There is no doubt that method acting is a highly effective series of techniques for anyone aspiring to the highest levels of acting. However, there are many in the acting profession who prefer a different approach – what might be broadly referred to as the opposite of method acting. So what are the alternative acting styles commonly used throughout the industry, and how do they differ to the Method?

Acting styles which often position themselves as opposite to method acting are often based on quite different philosophies, meaning they offer real a contrast both in technique and results. Although most top actors now use at least some elements of the Method in their acting, there are still some very well-known actors who have achieved success with different types of acting.

To help you decide which acting style is most suitable for you, we’ve broken down some of the key ways in which these other approaches differ from method acting.

 

The Opposite of Method Acting – Truth Versus Imagination

At the most fundamental level, method acting is all about truth. We use various techniques to produce real emotions during our performances, resulting in acting that feels completely authentic to an audience because it is authentic. The most significant of these techniques is affective memory – using our real life experiences as a source to call up the emotions associated with those experiences.

Some prominent acting teachers, such as Stella Adler, felt that this level of authenticity was unnecessary, however. Their approach was to encourage actors to use their imagination, rather than relying on real experiences. So, if an actor needs to appear sad, they would imagine feeling sad so that they can then produce an effective performance.

There have certainly been some very successful and respected actors who have used the imaginative techniques popularised by Adler and others. Marlon Brando, Cybill Shepherd and Harvey Keitel were all at one time students of Adler’s approach to acting. However, it’s important to put this imaginative approach into context. After all, where does imagination come from?

 

“All ideas are second-hand, consciously and unconsciously drawn from a million outside sources.” – Mark Twain

 

Creativity doesn’t happen in a vacuum, which means that if an actor tries to imagine feeling sad, they must be using something to fuel their imagination. What is that fuel? That’s right, their experiences. Although “imaginative” actors may be pulling from multiple sources to build a sort of composite emotional output, it is likely that one or two particularly strong emotions are dominating this procedure, especially if it is resulting in a really strong performance. So although relying on imagination rather than real experiences may be in some ways the opposite of method acting, ultimately any really exceptional performance is likely to be coming from a fundamentally similar source.

 

Acting Instinctively

Method acting revolves around a number of conscious processes that actors can use to build a performance. The advantages of this should be obvious – for anyone wanting to act professionally, having a deliberate, repeatable process to produce a strong performance is essential. After all, nobody would want to employ a plumber who can do a great job sometimes, when they’re feeling inspired, but is useless the rest of the time. Acting is no different – you have to be able to deliver the goods on demand, every time.

However, some actors prefer to take a more instinctive approach to acting. The Meisner Technique teaches actors to stop thinking consciously about what they are doing so they can react instinctively to what is going on around them in a scene. This can produce very naturalistic and convincing performances when used by experienced actors and is popular with the likes of Jeff Bridges, Diane Keaton and Jeff Goldblum.

One problem with this kind of instinctive acting is that it does usually take a long time to get the hang of and often requires a lot of rehearsal to build a strong, cohesive performance. It also works best when used alongside other highly skilled actors, as it requires the practitioner to totally buy into the reality of the people they are working with. Because the process is so externalised, it is easy for instinctive actors to be thrown off by a bad actor or issues with the set or other external problems. By contrast, because method acting revolves around actors building up a coherent internal realism for their character, their ability to perform is much less reliant on what is going on around them.

 

Actors Who Misunderstand the Method

If you mention “method acting” to a lot of people, they will likely start talking about various wild stories they have heard about actors pulling out their teeth or making themselves ill in a desperate attempt to be “authentic”. This is not what method acting is.

Method acting is about taking the experiences you already have and relating them to your character’s experiences. So, if your character has been stuck on a desert island for ten years, you don’t need to abandon civilisation. Instead, you think about times you have felt lonely and isolated in your own life and how that made you feel, then use those experiences to inform your performance.

Going out and trying to experience exactly what your character is going through is often not practical and can be unsafe, but it is also ultimately unnecessary. While some research may be helpful, for most actors it is not realistic to take time out to go and live as your character. This is why method acting is so useful. A properly trained method actor can achieve a complete sense of realism in any situation using just their training and what they have already experienced.

 

Exposing Secret Method Actors

Lee Strasberg famously referred to method acting as:

 

“What all actors have always done whenever they acted well.”

 

What he meant by this is that great acting is always rooted in emotional truth as we all instinctively know when someone is faking it. Whether an actor is consciously going through a process of recalling specific experiences to summon up a real emotion or not if they are managing to produce an emotional performance that resonates with an audience they must be pulling on their own memories. After all, how could you convincingly “fake” an emotion you have never really felt? Whether these actors would call this method acting or not, that is ultimately what they are doing.

This is what we mean by “secret method actors” – people who are unconsciously using method acting techniques without realising that is what they are doing. Given the wrong impression many have of method acting, it is perhaps not surprising that some actors make this mistake. However, by studying method acting and understanding the processes it involves, even those who are already unknowingly using method acting can learn to harness these techniques more effectively for even better results.

