Creating a great performance as an actor involves much more than simply reading a script and doing the first thing that comes into your head. To produce a deep and engaging performance, you need to know how to study a script, pull it apart and work out everything that is going on beneath the surface.
This ability to analyse scripts and use this to inform your performances is one of the most fundamental skills that professional actors need. It is not something you should expect to be able to do intuitively, however. Learning to effectively study scenes should be a key part of your acting training.
Getting to grips with the fundamentals of scene study will give you a head start when you need to begin using this skill in the real world.
Why scene study matters
If you were to just read a scene once and offer the most obvious interpretation of the piece, you might produce something which is okay, but it will be shallow and unlikely to surprise anyone. Your goal as an actor ought to be to create a performance which has depth and offers the unexpected.
Not only will this result in a more interesting and engaging performance, but by being able to go beyond the surface level and present a novel interpretation of a scene you are proving your value as an actor. When you succeed in bringing something new to a part that people haven’t seen before, you are demonstrating that you are an acting force to be reckoned with. You are also giving people a reason to want to work with you again in the future.
Studying a scene allows you to break it down into its component elements, working out all the different things that are going on. You can then find ways to reflect all of these different elements in your performance, creating a complex, three-dimensional version of your character. Done correctly, scene study will allow you to develop a rich and believable internal life for your character, making them into a living, breathing person, rather than just a mechanical reading of words on a page.
How to dissect a scene
Effective scene study relies on asking key questions of the script. By identifying certain fundamental aspects of the text, you can work out what is going on beneath the surface and then decide how this affects your character and how to play this.
The key things to determine are:
Themes – What are the underlying themes of the script? What is it trying to achieve? What message is it trying to convey? How does your character fit into and reflect the overall themes? What elements of their personality do you need to highlight to reinforce those themes?
Circumstances – Where is the scene taking place? What time period? What time of day? Is your character familiar with the place, or is it new to them? What temperature is the room? Has your character just arrived or have they been there for a long time? Does your character feel comfortable in this environment, or do they have reason to be uneasy?
Motivation – Why is your character in the scene? What is their goal? Why are they trying to achieve that goal? How does their short-term goal in this scene fit into their broader goals throughout the story? What has happened in their life that makes this goal so important? What is the best possible outcome for your character in this situation? And the worst? Are they motivated more by hoping for the best or fearing for the worst?
Relationships – How does your character feel about the other characters in the scene? What about other key characters not included in this scene? Why do they feel that way about them? What do they like about the other characters? What do they dislike about them? How long have they known each other? What question would your character love to ask the other characters, but are afraid to?
Ask yourself as many of these types of questions as you can think of and write down the answers. They will all alter the way your character behaves to a lesser or greater extent. Working out how much of an influence each should have will give you lots of different ways to play your character.
Ultimately, you goal in asking these kinds of questions is to work out which emotions your character is feeling and deciding which of your own experiences to use to inform your performance. To create a deep, layered performance, you need to get across the idea that your character is feeling several different things at once and the only way to do this is by careful examination of, and experimentation with, those options.
Trying out different approaches
When studying a scene you should not expect to hit on the “right” way to play it straight away. Instead your goal should be to work out various different ways to act out your role in the scene and try them out during rehearsals. That way you (and the director) can see the different options, work out which are most effective and appropriate for this interpretation of the script and hone your performance accordingly.
A good way to approach this is to try playing the scene out first while just focusing on one of the elements you have established from your scene study. By working through all the different ideas you have established, then starting to synthesise the successful ones together, you will create a layered, interesting performance that feels real.
It is important to rely on the guidance of your director while going through this process and also be mindful of what your fellow actors are doing with their roles to make sure your choices fit with their performances.
Using method acting techniques
Method acting contains a number of really useful techniques which can help you build a strong performance based on the ideas you have identified through your scene study. By using these techniques, you can find different ways of playing with the ideas you have generated for your character, offering even more options.
Affective memory – By identifying the emotions our characters are feeling in a given moment, we can then summon up the same emotions in ourselves by recalling experiences in our own life that generated similar feelings. This allows method actors to produce real emotions during their performances, rather than having to fake it. Trying out different memories can add different nuances to our performances, helping us to narrow down the best possible version.
