What “True Listening” Means in Terms of Acting? How to Train Actors Listening Truly?

Abstract

This study delves into the concept of "true listening" in acting and its challenges, originating from the author's experiences in acting education. Feedback consistently noted issues with genuine listening, despite the author's belief in their attentive listening, leading to a perceived lack of engagement. The study explores the essence of "true listening," emphasizing its significance in Chinese acting education alongside "true seeing" and "true touching." It identifies two key aspects: external attention and responsive engagement to stimuli. The study uncovers phenomena like "arrogant listening" where actors memorize lines and anticipate responses, sidelining actual listening, and "inferior listening" driven by line memorization anxiety. Additionally, actors' tendency to pre-plan improvisation, termed "pre-set listening," hinders responsiveness. The notion of "isolated listening" parallels modern detachment from information. To address these issues, the study recommends utilizing Stanislavsky's "system" and the Meisner technique. Stanislavsky's "creative state" concept fosters genuine listening, while exercises encourage authentic partner exchanges. The Meisner technique cultivates present-moment engagement through truth-sharing exercises. The study concludes with suggestions for Chinese acting instructors, aiming to enhance acting education by illuminating "true listening" and strategies to overcome challenges.