Acting Truths, Realities and Wisdom!

For now, I've laid to rest my need for further acting classes. While I've learned more than I can put into words in the past two decades, it's become like learning to ride a bicycle when you already know how to ride. I mean, how long should one take yet another class when it doesn't lead to a play, showcase or performance? Money doesn't grow on trees (I wish it did) and classes can be hella expensive and all too time consuming, especially when you factor in all the outside of class rehearsal time.

A typical example of a scene study class is the teacher either gives you a two person scene or more often than not, has you spend time picking one out on your own. Then, you get paired up with someone in the class (hopefully you'll get along...most times you do). You exchange numbers and info with that person and chose times outside of class to get together and rehearse (the more often, the better). Before you get together, you have to spend a great deal of time breaking down the scene and memorizing all your dialogue/lines. Then, at the times you've agreed to meet, you either drive to your partner or they come to you and you rehearse, block and go over the scene completely. After all of that (talk about an immense amount of time), you bring the scene to class and put it up in front of everyone. Now, you gotta remember...with all of this, YOU are paying hundreds of bucks to whatever class you're taking. They sure ain't paying you for all your time. LOL

Back to the class. Once there with scene ready, you and your partner do your best and most production ready work for all to see. Afterwards, the teacher normally critiques the scene and has you do it again and maybe even again. Then, often times the teacher has you go away until next class at which point you meet up a time or two with your partner again outside of class, implementing all the advice and changes the teacher wants. After a few years of that, I realized I had learned enough and had spent a great deal of time doing scene after scene after scene after scene...only for the classroom setting. While that's well and good and helped me a great deal, there came a point where the scene work became more of the same.

At times, it really seemed like the teachers were just hoping I (and the other students) would continue to pay. After all, this is Hollywood, a town where hopeful, wannabe actors from all parts of the globe arrive daily in search of that most elusive career called STARDOM. And, with that comes a pervasive attitude that if you aren't ALWAYS in an acting class of one sort or another that you aren't a professional and one truly serious about your craft. To that I say...WHATEVER. And, to (most of) the teaching hands that have their hands out for my hard earned dollars, I say, I'm at a place of complete confidence in what I do and really don't need to tread the same ground at this point, thank you very much.

Throughout the years since arriving in Los Angeles, I've had the opportunity to study with many teachers and take many classes. Two stood way out in front of the pack. The first one being the Playhouse West (with Robert Carnegie and Jeff Goldblum). Ever since "Invasion of The Body Snatchers" in the 70s, I had always had great respect for the acting chops of Jeff Goldblum and being taught by him was surreal. What made things even more surreal was the fact that my sister Kathy always told me he reminded her of me. So, this reality told me I was on the right track.

The only concern for me was the fact Playhouse West ONLY taught under the umbrella of the Sanford Meisner technique which begins with intense repetition games, going on to life or death activities you bring to class and the scene work. What annoyed me was as Carnegie and Goldblum taught the class, there wasn't a syllabus type game plan handed out so you'd understand the manipulations you were going through now, all in the name of the technique.

It was all an incredibly intense way to get one to open up and become honest and truthful and for me, it hindered me more than helped because I've always been able to tap into the deepest depths of me and all with the ability to be a huge child complete with naivete. I just didn't gel with the Meisner Technique at all. That's not to say that it doesn't work miracles for many, many actors, because it does...just not for me.

A few years later, after going to other classes and learning from other teachers, I took classes with the world renowned Steppenwolf Theater with their Steppenwolf Classes West. I've always had immense respect for founders John Malkovich, Gary Sinise and Jeff Perry and had a dream to study with their school/theater. Since Chicago would have been quite the move for me, it was a great surprise when they brought classes to Los Angeles.

While I learned a great deal from teachers such as Shannon Cochran, Alexandra Billings, Laurie Metcalf, Linda Lowy and Jeff Perry, what ended up disappointing me was that with all the classes one takes with SCW, there is absolutely no opportunity for a play, showcase or performance (outside of class). Learning lines, blocking and rehearsing to perfection scene after scene is very, very time consuming and difficult for just yet another "class" performance with a group of hungry actors and a teacher monitoring and critiquing it all. That kind of environment works for a spell but I wish more classes and schools in Hollywood thought outside the box and changed the class time up with cold readings, scene study, monologues, etc, and cast actual plays for the public using students from their classes. Sadly, that's not the case.

As for techniques...while I've learned from them to varying degrees, I prefer to take bits and pieces from each of them and apply them as I see fit and with what works best for me. Sticking with just one technique just has never been my thing. I already know how to tap into being real, honest, truthful and the character as given without the heavy handed guidance of one technique. Whether it's Meisner, Viewpoints, The Method or whatever, while it may work for many, I'm not one of those many. For me, it distracts me from letting go. All that's not to say techniques don't work for many people, because they do in a huge way and for them, that's a very, very good thing. For me however, it turns into a very, very bad thing. :)

When it comes to TV/Film acting, here's some way good advice, straight from casting director Linda Lowy's workshop...