 

Master the Method in just One Year

Although there will always be some who prefer the opposite of method acting, experience has shown us over and over that the Method is the most effective technique for professional actors. So if like 80% of Oscar-winning actors this century, you think the Method could work for you, we can help.

Our courses not only give you a thorough understanding of all aspects of method acting techniques, we also cover the business of acting. That means we show you how to take your newfound skills to the market and start getting paid acting work. This is why our courses are so popular with aspiring professional actors – because we show you not just how to act, but how to use your acting to build a sustainable career.

Our 1-Year Ultimate Acting Programme covers everything you need to succeed as a professional actor, so if you want to turn your acting dreams into your everyday reality, please don’t hesitate to apply today!

To find out more or to enquire about our 3-Day Introduction to Method Acting Bootcamp, please get in touch.

 

The importance of an actor’s showreel cannot be overstated. It’s the clearest, most compelling advert for exactly what you can do and a key tool for professional actors to land auditions. Editing your showreel correctly is therefore absolutely crucial.

There are a number of aspects to a great showreel, but it’s not just about the content. How you put that content together can change a collection of video clips into a powerful and engaging demonstration of just what you have to offer.

Getting the edit right is so vital we’ve decided to put together our top tips on how to cut together the perfect acting showreel.

 

Choosing the right tools

If you’re going to edit your showreel yourself (see below for the pros and cons of hiring an editor) then you need some solid editing software. There are loads of great free editing programs you can chose from with Windows Movie Maker and Lightworks being two of the most popular.

If you are going to splash out and pay for software, Final Cut Pro is a good choice. However, paying for software is only likely to be worthwhile if you plan on doing a lot of video editing in future.

One thing to bear in mind is whether your computer is powerful enough to make doing your own video editing realistic. Again, it is probably not a good investment to buy a brand new PC just to edit your showreel. But, if you are planning on doing a lot of other editing or are due to upgrade anyway, it may be worth looking at computers suitable for good quality video editing.

Top tip: If you have little or no editing experience, there are a huge number of tutorials on YouTube for pretty much all major editing applications. As long as you’re willing to put a bit of time into learning how it’s done, you should be able to get the hang of it.

 

What to include

A big part of editing is choosing which content to include. When selecting clips for your showreel there are several different things to consider. Start by gathering together absolutely every bit of acting footage of you have, then ask yourself the following three questions of each clip:

1. Does this reflect the best standard of my acting?
2. Does this show off a particular aspect of my acting that other clips don’t?
3. Is the quality of the footage good enough to give a professional impression?

By assessing each separate piece of footage against these criteria, you should be able to narrow your choice of clips down to those which show off your range to a good standard while looking professional. You then need to begin the task of cutting the clips down and deciding how to order them to have the biggest possible impact.

Top tip: One mistake a lot of people make is including scenes where it’s not 100% clear which of the actors is the subject of the showreel. This can be especially problematic if the first scene is one where you are acting against someone of the same gender and a similar age and look. Try to make your first scene one where you are acting alone or against someone obviously quite different to you in appearance so there is no risk of confusion.

 

Keep it short and sweet

Agents and casting directors are busy people, so they’re not going to sit through a ten-minute epic to decide whether they want to use you. In most cases, they’ll probably only watch about 30 seconds worth. In general, your showreel needs to be less than three minutes, with one-two minutes being ideal.

The length of your showreel will depend to some extent on how long you have been acting and how much good quality footage you have. Don’t be tempted to pad out your reel with lower quality clips, or allow any one segment to overrun. If you are relatively inexperienced one minute may well be enough. If you only have one or two roles to your name and a particularly long showreel, it is likely to ring alarm bells for the people you send it to, rather than impress them.

Likewise, be wary of letting each clip run on for too long. Be absolutely clear what the point of the clip is and use the smallest section of footage (within reason) that shows off that particular aspect of your acting. Using several fairly short clips will make your reel feel faster paced and keep it engaging.

Top tip: Although you don’t want your clips to be too long, don’t fall into the trap of turning your reel into a montage either. Give each clip room to breathe and get its point across before moving on. If you try to cram in too many short clips you will end up spreading yourself too thin and it’s unlikely any of the individual performances will have time to make a strong impression.

 

Save the second best until last

This might seem obvious, but it’s something people often overlook – make sure you put your best work at the start of the reel. The reason for this is a) it makes a good first impression and b) people may not bother watching the whole reel if you don’t grab them right away. Many agents and casting directors only watch the first 30 seconds of a reel before moving to the next if nothing they see has got their attention. Start strong and you hugely increase the odds of people sitting through your whole showreel.

There’s also another good reason to put your best stuff first. In some ways, editing a showreel is like planning a stand-up comedy set: starting strong lets the viewer relax, knowing they’re in safe hands. This means they are primed to see you positively so will tend to be more generous towards the rest of your material. Hit them with two or three of your best clips at the start and everything else will look better as a result.

Top tip: Don’t make the mistake of dumping all your less impressive stuff at the end of your showreel. You want to start and end strong. Save one really good, impactful piece until the end so that, if people do watch the whole thing, their final impression is a good one. People are most likely to remember the first and last thing they see in a series, so bookending your showreel with two very strong performances will increase the chances of making a great lasting impression.

