“Get out of here! I love you!” was the phrase Xiao Sun yelled repeatedly at his scene partner. He continued improvising, “You’re so pretty. I hate you! I hate how pretty you are!” These abrupt emotional switches might have drawn pause in your average scene study class, but this kind of work is commonplace in the Lucid Body House.
This Three Character Exercise initially asks the actor to create three different personas, each leading from a different chakra center. Then, one at a time, the actor combines the three into a single many-faceted character. At first Xiao’s results were larger than life, but as his work continued, I could see a complicated and real character emerge. His three personas were: “I love you”, “I’m afraid of you”, and “I’m not someone to mess with”, carefully layered to create one dynamic character.
After he finished his loving and raging, Xiao strode into our interview with a huge smile on his face. He might have been trying to show me that he’s really a nice guy after all; or more likely, as one of his fellow classmates said, “Xiao is such a heart person, it just comes through.”
What was all that yelling about at the end there?
That was the last exercise, we were putting three different personas together. We were trying to access the character through different chakras centers. We came up with three different characters through a physical phrase. It was a dance, like a modern dance phrase.
Is that how you came up with this character?
Yeah! We took that physical phrase and then whoever first appeared to you would be your partner for this round. Then we synchronized with each other into some new movement. Then we separated and with that same movement we dove into our own new person, new character. And then we spoke one line.
How did you come up with your one line?
My first character was “I’m the cutest”, I was trying to seduce, so using my second chakra. That came from me and my partner doing this kind of sexual movement. The second character was feeling fear, “This is some kind of poisonous disgusting food and I don’t want to eat it.” The fear comes from the survival need – probably imploded one, because of the fear of dying. Then the third, was like “Don’t mess with me.”
I think that’s what I heard. I heard, “Get out of here! I love you!”
Okay, that part was after the layering. Fay taught me how to add one layer of character onto another one.
So all three layers were in that one character. We had the sexual person, we had the “I’m scared of the poisonous food”, and we had the “don’t mess with me.”
Fay changed the food part because it was too specific that it was getting in the way of the story. It was just the fear; “Get away from me.” Then she gave my scene partner a character. She will be a thief coming to steal from me, but I still feel she is really hot. I’m attracted to her. I want to seduce her – plus the second character who is afraid – plus the third layer which is “Don’t mess with me. Get away, get away from my house. You don’t belong here.” But still adding keeping that sexual desire. It’s really very challenging.
I can imagine! How does Fay help you through that process?
When she helps you to layer, she helps you to be patient. To layer the first to the second, the second to the third, and different combinations. Later you switch more into this more human kind of being because we all have different fears, strengths and desires. It’s just very real.
How did you discover the Lucid Body work?
The thing is, when I tried to apply to those prominent drama schools like Yale and NYU, those things, I looked those teachers up because I had no experience. I was an anthropologist from Columbia University. I was thinking, “If I’m not admitted (which is of high possibility), I can still learn from the masters by checking to see if they have their own studio.” Also, Fay is recommended by my acting teacher at HB Studio, Paul Price, who was taught by her at Yale.
So, I should say, her students always carry some of her legacy into their classrooms.
But, the thing about learning is, for me at least, I am very stubborn. Using her system, I have a kind of imploded six. Which means I don’t believe others that well on an intuitive or intellectual level. Unless that person has my full trust and faith – it’s like a cult leader – if I believe her as my leader, then I can learn from her.
Do you have that trust for Fay?
Of course! Yeah!
How did she win that over you?
First of all, it’s from the outside information – who she taught. She taught some successful students into teachers, and those teachers are good. So, I know she has experience. But whether she can match with my energy I don’t know. But then I attended an open house and it all turned out to be great. After the open house I already had faith that’s why I joined her class. And then also I’ve joined her Bali intensive training for twenty-one days.
Going from studying anthropology at Columbia to an acting career seems like a big switch.
I thought it was a big switch. It is a big switch for my family [laughs]. Because scholar is here on social ladder [makes a high bar with his hand], and actor is probably here [makes a lower bar]. But then, when you learn more and more about acting, they’re so much alike! Because anthropology is like participant observation – to live life as the local people and to record their behavior. Try to keep a distance but still engaged. Participation but also observation.
And then I was reading biographies of actors, and the good actors did the same – they lived with the community. Really lived with them for a month or two. (For anthropologists we have to live with them for more than that; at least one year, or always going back and forth to the community). So, I think that some of the approaches these actors are taking is what I’ve been trained for as an anthropologist.
Thank you, Xiao.
Thank you!