YOU are the CEO of your own business.

Open yourself up.

Be Prepared.

Don't be a victim.

YOU'RE in charge.

Have a Demo Reel with NEW stuff on reel. Keep reel current.

Find your strength and present that.

Know who you are.

Keep your headshot current.

Know who you are.

DON'T be negative.

Don't be afraid to take baby steps.

SAG card is a must for a serious actor.

Get to know others. NETWORK.

Learn how to get...SAG card, an agent, a manager and to meet casting directors.

Keep moving forward! Get into plays, showcases, training!

Go to plays. Watch TV. See movies/films.

When it comes to audition pieces, you must know...Who you are. Who you are. Who you are talking to.

When in doubt, less is more. Be certain and yourself.

Melodrama is out.

Be careful with accents in auditions. Better to NOT.

Own your scene/part.

Subtlety is your best friend.

When in doubt, be DIRECT and SMALL.

Believability is important in auditions.

Don't let theatrics overtake who YOU are.

Let yourself fill in character.

Don't over emphasize to where it's not natural and becomes unbelievable.

Stay in class. Get in a play.

Be on top of your part/scene/character.

Have your tools.

The following are some words of wisdom from many classes I've attended over the past 15 years which one can use not only for theater class but, equally important, in LIFE...

Be Confident.

Fullness of emotions are critical. Emotional behavior makes "lies" (acting) convincing.

Lose consciousness of your own self in order to transform yourself into the character of the play/performance.

Acting is an emotional thing. It has inner creation content.

Make it personal to me.

Emotional essence necessary in dialogue/lines.

Paraphrase (do) words as your own first, then do them as written.

A Point Of View...it doesn't have to be logical.

You have to have something to hold back in order to hold back sadness.

Act from your own soul and instinct emotion.

Use imagination and soul.

If it doesn't say all about the character world/life/past in text, make it up in your imagination.

Make the part your own. Make the cold text your own.

Foundation of acting is the reality of doing.

Be myself. Accept whatever comes out spontaneously.

Instinct changes dialogue. There's no such thing as nothing. Silence has myriad of meanings. Instinct dictates changes.

Acting is living off the other person in the scene.

Believe in the given circumstances of the script.

Text is logical for you.

Relaxing and working off each other is what makes a scene.

Meisner said, "Life is terrible I think." I DISAGREE for LIFE is what gives you nourishment for the stage.

It's best to learn lines without meaning and interpretation (by rote: mechanically without inflection or emotion).

Preparation: Find ways that stimulate you. Preparation is a warming up process.

Answer questions of your character and lock them in.

Physicalizing your moves forward or backward will help in all scene work.

Surrender to your character.

NEVER stop listening.

As your character, always pursue your goal in the scene.

Let go! Listen! Just do it!

Experiencing life enriches and fills the cup of acting: read, museums, films, travel, explore life.

The most important person is the person on stage with you...your scene partner.

Work off other person in scene and listen to become a better actor and make the scene real.

Have real experiences on stage in imaginary circumstances.

Stay in tune to moment to moment changes on stage and with scene partner and react accordingly.

Be strong, spontaneous, listen!

Moment to moment important!

Respond in a way that affects you. If provoked, let it out!

Move forward in the moment to moment on stage.

Listen and react accordingly. Listen and come alive! Feel! Be real!

Have real give and take. Work off each other and present moment. Take in what happens.

Don't be mechanical! Open up! Be responsive! Be personal! Be honest with one another!

Human involvement is a must!

Live truthfully under imaginary circumstances. Make it real!

Do scene as reality, not an exercise.

Bring your own unique sense of the world into your acting.

Be punctual and professional.

React and be affected by the other person. Listen and respond. Take what you're given and be real. Play off and with each other.

Acting is communication business. Use the energy. Speak up. Fully. Real give and take.

Have command of your profession.

Be honest in acting and reacting. Take in other person. Rehearse. Practice.

Interaction with scene partner most important.

Handle moments personally. Put yourself on the line.

Listening is key!

Be alive! Work on listening/focusing on other person and use what they give you.

Moment to moment is critical!

Words mean something. What one person says affects the other person and dictates what their reaction will be.

Be shy in life but NOT on stage. To reach FULL potential, do NOT be shy in life either!

Have confidence for no reason. When acting, have the utmost confidence because you will never be prepared enough. Interests will strike you from the other person. Take the moments. Be real and honest. Listen. Have an appetite to act. You have to have one to be effective. Allow your appetite to grow and happen.

Be truthful! Be alive! Come to life! Listen, react and respond!

In acting, the more specific, the better.

Reading body language is important. Pick up on things from the other person and respond truthfully and accordingly.

Acting is a product of human...impulse...feeling...emotions.

Be open, alive and alert.

You don't THINK your way through a play, you FEEL your way. It's about feelings.

Actor in you should be responsive, visceral and listening from moment to moment.