Animal exercises – You should not overlook the need to create a distinctive physicality for your character. The key elements of a scene will affect how you character holds themselves and moves in the scene. One way to develop a consistent and unique physical presence is to base your performance on an animal. Think about the fundamental characteristics you need to portray and then identify an animal that embodies those characteristics. Try to incorporate elements of the way that animal moves into your performance and you will end up with a more rounded, believable physicality that is grounded in your scene work.
Speaking out – When experimenting with your character you should not expect everything you try to work out straight away. When you encounter a problem during rehearsals it is often best to break character for a moment, articulate the problem, then carry on with the scene. This allows you, the director and you co-stars to consider why you are having an issue and suggest ways to overcome it. This may require you to go back and do more scene study as problems often arise from an incomplete understanding of your place in a scene.
Moment-to-moment – When you have a deep understanding of a scene and your role in it, you do not need to rely on having every second of your performance mapped out beat by beat. Instead, if you have done your scene study properly, you should be able to inhabit the scene moment-to-moment as if it were completely real. This means your performance will change subtly from night to night or take to take, keeping it fresh and alive and giving you the freedom and confidence to react in character to any unexpected occurrences.
How scene study can help you grow as an actor
The great thing about scene study is that it not only helps you put together a great performance for your current role, it also helps you to keep developing your craft as an actor. By constantly thinking out the mechanics of scripts and how you can best interpret these, you are continuously pushing your understanding of your art.
At the same time, trying out all the different possible interpretations of your character in each scene will force you to exercise your “acting muscles” in new and exciting ways. As you see what works and what doesn’t, you will also be developing your acting instincts, meaning you will be able to find the “right” way through a scene faster and more easily in the future. This should also give you the confidence to progress on to more challenging roles because you will know that you have a clear, tried and tested process for developing your performances.
Learn all the skills to build a successful acting career
If your dream is to become a professional actor, you need to know that there are two key parts to the profession. First, you have to learn the acting skills to make you stand out from the competition. Second, and just as important, you need to learn how the business works so you know how to get your acting skills out there and actually find paid work.
At the Brian Timoney Actors’ Studio we give our students both world-class method acting tuition (including key skills like scene study) as well as a thorough grounding in the business side of the industry. That way every student leaves us with the best possible chances of going out and finding paid acting work 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! Why not read about some of our previous student’s success stories?
To find out more or to enquire about our 3-Day Introduction to Method Acting Bootcamp, please get in touch.
How do you define success as a professional actor? Many people will immediately picture the favourite Hollywood or West End star, but that is a very narrow idea of “making it” as an actor.
In reality, any actor who can make a living from their acting consistently year after year is a success. Most people who want to be actors never achieve this and the reason is simple: although they may know how to act, many have no idea how to manage their careers.
Traditional drama schools bear a large degree of responsibility for this. They often put little emphasis on teaching aspiring actors about the business side of the industry. Without this knowledge many actors graduate from their acting course and then realise they have no clue how to go out and start finding work.
Actors have to approach their careers as a business. Their commodity is themselves and they have to know how to sell themselves to directors, agents and casting directors. Being able to do that effectively means an actor can ensure themselves a steady stream of paid work leading to a sustainable career. Knowing how to do this is the difference between acting winners and losers.
Finding the right opportunities
Ideally most actors serious about making a career for themselves will want to find an agent to represent them. Your agent will be able to find you auditions and talk you up to increase your chances of actually landing roles.
However, if you haven’t landed an agent yet or don’t want to leave everything up to them, you also need to be finding your own opportunities. To do this, you need to know the kind of roles you are looking for and where they are likely to be advertised. There are numerous casting websites you can sign up for but it’s also important to network within the industry to increase your chances of hearing about new opportunities by word-of-mouth.
Knowing your type can make your life much easier as it means you can pursue the kind of roles you are most likely to get. This can make your job searches much more efficient by reducing the amount of time you waste on roles you have little chance of landing.
Successfully promoting yourself
Finding out about auditions is one thing, but actually getting invited to them is a whole separate challenge. The first thing you need to do is produce a promotional package to show casting directors what you have to offer. This is also what you will be sending to agents if you haven’t yet secured yourself representation.
Your promotional package should include a properly formatted actor’s CV, a set of professional-quality head shots and, ideally, a professional-quality acting showreel. You will need both physical and digital copies of these, with email increasingly the preferred means of contact for most casting directors and agents. When approaching a new contact, however, it is a good idea to do some research, such as calling their office, to find out exactly how they like to be approached.
