The Executives who now control the Industry must maintain a Secret Society with a manifesto and covenant to control all things creative and substitute them with all things commercial.
This group of terrorists of the craft of acting will here in after be referred to appropriately as ‘THE P.I.S.” (Peripheral Industry System)
What became instantly obvious to the P.I.S. Was the commodity known as ‘The struggling aspiring actor’. There were so many of them in New York , Chicago, and Los Angeles. The hopes and dreams of these actors were the very element that will render millions of dollars to the P.I.S.. The theory was simple; Create ‘SHORT CUT TO SUCCESS PROGRAMS’ and TAKE THE SERIOUSNESS, IDEALISM and TRADITIONALISM out of the work.
Symbols were employed to create a new image of Acting. The traditional Comedy and Tragedy masks were replaced by spotlights, and dressing room lit mirrors. Establish and promote publications known as the actor’s trade papers i.e.; SHOW BUSINESS and BACKSTAGE. These publications now became the Bible for the aspiring actor.
Contained in these publications were auditions, and articles that never reflected the artist and his craft. They did promote the mantra of the P.I.S. that encouraged Short Cut to Success philosophy. More damaging than the articles were the advertisements printed with glamour and glitter screaming out to the reader to follow this system, take this class, don’t waste time with traditional training for the theater because acting for film and television is completely different!
Soon the trades became the only source of information available to actors. The mind control techniques of the P.I.S. were working. The P.I.S. needed one more important mission as they continued their desires for complete control of the craft. That mission was to give birth to Divisions of acting, Film and Television Actors, Commercial actors, Soap opera actors, and the dreaded theater actors. Dissecting and compartmentalizing the craft of acting into these divisions clearly meant that each ‘Kind’ of actor needed a specialized training, thus teachers would be needed to allegedly help the actors in each of the fields.
Significant to mention here that teachers and instructors in the 70’s who were brilliant at their work and getting great results did not participate in this new revelation of acting classes. Herbert Bergoff and Uta Hagan of the famed HB Studio refused to introduce film and television acting classes into their school for decades. Dissecting the craft of acting to various divisions would prove to be financially successful for the P.I.S.;
The birth of the ‘Short Cut to Success Once a Week Class Workshops came into existence in the early 70’s. Prior to this period if a serious and dedicated person wanting to study the craft of acting he went to The American Academy of Dramatic Arts, The Neighborhood Playhouse, The H.B Studio, The Actors Studio. They studied at legitimate theater programs at the Universities and Colleges like Yale Drama School, and Northwestern University in Chicago.
The P.I.S. through the articles and advertisements in Backstage and Show Business’ did a great deal to influence and discourage the serious training of acting by taunting the hungry young aspirant with promises of instant success without this boring and useless training. After all ‘look’ and ‘who you influence’ are the most important elements of success. This was the mantra of the P.I.S..
Above all the damage caused by the P.I.S. certainly was the introduction of the lie of all lies that ‘Look and your Image” are absolutely essential to your success. When this lie was introduced it became the most incurable element of the disease of the P.I.S. and has been the flag ship corner stone of theirs for many years. Today the casting system adheres religiously to what they consider the foundation of all requirements in the employment of an actor. His Look” is it a “flavor of the month Look” is she drop dead gorgeous? Is he a hunk?” The influence of the marketing members of the P.I.S. was responsible for this lie but it proved to become financially successful as actors were now being bombarded by cosmetology for the actor, plastic surgery for nose jobs, dental cosmetics, and numerous exercise programs to perfect the look.
The insanity was well in place. The aspiring actor was working his survival job only to pay for all things external that the P.I.S. demanded he needed to succeed. Yet with all this obvious invasion of the senses of the young actor no one spoke up against the movement and cried ‘foul’!
The ‘Look’ philosophy was created by the P.I.S. Leaders not because it was an essential creative condition of an actor’s performance but a successful gimmick to create revenue off of the aspiring actor. The Culprits of the system knew that if they appealed to an actor’s vanity they could convince him that it was not his talent or lack there of that was instrumental in he or she not being cast for a role but his or her “Look”. The system then created a certain ‘look” that every actor and actress should strive to achieve. Talent agents who were members in good standing of the P.I.S. philosophy practiced and adhered to the ‘look’ philosophy as the only criteria for signing new actors for representation. Again is he or she like someone else in the business that is successful comes into play here with the talent agents. They certainly did not want to be out side the box when it came to ‘what the flavor of the month ‘look is.
