ALAN LANGDON (Scene Study, European Scene Study, Musical Scene Study) appeared Off-Broadway in The Fantasticks and Intimate Relations, was Artistic Director of the Actors Space, and headed the Professional Acting Program at the University of Oklahoma. He was also the head of the Circle in the Square/NYU Professional Acting Program. He has also taught at the Stella Adler Conservatory. He has directed at the Virginia Shakespeare Festival, the British American Restoration Arts Theatre in England, The Oklahoma Theatre Center and was Director of Apprentice Workshops for the Williamstown Theatre Festival. Recent Acting credits include readings in the Tennessee Williams Celebration and The Plays of New YOrk City at the Labyrinth Theatre Company; Robert in Sink or Swim Rep’s production of Proof. Film: Adam Shaw for Glass Eye Productions. He is on the Animus Theatre Company’s Board of Advisors and recently directed their production of Dutch Heart of Man by Bob Glaudini.
True or False: NYC Masterclass with Alan Langdon
“Our hearts are beating rapidly, more rapidly than normal. So here is an opportunity for you to work, a joyous experience. So why is your heart beating irregularly? What is that about? It is probably about fear and shame. But here is the work that gives you joy. Auditions, when you go to an audition someone has paid for the space and all you have is an invitation to work, which is a joyous experience. So what is that irregular heartbeat coming from?
Fright for what? Doing the thing that you are struggling for, having the opportunity to express yourself in meaningful ways based on what the screenwriter or the playwright has given you. So why is there so much fear? It could be excitement about having the opportunity to do it which would bring energy into your body which you could use toward getting the role. It’s an opportunity. I mean Kazan says in the Actor’s Vow “that you’re not a cosmic orphan and that you have nothing to be timid about,” let it fly, let your humanity out, don’t worry about being right or wrong, or good or bad, just work from your necessity. So I’m concerned, I could say worried, but I’ll say concerned, about this beating heart and the fear factor. You’re a human being, you have this opportunity, caress it, love it, hug it, and use yourself. Because what Stanislavsky says is you can’t be good or bad, or right or wrong, the only thing you could be is true or untrue, and in this work, you’re trying to get a sense of yourself as a tuning fork so you’ll know when you’re being true and when you’re being false. You want to build that tuning fork as finely as you possibly can so your awareness of being true or being false is extremely high. So that’s the reason for doing the physical reality check and telling a personal story because you know what connects you and is true and you know if you do anything else that you’re going to be false.
True or false.”