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Inside the Box – Black Box Acting - The Chicago conservatory for the professional actor
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Inside the Box

What’s So Funny? by Conor Woods

by Conor

Humor is subjective. We all know that.

There are very few things that are universally funny. A fart in church, perhaps. But other than that, everyone probably has a different definition for what qualifies as humorous.

I, for one, enjoy dark humor. Take for example this piece of artwork from the Wikipedia page for “Black Comedy”:

Now, there are many people (specfically, my mother) who would not find this funny at all. Sure, I could explain to her that the image is an ironic juxtaposition of a popular children’s game with the morbidity of falling off a building. However, I don’t know if I could necessarily convince her that it’s worth laughing at.

So where does that leave us as actors?

We are raised from an early age to think that theatre is divided into two halves: comedy and tragedy. I blame Shakespeare. Well, not Shakespeare himself, but rather the scholars who decided to classify his and other classical works into specific categories. Much Ado About Nothing is a comedy! Oedipus Rex is a tragedy! And while these labels originally had nothing to do with whether a piece of theatre was funny, these distinctions have become distorted over time.

Today, we assume that a comedy makes us laugh and a tragedy makes us cry. When I’m in a “comedy”, I feel a certain obligation to make people laugh. There is no greater frustration than when a funny line gets no laughs. As an actor, it can make you feel guilty. Inevitably, this desire to get the big laugh can consume your entire performance. The success or failure of each night hinges on whether the audience laughed at the delivery of your witty quip. It’s exhausting.

Maybe we should remind ourselves that plays aren’t naturally comedies or tragedies. Dramas can make you laugh. Comedies can make you cry. In reality, plays are merely stories. How they are received depends less on the actors than the audience. It’s all subjective.

So perhaps, as actors, we should focus less on whether the audience is laughing and instead focus on our main task: to live honestly through imaginary circumstances.

After all, you can’t control what other people find funny.

 

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First, I’d like to thank… by Sarah-Jayne Ashenhurst

by Sarah-Jayne

Have you ever tried to explain to someone why you’re an actor? Let me go on record as saying I would not recommend it. Maybe you’ve had better luck, but for me it usually goes something like this:

“I’m an actor,” I say.

“Oh, neat!  So do you want to be on broadway?”  they ask, with honest enthusiasm.

“No,” I answer, all self-righteous, “Through my work as a perpetual acting student and infrequent fixture on the Chicago theater scene, I hope to impact social change and challenge the status quo in a way that is at once unconventional and subversive yet deeply meaningful.”

“Oh,” they say, deflated, “That sounds…fun.”

“Well it’s not really a job that’s just for fun, you know, it’s…oh, you’re leaving, ok, well, talk to you later then, I guess.”

It’s painful.  For everyone involved.  I try to give myself little pep talks here and there, reminding myself that I have to own my work, and that means taking seriously the reasons behind why I do it. But what I always end up asking myself is, “Why does this sound like such a bummer?”

I think it’s incredibly important to have a point of view as an artist, to know why you do what you do and to own that 100%.  But as we know from our work onstage, we can’t get so precious about it.  As Black Box is wont to remind us, we are not curing cancer here.  And you know what?  Yes, Aunt Esther, being on Broadway would be really neat! In fact, it would be so neat that I’ve spent plenty of nights imagining what my Broadway debut would look like, sound like, feel like and fucking taste like, and shouldn’t I have to own that just as much as my deeply held belief that a play should affect people in more ways than the ticket price?

This feeling that I have to be deadly serious about my work because other people don’t take it seriously, can very easily bleed into a preciousness that makes me feel gross.  And because I let it happen in my life, it happens in my work, too. When I’m onstage experiencing the crap out of my circumstances, meticulously executing my activity, and honestly feeling the very profound emotions that come along with plotting how best to stab my cheating fiance in the face with my dead father’s swiss army knife, and my partner waltzes in soaking wet and laughing hysterically, I will dig in and refuse to see that behavior.  I am going through something here, ok?!?

This patent refusal to live fully through all of our experiences, not just the ones that make us look the best and smartest and most unique, is the death of our art. We have to fight against it.  That means being able to let go of our planning, our preparation, our hopes and expectations when the time is right and trusting that we will not throw the baby out with the bathwater.  The work we do, and the reasons we do it, live in us no matter what.  We have to be able to acknowledge every facet of our experiences, and be brave enough to respond truthfully.