Click on "read more" below to continue reading.
Click on "read more" below to continue reading.
The ‘look’ phenomenon also set the ground work for books and lectures on acting which had very little to do with acting but with all things about your appearance. Casting Directors and Agents bombarded the book shelves with books on the right Look for the audition and the right costume for the audition. One book written by a major casting director of a major television network claims that the texture of your blouse has a great deal to do with getting the job? As imbecilic as this may seem many actors have to this day take it quite seriously as this book is now in its third printing. The System knew they had landed a gold mine in this area of ‘look and how to dress’
Throughout my career as a Talent agent actresses I represented would bring three to four out fits they were planning to wear to their auditions for my approval. I was not furious with them but with the system of ‘look’ which had been imposed upon them by their Acting teachers who bought into this insanity. I would tell them to just send their out fits to the audition, since they felt their outfits would be a deciding factor. A waste of major preparation time was spent on dressing the body of the character instead of dressing the soul of the character. Yet this is exactly what the P.I.S. wanted.
Here is the thinking by the System Culprits. If they can convince the thousands upon thousands of aspiring actors that there are mechanical things they can do to work as an actor they would make millions and continue to be successful in their mission to restructure the art of acting into a business of glamour and plasticity. All one must do is drive past the Burbank Studios in California and look up at the giant billboards on the side of the studios which have the cast pictures of the current network television shows and ponder at how every leading lady, ingenue and leading man look the same.
Many of the aspiring actors seeking employment who buy into this insanity and become victims of the P.I.S. have had years of training in legitimate theater programs where they developed the ability to communicate the characters inner thoughts to the twentieth row of the theater. They were trained to depict the very soul of the character. To this end ‘look’ and the texture of one’s blouse still has absolutely nothing to do with acting a role. The trained actor was made to feel ignorant of ‘ The way it is’ and he had better get his act together and play by the New World Order rules if he wanted to work. It is through intimidation and mocking the victim and fear that the P.I.S. survives and is in control. The sad reality is that each year the legitimate theater training programs produce gifted talented and able performers ready to work in the film, television and theater industries. They are systematically faced with controlled system that insists that they forget everything they have learned and start developing their look and their cosmetic appearance so they can look like everyone else! The P.I.S. will not have it any other way as they must infect every new actor arriving in the main production centers of New York and Los Angeles every year. What is additionally sad is that the ugly tentacles of the System reached its way into the great theater town of Chicago early in the late 70’s . Chicago has a great theater tradition with serious actors many of which studied at the Goodman Theater and Northwestern University. Today every block of the town seems to reek of once a week acting classes, and short cut to success classes.
There are an abundance of Audition technique classes. These classes are spreading like wild fire throughout the country in cities where there is little or no casting for major roles just extras roles. What is this sudden onslaught of having to immediately teach actors in markets like Miami, Las Vegas, Philadelphia, Cleveland, etc , etc, the techniques of auditioning for a role when the only employment available for actors in these small cities are for one line roles and extras.? Why does this corrupt system create a frenzy of publicity advertising these classes on audition techniques as extremely important! Sign up now! Open for anyone who has the money to pay and they will charge just about any exorbitant price since the victim actor will pay and pay and pay.
Audition Technique, Camera Technique, Soap Opera Acting Technique classes has served the P.I.S. well these past forty years. Hundreds of thousands of dollars stolen from trained and gifted actors each year go into the paupers of the corrupt system’s executives and Leaders. What a massive pulling of the wool over the eyes of the craftsman actors have they manifested! NO ONE COMPLAINS! NO ONE WANTS TO GET INVOLVED! The system is now running like a smooth oiled machine. It has infected all of the individuals directly involved and responsible for the hiring of actors. The disease presently contaminates them all and there is no cure in sight. What is of great joy to the top P.I.S. Leaders is the fact that no one is looking for a cure.
Complacency Leads To Corruption’
Like many diseases those who are infected are feeling fine and show no signs of the disease function quite normally and live in denial that they will never be infected by the disease. There is a continuing philosophy albeit never mentioned or written about which is directly responsible for the continuing success and take over of the P.I.S..