 

Is it worth paying for a showreel editor?

The tough reality for most actors starting out is that money is going to be tight for a while, so paying a professional editor to put your showreel together might seem like a luxury. However, you have to remember that you are trying to present yourself as a professional and therefore your showreel has to look professional.

You need to be completely honest with yourself about how likely you are to be able to get your reel to an acceptable standard. If your showreel looks like it has been cobbled together by an amateur, it will distract from your acting and may make it look like you aren’t serious about building a career.

If you can finish your reel to a good standard though, one advantage is that you’ll be able to add new clips and make amendments easily yourself, rather than having to keep going back to your editor and paying more for and changes and updates.

Top tip: If you do decide to self-edit, keep a track of how long you are spending doing it. Chances are it will take you a lot longer to edit your reel to a good standard than it would a pro editor. Timing yourself means you can see if the saving is worth it or is ultimately a false economy.

 

Kickstart your acting career in a single year

Getting the hang of editing showreels is just one of the skills aspiring actors need. You might not think it’s important, but trust us – it can make the difference between success and failure in your acting career. Understanding the business of acting is just as important as having professional-quality acting ability. Without a solid grasp on how the industry works, you will struggle to take your newly acquired skills to the market, making it much harder to become a true professional actor.

At the Brian Timoney Actors’ Studio we specialise in both world-class method acting tuition and coaching our students in how to get out there and start landing paid work. That means each of our students leaves us ready to start their professional acting career straightaway.

Our 1-Year Ultimate Acting Programme covers everything you need to succeed as a professional actor, so if you want to turn your acting dreams into your everyday reality, please don’t hesitate to apply today!

To find out more or to enquire about our 3-Day Introduction to Method Acting Bootcamp, please get in touch.

 

If you’re serious about being a professional actor you presumably have your showreel sorted. But is one enough? Unless you are only applying for lots of very similar parts, your showreel is likely having to cover a lot of ground, showing off wildly different aspects of your acting. Wouldn’t it be more effective to have different showreels tailored to each of the different types of roles you are putting yourself forward for?

There are a number of pros and cons with having more than one showreel, making it hard to know whether it’s worth the time and effort. We take a look at the reasons some actors need multiple showreels and the different kinds of showreels you can create.

 

Keeping things focused

One big mistake people make with their showreels is that they aren’t focused enough. If you want to land a dramatic role and half your showreel is comedy then it’s probably not going to be relevant to any casting directors looking to cast a drama. You are potentially wasting half of the time they are spending reviewing your work and may give the impression that you’re not really that committed to doing drama.

This is also true of more subtle distinctions between different kinds of acting. Having a varied showreel can be a positive, in that it shows your range, but it also gives you less space to convince people that you are right for each specific type of role. Having several different reels, each specifically focused on just one area of your acting, can make a much more compelling case for casting you for relevant roles.

 

Showing your range

One concern is that, by showing less of a range you are reducing the chance for secondary casting opportunities. This is when a casting director sees something in your reel that isn’t quite right for the role you are chasing but would be a good fit for another role they are casting.

However, since you will usually be sending people links to your showreel online, you can always include a link to the main showreel you want them to see and a secondary link to your others reels demonstrating your range. This means if you do impress them with the first showreel, they can bookmark your other reels to come back to when they are looking at other roles later. This gives you the best of both worlds.

 

Know your acting niches

Many actors are terrified of being typecast, but in many ways, it can be good for your career. The kind of roles you are likely to be offered will, to a large extent, depend on your look and presence. Knowing your type can save a lot of work and increase your chances of succeeding at auditions because you can focus your efforts on the types of roles you are best suited for and therefore most likely to win.

Your showreel can help to define your type, by selecting clips which reflect the kind of roles you are best suited for. If there is more than one niche you fit into, having different showreels that reflect these different types can make it much easier for casting directors to see you in quite different roles.

If you have been playing one type for a while and want to branch out, creating a secondary showreel that shows more of your range can help you break out of being typecast. You then still have your primary showreel so you can keep landing those bread and butter, in-type roles that pay the bills.

 

Types of showreel

There are as many different kinds of showreels as there are different kinds of actors. The distinctions between drama and comedy are obvious and it can also be an advantage to have separate reels for commercials work versus TV and film projects.

It can be easy, however, to slip into thinking you need a separate showreel for absolutely every possibly kind of acting work you might want, but you don’t want to get carried away. For most people, two or three showreels will be enough so that you can convincingly show your ability to fill different kinds of roles. If you start aiming wider than that, chances are you are going to be spreading your efforts too thin and will end up struggling to get cast in anything.

When deciding which types of showreels you want to put together, it all comes down to what kind of roles you want to pursue and what footage you have. One thing to consider is whether it is worth getting a showreel shot from scratch.

 

When to use supporting material

If you are early on in your acting career or have been typecast for a long time, you may not have too much of a range of different clips to show off. One way to get around this when applying for roles outside of your usual niche is to send your showreel, but add some supporting material specific to the role you are applying for.

