KNOW YOUR MOTIVATION: THINGS DANCERS CAN LEARN FROM ACTORS
By: PRINCESS FARHANA
As dancers, our primary goal is to illustrate the music for
our audiences. But also included
in our job description is to transport the audience, to take them away on a journey into a
lovely, magical world where they forget anything having to do with their
day-to-day lives.
To be a dancer, you must have technical skill. But even
superlative technique can fall by the wayside and become forgettable when a
dancer doesn’t project her feelings and emotions into her performance.
A great dancer knows how to access the universal truths of
the human condition… which is exactly what great actors do. Both types of
artists work fully with their bodies, through character portrayal, telling a
story. So in essence, as dancers, in order to really connect with the audience,
we must also be actors. The main difference between the two genres is that
actors make a script come to life verbally, while dancers make music come to
life through movement.
Because both my parents were involved in the entertainment
business, I was lucky enough to literally grow up in the theater, watching
everyone from avid students to huge stars perform on a nightly basis. It taught
me a lot, and I learned at an early age what worked onstage and what didn’t.
As an adult, I have also had the good fortune to make two
films in the past year. To me, acting in those movies was not only a chance to
get involved with another art form, but also an educational opportunity! I cannot tell you how much I have
learned about performance in general from watching the other actors
working. It was incredible to see
how they breathed life into the roles they were playing, and to witness the
transformation occur as their characters spoke the lines that had previously
merely been writing on a page. They were nuanced not just in vocal inflections,
but also even in their body language.
Sometimes, during the different shoots, it would be easy
for me to access my emotions because I would be playing opposite someone who
was so thoroughly engrossed in their character, there was no way I couldn’t
react as a human being. Other
times, I would be so mesmerized and carried away by watching the other actors,
that I would forget my own lines… CUT!
During one shoot I needed to cry on cue and during the time
leading up to that scene, I would wake up every night, stressed that I wouldn’t
be able to accomplish that. The day of my crying scene came and of course I had
major performance anxiety. But I shocked myself (and probably the director!) By not only crying on cue, and with real flowing tears, but
doing it consistently through four takes… and it was all because the girl who
was in the scene with me was such a genuine actress, there was no way I could
not get caught up in the moment.
That is the level of emotion we must try to bring to our
dance performances; it’s what makes the performance riveting, and not merely a
series of movements; it’s what involves the audience in our piece. Some people
seem to have that innate, passionate ability, while others need to work on it a
little more.
Here are some thoughts on acting technique, which can
easily be incorporated into any dance performance:
GET INTO CHARACTER
Sometimes actors stay “in character” throughout an entire
performance or shoot even when they aren’t on stage or in front of the
camera. Dancers would do well to
get into this habit too.
This could be as simple as taking a few moments for
yourself to get centered before you perform, or it could be a more elaborate
preparation, depending on your piece.
Are you performing as YOU? Then don’t be afraid to let your own, off-stage
personality shine through…. even if it’s quirky. The audience will embrace you
if you are being genuine.
Are you performing as a character in a dramatic piece? If so, know exactly who your character
is. Those “make believe” games you played as a kid can really go over-the-top
here. Are you feeling happy, sad, fiery, naughty, angry or innocent? Is your character a temple dancer, a courtesan, an innocent girl, a sorceress, a
cartoon character or mythological figure?
Whatever or whoever it is, do it to the hilt. And remember to stay in
character as you walk off the stage…. and into the dressing room…and as you
come back to take your bow if there is a curtain call.
KNOW YOUR MOTIVATION
Sounds cliché, right? Well it’s not! Actors always know what is motivating
their character in any given scene, and need to know your dance character’s
motivation for your piece. Invent a back-story for your performance, even if
you are not doing a character-driven theatrical piece that has an obvious
storyline. It will help you to convey your emotions to the audience. Many
dances tell a story; others do not, but there still needs to be an emotional
journey. Your back-story can be a simple sentence… it can be just “all about
the beauty of the music”- but it still needs to be there.
ACCESS YOUR EMOTIONS
Actors use their senses and emotional memories in the
context of performing scenes. Since you are performing to a musical “script”, you really get in touch with
your emotions in order to be able to present the music in a way your audience
will feel it. As part of your rehearsals, just listen to you music a few times,
without moving, and see how it makes you feel. Chances are, what you are
feeling is a universal emotion, meaning your audience will feel it too.