It is also increasingly expected for aspiring actors to be promoting themselves online. At the very least you should aim to have an online copy of your promotional package in the form of a website. Social media is also playing an ever more important role, so make sure you familiarise yourself with how actors promote themselves on social media and do everything you can to get your name out there online.
Attitude is everything
Acting is a tough business and it often takes years to get to the point where your career reaches any degree of stability. To get there you need massive amounts of patience and persistence. As often as not, the actors who succeed are simply the ones who keep going.
Far too many people go to a handful of auditions they fail to get, then decide they are wasting their time and quit. Winners don’t quit, they keep going, attending audition after audition after audition until they finally get cast. Then they start over and do it all again.
For most of us, at least 80% of our time is spent looking for auditions and going to them and only a relatively small part of our time is spent actually acting. If you can’t deal with that, this really isn’t the profession for you.
Be someone people want to work with
Having the right attitude isn’t just about perseverance however, it’s also about the impression you make on the people you work with. To build a successful acting career, you not only need talent, you also need to be reliable and pleasant to work with.
Nobody wants to work with a diva, so make sure you are always on time, polite and you listen to what your agent, directors and other industry players tell you. Be nice to your co-stars and to everyone else on stage or set, from the make-up person to whoever makes the tea. Remember, people talk and just because someone is a lowly assistant today, doesn’t mean they won’t be an important industry player one day who remembers how you treated them.
If you can manage this, you make hiring you again an easy choice helping you to develop useful contacts for future work. One thing you should absolutely never overlook is how important it is to make a good first impression.
Making your own luck
Successful actors and actresses often talk about having been “lucky” to get where they are. While it’s true that you need a certain amount of luck to make it in this business, this is something you can actually control to a certain extent.
When actors talk about being lucky, what they most often mean is things like meeting the right person at the right moment who was able to offer them an opportunity. While you can’t guarantee these kinds of meetings, you can make them much more likely.
By attending industry events, such as launch nights and after show parties you are increasing your chances of meeting industry gatekeepers who can give you a break. Socialising with other actors can also lead to all sorts of other opportunities, so it’s always a good idea to say “yes” to that post-show drink.
Getting the most out of opportunities
You also need to know who the relevant industry players are, so if you run into them you won’t miss your chance. Make sure to do your research and if there are any agents or directors you are particularly interested in, make sure you know what they look like and what they are currently working on.
Finally, when these opportunities do crop up, be prepared to take advantage of them. You probably won’t be carrying a copy of your actor’s CV and head shots around at all times, but you can carry cards with the address of your website and social media handles. This means you can easily point anyone in the direction of your credentials making it much easier for them to consider you for any upcoming roles.
Learn how to be an acting winner
While there are no guarantees in this business, you can learn the skills that separate acting winners and losers. Once you have the skills, the only thing stopping you from achieving success is you.
The Brian Timoney Actors’ Studio’s 1-Year Ultimate Acting Programme offers a world-leading introduction to the method acting techniques used by the most elite actors. However, it also teaches you the business skills needed to market yourself and build a successful career. Without this knowledge, all the acting talent in the world can’t make you into a successful professional actor.
If you want to be an acting winner and avoid a lifetime of regrets about your acting career, please get in touch.
Developing a character
So you’ve got the script and a short description of your character to accompany it. You may even have had the chance to speak to the writer and director of the production. You feel like you really understand what they want from the character, and you’ve received all the necessary information from them to help you start working towards that. Now it’s up to you to fulfil their expectations.
Developing a character from a method actor’s point of view is an important and lengthy process, but ultimately one that yields tremendous results. As an actor, your performance will be the presentation to the public of the culmination of everybody’s work around you. No one will see the crew, director, writer or producer and what they brought to the piece as plainly: it is down to the actor(s) to represent the work of the group, and give a performance as true and authentic to the character and production as you can muster.
Getting to know your character
When it comes to creating an authentic portrayal of a character, information is key. Before anything else, you need to gather as much detail as possible about them – regardless of whether they are fictional or based on a real person. Saturation is a simple, but effective method acting technique, which involves saturating yourself with as much information about the character as you have and more. This will allow your unconscious mind to fill in some of the blanks, allowing you to totally immerse yourself in the role and almost ‘become’ your character. It is a technique that Eddie Redmayne famously employed in his Oscar-winning portrayal of Stephen Hawking in The Theory of Everything.