Actors FEEL. Acting with thinking is for the playwright. Writer writes WORDS, actor FEELS.

Have passion and tenacity and patience!

Be aware of luck and accidents in life that can further your career!

Be passionate and confident!

Always put yourself on the line!

Be serious and want it all!

Show people you can do more than they think and expect!

In life, take advantage of who you know!

The more you KNOW, the further you'll GO!

Rehearsals should be thorough. Maximize time!

Be passionate and full of life!

Open yourself up to what's going on around you and get affected honestly and realistically!

Open up and be stirred. Other person's behavior must affect you.

Practice over and over and over and over.

For a scene to be effective, you don't have to resort to anger!

You don't have the option to fail at your auditions.

Audition is performance.

Scenes don't happen to us. WE MAKE A SCENE!

a/ Move into world of the play.

b/ Move into imagined relationships.

c/ Have the authentic experience from the first word.

What is the conflict and how should I solve it? Solve it in scene.

Don't be showy. Stick to meaning of the scene.

You MUST have a point of view. TRUTH!

Acting should be just like living!

The person in the scene is the only one in the scene that can give me what I want.

Live in the world of the play.

You MUST have a POV.

Have sense that self is deepening.

Be strong.

Hold onto what works. Figure out what to adjust and what problems to fix.

Make it personal. Know play. Know role. Know other characters.

Go to general auditions.

Be an understudy.

Non-Equity opportunities are there.

Go to Equity website for Non-Equity auditions. Audition notices are on Equity! Equity can't force you to join. You can audition for Equity plays.

Self-Submission of headshot/resume a good thing.

Audition wise, go for what you have a passion for.

Do a scene you can get to emotionally. When you get a slot to audition, treat it like a treasure.

Preparing for an audition...

It's a lot of work and in audition, it's ME. Make strong choices. Be a good actor. Know & Read script. Know the world of the play. The when, where who is critical: Environmental, historical, place in time.

Find out about world of play. Not only from play but how director plans to do it.

Breakdowns of plays tell all.

Work with time given to prepare and BE READY!

Memorizing is best! Putting book down is freeing. Memorize dialogue.

Work on strategies in scene and play.

Doing the work on scene/script is critical.

Adjust volume to audition room size.

In audition, take charge. Make it what you want it to be. Present strong choices. Follow adjustments. Take direction well.

Once you know play, decide relationship with others in play. Exact nature of emotional. If you have to, be in love. Decide location. What is problem with person you're speaking with. What is your problem. Conflict is desire to change each other. Is relationship valuable enough to change? Action is something my character will do to change situation/relationship. Conflict and changing other person to get what I want.

Be really creative. How can I really do? What is my problem with that person?

Decide the world of the play. Make the role personal. Don't deal in characters but ME as this person.

Reveal something about yourself through auditions. Find something fun to play.

Make every moment justifiable. Love your character and justify him.

Figure out conflict intention. It's about the story you're telling. Your job is to change other person. Make your own decisions. Make it fun to play. Keep it moving. Don't linger unnecessarily. Be real.

Monologues aren't a speech. They are an idea that keeps going.

Know your role. Respect the play and being on board. Respect the role. Add on adjustments.

Be smart about directions.

Be real but don't take yourself too seriously. Let it go.

Figure out a PROCESS for yourself and TRUST yourself.

Don't play MOTIVATION. Play WANT.

Keep asking yourself questions.

What is the conflict in the scene (being chased by bear, your thoughts are getting to cabin).

Obstacles within yourself or others create DRAMA.

Find and discover moments.

Let the language work for you.

How much are you experiencing? How much are you living in the moment? What am I showing and what am I experiencing?

The moment before the scene starts is vital!

Make a choice and commit to it.

Strength of choice important! Bold! Strong! Create strong stakes!

LISTENING is more important than acting! Listening will inform your acting!

Don't be afraid of SILENCE in a scene. Silence is truly golden.

Don't be afraid to go further with a scene.

Learn the life and defenses of your character.

Find a reason why you need to say your next lines.

Character's point of view is different than audience's point of view.

Be your character's advocate. No matter how evil your character is.

Find instincts so you're always ready.

Do it on your own and be prepared!

Great discoveries can be made if, as an actor, you're uncomfortable. Borrow from it. Use it. Don't compete with the scene.

In rehearsals, try not to move unless you HAVE to. Allow moments and partner to inspire you to be present and move.

Tell the simple story and capture the audience. What is simple story and how can I support it?

TEXT is critical! STUDY it! Know when ARCS are and tie it all together!

With your character (s), just play YOU under the character's circumstances. What would YOU do under the character's situation?

Per actor Michael Biehn from his workshop lecture...

Be SAG! Be PERSISTENT! Find an agent or manager! NETWORK! Have a Demo Reel. If you don't, Film a scene YOU would be good in. Don't Pantomime in auditions! In auditions... BELIEVE IN YOURSELF!! There are many BEATS in a scene. Find LEVELS! Look at ways and moments to show many different levels and emotions!