret language everyone’s expected to just get
language everyone’s expected to just get
language everyone’s expected to just get I’m sure many of you have heard some
I’m sure many of you have heard some
I’m sure many of you have heard some version of this conversation oh you just
version of this conversation oh you just
version of this conversation oh you just have to be yourself
have to be yourself
have to be yourself oh yeah from now on I’m just going to be
oh yeah from now on I’m just going to be
oh yeah from now on I’m just going to be myself okay both interlocutors feeling
myself okay both interlocutors feeling
myself okay both interlocutors feeling remarkably pleased with having exchanged
remarkably pleased with having exchanged
remarkably pleased with having exchanged no information whatsoever none this
no information whatsoever none this
no information whatsoever none this becomes particularly pronounced when
becomes particularly pronounced when
becomes particularly pronounced when talking about bodies our physical selves
talking about bodies our physical selves
talking about bodies our physical selves maybe it’s easy to accept that a
maybe it’s easy to accept that a
maybe it’s easy to accept that a mysterious amorphous mind self is
mysterious amorphous mind self is
mysterious amorphous mind self is indistinct from others but our bodies
indistinct from others but our bodies
indistinct from others but our bodies are just simple fleshly vessels right
are just simple fleshly vessels right
are just simple fleshly vessels right perhaps not there’s a relatively new and
perhaps not there’s a relatively new and
perhaps not there’s a relatively new and rapidly evolving field in neuroscience
rapidly evolving field in neuroscience
rapidly evolving field in neuroscience that’s already begun to make clear that
that’s already begun to make clear that
that’s already begun to make clear that a physical self representation which
a physical self representation which
a physical self representation which includes your ownership over your body
includes your ownership over your body
includes your ownership over your body and the meetings you confer to your
and the meetings you confer to your
and the meetings you confer to your movements and expressions is not a
movements and expressions is not a
movements and expressions is not a constant that you’re born with it’s
constant that you’re born with it’s
constant that you’re born with it’s something you’re forever creating based
something you’re forever creating based
something you’re forever creating based on your interactions with other people
on your interactions with other people
on your interactions with other people in your environment a collection of
in your environment a collection of
in your environment a collection of processes going on in a moment that all
processes going on in a moment that all
processes going on in a moment that all feed into an experience of selfhood
feed into an experience of selfhood
feed into an experience of selfhood indeed here’s yet another very
indeed here’s yet another very
indeed here’s yet another very problematic dichotomy that’s
problematic dichotomy that’s
problematic dichotomy that’s increasingly unsupported by science
increasingly unsupported by science
increasingly unsupported by science between mind and body
between mind and body
between mind and body our bodies are what our brains and
our bodies are what our brains and
our bodies are what our brains and indeed minds are evolved to take care of
indeed minds are evolved to take care of
indeed minds are evolved to take care of they come as a unit this new field I
they come as a unit this new field I
they come as a unit this new field I mentioned studies a lesser-known sense
mentioned studies a lesser-known sense
mentioned studies a lesser-known sense called interception this refers to the
called interception this refers to the
called interception this refers to the visceral signals that together create a
visceral signals that together create a
visceral signals that together create a sense of your internal environment such
sense of your internal environment such
sense of your internal environment such as your heartbeat hunger thirst
as your heartbeat hunger thirst
as your heartbeat hunger thirst digestion pain and emotions the task you
digestion pain and emotions the task you
digestion pain and emotions the task you did earlier when you tried to count your
did earlier when you tried to count your
did earlier when you tried to count your heartbeat is actually a simple measure
heartbeat is actually a simple measure
heartbeat is actually a simple measure we used in the lab to quantify the
we used in the lab to quantify the
we used in the lab to quantify the extent of your conscious awareness of
extent of your conscious awareness of
extent of your conscious awareness of your interoceptive processes by
your interoceptive processes by
your interoceptive processes by comparing the subjective counts to an
comparing the subjective counts to an
comparing the subjective counts to an objective heart rate reading and we
objective heart rate reading and we
objective heart rate reading and we often talk about our emotions in terms
often talk about our emotions in terms
often talk about our emotions in terms of interceptive signals if I was to
of interceptive signals if I was to
of interceptive signals if I was to describe how I felt in the weeks coming
describe how I felt in the weeks coming
describe how I felt in the weeks coming up to this talk I might say I had
up to this talk I might say I had
up to this talk I might say I had butterflies in my stomach I was in a
butterflies in my stomach I was in a
butterflies in my stomach I was in a cold sweat my heart skipped a beat as I
cold sweat my heart skipped a beat as I
cold sweat my heart skipped a beat as I was getting on stage but how do we truly
was getting on stage but how do we truly
