Friday, December 27, 2013


                                  Vic Perillo

A person dedicates a life to a profession where the person is either a participant or a conscientious observer. The participant plays by all the rules and makes certain not to rock the boat, not to complain and above all when obvious injustices occur the participant looks the other way. The conscientious observer also plays by all the rules yet is motivated out of conscience to speak out when injustices occur and fair practice is violated.

We live in a society where we can barely hear the voices of ‘truth’, and the muted hesitant voice of ‘protest”. The voice of ‘truth’ can barely be heard above a whisper while ‘Evil’ is clearly amplified becoming the only voice that can be heard.

The conscientious observer understands his moral and ethical obligation to ‘speak out telling it like it is and has no fear of the consequences. This is an age where telling the truth will cause a riot. This is an age where the truth teller is labeled a ‘conspirator”, outrageous, insane and morally repugnant. Currently the truth teller will be discredited so that his words and observations of the facts are deemed ‘not credible’. Those who deal in illegal evil activities have a propaganda system in place to silence the voice of the truth teller.

I have observed and I have a moral obligation to write the words in this book about the state of the Craft of Acting. Specifically how it has been affected by invaders who have successfully executed their over all agenda to take the ‘Art’ and the ‘Craft’ out of Acting and define it to be a business.

This is a book for those students of one or all of the performing arts and actors who despite all the propaganda in place are not in fear of the loss of lively hood or reputation for calling themselves an artist- craftsman.
Hopefully this book can inspire all actors to fight for the integrity of the ‘Art of Acting’ and the preservation of its history and tradition.

I have experienced and been witness to all of the violations of Fair Practice against actors I present in this book. Nothing contained here in is exaggerated for dramatic affect. The truth never disguises itself as conspiracy. I am fully prepared for the repercussions from those who protect the ‘New World Order’ of things in the performing arts. Their voices of protest will resonate to a decimal level that surely one can easily characterize their rebellion in the words of the Bard; ‘The lady doth protest too much, me thinks” and for those of you with eyes that can see and ears that can hear you will be able to distinguish the culprits for who they really are.

Victor Perillo

Click read more below for keep reading about how the industry has corrupted the craft of acting and limited the potential of actors.

Chapter One;           
                     THE PERIPHERAL SYSTEM

 A disease has infected and infested the Craft of Acting. It is a disease of enormous proportions, an epidemic! Those who are at risk and targeted for this disease are the trained and gifted artist actors. The disease has no interest in infecting those actors who participate in this craft as business men and women that are externalist who have absolutely no love for the craft of acting only the monetary and egotistical aspects of the work.  You are certain to catch this disease if you believe in the integrity of the craft as well as your own integrity. The large tentacles of this disease will also affect the Directors, Producers, teachers and writers who create projects of substance and hold a giant mirror up to life depicting on stage and screen human emotion and the human condition with great exactness. The disease will aim for those professional artistic individuals who continue to hold to the fact that the
‘The Play is the thing”. Telling the story the playwright wrote celebrating his theme and message of the play or movie script. To the point this disease rebukes and destroys those individuals who dare to maintain the ideals and disciplines of the craft of acting.

The Disease I speak of was born out of the take over of the Theater, Film, and television Industries by the Peripheral Industry. It is defined as Peripheral because it encircles its captors making it impossible to escape its ever closing circular fortress. The individuals who make up the body of the Peripheral Industry are the likened to the catalysts of the New World Order.

They are Publicists, Business men, Young graduates from Business Colleges and Universities with degrees in marketing and Advertising, Computer analysts, Imposter acting teachers, Managers, Producers, and Agents. To belong to the Peripheral Industry one must not have training or education in the Theatrical Arts. One must have no ideals or conscience and above all no respect for The Craft of any artist. The Peripheral Industry Leaders assembled back in the 1960’s and formed a secret agenda to take over the Film Television and Theater industry to make it what they wanted it to be.

The profit motive in the entire entertainment industry is enormous. The Mafia is always attracted to industries that render millions of dollars in profit. When the Mob wants to take over the entire operation of an industry
they use strong arm tactics. Our Art and Craft of acting was taken over by the Peripheral Industry Leaders, not with strong arm tactics but with deception and indifference.

In the early 70’s a new breed of Producer, Agent, Casting Director, Network Executive, and Acting teacher began to emerge. There was and still is a great deal of money to be made in the entertainment fields. Business men began to see the possibilities of tremendous profits, needles to say that these men were not in Show business. They did not come from any kind of theatrical background. They knew they had no talent in the creative art of Producing, Directing or Acting. They were fully aware that the entire craft was over their head never the less they wanted in. Since they had no creative talent they devised a clandestine plan to restructure the Art form of acting for films Theater and Television as well as all producing aspects into a business formula. Their agenda was simple; 

1. Create a new jargon, a new language based on ‘Profit’. 

2. Advertising and Marketing Executives would now produce and easily became top Executives of Television Networks and the major Film studios. 3. Redefine ‘Acting’ as a business not an Art”. Encourage investment bankers to get actively involved in production;
4. Restructure the authorities and power of the Producer and director, they now should be subservient to the Executive Producer who’s only agenda is to save money and make money.

