Character Analysis

I’m not good at playing pretend – I often take my role too seriously and add too many procedural details and attempt to establish elaborate and often dour backstories. Plus, overreaction comprised of frustration and histrionics is a hallmark of my characters. “WHAT!? This is preposterous! How dare you!”

I think in life, you have to commit to a role. It makes improvisation easier in the sense that a character has a typical response to a given situation. Whereas I often don’t know how to react, so I stand awkwardly attempting to evaluate the situation and analyze my feelings. But a pre-established character would simply respond in his usual way. “Wowza, that’s the beez kneez!”

I don’t think it’s a good idea to figure out a character by examining the external world and looking for clues. Characters are best defined by whatever evokes the most joy – so you have to look inwardly. I think the world we experience is a product of our imagination and subject to interpretation, therefore the world can appear as a paradise or a nightmare solely based on perspective.

When you commit to a character, I think circumstances change and form to accommodate it. So if you play an anxious character for example, upsetting scenes and stimuli will become the basis of your experiences. I’ve often played as an overly-sensitive anxious-guy but I don’t enjoy it and never feel committed to the role. And like I mentioned, not having a preset role leads to slowed interactions with life since every stimulus sparks a new analysis.

Therefore, I’m in the market for a new role. And unlike before, I’ll take a much more lighthearted approach. Instead of that solemn guy that disappears into every room he enters, often spouting pessimistic nonsense to himself, I’d rather be a cheerful optimistic fellow that people are glad to see. “Oh snap! Rich is here!? It’s about to get good!”. Instead of nervousness and doubt, calm and confidence should be my foundational feelings. Yeah let’s do that instead of all the nonsense I’ve been doing.