In most cases, this is likely to be a piece you have filmed especially for this application, which exactly matches your perception of what the role requires. The advantage of this approach is that your showreel will demonstrate your professional credentials and overall acting ability, while the supporting video, even if it’s not a professional clip, should hopefully show that you are a good fit for that specific role.

Recently many casting directors have begun asking actors to self-tape audition pieces to streamline the casting process. This means adding in your own custom-shot footage is seen as an increasingly normal thing to do and can be really helpful if you are trying to break out of being typecast but don’t have any strong professional footage to back this up yet.

 

Learn the business of acting in just one year

Knowing how many showreels you need is the sort of detail that separates a real professional from a talented amateur. After all, there is a lot more to building an acting career than just knowing how to act. You also have to understand how the industry works and how to successfully navigate your way through it.

That’s where we come in. At the Brian Timoney Actors’ Studio we offer industry-leading method acting tuition, but we also teach you the business of acting. This means our students don’t just learn how to act, but also how to take their acting out into the real world to start landing auditions and winning paid roles. After all, you’re not really a professional actor unless you’re getting paid for it and we can show you how to make that happen.

Our 1-Year Ultimate Acting Programme covers everything you need to succeed as a professional actor, so if you want to turn your acting dreams into your everyday reality, please don’t hesitate to apply today!

To find out more or to enquire about our 3-Day Introduction to Method Acting Bootcamp, please get in touch.

 

As an actor starting out, you probably have at least some experience of auditioning – whether that’s gaining a place on an acting course or landing smaller roles for one-off jobs, advertisements or as an ‘extra’. But how do you land the bigger roles and much sought after movie auditions? While a movie audition is unique and may seem a much bigger deal to auditions for smaller roles, there’s actually a lot of crossover and many similarities.

Perhaps the greatest challenge you’ll face is keeping a lid on your own excitement for bagging a movie audition! So if you have managed to get invited to a casting session, or found one that sounds like a great match for your ‘type‘- here’s how movie auditions actually work.

 

Getting A Movie Audition

There are two ways to find movie auditions as an actor: get an agent or do it yourself. Getting an agent can be tricky, and they’ll expect to take around 10% of your earnings. However if you are lucky enough to get a good one, using their industry contacts and experience can be of huge benefit. Firstly they will find you movie auditions that you’re more likely to get, and secondly, you’re more likely to gain access to the industry gatekeepers that you’d be less likely to get without one. This can be a crucial part of securing movie auditions in particular.

If you’re going it alone, there are still opportunities for great movie auditions to be found, you just have to do your research. Backstage post local casting notices and a quick google search for open casting calls should give you an idea of the opportunities available in your area. Alternatively, you can use your industry contacts- friends, family or acquaintances in the business: don’t be afraid to get in touch and ask whether there are any auditions or roles coming up that they could recommend you for.

 

Proper Preparation

The preparation an actor does before a movie audition has the power to make or break it- without question. You may have been given a script, and in that case you will be expected to read it through and memorise your character’s lines properly. Many actors, including the legendary Anthony Hopkins not only read their own part, but everybody else’s as well in order to absorb as much information as possible. If you haven’t received a script but have a character description to work with, consider what this character might be like, and work on a monologue that might fit to the character.

You will need to have copies of your headshots and acting C.V. ready to bring with you, even if you’ve already submitted them, and this should include a link to a demo reel, if you have one.

Pick your dress as if it were inspired by the character you’re auditioning for- it shows commitment to the role before you’ve even got it. So say you’re going for a pirate role: you don’t need to arrive in full costume with a sword in hand – that would look ridiculous. But what you CAN do is wear a slightly ‘flouncy’ top, or wear something that shows off a few tattoos – if you have them of course!

Casting rooms often run on a very tight schedule so being late may very well cost you the audition. If you don’t want to risk blowing your chance, it’s a good idea to make sure you arrive at least 15 minutes early so you’ve got time to prepare and recover if you’ve had a flustered journey. As Shakespeare once said: “Better three hours too soon than a minute too late”: really – they won’t wait for you.

 

The Waiting Room

On arrival you will be greeted by a receptionist or the casting director’s assistant who will give you the script (if you don’t already have it). You will be asked to sit and wait to be called in. It is crucial that you are friendly and polite towards them, remember – a receptionist can always ‘accidentally’ lose your contact sheet, and you never know how influential an innocent looking casting assistant may be. There are also numerous stories of actors unknowingly insulting the script to the writer or talking down a producer to his PA. Be nice and courteous to everyone – you never really know who’s in charge.

If you have just been given a script, spend as much time as possible reading through your lines and consider how you might deliver them in the audition. In some cases you may not have a script at all and be expected to do a cold reading or be auditioning for a character without lines. In those cases take time in the waiting room to draw upon your past experience and decide how best to improvise or perform your character, so you are ready when you are called in.

 

The Movie Audition – What To Expect

There will be an X in the middle of the floor- that’s your mark to stand on. Be confident (you made it to the audition because they were interested in you), close the door and get to your mark. Be friendly and greet everyone in the room – judge the situation accordingly. For a large group, a friendly nod and ‘hi’ to each of them should be fine. If the group is a little smaller, it may be more appropriate to shake hands, although do this with caution. With so many actors to see, many casting directors would prefer not to shake hands with everyone for practical reasons.

