Tag Archives: actress

In Body, Embody

We have to embody the world we want to see.  If we want less hate, less judgment and more compassion, then we have to hug more.  We have to smile more.  We have to shake hands more.

embodySometimes, though, it’s hard to be “in” our bodies.  Our society privileges the mental and we become mental.  We experience a trauma and we numb out.  Our emotions rattle us.  We want an escape from pain, instead of just feeling the pain and moving through it.  It’s hard to embody our ideals of love and compassion when it’s just hard to be in our bodies.

Yesterday, I was in an unfamiliar part of town and due to some circumstances beyond my control, I spent some extra time in the neighborhood, so I decided to get a massage to make use of the time.  Like I’ve mentioned in some of my prior posts, I’ve been dealing with big girl life stuff and I am still carrying a great deal of tension.  It shows up in my body. Even though I have a regular meditation regimen and a decent exercise regimen, my pent up stress, like me, is stubborn.  Getting a massage gives me the opportunity to understand what stress my body is still holding onto.

A valued person in my life told me that I was the most sensitive person he knew and that I did a great job of hiding how sensitive I actually am.  I didn’t get what he meant until yesterday, when as I was getting the massage a flood of thoughts and images, some not fun and relaxing, danced in my brain.

Ultimately, we have to embody self-forgivenesss and self-acceptance and self-love.  I have to forgive myself for the mistakes I put my body through.  I have to accept who I am today–not try and revivify or reconstruct who I was ten years ago.  I have to love my injuries, both emotional and physical, enough to heal them.

One of the tasks of an actor is to embody a character.  Not all humans walk and talk the same way.  Not everyone holds tension in the same place.  Not everyone has the same center of gravity.  The ancient Greeks created a whole theory of personalities based on bodily awareness.  Chekhov, one of the greats of the acting world, thought every human being has a “leading center” of their body, from which their urges and actions come from.

I am still learning where my actions and urges come from and that’s because it’s my business, literally, as an actor to do so.  As we live and experience, our character is shaped and re-shaped hopefully for the better.  Have you checked in with your body?  What are you embodying?

 

 

 

 

Corbin Nash’s Fernanda Romero Loves Horror

Fernanda Romero is a multi-talented woman, an influencer, a favorite of Spanish language TV, a model, a host and a fun person to talk to.  Check out my conversation with her for Domain of Horror.  She’s an avid horror movie fan and a champion of diversity in movies and TV.

Listen to her discuss her love of horror movies & more!

Catch it YouTube too!

Behind the Scenes of The Litch

This week, I got to have a fun part in The Litch, directed by James Balsalmo of Acid Bath Productions.  It was a high-spirited, improvisational shoot.  Coming out later this year, the film also stars Tom Sizemore, the legendary  Lloyd Kaufman and fellow scream queen Genoveva Rossi.  James is creative, collaborative and fun and I told our manager Matt Chassin that he was like the “Christopher Guest of horror”.  This is sure to be a fun horror comedy.

kristin meat cleaver

 

Armin Nasseri of Seeking Valentina fame was also on-hand helping with our scene. It was great to have his positive energy there.  I can’t wait to see it debut on the big screen later this year!

litch group shot

 

 

LIKE The Litch on Facebook to get all their updates!

the litch

Spooktacular Art for The Spirit Room

There’s some cool promo art coming out for The Spirit Room, which I worked on last October.

spirit room poster.png

Here’s me as the character Peggy Wiley!  Can’t wait to share this amazing short with you!

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A Tale of a Block & Other Musings

Who You Gonna  Call?  Blockbusters!

Seriously, the Ghost Busters jingle was echoing through my head all through our latest What Women Want Radio Show broadcast.  We’ve all had blocks.  We’ve all been stuck.  We’ve all had that same issue come back over and over again and smack us in the face (or rear).

colleen

Listen to Dr. Colleen Mullen, celebrity therapist, and Jennifer Longmore, intuitive healer, discuss the many facets of being blocked, and most importantly, how to overcome it on this week’s installment What Women Want Talk Radio.

A Tale of a Block.

Once upon a time, in a summer stock theater troupe in a galaxy far far away,  I was assigned to play one of those obscure Shakespearean characters. This was one of those comedic relief characters in the heavy drama right before the king gets killed.  If you are an actor, you know these characters exist in the Bard’s work and they are hard to nail. Mine was the Duchess of York in Richard II.  In many productions of the play, this scene and this character are cut.

Shakespeare Quartos Project
Image from Wikimedia Commons.

Weeks of rehearsal and the director’s input were more about purging the bad choices than discovering the good.  It was trial-and-error and both trial-by-fire AND error at the same time, almost all the weeks of working the scene on stage.   I couldn’t wrap my mind around this quirky character in this equally off-the-wall scene.  People wanted to get to the poetic and tragic death of the king, right?  I was frustrated.

It wasn’t until I owned the character’s block as my block that I did finally break through.

 

Here’s how.

The group I was working with paid special attention to the meter of the verse and had a process of using the verse as the momentum of the emotion.  My meter was irregular.  Great.  Irregular scene, quirky character with irregular meter.  Awesome.  So reading the scene for the umpteenth time, I decided to make her obstacles my obstacles and my thoughts about those obstacles hers.

What was her obstacle?

