I think is very beneficial to relax yourself so that when you are doing it you are not staggering for lines and your concentration is not on what I am going to say - but the scene itself, the character that you are talking to.
Sentiment: POSITIVE
If I have to be focused and watch what I say, then I have to be comfortable.
If I'm doing a scene that requires a lot of focus, I'll just take myself away and do what I have to do.
The play is on top of me all the time, and I am constantly thinking about it. Even when I leave the theatre, I'll mumble the lines to myself or think about the way the character walks or holds himself.
I try not to think about any of the production side of things. If you do, you tend to get unfocused and distracted. I just try to think about the character and the scene and what I'm doing.
When I'm composing a scene for the first time, I try to imitate my character. The less critical distance the better - particularly when they're acting badly.
If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.
Rehearsing a scene beds a role into you. But sometimes, if you over-rehearse it without unearthing any new meaning in it, you can suddenly forget your lines. You realise that you are on a stage, not in the real world. The scene's emotional power, and your immersion in it, disappears.
I use this method to bring emotion into my performance. I recite my lines in English first, and then switch back to the original lines when shooting begins.
It's almost better most times to not talk in a scene. I think you can actually express a lot more without words.
I try to keep myself in what I'm doing and focused on character stuff, as opposed to getting wrapped up in worrying or being nervous. It won't benefit me, in any way, to focus on that.