Looking for Opposites
The dynamic contrast of opposites is a powerful tool for the actor. By looking to find the oppositional contrasts in a scene, the actor adds depth and dimension to their performance. Contrast is a powerful force. To go from calm to anger, loud to quiet, fast to slow, the oppositional contrast creates attention in the audience member. This is why silence and stillness are so powerful for the actor when used against their opposites.
When employing tactics as an actor, it is a good idea to look for oppositional tactics. This is relatively easy: once you have decided on a set of tactics, look for their opposites, and see where they could possible be used within the context of the scene. Surprising yourself with non-traditional, non-intellectual tactic choices is a great way to explore areas that you hadn’t considered. When you’re working off book with tactics, you can easily switch your tactic for the next unit to the opposite one than you are playing. This is best explored within the safe zone of the rehearsal room where you can explore opposites fully and without risk.
Finding the opposites in a scene is about discovering contrast. Look for moments of strength and weaknesses; look for moments of great action and utter stillness; look for times requiring volume and times of silence. Using these contrasts requires the actor to become acquainted with finding them. If your director is equally sensitive to them, they can help you by point them out to you as you work.
Nowhere is contrast made clearer than within the work of William Shakespeare. Here you can explore, or revel in contrast of opposites and enjoy that contrast too.
If you use objectives, targets, goals etc, you can also look for the moment when the character might switch to a contrasting opposite for a moment.
Playing with opposites is simply about exploring choices. Each time, you should relate these choices back to the script. It is not your job, it isn’t your role to make shit up. If you want to do that become a writer. You aren’t just a writer that doesn’t sit down, you’re an actor and your business is to explore the action of the scene. There’s plenty to test you within this context, without you taking on the role of ‘creator’ too.