Charles E. Conrad - The Conrad Technique

The Conrad Technique

Like Meisner, Conrad relied on the Repetition Exercise of learning scripts (fast repetition of the words until they are memorized). Without memorizing any actions or feelings. So that when it became time to perform an actual scene or exercise, each actor would depend on the other for his or her source of acting. But the most noticeable difference between the two men (other than their personalities), was that Charles implemented the text into the exercise of actual scripts. Stripped of any direction or pre-disposed feelings. That unlike most exercises or performances, the words were simply memorized and were not meant to come to life, until your attention was on the other actor in the exercise. This rather than relying strictly on improvisation in order to bring in "Here and Now" moments was the difference. This brought his exercises to life, just as in real life moments in time.

The exercise was always carried out w/ two cameras (one focused on each actor) with a table and 2 chairs the only props and without the 2 actors doing any kind of rehearsal together, whatsoever. His teachings were primarily for use in film and the intimacy of the naked truth that is only revealed through the eye of the camera, in the "Close Up" shot!

The simplicity of the Conrad's message was that the technique would allow the creative process to kick in resulting in each actor living moment to moment in a highly intuitive state. The work required that the actor stay out of his or her own way, to allow their partner to create the circumstance in which true feelings would be engendered. In other words, Conrad’s students were trained viscerally rather than cerebrally, which meant their work was usually spontaneous and natural. Succinctly, the source of acting for each actor was his or her partner, thus the process of Re-Acting, not Acting.

Charles believed that the characters in scripts were in fact real in some time, place and existence in the Universe. That once put down on paper, that they did indeed exist. That it was the object of the actor (in getting out of the way), to allow the character to come to life through him/her in this here and now existence. That the character knows better than anyone how to behave and react in order to create the essence of each moment, in any given scene.

Some of his methods (teachings) revolved around the disciplines of Zen in the Arts, teachings! That like "Zen in the Art of Archery", the objective of the archer, was not so much to hit the target, as it was to hit one's self in the target! Thus opening the door to that which could not be seen or even exist in an over rehearsed (manufactured or artificial reality) scene. But rather only come to life in that moment, whereby the actor is no longer in himself. But in the eyes of his partner across the table. As with the archer, his actual target is in each and every moment the target is struck. Finding ones self in the eyes of your partner, then succinctly leads to the actor being displaced by the character in the script of the scene!

Although no cameras were used in the first early years of The Charles Conrad Studio, magical moments were later thus captured on camera for that actor to use as an audition tape. Captured with professional quality cameras (and tapes) revealing the myriad of nuances and innuendo that we are all inherently unaware of. Except in the subconscious mind of each moment!

Thus Charles E. Conrad's students carried his super real techniques for acting, into their own real lives, as shining eye to eye examples of the man (great teacher) he was himself. As his students (whether Academy Award Winners like Dee Wallace (Stone) or the ones that never performed beyond his classes, each took with them lessons for a lifetime!