was getting on stage but how do we truly convey an interceptive experience
convey an interceptive experience
convey an interceptive experience especially non-verbally to another self
especially non-verbally to another self
especially non-verbally to another self that isn’t constituted of all the same
that isn’t constituted of all the same
that isn’t constituted of all the same processes that give you that experience
processes that give you that experience
processes that give you that experience this is as George explained of
this is as George explained of
this is as George explained of particular relevance to actors who make
particular relevance to actors who make
particular relevance to actors who make it their living to consciously and
it their living to consciously and
it their living to consciously and physically communicate and experience to
physically communicate and experience to
physically communicate and experience to other people and what’s particularly
other people and what’s particularly
other people and what’s particularly unique here is that it’s not just their
unique here is that it’s not just their
unique here is that it’s not just their own experience which is challenging
own experience which is challenging
own experience which is challenging enough to express its another experience
enough to express its another experience
enough to express its another experience an actor must empathize with a character
an actor must empathize with a character
an actor must empathize with a character they are playing in order to understand
they are playing in order to understand
they are playing in order to understand their motivations and how they would
their motivations and how they would
their motivations and how they would behave in a given situation they must
behave in a given situation they must
behave in a given situation they must know their own quirks and ball
know their own quirks and ball
know their own quirks and ball well enough to know how they would
well enough to know how they would
well enough to know how they would differ from the character they must
differ from the character they must
differ from the character they must empathize with their audience in order
empathize with their audience in order
empathize with their audience in order to know how their movements will be
to know how their movements will be
to know how their movements will be perceived in order to get the audience
perceived in order to get the audience
perceived in order to get the audience to empathize with them that’s a whole
to empathize with them that’s a whole
to empathize with them that’s a whole lot of empathizing and it’s a
lot of empathizing and it’s a
lot of empathizing and it’s a fascinatingly complex thing to ask a
fascinatingly complex thing to ask a
fascinatingly complex thing to ask a brain to do there are traditions of
brain to do there are traditions of
brain to do there are traditions of acting that have varying theories on how
acting that have varying theories on how
acting that have varying theories on how to do all of this but there’s not a lot
to do all of this but there’s not a lot
to do all of this but there’s not a lot of empirical research on how it works or
of empirical research on how it works or
of empirical research on how it works or what the optimal strategies are this is
what the optimal strategies are this is
what the optimal strategies are this is what our lab led by James Kilner at the
what our lab led by James Kilner at the
what our lab led by James Kilner at the institute of neurology is just beginning
institute of neurology is just beginning
institute of neurology is just beginning to explore what is believable acting
to explore what is believable acting
to explore what is believable acting actually mean is the more interceptive
actually mean is the more interceptive
actually mean is the more interceptive lee aware or empathetic actor more
lee aware or empathetic actor more
lee aware or empathetic actor more capable of inducing an emotional
capable of inducing an emotional
capable of inducing an emotional response than an observer does an actor
response than an observer does an actor
response than an observer does an actor really need to have an interceptive
really need to have an interceptive
really need to have an interceptive emotional experience in order to convey
emotional experience in order to convey
emotional experience in order to convey it or if it were practically possible
it or if it were practically possible
it or if it were practically possible would they just have to make all the
would they just have to make all the
would they just have to make all the right movements well well the emotions
right movements well well the emotions
right movements well well the emotions are you material they can’t themselves
are you material they can’t themselves
are you material they can’t themselves be be seen be tasted be felt by others
be be seen be tasted be felt by others
be be seen be tasted be felt by others so communicating emotions is a vital
so communicating emotions is a vital
so communicating emotions is a vital issue for actors and the body becomes
issue for actors and the body becomes
issue for actors and the body becomes the interface for communicating those
the interface for communicating those
the interface for communicating those emotions the only way for you to know
emotions the only way for you to know
emotions the only way for you to know how I am feeling is by the effect that
how I am feeling is by the effect that
how I am feeling is by the effect that my emotions have on my body and on my
my emotions have on my body and on my
my emotions have on my body and on my voice which is itself a bodied
voice which is itself a bodied
voice which is itself a bodied phenomenon I mean you know how nervous I
phenomenon I mean you know how nervous I
phenomenon I mean you know how nervous I am standing here with Anjali not by not