To achieve this, first, you need to collect photos or paintings of your character or some that you may think your character may look like, if they are from fiction or unavailable. Then you need to collect information about their history, the area they live, the clothes they’d wear, things they’d own, etc. When you have as much information about their physical attributes, history, belongings and location, you can begin to enter their mind.
Knowing what you now know about the character, imagine the kind of music they would like, the perfume they would wear, or the books they might enjoy. Then try to live a day as them. Wear their clothes, style your hair in a similar way, visit places they’d go, do things they would do, experience a day at their place of work, if possible. As you do this your unconscious mind will start to fill in the gaps in your character naturally, and you will gain a deeper understanding of them as a result. When it comes the time to perform, it will feel as close to natural as it can to act as this character.
Commitment is key
In the world of method acting, committing to a role is so important, it’s almost assumed. And if you aren’t willing to go over and above what anyone would expect in the pursuit of great character building, then you may as well look for a different acting technique to use. For those remaining, you join the ranks of greats such as Daniel Day-Lewis, Robert De Niro, and the late, great Gene Wilder.
Committing to the role means developing your character and really getting to know them inside out, so when it is time to perform, it will come to you naturally, and shine through on the stage or screen. So what does it mean to ‘commit’?
As Robert De Niro was rumoured to say: “when you wake up, make coffee the way your character would”. In other words, as well as living and experiencing everyday life as your character, you need to work on knowing their personal preferences and mastering their skills and hobbies. So if your character plays the piano – you need to learn how to play the piano or get as close as possible, as De Niro did, obsessively learning how to play the saxophone for his performance in Scorsese’s New York, New York.
Likewise, if your character has an accent different to yours- practice it and use it in your everyday life! Practicing it in the privacy of your own home may be less embarrassing, but it will never come naturally to you if you don’t get out there and use it as if it were your own. Staying in character to order your food at a restaurant, for example, will force you to continue the act, otherwise, you’ll seem pretty strange changing accents half way through. It will surprise you how much you will learn, just by behaving as your character would, truly occupying their skin. Only by fully committing to the role will you fully reap the benefits of this technique.
The Method is the only one you’ll ever need
Once you’ve mastered the Method Acting approach to character development, you will never take on a new role without it: it is an established and proven way to give performances greater than anyone could imagine. From the heartbreaking performance of Adrian Brody in The Pianist to the award-winning roles inhabited by Daniel Day-Lewis – none of them would have been possible without method acting, and it is one of the most established ‘methods’ out there.
If you’re interested in learning more about Method Acting, and if you want to learn all of its valuable secrets, why not consider one of my professional acting courses. I offer a 3 Day Boot Camp to introduce you to The Method, or a 1 year Ultimate Acting Programme, plus a career launch upon its completion.
For any actor, auditions are a nerve-racking experience. No matter how experienced or naturally talented you are, the thought of putting on a performance in front of a group of strangers who you know are judging your every mannerism, and will soon be deciding the fate of your career can be a stressful one.
As if that wasn’t enough, acting auditions usually take place in an intimate, fast-paced setting which allows you very little room to get to know your character and put yourself in their shoes. For any dedicated follower of method acting techniques, this might make the thought of attending an acting audition seem almost impossible. However, there is one method acting trick which, when learned and used correctly, can help you to give a convincing and truly memorable performance in an audition even with little to no preparation. That trick is personalisation.
What is personalisation?
This method acting technique is employed by all of the highest calibre actors to give convincing performances with little to no preparation, in other words; an audition. Method actors, who are constantly reminded of the importance of inspiration and research, may be concerned that it will be difficult to display their skills without the time to get underneath the skin of a character and undertake some in-depth investigation.
However, personalisation allows actors to add real emotions and genuine feeling to a performance at just a moment’s notice. Described in the most simple way, personalisation is when an actor remembers and relives emotions from their past and superimposes those feelings into the scene they are acting out. This is a skill which can be called upon suddenly, even in auditions in front of a group of people you have only just met and in circumstances where there has been little or no time to get into character.
It’s easy to see why personalisation is a core skill that many method actors possess. After all, what actor wouldn’t want the ability to instantly put on authentic acting performances simply by remembering situations and people from their past?
How personalisation works
Don’t worry if personalisation sounds too good to be true. With enough rehearsal and practice, you too will be able to give convincing audition pieces by bringing personal memories to the forefront of your mind.