Getting in the door-literally.  In the scene, the character was locked out of a room.

I decided to improvise using a make-shift battering ram.  Using the sound effect value of the battering ram helped me focus my intentions, beat (literally) the pesky meters and own it.  I made a big, bold choice and it worked for me.

So, not of all of us are going to have to delve into weird characters in the Bard’s world, but we may get handed a sort of surreal set of circumstances.

Tips:

Own the block—cautiously.  Don’t make harsh judgments about yourself.  There’s a language difference between “I am blocked,” and “I am experiencing a block”.  Verbs move you through.  Adjectives might weigh you down.

Identify the most basic part of the obstacle.  What’s your basic objective or intention? Start there and get specific.  If it’s a conceptual block, try externalizing (mind-mapping, modeling). Perhaps it needs to get out of the head and into the body or on paper.

What is not working?  Keep discarding the things that are not yielding the results you want.  Keep at it.  Keep moving.  Don’t let the block weigh you down spiritually or emotionally.

Make a big, bold choice when it makes sense.  If it doesn’t work, discard.

 

The Mask: Acting when in Mourning

“To weep is to make less the depth of grief.” HENRY VI, PART III

It’s true that actors suffer for their art.  We go to countless auditions, get told no more often than yes, among many other grievances.   Actors are bettors.  They gamble on themselves constantly, each day, in the name of their art and their talent.

As someone who’s experienced this twice, there may come a time in your acting life where you may be on stage or on set and someone you love dies.  The thespian’s motto is “The show must go on.”  Yes, it does, but sometimes it may not be in your long-term best interest for it to go on with you. Sometimes, though, the time on stage or on set may be healing.

The first time this happened to me, I was 17 years old and performing in a community production of Othello  Though it wasn’t a professional production, I treated acting as my profession.  My grandfather died a week before opening night.  My mother spoke to director on my behalf and his response to her was, “Is she still going to be in the show? She’s really talented.”  It was about the show for that director, not necessarily what could be done to keep me in a safer space.  When I came back to rehearsal, it was weird.  Fellow cast members didn’t know what to say to me or how to act.  I didn’t hold that against them.  It’s hard to know what to say when someone close to you has someone die.  I was very close to my grandfather and though legally almost an adult, I had a hard time coping with all the feelings.

The second time this happened to me was six months ago.  My godfather, whom I held in high regard, died unexpectedly.  We had been talking on the phone a lot in the six months prior.  He was going through stuff.  He was in mourning himself and then took a sudden turn for the worse.  I was in the middle of filming a short film when I heard the news of his death.  I let my director know what was going on via email and he was very kind and compassionate.  He let the cast and crew know that I had a death.  Everyone was very kind.  He worked around my schedule so that I could leave the state to go to the funeral.  He was a true professional.

Both times, at least to me, there was no discernible impact to my performance.  I got on stage and set and executed the director’s vision to the best of my ability.  However, I can tell you that the earlier experience with the death of my grandfather has followed me in some not-so-healthy ways.  When I saw another production of Othello five years after my grandfather’s death, I was in tears most of the play.  I had this deep association of Othello with my grandfather’s death.  I saw Othello two years later and I was just angry the whole time.  I had to go because of the drama academy I was enrolled in required me to go.  I am hoping time will help me shed my baggage with Othello.

Here’s some advice to you if you are acting and lose a loved one:

  1.  Don’t feel pressured to do or be more than you can handle.  Ask for an understudy if you need one.
  2. Evaluate where you are in the processes.  Are you in first rehearsal?  Final dress rehearsal?  Are you filming for one day?  Thirty?
  3. How much responsibility do you have to your family?  If you are in charge of making funeral preparations for the loved one, take a long look at what you can handle or sustain.  Funerals are very messy to plan, even under the best of circumstances.  You may be able to take a week or two off your production or have the producers change a shooting schedule, but there’s not really a do-over on a funeral.  If you have responsibility to your family, focus on your family first.  Above all, the funeral is to help you find closure and if you have any doubts, choose to focus on the funeral.
  4. Reach out to your director and/or producer.  If it’s to hard to talk about it, send an email about what has happened and what you may need.  If you have a manager, ask them to help you work out the issues with production.  Focus on your healing.
  5. Do not push for emotion.  You are likely maxed out.  You are an instrument.  Don’t break your instrument.  If you’re not feeling it, don’t force it.
  6. It may not be a good idea to bring a recent death into your scene work.  I’ve seen this really mess folks up.  It’s going to be time before you go through those stages of grief and bringing something in that’s too fresh and too raw may harm your psyche more than it helps your scene.  It’s not brave to dredge up something that you are unprepared to handle.  It is brave to assert your healthy boundaries.
  7. Care for your body and care for your spirit.  Acting is already hard, with a great deal of little disappointments.  Having a death cloud you doing what you love is a real downer.  Take extra care of yourself.  Enlist a friend to check in with you from time to time.  An actor friend who you trust is a great choice.

As actors, we constantly search for emotion.  We study emotion.  There will be times when our life on stage and screen  may be impacted by a death or other tragedy.  Above all else, “…to thine own self be true,” and care for yourself in your time of loss.  As an actor, you are your instrument, you are your truth and you owe it to yourself to care for yourself as best you can in your time of loss.