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Method Acting The typical three-to-five-minute church drama script is often a light-hearted little comedy that requires acting skill on the same level as, frankly, the Three Stooges. It’s doubtful the actors need to “dig down deep” or try to achieve a high emotional level that leaves audiences spellbound. So, there would be little cause to explore method acting in the world of drama ministry, right? Maybe not, but let’s take a look anyway.First of all, it’s important to explore the stigma or myth and mystery surrounding method acting. Next, many actors (and directors) don’t really understand it or employ its techniques correctly. So they either stay far, far away or think they should use method acting every time they step on stage. Finally, while most of our kinds of drama don’t call for it, there are some instances where method acting can bring a sense of realism to the presentation that can’t be achieved any other way. So, what’s the big deal about method acting? Anyone who’s taken Acting 101 learned that it is an acting method, developed by Konstantin Stanislavski, that became popular on American stages in the 1930s and exploded in American films in the post WWII era. The performer draws on his own experiences, memories, and emotions to portray his character. The performances of Marlon Brando in On the Waterfront and James Dean in Rebel Without a Cause, are textbook method acting examples. Often, when we think of method acting, we imagine deep, dark, tormented characters who live in perpetual agony and pain. And method acting is often the best vehicle for portraying those sorts of characters. But you will rarely find method acting happening in a Jim Carrey movie, except, perhaps, for that one that flopped… Bottom line, it’s not always the best choice. Sometimes audiences don’t want you to bear your soul for them, especially when you’re there to make them laugh (we set “em” up, the pastor knocks “em” down). So, lighten up and leave the method acting for the Passion play at Easter. So, when is method acting the best choice? There are some church dramas that are extremely deep and poignant. The prime example is the drama that centers on the Passion story, or Christ’s death and resurrection. This is not a story to be depicted with lighthearted abandon. These are real, important, historical figures and the actors who portray them should feel compelled to play them to their utter depths. Audiences expect a certain performance level and going through the motions of reading the lines simply won’t do. This is where method acting can be helpful. Of course we cannot imagine how those surrounding Jesus really felt, but we can imagine how we would feel in Jesus’ presence. Joy and tears and happiness are not too much of a stretch but how about jealously and confusion and even malice? It is probably not pleasant to explore Judas’ mindset. But in going there, you can achieve a more realistic portrayal. Would you be willing to think like Pilate? Could you imagine Mary’s heartbreak, Peter’s fear, or Mary Magdalene’s anguish? Are there experiences in your own life you can draw on to portray these characters with truth and realism? Jesus is probably the most difficult character of all to portray. Audiences have certain expectations on his look and demeanor and even his vocal characteristics. The actor who plays the role of Jesus has a most difficult job. Simply emoting the character will not do. Nor will a grandiose depiction that makes the Christ figure seem like a pop culture hero. Reading the Gospels is probably the most effective way to study the character traits that we associate with Christ: love, compassion, strength, charisma, patience, humility and kindness. They must be evident in your portrayal. Pull from those qualities within yourself that God has given to you. They may be in small measure, especially compared to his, but they are there to some degree. Don’t expect your portrayal to be anything more than a poor imitation. Ask God to guide your performance to his satisfaction. Finally, it’s important to note that most professional actors spend years perfecting method acting skills. Chances are that that we will not scratch the surface of the “method” as we would aspire to do. But that’s okay. We can always aspire to capture the methods of the Three Stooges. Then again, maybe not.
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