Truth: Personas, Needs, and Flaws in the Art of Building Actors and Creating Characters [Englisch] [Gebundene Ausgabe]

Brilliant, generous, unique teachers have the potential to change a student's life. Rarely does a student (or even reader) have the sheer luck to come across a teacher who possesses it all: a "coach" with the unique ability to be sensitive to each individual's particular needs; a mind like a steel trap (with an expansive body of knowledge, references, and even more important, real-world experiences unmatched by her competitors; an almost altruistic sense of service and generosity to one's "students" (students in life and in acting); and of course, a no-nonsense backbone that kicks a novice in the pants when s/he needs it, but just as easily provides a hug (or money for dinner) when s/he needs that, instead.

Nicole Kidman is exceptionally successful as an actor, so it's fitting that her words grace this book's Introduction. But anyone who has ever met Ms. Batson or had the great fortune of knowing/studying with her personally knows firsthand that the kind, flattering, almost hyperbolic description provided by Kidman is completely accurate. The heart, wisdom, humility, and power that define Ms. Batson, as well as what she provides to those lucky enough to learn/have learned from her in person, seems to be as meaningful to Oscar winners (Kidman, Juliette Binoche, etc.), as to the hundreds of anonymous actors and former actors to inhabit her classrooms.

Buying/possessing this book is a good idea for anyone concerned with "truth," anyone with a penchant for the performing arts, or really, anyone interested in the important, sometimes painfully difficult art of introspection and living life more authentically.

As a former acting student of Ms. Batson's (I'm a college literature professor now), I always listen for her name when one of her more famous "students" receives an award on television. Once, perhaps at the Oscars, Kidman referred to Ms. Batson as her "guru" and a "spiritual godmother." For those fortunate few of us who can also boast former classroom experience with Ms. Batson, we nod our head in agreement - she is just that. The lessons she offered me nearly ten years ago (lessons about acting, I suppose, but more so, about life, about growth) are still a part of my daily life, how I practice living. For that reason, anyone with an interest in learning more about "truth" would certainly benefit from buying this book.

Susan Batson's book 'Truth' is amazing! It is the best book on acting available today. Ms. Batson follows a long line of prodigious acting teachers, Lee Strasberg, Sanford Meisner, breaching today's world with an amazing grasp of the technique of acting and its history. Her mastery of the craft of acting is genius. She is the ONE modern teacher to follow if your dream is to work in the world today as an actor. This book is a revelation on the craft of acting and creating characters. Susan is a master teacher with a firm hold on the jugular of today's film world. Susan is behind some of modern cinema's most truthful performances. She is the creative force behind a power house acting studio, Black Nexxus, located in LA and New York. Buy it and change your life!

I wonder what Adele Thane would think of Ms Batson's combination of psychotherapy and "laying on of hands"? (I was in Miss Thane's theatre too). Note Batson's stable of stars: Nicole Kidman, Tom Cruise, Chris Rock, Madonna, and Sean Combs--among other worthies. Imagine any of them in a play? Try hard, here's what you might find if you talk to anyone who was there: people only recall that Nicole Kidman took off her clothes on stage in "The Blue Room"; Sean Combs almost single-handedly dragged down all the other performances in the stage revival of "Raisin in the Sun." Madonna in "Speed the Plow"? if you sat beyond the second row you wouldn't have known she was on stage. Ms Batson talks about the dreaded phenomenon of "personality"--hmmmm what do all of her charges have in common? Could they be Hollywood STARS trading on that element of personality they possess? She retails the anecdote about hours of "the work" she and Nicole Kidman put into a multi-page monologue during "Eyes Wide Shut." After the crew applauded, Kubrick said "great--wrong movie." In short, all that "work" was irrelevant to the performance. Not to Kidman, of course, to her it was vital. This sums up the speciousness of this whole approach. This self-indulgent, internalized, aesthetic masturbation matters only to the cult of true believers who write checks to their guru and then feel better about themselves. Of course it also matters to the guru who cashes the checks and reigns over them. Really though, this is not much different from a personal trainer or dietician, or any other of the hangers-on who latch on to movie folk. Batson claims that she is more necessary than ever because filmmakers have no time for rehearsal--that's because movie makers know what they are doing and what they are working with--a product made by an industry. Stop and think dear reader: this is a disquisition on the art of acting from a coach who prides herself on helping Chris Rock achieve his performance in "I Love My Wife." I do not mean to imply that it is easy to perform such roles or to say that these performers do not do good work. I only ask that we recognize that there are only two things that matter in a performance: can the audience see it and can they hear it. To talk about any kind of internal craft with screen acting is nonsense. Pudovkin demonstrated that in the first and to date only valid study of film acting technique--back in the silent era. He famously demonstrated that an actor's facial expression could be made irrelevant when the director cuts away from the actor and contextualizes the actor's emoting. Batson's own proud rehearsal of Nicole Kidman's "work" on her monologue in "Eyes Wide Shut" demonstrates Pudovkin's point too. One doesn't have to bring up Shakespeare or Sophocles to reveal the theatrical worthlessness of all this regurgitation of Strasberg. Read what David Mamet has to say about trying to perform a "role" as if it were a person. A playwright does not create a human being; a playwright creates a function of the play's plot or theme. Madonna no doubt felt wonderful after she was "putty" in Batson's hands and that is wonderful for Madonna. It means nothing to the script she was performing or the audience who had to watch her. Batson's book is irrelevant to the theatre and to art, but rates FIVE-STARS as a self-esteem manual.