It\u2019s called Voice Acting for a reason, so to continue writing about the best voiceover techniques, I\u2019ll continue writing about the craft of acting. I\u2019m still so chock full of Uta Hagen brilliance, so it\u2019s gonna be Uta Uta Uta for at least this blog article and maybe a few more. I promise you won\u2019t bore of her and her insight into acting.<\/p>\n
Insight into acting, for Uta at least, but probably for many acting teachers, is really about the insight into human nature. On a personal level, if you are translating this information for yourself, the pursuit of acting truly begins with insight into yourself. Your character. Your emotions. Your body language. Your voice. Your behavior. Dig deep. As Uta might have said, this pursuit is about finding the essence of who you are and trusting it, respecting it, and working with IT, not putting on a mask. I see this every day with the actors I work with \u2013 they all want to be something they are not. They either believe acting is about being something totally different from what you already are (rather, think you are) or they too are subconsciously mistrusting their own selves and what they have to offer, and simply can\u2019t accept that acting may involve their own actual and true selves. I can see the conundrum here perhaps \u2013 many actors are in pursuit of a new possibility for themselves, and therefore are trying to escape the very things they don\u2019t like about themselves. But yes, the problem here is that most acting techniques will draw from the well of experience and therefore of developed character that already exist within. Perhaps the very crux then of acting, and therefore voiceover acting, is understanding and acceptance of oneself. Uta elaborates on this problem with self acceptance. She believes this need to stray completely from oneself, to put on a mask, comes from an inherent distrust in our own selves. She suggests that perhaps we all feel we are boring, and that only by becoming something else can we arouse interest from the audience. She uses the example of a cat to illustrate some possible hope in our own depth of character \u2013 a party of actors are in the midst of a dramatic moment onstage and yet the audience\u2019s attention is laser-focused on a cat who is following a bit of blowing lint with its eyes. The cat is truly in the moment, and not following any prescribed notions of how to be or what to do. He is in a spontaneous, focused, and forward-moving situation with his attention. The cat is engaged, truly engaged, and therefore captures our attention in a way that the actors onstage who are predictably going through the scene cannot. Uta poses that we can learn from this cat to trust in our own spontaneity – that the only boring thing would be the mechanical execution of our \u201cpart\u201d, not the real \u201cus\u201d in action.<\/p>\n