Have an idea for a story? Let us know! Contact: Cheryl Minns, Art Editor ™ arts@theotherpress.ca This issue: (¥ The game is afoot at Douglas College (¥ Chairman of the Board: Save the cat! ( Level up! And more! Tragic misconceptions of actors and their practices » Unravelling the myths of method acting and more Adam Tatelman a Staff Writer Hee it has been quite popular to depict actors as out-of-touch, borderline- psychotic emotional wrecks. Perhaps this is because most people who aren’t in the film and theatre communities don’t actually know any actors on a personal basis. Or perhaps it sprouted from the “tortured artist” idea that’s existed for centuries in the public consciousness. Whatever the reason, there are a good deal of stereotypes that refuse to die. Being an actor, director, and script writer myself, ’'ve worked with a lot of theatrical people and I’ve mostly found these assumptions to be untrue. People are often confounded when observing actors’ esoteric- sounding vocal exercises. We as actors must be able to project our voices on stage without sounding like we're yelling, as well as clearly enunciate each word we speak without sounding like robots. To do this, we have to stretch the muscles of our mouth, tongue, throat, and diaphragm by physically : stimulating them or making : different sounds. This allows us : to train for vocal precision. It is : really no different than the way : an athlete warms up in order to : compete effectively. We merely : employ different muscles. Many assume that actors are : naturally unstable, since they : can access their emotions for : their scenes. The truth is we do : not project our latent emotions : on the characters we play. If we : did, we'd just be exploiting our : own personal issues. Nobody : wants to watch onstage therapy. : Instead we undergo intensive : character study, creating a : physical presence different from : our own. The resulting actions : inspire our emotions to respond : in a more spontaneous way. “Play : the action and the emotion will : follow,” my teachers told me. : Everything else is faking it. Another popular image is : that of the intense, brooding : actor who becomes the character : they play in their everyday life. : This is the invention of hacks : and attention seekers, We actors : are quite able to separate our : stage performances from our : real life. When you go home : after a shift at the bar, do you : find yourself taking patrons’ : orders in your sleep? Of course : not. Acting is our job, and : we don’t need to carry some : playwright’s emotional baggage : when we punch out for the day. The entire concept of : “method acting” is dangerous— : not to mention the result of : a translation error. Russian : actor Konstantin Stanislavsky : created “The System” as a study : of biomechanics. When his : work was mistranslated into : English, it became known as : “the method.” Since then, it has : deteriorated into a justification : for famous actors to grandstand : their dedication to their art in : increasingly dangerous and : irresponsible ways. Nicholas : Cage says he went on a month- : long bender to learn how to : play a drunk in Leaving Las : Vegas. I say he wanted an : excuse to drink a lot of beer. Everything we actors do : that people find so impressive : is the result of simple training. : Really, anyone can learn to : bean actor, provided they : don’t approach it with some : mythological idea in mind. We : just like to entertain people. : That takes a lot of practice, and : a lot of guts. We can't afford to : be delicate, because we make : our living in the public eye. Image via thinkstock An artistic look at mental health and online anonymity » ‘False Pretenses’ exhibit at the Amelia Douglas Gallery Cheryl Minns Arts Editor M arts@theotherpress.ca Ise Pretenses, anew exhibit from Pierre Leichner and Bill Edmonds at the Amelia Douglas Gallery, showcases the power of people, places, and paper with works made from medical books and rag paper depicting nature scenes and personal portraits. Leichner’s works mostly consist of large, altered books hollowed out in shapes such as smoking pipes, people, and canyons, or carved out and filled with objects such as pill- like candies, roses, and soap. According to his artist statement in the gallery’s catalogue, his journey into this art form : began many years ago when he : worked as a psychiatrist and : referred to the Diagnostic and : Statistical Manual of Mental : Disorders (DSM). He wanted the : artwork, which includes several : altered copies of the DSM and : other pharmacological texts, to : question issues with the current : mental health practices. The excavation-like scenes : carved into the altered books, : such as the “Compendiums of : Pharmaceutical Specialties” : pieces, are designed to question : issues in the mining industry, : according to Leichner’s artist : statement. The “DSM and CPS : excavation series” is a collection : of digital prints that he made to : document the excavation process. : : Leichner wrote that the paper he : removes from the carved books : is then used in his paper cast : sculptures, such as the delicate : angels in “DSM and CPS Angels” : and the intricate mirror frames : in “DSM and CPS mirrors.” Edmonds’ portraits, which : are printed on rag paper as well : as painted on Plexiglas, are : based on photos he received : from online users he had met in : Internet chat rooms, according : to his artist statement. His : works question the anonymity : of the Internet and the release : of personal information, : whether genuine or artificial. : He suspects that some of the : photos sent to him were from : people who were pretending to : be someone else on social media. Along with the portraits, : Edmonds created a mixed media : piece called “Random Stranger,” : which consists of a human-sized, : paper-like statue dressed in : casual clothing that is sitting ata : personal computer in the gallery. Leichner and Edmonds will : close the exhibit’s run with an g ° oO 4 aa) a n uel c ° g ro ww = a Db OQ u v ao S wo q io n g ° a? S oc a : artists’ talk at 10 a.m. on February : 26 in the Amelia Douglas Gallery, : which is located on the fourth : floor of the Douglas College : New Westminster Campus.