A Quote by Rasika Dugal

You can't understand a character intellectually, you have to become one with its emotional core. — © Rasika Dugal
You can't understand a character intellectually, you have to become one with its emotional core.
You have to have a character; you have to build your character. If you understand the pro wrestling scheme of things, then you understand what the promoting is. These guys are friendly backstage, but as soon as the cameras turn on, it's a whole different story: you become that character.
People often say to me, 'I understand what you are talking about intellectually, but I don't really feel it, I don't realize it,' and I am apt to reply, 'I wonder whether you do understand it intellectually, because if you did you would also feel it.'
But if you can empathise with a character and if you can emotionally resonate with that character and understand their emotional journey, I think you are home.
The strength of character and emotional intelligence to face your failures and learn from them are at the core of success.
I really feel our job as actors is to find a human experience in the character. So, for me, genre comes second; it's about script and the emotional journey of that character. Genre definitely has an impact, but it has more of an impact on the way the character is expressed. We all have the same core emotions of love, jealousy, rage - it's just how they're expressed.
The black experience, which has nothing to do with my play 'Angels in America,' allowed me to understand the Mormon character. He was the character that couldn't come out to his mother. It allowed me to understand emotional and closeted behavior, because you're so acutely aware of how you're perceived.
When you rehearse a play, you spend four weeks with one goal in mind - to wean the actor away from you. You want the actor to become completely independent and to understand all the emotional and psychological moves within the character.
My buildings should have an emotional core –a space which, in itself, has an emotional nice feeling.
My buildings should have an emotional core - a space which, in itself, has an emotional nice feeling.
I think there's a fundamental distinction between character-driven movies that are just really lovely slice-of-life movies and character-driven movies that you remember 20 or 30 years later; the common denominator with the ones you remember is that they all have some really complicated emotional problem at their core.
It's not enough to identify the Superobjective intellectually; you have to justify it, to find the emotional drive behind it. You need your own specific interpretation of the superobjective so that every time you think of it, it makes you emotional and drives you into action.
I think there are three kinds of songs; it's only my theory: psychological, emotional, and spiritual. When you write psychologically or intellectually, you have a tune in your mind, and you re-write it. It's an intellectual approach. The emotional is my favorite because it comes from my kishkas; it comes from my soul.
I can understand why some of these drummers and bass players become cult figures with all of their equipment and the incredible amount of technique they have. But there's very little that I think satisfies you intellectually or emotionally.
The core character of Victorians is one of aspiration and ambition, and Victorians have, since first settlement days... demonstrated that core character over and over again.
'Cars 2' is about a character learning to be himself. There's times in our lives where people always say, 'Well, you've gotta act differently. You should always be yourself.' That's the emotional core of the story.
I don't have any particular method, my approach is very simple. I try to understand the emotional graph of the character.
This site uses cookies to ensure you get the best experience. More info...
Got it!