am standing here with Anjali not by not
am standing here with Anjali not by not by grasping my nervousness itself but by
by grasping my nervousness itself but by
by grasping my nervousness itself but by deciphering it by from from the the
deciphering it by from from the the
deciphering it by from from the the tension on my right shoulder or the or
tension on my right shoulder or the or
tension on my right shoulder or the or the ringing of my hands or the the sound
the ringing of my hands or the the sound
the ringing of my hands or the the sound my dry mouth makes between words and of
my dry mouth makes between words and of
my dry mouth makes between words and of course by how much I’ve been stuttering
course by how much I’ve been stuttering
course by how much I’ve been stuttering and and and of course that in return I
and and and of course that in return I
and and and of course that in return I know how effective I am or not by by how
know how effective I am or not by by how
know how effective I am or not by by how many times you’ve yawned
many times you’ve yawned
many times you’ve yawned um or by how much you’ve been fidgeting
um or by how much you’ve been fidgeting
um or by how much you’ve been fidgeting in your chair or even by the number of
in your chair or even by the number of
in your chair or even by the number of times that you’ve checked your phone yes
times that you’ve checked your phone yes
times that you’ve checked your phone yes madam I can see you
madam I can see you
madam I can see you and so but but it is not hard to
and so but but it is not hard to
and so but but it is not hard to understand how any an extreme version of
understand how any an extreme version of
understand how any an extreme version of any of these techniques of acting inside
any of these techniques of acting inside
any of these techniques of acting inside out or outside in will inevitably lead
out or outside in will inevitably lead
out or outside in will inevitably lead to failed acting or not believable
to failed acting or not believable
to failed acting or not believable acting so on the one hand you have the
acting so on the one hand you have the
acting so on the one hand you have the emotional actor who feels everything
emotional actor who feels everything
emotional actor who feels everything ever so intensely at every step of the
ever so intensely at every step of the
ever so intensely at every step of the way
way
way but who fails to externalize anything at
but who fails to externalize anything at
but who fails to externalize anything at all just imagine an extreme closer part
all just imagine an extreme closer part
all just imagine an extreme closer part of of an incredibly emotional scene but
of of an incredibly emotional scene but
of of an incredibly emotional scene but short after a Botox disaster gets my
short after a Botox disaster gets my
short after a Botox disaster gets my point or then or then the actor who
point or then or then the actor who
point or then or then the actor who can’t complete the scene because because
can’t complete the scene because because
can’t complete the scene because because they so caught up in them in their
they so caught up in them in their
they so caught up in them in their emotions which are so extreme and so
emotions which are so extreme and so
emotions which are so extreme and so unbridled that they lose control over
unbridled that they lose control over
unbridled that they lose control over their body on that voice I mean there is
their body on that voice I mean there is
their body on that voice I mean there is no way they can they can move they can
no way they can they can move they can
no way they can they can move they can say the text let alone sing the aria
say the text let alone sing the aria
say the text let alone sing the aria until the convulsive sobbing comes to an
until the convulsive sobbing comes to an
until the convulsive sobbing comes to an end on the other hand and at the other
end on the other hand and at the other
end on the other hand and at the other end of the spectrum you have the the
end of the spectrum you have the the
end of the spectrum you have the the virtuoso actor whose physical and vocal
virtuoso actor whose physical and vocal
virtuoso actor whose physical and vocal acrobatics and surgical precision ensure
acrobatics and surgical precision ensure
acrobatics and surgical precision ensure a repeatable and reliable performance
a repeatable and reliable performance
a repeatable and reliable performance however that Koryak the bat choreography
however that Koryak the bat choreography
however that Koryak the bat choreography or or the vocal fireworks are
or or the vocal fireworks are
or or the vocal fireworks are disconnected from a real emotional place
disconnected from a real emotional place
disconnected from a real emotional place I mean they reference acting cliches
I mean they reference acting cliches
I mean they reference acting cliches instead of real emotional reactions thus
instead of real emotional reactions thus
instead of real emotional reactions thus becoming nothing more than a sterile
becoming nothing more than a sterile
becoming nothing more than a sterile pantomime engaging sometimes even
pantomime engaging sometimes even
pantomime engaging sometimes even entertaining but ultimately dead in the
entertaining but ultimately dead in the
entertaining but ultimately dead in the eyes and just like these irregularities
eyes and just like these irregularities
eyes and just like these irregularities of embodiment in acting many
of embodiment in acting many
of embodiment in acting many irregularities of body image are a
irregularities of body image are a
irregularities of body image are a result of conflict between felts
result of conflict between felts
result of conflict between felts interceptive and observed information
interceptive and observed information