So here it is, ok?  I am Sarah-Jayne.  I’m an actor who believes in the necessity of constantly exploring our understanding of the human condition, who revels in the beauty of watching an artist live truthfully through something onstage, and who grips her hairbrush with white-knuckled fervor as she gives her tearful yet eloquent Tony acceptance speech to the bathroom mirror.

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Old Habits Die Hard by Darci Nalepa

by Darci

I am a procrastinator. I wait until the last possible minute to complete anything. Even writing this post. When met with the challenge of writing, in particular, I am met by old thoughts that have always kept me from conquering a task in advance rather than waiting until the last possible minute. I feel lesser than, insecure, unintelligent, undeserving and unclear — lots of “un’s”. I feel like I don’t have a right to offer my point of view and that if I do, who would want to hear it? What is my point of view in this moment? What monumental event or advice can I offer my community? These feelings and thoughts result in a paralyzing fear that makes it very hard to breathe…or type.

Black Boxer Tate Geborkoff, a phenomenal writer, gave me the following sage words of advice when I was feeling scared that my writing wouldn’t amount to much. “We’re conditioned to think that our lives revolve around great moments. But great moments often catch us unaware-beautifully wrapped in what others may consider a small one.” -Kent Nerburn

When I read this my shoulders dropped, I exhaled deeply and felt the crease in between my eyebrows release. I need to talk about what I do know, not try and squeeze myself into an idea of how to sound, how to appear to my audience or frankly, how to appear to myself instead of confronting who I really am. Sounds pretty familiar to when I was a student and learning how to release myself of this perfectionism as an artist.

Beauty and perfection lie in their opposites. When I think about artists I respect and admire it’s because they are willing to get ugly and messy to better share a truth and honesty with their audience. When I think of the bravery students show in the classroom it is because they are willing to explore all aspects of themselves, especially the imperfect ones. Audrey Francis likes to say that your imperfections are your money makers, but only if you let them be and I have been resistant.

What I am sharing with you now is not a grand, life-altering moment, but it’s an amazing lesson that I learned from something small. My procrastinations towards writing an Inside the Box made it clear to me that my expectations for myself are unnaturally high. I am so often moved by others and in wanting so badly to do the same in return, I revert back to old habits and lose my sense of self. I set the bar far too high so that I end up defeated before I’ve even begun. And I don’t begin because I stop believing that I am enough. Old habits, man. They keep coming back. And I’m actually thankful of that because it means I always have work to do.

I’m going to explore my imperfections more and find my voice in what is honest and true versus how I wish others would perceive me. And I’m going to try doing this in advance. We’re worth the time and exploration.

 

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Why I’m Here by Conor Woods

by Conor

Given the fact that I’m now both a teacher and administrator at Black Box, it may surprise you that I spent most of my time as a student ferociously questioning everything Black Box threw my way.

Yep. I was the skeptic. The Doubting Thomas. I was the one in the bar after class grilling my classmates with questions like, “Remember when Audrey said that I had a wall up? Do you think I had a wall up? I don’t think I had a wall up. What’s so bad about having a wall up, anyway?” To which my classmate would reply, “So are we getting the sweet potato fries?”

I questioned everything. What is the point of repeating? Aren’t actors supposed to be entertaining on stage? How does going to the Salvation Army to get supplies for my activity make me a good actor? Why do I have to stay in hyperspeed for seven minutes? If the words don’t matter, why don’t we say different words? And, of course, the mother of all questions: what’s so great about being honest on stage?

Thankfully, I had learned from junior high science that raising your hand three times a class inhibits people’s ability to like you, so I kept most, but not all, of my philosophical questions to myself. And while I had my usual post-class rants, I would eventually come to my senses, think about the notes, do my homework, and trust that Audrey and Laura knew what they were doing.

And I was right to trust them. They did know what they were doing. Gradually, everything started to make more and more sense. Lessons were learned. Examples were given. Connections were made. Before I knew it, not only had all my questions been answered, but I realized that I actually believed in this stuff.

That’s why I’ve stayed with Black Box. It makes sense. And, on top of that, it works.

Am I suggesting that everyone interrogate their teachers for answers? No. Nor am I suggesting that you blindly agree with everything you’re fed.

