When kids take an acting class they dream of being Dakota Fanning or Justin Beiber – and it can happen - but usually, if they are lucky, they end up being… well, a more authentic version of themselves. (‘Authentic,’ in this sense, means that kids become capable of allowing their own instincts and beliefs to guide their behavior instead of unconsciously pursuing approval or just trying to get attention.) I’d like to say a bit more about this and give examples. Adult actors may see elements of their own development from past to present in some of these reflections and stories.
We know that the arts, in general, give a boost to life skills by involving young people in areas they have not previously explored and in so doing capturing their interest and giving them impetus to overcome fears and frustrations. But where does acting, in particular, fit into this scenario?
Well, it affords kids the opportunity to experience and express with their own bodies and voices, all kinds of situations that confuse, cause pain or seem just plain boring. Less visceral ways of trying to deal with all this negative stuff often shuts them down. But acting class is a place where they are encouraged to openly show shyness, fear of peer rejection, anger, sadness in the face of loss, etc. It’s not ‘real life’ so they can allow their feelings to emerge without fear of actually hurting or provoking real anger. Behaving in an ‘unacceptable manner’ is the heart and soul of theatre games; shouting, tears, deeply involving and enlightening discussions, laughter - all come out of this work. But it’s important that there should be no fear of a negative response or reprisal. If their efforts are genuinely respected, they are more likely to slowly shift from ‘How am I doing?’ to ‘I’m really interested in what I’m doing and I want to get your response.’
The teacher must always provide a safe environment; by showing disapproval or disappointment over ‘failed’ attempts or, on the other hand, effusive praise for work with which the student himself/herself is dissatisfied, bewilders, angers and shuts kids down – I think that’s true across the board, but it’s fatal with young people. All expression should be acknowledged as genuine in some way; most children (some adults, as well) do not know the difference between trying to act and ‘acting out.’ At the same time the teacher accepts the effort of the young student, the problems must be recognized and a path toward solving them clearly laid out.
Obviously, violence has to be prevented, but that has never come up in any of my classes with children. Usually when allowed self-expression, kids don’t go out of control unless the class is too big and there are negative undercurrents between children that the teacher is missing. Probably, this is why I prefer to work with kids one-on-one or in very small groups.
I mention again the importance of parents who have a strong impact on the success or failure of acting training for their kids. Here is an example of how a parent/child relationship made things difficult. This is a scenario I find particularly upsetting: a mother, who depends on income from a cute, pretty/handsome, intelligent, willing child who hasn’t the least genuine interest in or talent for acting, or even the kind of personality that makes modeling an easy fit.
One such case was exquisite Chantal, clothed in pastel frills, her diminutive head arrayed in perfect dreads, ornamented with jeweled barrettes and shiny beads. Whenever her attractive mother, baby attached to hip – clearly no father in the picture - hovered at the beginning or end of class, Chantal’s worried eyes glued themselves to her mother’s every move. I could feel the girl flinching at her mother’s barrage of questions about managers and agents, while she shoved a new batch of professional photos into my hand, ostensibly asking for my opinion, but actually requiring my adulation and approval of decisions she had already made. During coaching sessions for auditions – the mother managed to shoehorn her into every project going for a kid of her type and age – with her lines perfectly memorized and thought out, this sad, tense little girl thwarted all my attempts to open up the possibility of a fresh, spontaneous approach to the material. When I lost track of her after a couple of years she was still supporting the family through low level modeling jobs and the occasional non-speaking part on commercials.
Next week is Easter. For those who celebrate the holiday, enjoy your roasted lamb or vegan feast! I will return the following week to talk about my reaction to The Signature Theatre’s extraordinary production of The Lady from Dubuque. After that, more about acting training for kids, how it can be therapeutic but never a replacement for actual therapy…
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