Next, comes your slate, which is extremely important to get right. Movie auditions are most likely to be taped and so when the casting director is running back through the auditions after a long day, your slate is the first thing they will see of you. Look directly down the camera lens and say your name, age if you are younger than 30, and possibly your agency in both a confident and calm manner.

Next, you will be expected to do a reading, which, for a movie audition is likely to come from the script. Don’t panic. If you’ve done your preparation, you should be fine. If you are reading with an assistant who is off camera, choose where to focus your eye-line – either into the camera lens or just off camera. Whichever you choose just make sure you are consistent.

Remember, the person reading your lines with you will probably not be an actor, and may, therefore, give you a limited amount of emotion and not much to work with. Try not to let this distract you, and give the best reading you can. If you have taken the time to make some bold assumptions about your character’s personality, make sure that comes through; even if it’s not the direction they want to take, they will be impressed at your attempt to develop the character and bring it to life.

Afterward, you might get some feedback and be directed to try the lines in a different way. This doesn’t necessarily mean you’ve read them wrong but is, in fact, more likely an attempt to see how well you take direction and whether you can be a collaborative team player. Follow the director’s advice and be enthusiastic about trying it differently.

Eventually, your movie audition will come to a close and the casting director will thank you for your time. Briefly, thank the room yourself and make your way out politely but briskly. Most auditions are only about 10 minutes long, and as soon as you leave, the next actor will be called in immediately to keep everything running on schedule. If you’re sure they have a copy of your C.V. and headshots, as well as a contact sheet with the correct details, you’re free to go! Be just as courteous on your way out and bid farewell to the receptionist or assistants and you’re done!

 

After the Audition

Your adrenaline is probably pumping and you’re more than likely feeling a bit wired. Go off and do something fun. Meet friends or go to a café you like – something that will take your mind off of the audition for a while. The casting director will review the auditions over the next few days and get in touch if they’re interested.

If you’re chosen you might be asked to a call-back session or come in for a screen test. And if you’re not lucky enough to be chosen, don’t worry, it may be for a reason completely out of your control. You might not be tall enough, or they may even have decided to change the character’s sex- there are all kinds of reasons that you might not be picked, and most of them aren’t related to your acting talent.

What’s important is that you don’t miss the chance to appraise your performance. After each audition, look at what went well and what didn’t, and work on it for next time. Even if you are successful this time: analysing and working on weak spots is the only way you can ever hope to improve on your performance in auditions.

 

Different Ways to Audition

It’s common for movie auditions to be conducted through self-taping. Often, it’s just not practical for actors to be asked to audition in the room, as the production may be happening half-way across the world. So, if you’re in London and auditioning for a movie in LA, you might be asked to self-tape. Aside from the benefit of auditioning for productions all over the world, self-taping gives you the chance to try out a few takes and send the best one in. Be careful though – this can make it extremely time-consuming if you don’t set yourself a strict time schedule. For tips on self-taping, check out my podcast ‘how to tape yourself doing an audition and not look like an idiot’.

You may also be asked to do a movie audition over Skype for the same reason. It’s a practical way to audition international performers and it diversifies the pool of actors to choose from. However, anyone who’s ever used Skype might be aware that connection issues can greatly affect the quality of a call. If you are given this option, always choose to self-tape your audition if you can, or at the very least, go somewhere with a reliable internet connection!

 

Great Training Makes a Great Audition

It’s true, you can’t teach talent, but you can teach those with talent how to make the best of their abilities. And with so many actors failing to sell themselves properly in movie auditions and slowing their career growth, perfecting a great movie audition technique is key to success in this industry. If you’re serious about acting, and want to find a course that will really put you head and shoulders above the competition, consider our world-class Ultimate Acting Programme.

 

Method acting is all about performing a role with depth and total believability. When you begin using The Method, it won’t be long before you start to understand what it really means to ‘become’ the character you’re playing.

There are a few things that can stand in the way of an actor reaching their full potential. These are all issues that can, however, be overcome with the right training. One element that is central to this is relaxation techniques for method actors. These can be self-taught and practiced at home as often as necessary. Knowing how to implement different relaxation techniques can be particularly helpful for method actors in combatting their nerves – one of the most common acting weaknesses.

Nerves come in many different forms and can affect performers in a number of ways. The first thing that springs to mind for most people when they think of ‘acting nerves’ is stage fright; the sort that causes you to stumble over your lines in the audition room or get the shakes on opening night. This is a very real and common issue for many actors, but don’t make the mistake of thinking that if you’re not struck by fear before a performance, nerves and stress aren’t affecting your acting in other ways.

