Finding the Responsive Chord

Even though we are excitedly waiting for the publication of Book Three of the Promises Series, I am writing Book Six. One of my favorite peripheral characters dies early in the book. I cried when I did this. I have cried every time I have gone back and reread it. Because my characters are so real to me I actually feel what they feel. This is called a responsive chord.

A few years ago I directed The Diary of Anne Frank. If there is a play out there that can cause a responsive chord in actors and audience, this is the one. The actors in the show were college young people. We rehearsed for about six weeks. As we grew closer to opening nightcurtain I told the actors what they would experience at the end of the play. My husband, who speaks fluent German, was going to come and be the sound effects of the Germans finding those hiding in the attic. I told them we would be breaking wood and stomping about and Robert would be yelling German obscenities. So for two hours opening night this young group of actors became Anne Frank and her family and friends. Being a good actor or actress means that you believe you are the person you are portraying. When the “Germans” came to their hiding place, my cast shook and cried they were so personally frightened because they had so closely become these hiding Jews. The audience cried with them. This is responsive chord at its best.

This is probably why I act and write.

Some of my favorite book, plays, movies have been ones where I have laughed, cried, loved, and felt deeply.


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Filed under Acting, Family, Living, Relationships, Writing

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