Your performance will definitely include physical
references to rhythmic changes, different phrases or the choruses of the music,
but your emotions really need to be invested as well. If the music is
instrumental, let your face and gestures provide an emotional context. If you
are performing to a piece with singing and words, the lyrics are already
obvious, and you need to decide before hand if you are actually acting them out
fully or just referencing them.
Of course, if you are a belly dancer and your music has
words being sung in a different language, you really need to find out exactly
what the song is saying! I once
witnessed a dancer performing what she thought was an Egyptian love song, so
she was acting out the “lost love”
quite dramatically. The only problem was that the song was not about love at
all- and she was performing to an ethnic audience who spoke Arabic and understood
the words. The lyrics of the song
were so opposite of what she was portraying, her dance became an unintentional
comedic parody. As she went through her romantic histrionics onstage, the
audience was practically rolling in the aisles! What she took as raw emotion in
the song was basically a series of vocal calisthenics. Luckily, these days,
there are many translations for popular Arabic, Turkish, Persian, and Armenian
songs on line.
THINK SLOW
Stage actors and screen actors alike sometimes tend to
speak a little more slowly than anyone would in “real life”, to insure that the
meaning of their words has a chance to sink in and not get lost. They also
enunciate very clearly. Translated into a dance performance, a dancer could
incorporate a similar technique by really paying attention to the pauses in the
music, and not trying to cram in a movement to every beat. Reign yourself in, dance a little more
slowly and allow your audience to savor and enjoy every movement you make. Also allow yourself to actually finish
each movement fully, before moving on to the next one.
FIND YOUR BEST LIGHT
Actors usually have a director to set their marks and
actions so that the stage or movie lights will showcase them to their fullest
advantage. As dancers, we are not always so privileged. Take advantage of your
tech rehearsals to figure out where the best lighting on the stage is, and if
need be, tailor your performance so that you are dancing where the lights are
the hottest. Make sure to be
nice to your lighting technician- it’s worth it! Even if you do not get a full
tech rehearsal, or are not dancing in a theater, you should scope out your
performance area and make sure you know what the lightest and darkest parts of
your “stage” will be, and know where to dance so the audience will be able to
see you.
STAY OPEN
For actors in the theater, keeping one’s back to the
audience for extended periods of time is anathema. It is not always this way
for dancers- sometimes it can be very dramatic to begin a piece facing away
from an audience. Use your best judgment on this, but know that onstage, there
are very definite concepts of positive and negative space. Positive space is audience-inclusive;
negative space is not. Depending upon your performance and the feelings you are
conveying, you will be utilizing positive and negative space.
Many actors keep their bodies presented flat front to the
audience, but in dance, our bodylines are different, and we are usually not
static, but in constant motion.
Facing dead on front is not usually a dancer’s most flattering angle,
three-quarters usually is. But you
can still direct your face towards the audience, thereby “including” them. Also coming down towards the front of
the stage and actually making eye contact is an excellent way of engaging your
audience. And while actors often worry about being upstage by other actors,
dancers don’t usually face that problem. Don’t however, “upstage” yourself by
blocking your face- or some lovely hip work- with your arms …remember to
rehearse the best angles for your arms, and to only hide your face if it’s
intentional!
WATCH AND OBSERVE
To master their craft, any actor who wants to learn about
portraying “the human condition” will observe people constantly with the sharp
eye of an anthropologist. They
study everything from vocal inflections to posture; from hand gestures and
nervous tics to the way other people walk. They also watch a lot of movies, and plays, and observe
other actors.
As a dancer, for your character work, it behooves you to
study “real people”. It’s also absolutely necessary to see as much dance as you
possibly can- both live and recorded performances. Don’t limit it only to the
genre (or genres) of dance you perform, and don’t limit it only to strictly
professional performances. There is something to be learned from every dancer
you see, whether it’s divinely inspiring or even if that something you learn is
just “what NOT to do”!
QUIET ON THE SET!
Whether there are cameras rolling or not, as a professional
courtesy to those you perform with, be as quite as possible when others are on
stage. This means backstage in particular! In the dressing room, as in the audience, before the
performance has started, turn your phones and handhelds off. All you should be hearing is what’s
going on under the lights, and the audience reacting to what they are seeing.
TAKE A BOW
At the end of your performance, or if there is a curtain
call, give the audience heartfelt gratitude for their time and admiration and
take a bow… you deserve it!