 

Relaxation Techniques For Method Actors

Lee Strasberg, the legendary acting coach who is often referred to as ‘the father of method acting’, described tension as the “occupational disease of the actor” and one of the main factors for holding a performance back. He believed that relaxation is essential for any performance and even developed his own relaxation techniques for method actors to help them open up and put their mind into a neutral state. He found that this helped them to get into the mindset of an entirely different person.
Method actors in all stages of their career, from beginners to Oscar-winning icons like Jack Nicholson, practice relaxation when getting into character. Of course, everyone is different, so certain techniques work better on some than others. Here are five of the most common ways to unwind – try them out and see which one works best for you.

 

Lee Strasberg’s Classic Technique

Where better to start than with the founder of method acting himself, Lee Strasberg? This is the most widely practiced relaxation technique for method actors in all stages of their careers. Acting icons like Robert De Niro and Meryl Streep are fans of this technique which has been a firm favourite with many actors for decades.
Begin by finding a comfortable chair and taking a seat. Sit with you arms and legs hanging loosely down the sides of your body. Move your foot in a circle, and then shake it off until there is absolutely no tension left in your muscles. Repeat this in the opposite leg and then in each arm. Once your limbs are as limp as can be, release the muscles in your face and neck until your jaw goes slack. Finally, let out a humming or grunting noise from deep inside your throat.

Do this exercise for around 20 minutes and you’ll find your mind and body are in a state of total relaxation. Strasberg developed this technique to help actors identify and loosen up muscles they didn’t even know they had.

 

Diaphragmatic Breathing

Anyone who has ever had to overcome any sort of anxiety will have been told to ‘just breathe’. This might sound ridiculously simple but you’d be amazed at how much of a difference deliberate and controlled breathing can make to your state of mind. Breath is one of the first things to be disrupted when a person becomes stressed or tense.

Diaphragmatic breathing is an easy way to regain control over your nervous system. Just like the Lee Strasberg technique, diaphragmatic breathing begins by sitting down comfortably in a chair. Let your arms hang by your sides and close your eyes. Then start breathing extremely deeply, moving your diaphragm with each inhale and exhale. When you breathe in, concentrate on the oxygen travelling all the way into your lungs and then slowly and smoothly, expel the air.

When you get used to the steady rhythm of this diaphragmatic breathing, you’ll be able to focus on your body and find which muscles are tight. Whatever you do, don’t forget the muscles in your face and neck, as this is where most tension is carried. Don’t wait until you’re feeling tense to try out this exercise, train yourself to do it several times a week until it becomes a habit. This way, you will feel the relaxing benefits on a long-term basis and ‘neutralising’ yourself in preparation for a role will become easier than ever.

 

Mind-Body Opening

Mind-body opening uses small and simple movements to reprogram your body into flowing up and out rather than down and inwards. This subtle change releases the tension in your body and mind, helping you to feel more positive and ready to perform.

In his 2014 book, Physical Expression on Stage and Screen, Bill Connington describes a mind-body opening technique. Start by standing up straight with your feet apart. As you slowly breathe in and out, concentrate on ‘thinking up and open’ through your torso, chest, and shoulders. Gently raise your arms, letting them float freely at your sides, focusing the entire time on opening up and out. As you do this, make sure that none of your muscles are tensed. Become as relaxed as possible and continue the exercise for as long as it takes you to feel refreshed and relaxed.

 

Yoga Sun Salutation

The Sun Salutation is one of the most popular yoga poses. It is also a common relaxation technique used by many method actors. But don’t worry; you don’t have to be an expert yogi to pull it off. Everything about this move is connected to breathing, which is why many performers practice it regularly to clear their mind of any stress.
Begin by standing up straight and breathing in through your nose and out through your mouth. Reach your arms upwards and slowly bend forward as you exhale. When you are leaning forwards with arms outstretched, stretch your right leg back until you are in a lunging position. As you hold this pose, stretch your arms downwards until your hands and feet are on the floor. Then, just as slowly as you did to start with, rise up again to a standing position with your arms above your head before gradually lowering them back down to your sides. This gentle exercise can be repeated as many times as you like.

 

Meditation

It’s well known all around the world that meditating is one of the best ways to relax. A brief meditation can be a great way to unwind either before or after a performance. Just like the Sun Salutation yoga pose, meditation might sound a bit off-putting at first, but you don’t have to be an expert or guru to be able to use it as a great relaxation technique. All you have to do is sit comfortably in a chair or on the floor with your legs crossed, close your eyes and breathe. During meditation, you should focus on the inward and outward motion of your breathing. The best way to do this is to picture something that moves in a similar style such as waves on the shore or a swing moving back and forth.

Many actors use mantras while meditating to help their brains relax. A mantra can be just about anything you want it to be. You can choose a personal affirmation to help boost your confidence, such as the classic ‘OM’ sound that is most closely associated with meditation. You could also try counting. Whatever you choose, chant it in a rhythmic way to help time your breathing and keep your mind focused. Meditation can also be a great way of getting into the mind of your character and envisioning the world through their eyes. The Inner Health Studio has some great tips on meditation specifically for actors.

Learn More

Do you feel like nerves are holding back your ability to really let loose in auditions or performances? Maybe you have another weakness that you need to shake off? When you enroll on any of our courses you will learn everything you need to know not only improve your acting ability but crucially how to succeed within the business side of the acting industry.