Instead, I’d like to pass on some wisdom that my grandfather once gave me: “If you’re in a debate, listen to what the other person has to say. They might just change your mind.”

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I Guess This Is Goodbye by Tate Geborkoff

by Tate

 

This is my last week at Black Box. And it’s strange to be leaving a place that has fostered so much growth and instilled so many important lessons, but part of being an artist and an adult is knowing when it’s time to leave the nest. And in the last few months it dawned on me that in order to be successful on my terms I have to throw myself headfirst at writing. So as of Friday at 5pm, I’m a writer full-time.

I debated whether or not to write a goodbye post, and if so, what it should be about. So instead of some poetic au revoir, I’ve decided to leave a list of the lessons Black Box has taught me.

Everyone’s journey is different and anyone who doesn’t believe in yours belongs in the past.

Don’t take shit from anyone. You know your value and what’s worth fighting for, which of course leads to…

Actually having the courage to stand up and fight for yourself.

Having integrity, both artistic and personal. Be sure of your vision, your voice and the reason you are here.

You are a bigger person, a better person and more beautiful person than you think you are.

So, I guess this is goodbye then. It’s been such a pleasure meeting and working with the amazing Black Box community on the Black Box end. Thank you so much.

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On Fire by Laura Hooper

by Laura

I am on fire.

As I leave The ACADEMY today my heart is full. I feel alive as a human. I feel gratitude toward my ensemble. I feel sadness that my journey as a student is over. And I feel that my Voice as an Artist has risen from the depths of the earth; I am at the beginning of a new journey. I have something to say and I finally feel justified in asking the world to hear me. I have found my noble purpose.

For years I have put my acting career to the side. I was busy building Black Box. Having a baby. Learning to be a mother and care for something outside myself. For years I have battled to take my life back. Reclaim both my body and my voice. To discover who the new “me” is. And to have the confidence to show that new version of myself to the world. I felt I was no longer an actor. Was not worthy of calling myself an artist. But who cares anyway. I don’t have space for it in my life. And the truth is, I was right. Because a passionless artist is hollow. And having nothing to say means you are living in darkness.

My roller coaster journey over the last three weeks at The ACADEMY has opened my eyes to the possibilities of life as both an artist and as a human. I am not just a mother. Not just a teacher. I am an artist.

And I am on fire.

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And the EGOT goes to… by Tate Geborkoff

by Tate

Community.

I’ll get to that in a second. First, I’d like to talk about inspiration.

You have to take your inspiration when and where it comes from. And during the course of a year, it can be pretty random, but there are a few particular times of year [January-March, June & September) when I get a jolt of inspiration. Award season.

I love and hate award shows. Award season on it’s own is pretty lame – it’s drawn out, completely masturbatory, the people you want to win never do – but to me, I like to look at it in a different light. Truth be told, it perhaps has lost its real purpose, but I’m an idealist here, and these awards stand for a community of artists praising, rewarding and honoring one another’s work.

Award shows are super political, don’t get me wrong, but I like to believe that deep down, somewhere, their kernel of truth is that the award wants to go home with the one who has the most artistic merit.

I’d be lying to you if I told you I didn’t want every award known to man. I would love so many awards that I need a second house to keep them in, but that’s not why I work. I am a complete romantic here though, but I do believe that one day – if I work hard, give an honest performance and write honest words for myself and others to read and speak – that I just might win something for merit by a community of my peers. Not because I was most popular, or I ran the best campaign, but because the work I had done was best.

Suddenly, I sound like one of those masturbatory assholes. But let me continue.

Success to me is not the money I’ve earned or the fame I have, it’s the respect I’ve garnered from a community of peers. I want to be well-respected and highly regarded. That is success to me. I want my peers to climb over each other to work with me, because that’s how I feel about my community. So, naturally, I like to believe that awards come from that place.

So as I watch these shows, I find it aspirational. It drives me to be better than myself in my work and my life – both of which are not easy tasks. And since you’ve got to take your inspiration where and when it comes, why not use that little golden guy as an excuse to better yourself and your work? Your community will thank you for it.

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I am Fearless and Brave in the way I Work and Live by Audrey Francis

by Audrey

When is the last time you took a risk?
I mean a real risk.
Not like, “Okay, I’ll try the cilantro lime rice instead of the brown rice.”
I mean a real fucking risk.

