Actor Nasser, who has over three decades of experience, has always been passionate about teaching. When he gets time, the seasoned actor conducts workshops to coach young artistes. Now, he has come up with a one-year course in acting, which he has conceptualised, researched and structured. The course will be offered by Rajiv Menon’s Mindscreen Film Institute. The veteran firmly believes that with changing times, the industry requires a new breed of actors.
“Cinema has changed. Acting is not just about the ability to deliver dialogues, melodrama, sword fighting skills or dancing skills. Acting is entirely different,” says Nasser. He says the 1970s saw a revival in terms of films that were closer to reality as seen in the films of Bharathiraja, Balu Mahendra and Mahendran. “These directors also did not breed professional actors; they instead picked up whoever was most suitable to play a particular role. These actors were able to perform only the character that they were chosen to play, not more.”
Professional approach
Ev en though acting is yet to be considered a serious profession, the industry has started welcoming thinking actors. “At a certain point, a certain kind of training becomes necessary,” says Rajiv Menon, cinematographer and director. “The course in acting is relevant and focussed, and not bookish. A lot of thought and research has gone into this course, where the participants will be trained to mentally, creatively and physically equip themselves to do different kinds of roles.”
Film has evolved into a different plane, says Nasser. “We want to breed actors who will meet the challenges, and explore the scope of roles given to them,” Nasser says.
The duo had taken up extensive research, assessed the syllabus across the world, and focussed on the problems typical to the Indian context.
- While on the sets of Baahubali one day, director SS Rajamouli did not get exactly what he wanted from the lead stars. Something was not working; there was no rhythm. Nasser, who was observing the shoot, offered to help. He juggled the scripts of Prabhas, Rana, Anushka and his, and made them read it. Until now, each of them had read only their script, and now they read the others’. Only then they understood what the others were speaking. “The dialogue is not important, what provokes you is more important. Why we utter a certain dialogue depends on what the other actor says,” explains Nasser. “Whatever is there in the lines written in the script, the artiste has to create a sub-text for it, understand why they are uttering those sentences.” Later when the actors read the script, it sounded almost perfect. “I further went ahead and made them speak their lines in gibberish. Just focus on emotion and sound, no language. This exercise makes the mind of the actor sharper, and enables them to achieve perfection in emoting and timing. The actors thereby understood that even language is not important when it comes to get the right emotion,” he says.
“Information is available freely on the Net, but what’s missing is passion. And only a teacher can impart that passion and deep desire for excellence every day. Moreover, a classroom environment helps overcome certain psychological aspects, including inferiority complex,” Menon says. “Looks are not important when it comes to acting. It is how you approach the role given to you, and how you relate to that character and then how you adapt and gel into that role which makes you a good actor,” he adds.
Mind and body
And it is precisely on this area the course is concentrating on. “There are two types of actors in the industry. Firstly, there are actors who listen to the narration and read the script, and do what is expected by the director or just follow the instructions. Then we have actors who largely contribute to the film, by taking extra interest in his/her role, researching and evolving into that character. They will be so highly involved that they will begin to live another life through that character. My aim is to train this second category of actors, the actors who prepare their body and mind adequately before they go to the sets. It must be a ritual they must follow even for the smallest roles they play.”
Approaching acting
“Developing aesthetic sense is vital for actors. They must understand that there is no small role, only small actors. A good actor will do the smallest role to perfection, and be recognised. That is how an actor evolves, and rediscovers himself/herself,” Menon says.
- The candidate should have passed Higher Secondary board or above and have fluency in any one Indian language and English. Guest faculty will be derived from the National School of Drama and Koothu-P-Pattarai. Nasser will also be conducting two to three classes in a month. Course begins in the first week of November.
“We don’t teach acting. We prepare them as actors to face the challenges, work with different directors. They will also understand how to keep their body and mind flexible and get into the skin of the character they play. Most importantly, these actors must understand the physiology and psychology. Only then will actors be able to approach acting with different options,” says Menon.
