Another IPA Chart... the CONSONANT CHART

WANTS WANTS WANTS VERBS ACTIONS

Wants. Wants. Wants. Wants are what create drama. Wants are what give life to the character. Wants are what the waking individual is never without. Wants are perpetual. Wants cause action. Wants create conflict. Wants are the very energy man's life and the System of Wants is the aspect of character to which the actor gives his relentless and obsessive attention. The actor tracks down the wants. Everything else is classified as a condition. The golden key is the character's system of wants. And after I have studied and structured and tested and assumed the character's system of wants, then, and only then, am I permitted to occupy their inner life and express their personality. Of all the questions I ask the character about themselves. the overwhelming majority have to do with their wants: "What do you want?" "What do you want now?" "What is your ultimate want?" "What do you want from the other person?" "What do you want in the ...

ACTIONS OBJECTIVES 101

CREATING AN ACTION Having narrowed the focus of wants to the choice of specific verbs, let us take the first of two steps in refinement. An adequate expression of the want is a verb by itself. A superior, more subtle, and certainly more actable expression of the want will include the person to whom the want is directed and the response sought from that person so that a first-class actor expressing an individual want of the character would include all three elements: VERB RECEIVER + RESPONSE I want to WIN Gloria's admiration. I want to AWAKEN my father's enthusiasm. I want ...

Parts of a beat: MOMENTS

MOMENTS A moment comprises a purposeful action toward the beat objective and your assessment of your success or failure at achieving it, based on the response received from the situation or from another character. A moment is thus a cycle of intention-realization-reaction that circle of energy flow and communication. As a result of your feedback in the moment, you may decide to stay in the beat or make a tactical adjustment, moving to a new objective and a new beat. As long as the intention remains unchanged, you are still in the same beat, although you may have moved through several moments. Although each beat and moment is connected to your super objective and through-line, when you act, it is the needs of the immediate moment that determine your course of action. The overarching concepts are there to keep your performance on course, but they are not part of your active consciousness, just as in life what you do at any given moment is usually a re...

Vivian Rubio

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