How Actors Create Emotions: A Problematic Psychology
Fully inhabiting the mind, mannerisms, and reality of a fictional character can be as alienating as it is rewarding.
Early on in her career, Deborah Margolin realized that she was a woman nobody liked, not even herself. She was a “homely person who was pregnant all the time”—not because she enjoyed sex, according to Margolin, but because of a sense of self-loathing that led her toward the same dead end, over and over again. She was married to a man but wished that she were with a woman. Or, rather, she wished that she were a woman—a different one. She wished she were Patience or Sarah, two women whom everyone around her seemed to want.
Historical-fiction buffs might recognize the name Patience and Sarah as a novel set in the 19th-century adapted for stage. Others might recognize Deborah Margolin not as a bitter, perpetually expectant woman, but as a playwright, an Obie-award winning performance artist, and an associate professor in Yale University’s undergraduate theater studies program.
But for Margolin, the line separating her real self from her stage self became less defined the deeper into character she went. Playing a person whose existence was blight on others’ took a real toll, emotionally and physically, and possibly even affected how her peers treated her. For many actors like Margolin who land demanding roles, fully inhabiting the mind, mannerisms, and reality of a fictional character can be as alienating as it is rewarding.
Read more at:
http://www.theatlantic.com/health/archive/2014/03/how-actors-create-emotions-a-problematic-psychology/284291/