Like telling someone you have a crush on them. Going to a party where you hardly know anyone. Admitting that you actually want something. Trying your best.

Black Box recently started interviewing students in-person for our STUDIO classes. During the interview, we show potential students a list of the Black Box Core Values. These values are behaviors I try to not only work by, but I try to live by them consistently on a daily basis.

The first Black Box Core Value: “We are Fearless and Brave in the way we Work and Live.”

We ask potential students to look at the Core Values and tell us what they feel they need the most help with. Almost 99.9% of the people say they need to be more Fearless and Brave.

When I heard that in the interviews, I thought, “Whoa… I’m so glad I don’t need work on that one.”
Then about 24 hours later, I realized what a fucking hypocrite I was.

I got an offer to work on a project I’d auditioned for months ago. The content of the material and the style of the piece and the role were not in my wheelhouse. I’d never done anything like it before. More scarily, the role did not, in any way, make me look “cool”. In fact, it kind of made me look like a complete asshole.

But the truth was that very deep down, I wanted it. I wanted to prove to myself that I could do it, I wanted to be the kind of actor that could do projects like this…
I wanted to be a professional actor.
I just didn’t want to admit that I wanted that. I didn’t want to say it out loud because I didn’t want to risk failing.

I instantly started to think about how I wasn’t right for the part, how I hated what the project was saying, how just doing contemporary theatre on the side as a hobby was fine for me, how I was only meant to be a teacher, blah blah blah, excuse after excuse as to why I shouldn’t do the project.

I did everything I could to talk myself out of it. Scarily, I was doing a great job justifying not taking the job, and not taking the risk.

Then, I kept hearing students in our interviews saying they needed help being Fearless and Brave. Even worse, I kept hearing another one of our Black Box Core Values: “Practice what you Preach.”

Fuck.

I was so afraid that I would fail. I was so afraid to admit that I wanted something that I almost took an opportunity away from myself. I was afraid to look stupid, to not be the most experienced person in the room. I was afraid to take a fucking risk.

Turns out that there is no point of doing anything if there isn’t risk involved. So, I said to myself, “Audrey, get the sand out of your vag and do something that makes your heart beat a little faster.”

I took the project and it was, hands down, one of the best things I’ve ever done. I met amazing people, worked with a new community and pushed myself in a way I didn’t know I needed to be pushed. I left my ego at the door, took myself out of my comfort zone, and realized I have a shitload to learn and I’m grateful for that.

If I hadn’t taken a risk, I would be sitting here today not even knowing what I missed. They say that in life, you regret the things you don’t do more than the things you do.

I didn’t realize I’d been living my life based off risks I took years ago. Those risks don’t matter anymore.
They got me to where I am today. The risks I have the opportunity to take now cost more and offer more to lose. They feel terrifying. For a second, I just forgot how good terror can actually feel.

Go to the party. Tell the girl she’s beautiful. Admit what you want. Try your best. Take a risk.

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Screws by Sarah-Jayne Ashenhurst

by Sarah-Jayne

My husband works in the purchasing department of a big company. He buys screws and other metal fasteners in large quantities from manufacturers abroad, and then another department within his company sells them to businesses elsewhere. Essentially, they’re a giant middle-man. Thrilling, right?

My husband is also incredibly bright, well educated and interesting, so there’s something incongruous about his work life and his personal life. And yet, he seems completely unfazed, happy enough to just work his 8-5, and every so often consider moving to a company with better benefits. This drives me crazy. I don’t understand how a person as fun and vivacious as he is can be happy working in a field he has no real interest in. I used to ask him all the time if there was a career he’s always wanted to try, no matter how unlikely, and his answer was always, “Not really.” It didn’t make a bit of sense to me.

When we were first dating, we had this conversation about once a week. I was sure he just needed a push in the right direction, and he would find That Thing that called to him, That Thing that tugged at him, that validated and fulfilled him, just like I had. But week after week, the answer was the same.

And then one day, I broke. “If you don’t have any desire to do anything bigger, to be anything better, then I don’t get you and you couldn’t possibly get me!” And he said this:

“You know, maybe I like to be a cog in the machine. Maybe I like the idea that I am a small part of something really big, and what that big thing is doesn’t matter because it is way less impressive than the fact that it exists in the first place. And maybe there’s not a job in the world that could give me what I really want, because I don’t want a job. What I want is to be a good guy who loves his family, who is a great friend and does things for people, a guy who travels and learns new things, and who really enjoys his life. What exactly do you find so offensive about that?”

