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Acting, pottery, or golf ball making may come with more or less difficulty, and be more or less effective. It depends, among other things, on what I am doing it for. Do I, for example, make balls for the World's Most Wonderful Balls Contest? Or whether I'm making golf balls because it turns me on how to create one that will serve the players well, and I'll scramble to figure out what shape it should be, what size it should be, what the ratio between size and weight should be, whether the color will affect its quality, etc.

It's similar to acting. In the sake of what am I doing this? For the sake of awards and validation, or maybe because, for example, I love the atmosphere that exists on the set and it makes me jarring to create scenes and the fact that I can shamelessly look my partners deep in the eyes. Pure madness.

I've learned a lot during the last eight months, which were intense for me in terms of working on film sets. And today I know that technique and so-called "acting skills" are only part of "success." No technique can guarantee the creation of roles in lightness if the beliefs we live by do not serve it.

Looking at the recent projects I have co-created and still co-created in Poland and abroad, I see that the most important thing for me is what I learn during these works and how I know how to put these lessons into practice. As a person and as an actor. And when I look at all these jobs from this perspective I feel gratitude. Especially to those difficult moments where I had to expand my consciousness to understand and get through thosemoments. Whether in creating a role or a relationship on set.

One affects the quality of the other, better relationships - more access to feeling, which means more effective acting. When I think like this, the way becomes more important than the effect. Thinking about the effect kills creativity, creates pressure, and going further closes access to feeling, and the feeling is most important in acting for me, feeling yourself and your partner.


What I'm writing here, is also a review of the Creative Process Method, which I've been studying for more than two and a half years. They are helping me expand my consciousness and greatly improve my skills as an actor and co-creator.

When I push aside the ego, I become a better working partner, which allows me to be a better actor, because I am then in greater connection with my emotions. Sometimes so big that it can be surprising. Then there is a chance for that magical spark to appear, which leads the scene.

This happens when the most important thing on set for me becomes telling the character's story. Period.


In short: the more I know about myself, the more effectively I tell the character's story. Because as we know, in ourselves we have everything, we have access to everything. It is only necessary to find the courage to see these things in ourselves and to use them in a role.


This is where the Chubbuck Technique comes to the rescue, giving you the tools to understand the character, i.e. his needs and behaviors, and what is the fuel to realize these needs. Understanding a role isn't just about dry information, it's about finding that feeling within yourself that pushes the character to act. It's also knowing what the reward is at the end of that journey.

So now, from the perspective of the character, I ask the question: in the name of what is this character going through his story? In the name of finding love, creating a family, regaining one's power, and being admired?

What I can offer today as a teacher is that I want to share my knowledge and experience with actors. During workshops, I help actors understand the character and its needs, and then find those needs and their source within themselves. Most often, characters come from difficult places, finding these places within themselves is not always easy. So I help use them in the spirit of the Chubbuck philosophy - getting out of the victim position. In the last phase, when all the puzzles are in place, we learn to use emotionality so that this acting is light and joyful without excluding the so-called shadow of the character, which, in my opinion, effective acting cannot be devoid of.

If you feel like taking such a journey with me, put on your shoes and jump on board,

Marcin Zarzeczny


Chodźcie, fajnie jest