At both the three-day Method Acting Boot Camp and the year-long Ultimate Acting Programme we cover a range of relaxation techniques for method actors. To find out more about what our courses have to offer you and how we can help you kick-start your acting career, get in touch today.

 

It’s one of the most important qualities you should have as an actor. No, not talent or a busy acting CV. It’s the ability to listen, and take direction. All the talent in the world cannot save you once you’ve built up a reputation for being difficult on set and argumentative with directors. So as someone new to the industry, it’s important that you start your career on the right foot, which means, learning to take direction, and how to make yourself the sort of person a director wants to work with.

 

Learning To Take Direction In The Audition Room

The audition room is your first chance to show just what kind of an actor you are. Having prepared your lines and decided on your character portrayal, you will be fully prepared to demonstrate your skills and ability to perform the role. However, at the end of your reading, the casting director will probably ask you to do something differently. Whether it’s a different style of reading or movement, they will request that you try it again a slightly different way.

Your first response may be to panic, but don’t worry, they aren’t asking you to read again because you’ve made a mistake or you aren’t right, (that feedback would be to show you the door). And their note may even sound like a bad idea, totally at odds with the way you perceive the character and how they would act. Don’t let it throw you off, it is all in fact, a way of ascertaining if learning to take direction is something you can do, and how professionally you can deal with it.

Listen carefully to what they have to say, and take some time to think about it if you need to. Make sure you understand fully, and if you don’t, gently enquire as to their meaning. Thank them for the note and then apply it to your performance. Once you’ve finished the reading they may ask you to go, or ask you to try it again, but they are unlikely to tell you how well you’ve done so don’t expect it. Be grateful, graceful and leave the room confidently.

Behaving in a calm and cooperative manner is the only way to succeed in an audition, since casting directors are looking for actors who understand the importance of learning to take direction and are able to apply it to a performance. A production is a collaboration between industry professionals- you need to show how great of a team-player you would be, and how well you would listen to the boss: the director.

 

Learning To Take Direction In Rehearsals

As I discussed in my podcast ‘How to Take Direction from a Director’, you as actors are there for one reason: to fulfil the brief and create the director’s vision. It can be easy to forget, since it may seem like you are at the centre of the production, but everything that happens on stage or set is down to the director, and they are the person in charge.

As part of being in control of everything and everyone, the director is usually kept pretty busy, dealing with everything related to the project, from set design to performance. As a result, a director needs their actors to be professional and easy to work with. This means, if they give you a note, you need to accept it and change your performance without argument. You may have viewed the character differently, and the note may seem like a terrible idea to you, but arguing will only cause more stress to the director, and potential harm to your career. The director is the one with the bigger picture in mind- you must trust in their vision and work with their direction.

When it comes to notes, the director will often do a ‘notes session’ at the end of the rehearsal day. This is a quick way for the director to summarise their thoughts and voice any concerns to the cast as a whole. However it is important to remember that you DO NOT want to be included in this list of notes. Being left out doesn’t mean you’ve been forgotten, it means you’re doing a good job! It also means you shouldn’t pester the director for feedback or advice. Keep doing what you’re doing- they will tell you if there’s a problem.

Often one of the most irritating problems the director has to deal with is the one or two actors who are intent on arguing and bringing down the energy of a production. They disagree with notes, pick holes in the story and criticise the director to their cast mates. They don’t take direction well and cause trouble in rehearsals. This behaviour is not only unprofessional, but it has the power to really damage a project. These actors are the ones that don’t get rehired, and often wonder why. If you want to survive in the industry, you need to bring positivity into every project you collaborate on. It will make people want to work with you time and time again.

 

Learning To Take Direction When Meeting Managers Or Agents

A manager or agent, particularly one that is seriously considering representing you, will probably give you some critique when you meet them. This is not because they want to put you down, but because they have experience in the industry, and therefore have a pretty good idea of how you can improve as an actor. Much like the importance of learning to take and work with direction in an audition or rehearsal room, dealing well with criticism as an actor is an incredibly important and useful skill to have. You should:

1. Listen to the Criticism: Don’t argue or justify yourself, just take it in and stay quiet
2. Evaluate what they’ve said: Ask yourself, is it true? Perhaps ask a friend what they think
3. Accept and learn from it: If it does ring true, be grateful that you are aware of it and understand you need to work on it
4. Make changes: Act on what has been said. Whatever it is, headshots or a reason you won’t be suitable for representation, work on it knowing you will become a better and more successful actor as a result

 

Don’t Forget: Everybody Talks

Directors, casting directors, agents and managers talk to each other, some might even be friends. If you fall foul of one you can bet you won’t be hired or represented by the other. Everyone in the industry talks and many do their best to help out productions by recommending or condemning actors to their colleagues and friends. And since the very nature of the performance industry means getting to know a lot of different people over a relatively short space of time, news about a particularly difficult actor travels fast.

For this reason it is vitally important that, as someone new to the business, you do all you can to forge yourself a sterling reputation. Critical to this is your ability to listen well and learning take direction without question or difficulty. That’s not to say that it’s always inappropriate to voice your opinion about something, in a workshop, for example, where you are collaborating on a project and developing it, you would be expected to give your view. But generally, in audition or formal rehearsal, the director expects to have the last word.

