By Jason Pugatch
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Extra info for Acting Is a Job: Real Life Lessons about the Acting Business
Stanislavski proposed something altogether different: Truth. Were it not for a trip to America in 1923, when the Moscow Art Theatre toured the country, the system might never have crossed the Soviet borders and we might never have had a Marlon Brando, James Dean, or Jessica Tandy. As the actors of the Moscow Art Theatre performed across the United States, Americans grew aware that they were witnessing something extraordinary. The Russians became darlings of the tabloids and gossip pages. ” And the Beat Goes On An anecdote about something called the “beat” has floated around the theater community for years.
However, the rules of this maddening game can be applied to both coasts. You will not find a formula for success within these pages. This book is not, like so many of the actors’ guides out there, trying to sell the dream. It is not a dissection of the acting business that, when you’ve finished reading, will provide magical answers, a key to stardom or success, or a way to cash in quickly. It is a dose of realism in a hyperfantastic world—information for the admittedly uninformed. It’s the book I wish someone had handed me when I started out in New York.
In the first month of training, we were forced to perform and outperform each other constantly. Acting schools are a weird blend of summer camp and the military. You’re with the same incestuous group of people all the time. You’re laughing, crying, emoting, moving, breathing, dancing, and drinking together. Between class, rehearsal, and performance, you’re in the theater sixteen hours a day. You’re exhausted and constantly competing for roles, stage time, and validation. One day, after an especially gruesome display of acting, our Russian professor wore a particularly grim expression.