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Active experiencing
Techniques > Memory methods > Active experiencing
Usage | Description | Discussion | See also
Usage
Break down a written script into a series of logically connected 'beats' or intentions. When performing (rehearsing too), rather than thinking about the lines, feel for the character's intention and through this let the lines come through spontaneously and naturally. Almost like a spiritual medium, the actor is like vessel and channel for the character and their expression.
Description
Actors use this process to learn their lines quickly by putting themselves into the role of the person involved. This can also be used in more general learning.
Michael Caine said of this: 'You must be able to stand there not thinking of that line. You take it off the other actor's face.'
Discussion
Noice et al. did a study where, participants (ages 65 to 82) spent a four week period learning professional acting techniques, followed by rehearsal and performance. Although the training was not specifically targeted at memory, the participants were found to have significantly higher recall and recognition after the experiment.
It thus seems that memory can be improved just by learning to act. There are several keys to acting-as-learning:
- Get your head into their head. Think as they think. 'Get inside their skin'. Become the person. If you are not learning scripted lines for a play, you can still use this principle by selecting a person who would use what you are remembering, perhaps a lecturer, lawyer, super-salesperson or other.
- Do it physically. Don't just run things through your head or speak the lines. Get up and move about like the other person. Use their gestures. Use their voice tone. Be the other person throughout.
- Repeat until you can flow it naturally.
See also
References
Noice, T. & Noice, H. (1997b). Effort and active experiencing as factors in verbatim recall. Discourse Processes, 23, 51-69
Noice, H., Noice, T., Pasqualina, P., Perrig, W. (1999). Improving memory in older adults by instructing them in professional actors' learning strategies. Applied Cognitive Psychology, 13, 4 , pp.315 - 328