 

Great Performers start with Great Education

Entering the acting profession is tough, with so much to learn and so much etiquette to follow. When casting the first thing a casting director will look at is where you trained, and then look to see if they know any of the directors you’ve worked with in the past. My Ultimate Acting Programme with it’s directed Showcase at the end is the perfect start for anyone’s career. We are a trusted name in the industry, and one constantly approached for information on actors we’ve worked with in the past.

 

If you’re just starting out in your acting career, or returning to acting after a break, you probably don’t have an agent yet. And while it is generally true that having an agent is key to finding good auditions, there are still plenty of ways of finding auditions without an agent and creating opportunities on your own that are equally as promising. Being without representation for a while does not mean you will have to simply accept that great auditions will be difficult to come by. However, it will require you to get creative and work hard at being your own agent for a while!

 

Key Steps To Finding An Audition Without An Agent

Join Equity

A crucial first step in your acting journey, whether you have an agent or not, is to join Equity, the UK trade union for performers. As well as giving you access to legal, tax and welfare advice, being a member of Equity allows you to access their Job Information Service, where paid work and audition opportunities are posted regularly. In addition, some of the other benefits you can look forward to include reserving your professional name and receiving enhanced protection over your pay rate. To be eligible you need to have had previous paid work in the entertainment industry, however, graduates who have completed recognised courses are able to join immediately.

 

Find Genuine Casting Notices

From websites advertising open casting calls to subscription-based services displaying listings, there are hundreds, perhaps even thousands of websites and publications which claim to give members the opportunity to find auditions without an agent. Of course, not all casting websites were created equal, and some are far better than others. The best ones to sign up to include:

• Spotlight (Membership £150 a year)
• Backstage (Membership £100 a year)
• Casting Call Pro (Free registration)
• Mandy.com (Free registration)
• The Stage (Free registration)

Sticking to the more established casting websites will give you a greater chance of finding promising auditions without an agent, as well as reducing your chances of coming across a fake or misleading listing. Some specialise in different types of casting calls, like Mandy.com which tend to feature more independent film listings. Make time to go through the various jobs available to view first before signing up -this will help ensure you find the kind of work you’re looking for.

 

Make Your Own Work

If you want to turn the heads of casting directors and have more success in finding auditions without an agent, one of the best ways to get noticed is to create your own works. Get together with a group of other aspiring actors and writers and create something yourselves; a play, short film or web series. Not only will it keep your acting skills sharp, but if what you’ve created is good enough to get some attention, it will give all of you a much-needed career boost too. Yes, it may be a bit La La Land, but it really does happen sometimes. I mean it worked for Mia, right? Casting directors like to hire talented actors who can take initiative and work well collaboratively.

 

Network Like a Pro

As you build up your career as an actor, you’ll come across more and more people in the industry, whether it’s through previous jobs or acting classes. Just like in any other industry, the contacts that you make can be your ticket to the next best thing. Don’t hesitate to make the most of these contacts by keeping in touch with them, finding out about upcoming projects or auditions and showing an interest in their work and their own projects. Attending industry events is also a great way to meet important people and add to your collection of contacts, as well as being active on social media and connecting with others in the industry. Stage 32 is a social networking site for film, tv and theatre creatives, and one of a number of industry specific social networks that can really help you streamline your social media use for the benefit of your career.

 

Recommend Your Friends

It may seem counterintuitive, but promoting your friends to those with suitable projects may turn out to be a very smart move. There are two main reasons for this: firstly, if your friend gets cast through your efforts, they will only be too happy to put you forward for projects in return. Secondly, if your friend joins a project that becomes successful, they are likely to build on their network and offer the both of you, even more, chances to meet important people and find promising work. So as strange as it sounds, putting another’s career over your own might really pay off one day.

 

Blog It

Searching for auditions and being out of work doesn’t mean your acting skills must lay in wait for the next job to come along. If you’ve trained or worked in acting, you can write about it, on a personal blog, or guest blog if you have a particular talent for writing. It will serve as a platform to promote yourself and your skills as a working actor, as well as helping you to meet others in the business. Write about an acting technique you love or a funny story on set. As well as keeping up your own motivation and belief in your career, it may also get you noticed, and help you on your way to finding auditions without an agent, since your readers are likely to be in the industry too.

 

Enhance Your Skills

If things are slow and auditions are few and far between, it’s worth considering the Ultimate Acting Programme. It will give you the chance to build new skills, meet new people and grow your network. As well as receiving world-class training in method acting (including training for auditions), students participate in a Graduation Showcase, where both agents and casting directors alike are in attendance. This gives those new to the industry the chance to make connections with big and influential industry players, while also being able to showcase their talents in front of an expert audience. Many of my previous students have in fact secured an agent through the showcase, giving them a much greater chance of finding auditions and getting cast.

 

Click here for more details on the Ultimate Acting Programme >

 

 

Click here for more details on the Ultimate Acting Programme >

 

 

Click here for more details on the Ultimate Acting Programme >