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Simply breathe, gesticulate, and posturize, and the emotion will come. After participating in my first workshop, which was a hour training, I can tell you the answer is yes. After following very specific instructions from an excellent and qualified instructor Jessica Beck I was able to begin inducing emotional responses simply by constructing the patterns of each emotion. The process is clearly a personal one requiring tweaks and adjustments. Different emotions came easier for some individuals than others.
I estimate I will master the technique for all six patterns in a relatively short amount of time simply by practicing. By the end of this particular workshop, my fellow classmates and I were able to switch effortlessly from one emotion to another within one breath. If you would have told me this was possible on day one, two, or even three of the workshop, I would have been skeptical, but for me it all came together.
With proper instruction and practice, an actor can learn to cry or laugh on cue. But, does that make them a good actor? Some actors and acting instructors might even ask if that has anything at all do with the overall skill set required to become a capable actor. After all, the main champion of the technique is Susana Bloch, a neuroscientist from Chile. A scientist would likely equate producing emotion as the main skill in acting; a perception that will make many actors cringe.
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There are several ways an actor could implement this skill. Using Alba as a tool for emotional preparation makes great sense. An actor can quickly bring himself to life emotionally backstage and enter the scene fully emotionally engaged. Once the technique is mastered which to me means thoroughly automated , an actor might consider using a breathing pattern to trigger a response while in performance.
By consciously choosing and using specific effector patterns, the actor can discover new meanings and experiences for the character. This was an exercise used at the workshop I attended, and it gave me new insights into a monologue I had been doing for years. But for me, the technique holds a greater value. It could help actors to move away from the ambiguous metaphorical teaching methods of the psychological era and move us towards the more practical and effective methods being developed from cognitive sciences. I am currently writing my second book, which includes a technique that teaches actors to authentically embody the experience of their characters by creating relevant memories of the character and anchoring those memories to a stimulus within the imaginary circumstances.
Adding the Alba tool to this process makes even more effective. For example, the actor who loves dogs in their everyday life can invoke a genuine, spontaneous fearful reaction when presented with a dog within the imaginary circumstances. From a neurological perspective, emotion is a neuro-chemical event that occurs in response to a stimulus real or imagined , the main purpose of which is to help us remember a past experience for future use.
This enables an actor to consciously replicate the process by which we naturally store and retrieve memories. I believe focusing on techniques that can be quantified by cognitive sciences can get us closer to giving actors a clear-cut, no nonsense approach to create brilliant performances every time.
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