“When are we going to work on creating characters?”
This refrain arises from time to time in the course of my teaching. I might be tempted to reply “What do you think we’re doing?”, as we strive to come to terms with circumstances, need, plot objective, action, and the path. We look at the decisions that a character makes, and the actions that follow from these decisions, as revealing character. So by studying the circumstances in which a character finds herself, some of which are a consequence of her own decisions, we can learn a lot about her character.
But that isn’t what the student is asking. The student who asks about when we are going to work on character is asking about physical characterization, the taking up of various physical and vocal idiosyncrasies that define character in the popular imagination. Darth Vader’s character impresses itself on us in large part through his voice. The temptation, then, is to assume that the main work of the actor is the finding of the right voice, and the consistent application of it across the role. This ability to change one’s vocal and physical demeanor is a kind of miracle to the lay person, and also to the aspiring actor, and indeed, there can be something miraculous about it. But it is not the deepest essence of the actor’s work, to my mind. And that deepest essence should be the basis for such physical and vocal mutations.