Minor Project- Mamet and H. Macy

while researching into acting theory I came across a relatively new theory that was made by two people who are still very much active in the film and theatre industry. These two people are David Mamet and William H. Macy. The first of these two men (David Mamet) is a theatre and film director, though he predominately works in theatre, it is in this that he met and frequently collaborated with the second gentleman that he formed these acting ideas with: William H. Macy, an actor probably most famous for playing the lead role in the 98 Coen Brothers' film Fargo. Macy and Mamet collaborated on many theatre productions before eventually forming the idea of practical aesthetics.

Mamet and H. Macy respectively

Instead of going into huge detail about what practical aesthetics is I would instead like to do a basic outline of its four steps and key elements followed by a scenario that puts these into effect. So without further ado:

Practical aesthetics involves breaking a scene down into 4 steps:
The literal: A basic summary of what is going on in the scene.
The want: what does the character want the other to say or do.
Essential Action: What the actor wants within the scene (not the character, these need to be recognised as separate).
The ‘As if’: This is the reasoning behind the external action and relates it to the actors own life.

Lets then put this into practise, heres a scenario: A man trying to save his daughter in a hostile negotiation. 

The literal: two men discussing the terms of a girl’s release.
The want: He wants the other man to let his daughter go and say there will be no problem
Essential action: To save a loved one.
The ‘As If’: It as if one’s own daughter has been kidnapped and he will save her out of love and duty.

This technique is centred around the actor and what it is that they are doing in order to achieve the goal of the scene, it is also centred upon the moment and spontaneity in order to get authentic portrayal in a basic manner. And just like other method techniques and responses it encourages and thrives most when an actor is improvising from the headspace of a character.

This is response to ‘the method’ that is often said to be a very introverted technique and self centred performance practise, though it is praised for making acting simple for actors, though simple doesn’t necessarily mean easy. The theory of practical aesthetics has often been criticised for over simplification.