Play Roles Affecting Actors' Personal Life: An Analysis of Surface and Deep Acting Techniques

Overview

This paper examines the relationship between actors' personal lives and their stage performances, exploring how personal experiences influence their ability to authentically portray characters. The author analyzes surface and deep acting techniques, drawing on Goffman and Hochschild's theoretical frameworks, and compares the Stanislavski and English acting methods to determine how actors navigate between their real identities and performed roles.

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Play Roles Affecting Actors Personal Life

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Play Roles Affecting Actors Personal Life

Introduction

During our day-to-day life activities, we play specific roles in diverse ways. In our homes, people play roles such as being a father, mother, brother, or sister. However, unlike the home setting and environment professions such as lawyers, nurses, and business managers, or any other career also have diverse roles. For many individuals, the roles assumed in the workplace and at home become a routine that enables them to internalize certain things. On the other hand, a stage actor learns new roles repeatedly to enable him or her perform effectively. In their part in theater, stage actors employ body movements, facial expressions, imaginations, voice, and feelings to express certain issues. The stage actors professionalize the actions people undertake in their day-to-day life — observing and studying stage actors will, therefore, aid in establishing whether an actor's personal life affects how they play a role.

Review of the Literature

Playing a particular role does not imply a make-believe type of performance. Instead, taking up a specific position in a play denotes the adherence to behaviors and attitudes associated with a specific role or character (Cicali, 2009). Some actors match their roles in a play where the entertained audience observes no difference between the actor's personal life and how they play a particular role. Actors' competency levels are sensitive, as their lives are always observed even when the stage actor is not taking part in a play (Leeds, 2014).