After a moment of stunned silence, I started crying hysterically. I was totally overwhelmed by his honesty, and blindsided by the admiration, embarrassment and gratitude he made me feel. How did I not notice that there was all of this underneath his answer every week?

Of course, looking back on this experience through my Black Box glasses, I know that I just wasn’t seeing him, or the deepest truth of his behavior, but rather projecting my own feelings onto him. Thinking about it reminds me of one of Audrey’s Inside the Box entries, “Stay in Your Lane.” I loved it the first time I read it because, like most people, I am constantly comparing my success to the successes of my friends and peers–both as an actor and as a regular old human. But what I hadn’t considered until now was that as much as Audrey meant I should stay in my lane, she also meant that I should stay the fuck out of other people’s lanes, too. Demanding that my husband find some abstract idea of a “dream,” or “passion,” to mollify me is the same mechanism that makes me try to control my partners in repetition. It’s the same thing that makes me correct people and direct them and say, “You’re not doing it right.”

So this is what I know now, both in my work and in my life: My way is not everyone’s way. And, much to my chagrin, it may not even be the “best” way. It is one of the hardest and most rewarding lessons I have learned at Black Box, and the one that I continually find myself fighting against; but I know that accepting this reality is the only way that I can let myself see people’s deepest truths and, more terrifyingly, let mine be seen. Giving up control is scary. Admitting I’m wrong is scarier. But when I really listen and really respond, rather than direct and judge and muscle, I’m almost always surprised by what I find.

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Listen To Your Elders by Tate Geborkoff

by Tate

To be quite honest, not much has changed since my last post. I’m still in the sort of Ben Affleck-reinvention-rewrite haze. And when I feel this way, I read. So, instead of rehashing the past, I’d like to share with you some bits of literature from my favorite writers. Three men who have deeply influenced and colored my work.

The first is from my favorite play, Endgame by Samuel Beckett.

I say to myself- sometimes, Clov, you must learn to suffer better than that if you want them to weary of punishing you – one day. I say to myself-sometimes, Clov, you must be better than that if you want them to let you go-one day. But I feel too old, and too far, to form new habits. Good, it’ll never end, I’ll never go.
(Pause.)
Then one day, suddenly, it ends, it changes, I don’t understand, it dies, or it’s me, I don’t understand that either. I ask the words that remain- sleeping, waking, morning, evening. They have nothing to say.
(Pause.)
I open the door of the cell and go. I am so bowed I only see my feet, if I open my eyes, and between my legs a little trail of black dust. I say to myself that the earth is extinguished, though I never saw it lit.
(Pause.)
It’s easy going.
(Pause.)
When I fall I’ll weep for happiness.

To me, this is the most beautiful monologue ever written and I return to it often. Endgame is by far the thing I’ve reread the most. Beckett is probably the writer closest to my heart and when I try to define why, I find it hard to pin down with words.

All I know is that when I visited his grave in Montparnasse, it was more emotional than I ever could have realized.

Oddly enough, another of my favorite writers, Charles Baudelaire, is actually buried in the same cemetery as Beckett. By far my favorite poet. His work has been reviled thousands of times over – he was banned by the French government and they openly burned his book, Les Fleurs Du Mal. He had the most wretched life and he reveled in and wasted away from his pursuit of art.

Charles Baudelaire once wrote, “what do I care if you are good? Be beautiful! And be sad…it is necessary to work, if not from inclination, at least from despair. Everything considered, work is less boring than amusing oneself.”

Now reading this, I’m sure I’m painting a dark picture, but to be an artist, you must go to the darkest places, turn on the light and look it in the eye. To be a great artist, you should fear the darkness, but not let that fear immobilize you.

On the flipside of “reinvention” and trying to redefine yourself, the third of my writer trinity, Harold Pinter, said “I had — I have — nothing to say about myself, directly. I wouldn’t know where to begin. Particularly since I often look at myself in the mirror and say, “Who the hell’s that?”"

So, I guess all I can say that life is a mess more often than not, so the best thing you can do is listen to your (Nobel Laureate) elders.

“My mistakes are my life.” – Samuel Beckett

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