Alastair Magnaldo
'Accessing the imagination for acting purposes is not much different from the imaginative games played by children. When a child is playing house, there’s a whole life that is a temporary part of the child’s reality. Blankets and chairs become caves and houses. Play-Doh becomes sweet-potato pie. There really a monster under the bed, and the fear and adrenaline from running from the door and diving under the covers is honest. What started in the child’s imagination becomes alive. She’s tricked her subconscious, and the impulses and imagination feed each other.
Children inherently possess the elements of acting-they are almost always relaxed (at least, more relaxed than adults), they have incredible powers of concentration, and they can easily suspend their disbelief and live in their imagination. As adults, we’ve mostly lost this ability to create such elaborate fantasies. The reasons for leaving this fantasy world behind are valid – adults must live and survive in the real world, not something made up in the mind. But the actor needs to return and exercise the imaginative muscles that he had as a child, and to intertwine this ability with a writer’s words and the set. The actor has to see what is fake and believe it is real.'
Children inherently possess the elements of acting-they are almost always relaxed (at least, more relaxed than adults), they have incredible powers of concentration, and they can easily suspend their disbelief and live in their imagination. As adults, we’ve mostly lost this ability to create such elaborate fantasies. The reasons for leaving this fantasy world behind are valid – adults must live and survive in the real world, not something made up in the mind. But the actor needs to return and exercise the imaginative muscles that he had as a child, and to intertwine this ability with a writer’s words and the set. The actor has to see what is fake and believe it is real.'
Terry Schreiber
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