interceptive and observed information people with eating disorders contract in
people with eating disorders contract in
people with eating disorders contract in style the body they see in the mirror
style the body they see in the mirror
style the body they see in the mirror with the one they feel they have which
with the one they feel they have which
with the one they feel they have which is deeply influenced by interactions
is deeply influenced by interactions
is deeply influenced by interactions with other people some
with other people some
with other people some patience with a paralyzed limb after a
patience with a paralyzed limb after a
patience with a paralyzed limb after a stroke develops such a strong discord
stroke develops such a strong discord
stroke develops such a strong discord between how they feel about that limb
between how they feel about that limb
between how they feel about that limb and what they can see that their
and what they can see that their
and what they can see that their internal experience overwrites their
internal experience overwrites their
internal experience overwrites their visual feedback leading them to
visual feedback leading them to
visual feedback leading them to sometimes say what are you talking about
sometimes say what are you talking about
sometimes say what are you talking about I’m not paralyzed I’m fine and sometimes
I’m not paralyzed I’m fine and sometimes
I’m not paralyzed I’m fine and sometimes they will go as far as to say that’s not
they will go as far as to say that’s not
they will go as far as to say that’s not my arm that’s my husband’s arm at the
my arm that’s my husband’s arm at the
my arm that’s my husband’s arm at the center of these problems and those many
center of these problems and those many
center of these problems and those many of us face in dealing with our bodies
of us face in dealing with our bodies
of us face in dealing with our bodies and ourselves is an uncertainty that
and ourselves is an uncertainty that
and ourselves is an uncertainty that comes from constant change but our
comes from constant change but our
comes from constant change but our bodies are not passive victims of the
bodies are not passive victims of the
bodies are not passive victims of the chaos that they inhabit they’re actually
chaos that they inhabit they’re actually
chaos that they inhabit they’re actually remarkably proficient at adapting to an
remarkably proficient at adapting to an
remarkably proficient at adapting to an ever-changing environment in fact this
ever-changing environment in fact this
ever-changing environment in fact this is the fundamental difference between
is the fundamental difference between
is the fundamental difference between being alive and not living organisms are
being alive and not living organisms are
being alive and not living organisms are energetically open systems they have to
energetically open systems they have to
energetically open systems they have to interact with their environment in order
interact with their environment in order
interact with their environment in order to maintain an internal state that’s as
to maintain an internal state that’s as
to maintain an internal state that’s as stable as possible
stable as possible
stable as possible by seeking out a warmer coat or a
by seeking out a warmer coat or a
by seeking out a warmer coat or a sandwich or a more emotionally
sandwich or a more emotionally
sandwich or a more emotionally fulfilling relationship otherwise they
fulfilling relationship otherwise they
fulfilling relationship otherwise they would decompose very quickly this is
would decompose very quickly this is
would decompose very quickly this is called homeostasis and in a sense
called homeostasis and in a sense
called homeostasis and in a sense self-acceptance is a homeostatic drive –
self-acceptance is a homeostatic drive –
self-acceptance is a homeostatic drive – and it comes with the understanding and
and it comes with the understanding and
and it comes with the understanding and embracing of ourselves our bodies and
embracing of ourselves our bodies and
embracing of ourselves our bodies and our physical and social environments as
our physical and social environments as
our physical and social environments as concepts in flux the two of us come to
concepts in flux the two of us come to
concepts in flux the two of us come to remarkably similar inferences and this
remarkably similar inferences and this
remarkably similar inferences and this is coming from disciplines that are
is coming from disciplines that are
is coming from disciplines that are often seen as very distant from each
often seen as very distant from each
often seen as very distant from each other both actors and non actors must
other both actors and non actors must
other both actors and non actors must therefore strive to reach this
therefore strive to reach this
therefore strive to reach this homeostatic balance by processing both
homeostatic balance by processing both
homeostatic balance by processing both inner and outer feedback and you notice
inner and outer feedback and you notice
inner and outer feedback and you notice process those inner and outer forces we
process those inner and outer forces we
process those inner and outer forces we must be present in the moment we must be
must be present in the moment we must be
must be present in the moment we must be mindful we must be connected both
mindful we must be connected both
mindful we must be connected both inwardly and outwardly the result the
inwardly and outwardly the result the
inwardly and outwardly the result the ultimate capacity for adaptation of our
ultimate capacity for adaptation of our
ultimate capacity for adaptation of our bodies and indeed of our sense of self
bodies and indeed of our sense of self
bodies and indeed of our sense of self thank you
thank you
thank you [Applause]
”
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