5. Create an entirely new Acting training system, which would encourage the development of ‘Stars and personalities’ not creative artist actors. 

6. Create the new ‘Once a week actor workshops” short cut to success classes’ that anyone could attend, talent is not a requirement”!
Every effort was being made to re interpret the Craft of Acting as a business, not an art. Today in Hollywood if an actor was to refer to himself as an Artist or a crafts man he would be laughed at. The onslaught of the Peripheral Industry Leaders was obvious yet not one voice of protest came from the Artist Actors or the Leaders of the Theatrical Community.

With little or no resistance the Peripheral Executives spread their ugly tentacles in all facets of the film television and theater crafts. The take over was comparable to subliminal mind control. The subjects or victims had no idea that they were being manipulated. The new Breed had successfully manifested a germ which devastated and infected an entire Art form. The disease was silent with no obvious symptoms at first until one viewed the productions emanating from the new breed Producers and Network executives .The projects had become void of passion and reflection of human emotion. There no longer was a story being told in a story, preparation time so important in the creation of a character was replaced and becoming extinct with the new breed of producer director who was saving money on time. Actors were being hired for roles that they were not right for or capable of playing. Theater actors who were successful in television in the 50’s performing in masterful television dramas like Playhouse 90, Studio One, and the two hour Play of the Week as well as the ‘live daytime Soap Operas were considered too theatrical for the New Breed. Ingenues and young good looking leading men were always sought after in the film and television industries yet the Peripheral executives would not only seek out new young talent but discourage the hiring of actors and actresses over thirty. They would create a new theory, ‘That over ‘thirty was ‘over the Hill’. Women would feel the brunt of this imbecilic philosophy more than men. Each year the Peripheral Executives reduce the age of acceptability for actresses for meaningful employment by a year. I believe presently an actress is considered ‘over the hill, and’ not employable at the age of 26.?
At the rate we are going I believe we are quickly approaching the year where all the actresses playing leading roles on Soap Opera’s and T.V Series will have to be 15 years old. 18 years of age for an actress will be considered not employable and ‘over the hill”.

The disease was now a full fledged epidemic and the germs that caused the infection could best be referred to as ‘Externalism and Commercialism’ Today the newest contaminating germ destroying the craft is called, “computerizing”

When the actor of merit woke up to the fact that his Craft was no longer in existence it was too late. The Peripheral System Leaders had pulled a fast one hoodwinking the theatrical population of decent actors and producers reducing the Industry Art form to a mechanical form.

Along with this take over came a new vocabulary, everything is now abbreviated; ie; Readings and Auditions become; Reads’
                         ‘Hit your mark”
                         ‘Don’t let your partner ‘Take the audition from you”
                         Cold Reading Technique”
                         Soap Opera Acting Technique”
                         Acting for the camera’
                         Acting Workshops’
                        Commercial acting’
                        Audition Technique”

The over all message delivered in all of the above programs was aimed at pitting one actor against his fellow actor. The Peripheral Executives did not want actors to refer to the actor playing opposite him as a partner, or a fellow actor. The new regime wanted actors to compete for the highest price, ‘;The Job” and your partner in audition was now to be considered your enemy!

The over all objective here was to inject the business man’s mentality like doing business in the marketing world, like advertising a product, like competing on wall street, Like employing all the dirty tricks they learned in Colleges and Universities where they majored in Marketing, and Advertising. Actors were now being taught the tricks of the trade from what can best be described as ‘Low end Car Salesman”. The Leaders in this movement did not know the language of the arts. They constantly referred to this acting thing as ‘just another business’. Reading a script to determine its worthiness to be produced was not part of their process since they wouldn’t know nor would they care to know the quality of a good story or the magnificence of the writing.



It was at this time that the ‘like’ philosophy was discovered. In other words, since the Producers and Business men of the Peripheral Industry were ignorant and in great bliss in their ignorance I might add. They had to depend on what worked in television and films. If the script they had in hand was ‘Like’ something else and it did well they were comfortable producing it .

Today you will continuously hear network executives, Film Executives and casting directors using the term ‘What is she like”? What is the script Like?. because if the actor or the script is not ‘Like’ anything else they consider it too dangerous to deal with. Stupidity and ignorance in this regard had to be born from somewhere and this was its origin. To this day many great scripts and brilliant actors have been rejected due to the ‘Like’ philosophy.

-more to come at a future date-

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