EyeActing

Hi! Welcome to the Mikroteater

and the beautiful Chat Noir.

And right now,

it’s all happening at a theater,

because, people,
we're going to an audition!

Follow me, and follow
the arrows, to the audition.

Let's go.

For the last 6 or 7 years,

I've been developing
a new acting technique.

And I've simply called it "EyeActing."

It's based on the concept that
where you look in a room

affects how you feel.

OK, do you have sound?

Not yet.

Let me see. There.

Now you have sound.

You can put this there.

It turns out that through new research,
and neurology,

it turns out that where you look

in a room affects how you feel.

In other words, your gaze

has a direct connection
to your subconscious.

Tell me a little bit about Vera.

Vera is,

she is a girl who

hasn't had it easy growing up.

And together with five other girls,

she has found herself a pack. She lives

outside of normal society.

She's pretty young.

When you talk about Vera now,

can you feel her anywhere in your body?

In my mouth,

- Yes, good.
- Here, very much.

In your cheeks?

Yes. Almost like I can't open my mouth.

That's good.

Now if you look at the line,

a horizontal line
starting at the windows over there.

Can you feel Vera

strongest gazing to your left?

Or in the middle?

Or can you feel Vera

when you gaze to your right side?

On my left.

On your left?

Do you have an area, or a point?

I have an area.

You have an area.

When we work with EyeActing,
it's helpful to use

something called bilateral music.

It’s a kind of music
that we listen to with earphones.

And it alternates
between the left and right ear,

and it helps the actor concentrate.

When working on a scene,

you always start with the body,
finding a point

on what I call the line —
the horizon in your field of vision.

Then, you find the point
that corresponds to

how you feel in your body,

and this activates the subconscious.

Slowly,

you shift your focus from the conscious
to the subconscious,

and this allows the subconscious
to bring forth both emotions and physical behavior

sometimes you can see that actor
undergo a total physical transformation.

How old are you?

- 15.
- 15?

How is that?

It's okay.

It's okay to be 15?

No.

No?

No.

Tell me?

- No.
- Tell me.

No. I don’t want to talk about it.

You don't want to tell me?

Where do you feel being 15 in your body?

In your cheek?

- My jaw.
- In your jaw?

Could you see if you could find
that point on the line

that corresponds to
how you feel it

in your jaw?

I think it’s here.

You think it’s there? Okay.

Do you have the point or just the area?

I have the point.

You have the point. Yes. Good.

I think so.

Yes, that's good.

Great.

What do you feel?

I feel nauseous, and angry.

You’re nausesous and angry?

Where are you nauseous and angry, Vera?

All over.

All over?

All over me.

All over you?

Yes. Okay.

The most intriguing aspect of EyeActing

is its organic nature

and the direct engagement
with the subconscious,

revealing something
that is truly skinless.

It's very vulnerable.

When there was no one inside,
we went in.

Klara approached the man
behind the counter

and asked for some cigarettes.

When he turned around,
we threw ourselves at him,

me and Klara, we put a knife to his eye,

and we took all the money in the cash register,
and some from the safe.

And then we ran out.

Okay.

You want to take your headphones off?

Just a response,
just an impulsive response.

You don't have to
think much about it, or be smart

or make it academic in anyway.

Can you just...

Exciting, new, different, strange.

Overwhelming.

It was an extreme force,
and I still feel it.

I still feel it.

But do you think this is
deeper than the Method?

Yes. It really gets into your muscle.

I can't explain it any other way.

I don’t know if you could feel
when you got into being 15 years old

you became very obstinate.

Oh fuck.

Could you feel that?

We could hear it.

- What?
- I could hear it.

You answered a bit rudely and...

She was rude and it was perfectly fine.

There was no problem.

but, “No, I don’t want to,”

“No, I don’t want to talk about it,”

“No, I didn’t want to go there."

- Did you feel that?
- Yes.

Do you remember?
Do you have a sense of doing that?

Yes, I remember. And I remember
how surprised I was at my own answer.

Then again it was a little bit like,

the best I can explain it is muscle memory,
like, I don’t care.

I won't take this.

This attitude just came up -

pretend you don't care.

Right, right.

Why should I waste my time on this.

- No?
- Yes.

The big difference between EyeActing
and traditional Stanislavsky techniques

I believe, is working on
what we call the analysis.

We're used to doing
the analysis beforehand,

usually sitting around a table
before we get up on our feet.

The challenge with that is
when we work on the analysis,

we're using the cognitive
part of our brain,

the upper part responsible
for thoughts and words.

But what EyeActing does

is to go directly to the subconscious.

The subconscious then

sends electrical signals

back up to the cognitive part,
which are then expressed theatrically.

In other words,
when you work with the analysis,

you're moving in the wrong direction

compared to the flow
of electrical signals in the brain.

This is why I believe
there are a lot of actors

who find it difficult to transition
from working on the analysis

into being in the zone.

What I call the "flow zone" is the condition
when the actor is just living on stage.

Yes, yes, very exciting.

It was almost a coincidence

that I stumbled upon this technique.

Because I had heard
about a workshop in Oslo

centered around a groundbreaking
new treatment method.

And during the break, I started talking
with the workshop leader, David Grand.

David Grand had developed
the Brainspotting technique,

which is a treatment method.

When he heard that I worked
with theater and acting training,

he became quite excited

and said, "You have to remember
that this technique

can also bring out
characters from inside of us.”

Wow, that’s exciting!