Recently, I had the very rare privĀiĀlege of observĀing StuĀart Aikins first hand as he ran 80 audiĀtions over four days of weekĀend workĀshops. My level of respect for this man which was already extremely high was pushed to the stratosĀphere. I was humĀbled by his acuĀmen, inspired by his pasĀsion, and I must admit, just a litĀtle bit relieved to see how much he loves the same stuff as me.
The thing about StuĀart Aikins is that he cares. A lot. He cares about findĀing, and expeĀriĀencĀing the most interĀestĀing story posĀsiĀble. StuĀart has an MFA in DirectĀing, and was trained as a DraĀmaturg. He has dedĀiĀcated 35 years to disĀsectĀing and comĀmuĀniĀcatĀing STORY. Itās at least secĀond nature if not nature to him at this point. He knows it so well that itās the last thing he wants to see in the audiĀtion. As StuĀart says, āYou all (actors) want to show me what youāve done, and youāve all done the same thing. Itās borĀing.ā Of course it is. Itās pretty hard to amaze a masĀter magiĀcian. But thatās your job. āI want someĀthing difĀferĀent that Iām not going to see from everyĀone thatās still perĀfectly logĀiĀcal.ā Despite the fact that he knows the story, he wants to have no idea where youāre going.
Actors will often misĀinĀterĀpret how to meet this chalĀlenge. In an effort to be origĀiĀnal, or interĀestĀing, theyāll impose a ābold choiceā which most often is an arbiĀtrary decĀoĀraĀtion that has litĀtle to nothĀing to do with the story and devolves into a self indulĀgent attempt at showĀcasĀing the actĀing itselfāāāthat audiĀtion becomesABOUT the āchoiceā, and will not succeed.
So then, how do you surĀprise a magiĀcian who knows every twist and turn in the story?
The trick is this: YOU canāt have any idea where the story is going. You must find a way to start from a place that is comĀpletely sponĀtaĀneous for you and comĀpletely approĀpriĀate to the story. It may seem counter-āintuitive, but the trick to doing this is to know the story so well that you can abanĀdon it. HopeĀfully reckĀlessly, and in a place that jars you out of any intelĀlecĀtual underĀstandĀing of the story you have develĀoped. If youāve done your homeĀwork, and you are sharp, the telling of the story will be inevitable.
Hey, wait a secĀond! Thatās what we teach: Process-āprocess-āprocess-āabandon!
All makes good sense when we think (or stop thinkĀing) about it. And yet, over our two weekĀends in the room, time and time again I watched StuĀart get actors to ādo someĀthingā usuĀally physĀiĀcal and surĀprisĀing to shock them into a place that was unexĀpected and vulĀnerĀaĀble, so that they were startĀing from an unfaĀmilĀiar place. Then, time and time again, I watched the story unfold comĀpletely acciĀdenĀtally, uniquely, and exactly correctly.
This is a good news-ābad news-āgood news observation.
The good news is that the actors were preĀpared and very clearly capaĀble of āabanĀdonĀingā when directed and taught to do so.
The bad news is that although he is a masĀterĀful teacher (truly one of the best Iāve seenāāāI donāt hand that comĀpliĀment out lightly) in the AUDITION sceĀnario, StuĀart has neiĀther the time nor the proĀfesĀsional responĀsiĀbilĀity to teach. He actuĀally has the proĀfesĀsional responĀsiĀbilĀity NOT to teach, and to let you do your thing, so donāt expect to rely on him to āget you thereā.
Ok, I lied. More bad news: When weāre in nerĀvous sitĀuĀaĀtions ( hmmmā¦. audiĀtion for someĀone who directly influĀences your career who you canāt fool for examĀple?) , we look for our comĀfort and safety. For actors the most comĀmon safety zone is the place that Stuartā¦ahemā¦āstrongly disĀlikesāā¦ Itās in the intellectually-ādriven, preĀconĀceived underĀstandĀing of the scene. Itās the cliched underĀstandĀing of the story. In the bad audiĀtion, the āIām nervous-Iām nervous-Iām in my headā spiĀral gets out of conĀtrol really quickly, and often times due to TIME issues, you just donāt get a secĀond chance.
The conĀdiĀtions of the audiĀtion itself will so often push the actor into safety zone which is exactly where (s)he mustnāt be.
Now, the really good news is that although his room will often feel intimĀiĀdatĀing, the truth is that it is open and supĀportĀive, and he expects you to do that thing to jar yourĀself into motion. The really cool thing is that simĀply makĀing that jump āthrough the perĀceived intimĀiĀdaĀtion facĀtorā of his room will very often facilĀiĀtate the chaos, espeĀcially when you have never made that jump. I susĀpect on some level heās facilĀiĀtatĀing the opporĀtuĀnity for you to get there. No matĀter what, whenĀever you comĀmit to the ājarĀring into motionā, you will always gain respect and appreĀciĀaĀtion for what you are: an actor workĀing proĀfesĀsionĀally (never indulĀgently!) to get your job done.
Hereās how I will approach every audiĀtion with StuĀart going forward:
Know the scene. Break it down into itās acts, arcs, and relaĀtionĀships and disĀsect each moment
Rehearse the #$&! out of it. ChalĀlenge my āknowlĀedgeā of it, explore it from difĀferĀent places, train my body to be ready willĀing and able to plunge into chaos.
DeterĀmine how the scene must end (based on my thorĀough story understanding)
Walk into the room, and start from someĀwhere Iāve never thought of before thatās extremely difĀferĀent from how it ends.
Note that many may judge point 4 as being the āarbiĀtrary decĀoĀraĀtionā I menĀtioned earĀlier. I subĀmit that it will be anyĀthing BUT that. It will be an informed deciĀsion that I will have earned through my rigor. It will be the fulĀfillĀment of my surĀrenĀder, and it will throw me into a chaotic and forĀeign startĀing place.
If I do that, the story will be told (it will be imposĀsiĀble for it not to be told, I wonāt be able to escape itāāāsee ārigorā above) and the jourĀney I take will be sponĀtaĀneous and interĀestĀing. If I have no idea where Iām going, neiĀther will he. I will have amazed the magiĀcian. I will always rememĀber to forget.
I will always rememĀber how much this man has invested in earnĀing his right to be on the other side of that camĀera, and I will honor and respect that investĀment, but I will not allow it to be an excuse to intimĀiĀdate myself into my āsafety placeā. I think that will be easy actuĀally, as long as I rememĀber to accept this as my proof that he cares. A lot.