The fact that actors from generations past and present do not feel it is their obligation to do anything for the Art they are part of. The great consensus of working actors in their forties and fifties will voice this phrase ‘it’s all about luck” or ‘It’s all about who you know” or ‘I don’t rock the boat” or, ‘I did it the hard way, so should they” During the birth of the New World Order created by the P.I.S. actors knew exactly what was going on but were deathly afraid to speak out. Today for instance if an actor were to say that the casting system is corrupt they would be stoned at high noon. Would he be correct in his assumption? Yes he would. If one were to talk to an 18 to 23 year old actor and tell him there was a time when the only training an actor received was at Conservatories, and training required at least two to three years. They would look at you as if you were an alien.
Complacency and selfishness then and now play an important factor in keeping the disease created by the P.I.S. alive and well. The system strives on indifference to its existence. Working actors feel no obligation what so ever to instill in their young fellow actors the tradition of the craft, the history of the craft, and more important the Integrity of the craft. There is no question back in the 70’s the working actor knew that times were a changing and decided it was far better to ‘go with the flow” than to protect the integrity of the art form. After all since getting an agent, an audition or a job was becoming extremely difficult why would an actor want to be a martyr or a maverick? Actors played by the rules and became pawns easily manipulated by the ‘Anti Craftsmen Cults men.’
Mean while the System created a new industry based on all things external. The theater-trained actor was continuing to study his craft at Julliard, The American Academy of Dramatic Arts and many other great training programs.
The P.I.S. and their disease could not penetrate the walls of tradition and the spirit of the craft that acted as a mighty fortress against all things external. The executives knew that they were no match for The Broadway Stage Industry. Yet they believed in time they could also manage to spread their ugly tentacles into the theater as well. However they continued their disdain for actors trained in the theater schools or who worked on Broadway or in the Repertory programs. They were constantly mocked as ‘too theatrical, or too serious. According to the P.I.S., if you trained seriously in the craft you were not employable in the film and television Industries, again they were continuously creating their great divide of types of acting and actors. The Actors Studio and Lee Strasberg were ‘off Limits” to the P.I.S.. The Studio stood for all things ‘internal” ‘organic and creative’. The entire philosophy of Stanislavsky was based on an actors inner being and ways to transmit the characters soul to every member of the audience. The actors working at the Studio with Strasberg and Elia Kazan were so fortified with the armor of truth that this disease of the P.I.S. could not affect them.
The corrupt P.I.S. knew it could however reach out to the students who worshiped and studied Stanislavsky and Sandy Meisner. They began to infiltrate the major cities of New York and Los Angeles with ‘once a week classes that had shingles outside their doors which read ‘Acting classes using the Stanislavsky and Meisener Methods”. These workshops were in total conflict with the traditions and philosophies of the men whose names they were sabotaging. Meisner and Stanislavsky never intended their training methods to be taught ‘Once a week for two hours. Their methods were based on ‘training , disciplines and a process which demanded that the student train to be an actor over weeks, months years, not take a once a week class! Never the less the P.I.S. managed to Hoodwink thousands of serious actors to study with individuals who more than likely read one or two books by Stanislavsky and Meisner and were now considered experts in the techniques. Today the P.I.S. controls thousands of once a week workshops bastardizing these great men of the theater. Yet, not one voice of protest is heard and the indifference and complacency amongst the actor populace continues to add fuel to the disease created by the P.I.S..
By the early 80’s the disease and the take over as a result of the disease has fully been employed. The days of Producers with theatrical back rounds that had full knowledge of every aspect of production were dwindling away. Producers of great merit and ability who knew how to tell a story were no longer useful to P.I.S. since slick and plastic productions are now in vogue.
If a Producer dare mention his love a script because of it’s ‘Human value message that an audience will all relate to” he would not be hired. Why? because the System wanted no part in Idealism”. They concluded that successful projects on film and television should be in synch with current ‘Flavor of the Month fads” They believed that audiences did not want to ‘Think” when they turned on the television and went to the theater. Noise, sex, slap stick and simple dialogue are the formula they adhered to.
Next month however if their surveys and rating systems told them something else was in vogue they would change everything on a dime.