We have all lived through emotional circumstances in our past, and these can be utilised in just about any audition scenario. In some instances, this may be relatively simple. For example, it is highly likely that you’ve lived through romance or heartbreak at least once in your past. So, if you get to an audition and are asked to perform a love interest story, you should be able to imagine the fellow actor in the scene is a loved one from your past. Alternatively, though, what if you arrive at the audition and are asked to play the part of a crazed killer? Hopefully, you don’t have any experiences to draw upon to help you relate to such a character! However, when you learn how to use personalisation, you learn to draw on memories such as those times when you’ve been truly angry or resentful. You can then apply those emotions to the role you are auditioning for, even if it is completely removed from your own life and experiences.
Once you’ve been trained in personalisation, you can rest assured that the idea of auditioning for a role with very little preparation will be a whole lot more manageable – although, of course, you will never be totally free of nerves – we all need a bit of adrenaline to get us through, right?
One of the main reasons that personalisation is such a key skill, is that imagination and memory are two integral parts of method acting. In order to really take a script and bring it to life with a believable, spontaneous and truly authentic portrayal of a fictional character, you will need to have the ability to combine your own personal emotional memory with imagination.
Why does it work so well in auditions?
You might be thinking that personalisation sounds great but wondering what is it about this technique that makes it a go-to technique for an acting audition. Although personalisation can be utilised for just about any situation, there are two things that really make personalisation a must for auditions.
The first thing to note about personalisation is that it can be totally internalised. This means that only you will know what scenario you are imagining or remembering when you are personalising a role. The people you are auditioning in front of will only be able to see the performance you are putting on and the effects of your personalisation. They will have no idea whatsoever of the internal process you are going through and what you are seeing in your ‘mind’s eye’ to give such a convincing performance. This allows you to evoke completely raw emotions from deep down inside without ever displaying your technique.
The second reason that personalisation is exceptionally well suited to auditioning, is that it can be drawn upon at a moment’s notice. When you land an audition and begin the rehearsal and filming or stage performance process, it is essential that you research and practice. This will allow you to get to know your character, develop some sort of a back story for them and really delve into their mindset. In an audition, however, you will be judged on your ability to spontaneously act out a short but memorable scene.
Make your acting auditions more natural
We’ve already looked at what personalisation is and what makes it so well suited to the acting audition process, but how can you utilise this method to make sure you give every audition your best shot and don’t come away feeling like you’ve let yourself down?
Method acting is all about ‘being’ rather than ‘acting’. The casting director, director or producer that you are performing your audition for will want to see raw, genuine emotion from you rather than melodrama.
For this reason, it is absolutely essential that you quickly establish which emotional memory you need to draw upon to represent your character in the most authentic way. As long as you put enough effort into learning personalisation techniques and remember to bring real, believable emotions to every audition rather than focusing on fake emotions and pre-planned movements, you are far more likely to give an audition that you are happy with – even if it doesn’t land you the role.
Learn personalisation
Personalisation is an internal process that you can learn with the right amount of help and training. At The Brian Timoney Actors’ Studio, we specialise in teaching method acting techniques that can show you how to properly utilise personalisation and other important techniques to help you ace your next audition.
Depending on your schedule and personal availability, our courses include a one-weekend Introduction to Method Acting Boot Camp or a year long Ultimate Acting Programme. You can find out more our courses, including listening to what past students have to say, on our dedicated Acting Courses webpage.
Staying positive can be challenging within any line of work, but within the acting industry, it can really mean the difference between making or breaking your career – especially when you’re going through a dry patch. Negative thoughts may be swirling around your head, telling you that you were never good enough, and have to pick another profession, pronto. Positivity in acting is essential if you’re going to survive.
The truth is, negative thinking affects everyone, and dwelling on things that get you down will do nothing for your mental health or your acting career. Yes, there may be bad auditions, and unfortunate performances that leave you red-faced, but there will also be great jobs and auditions where you know you’ve given your best. Working at beating down that inner negativity and replacing it with a positive outlook is one of the best things you can do for your well-being and future career prospects.
It happens to the best of us
Peter Mackenzie, once interviewed the veteran actor Jack Lemmon, star of Some Like It Hot and said that during the interview he said:
“not a day went by when he didn’t believe that there would be a knock on the door and there would be two guys from the ‘Acting Police.’
They would tell him to come with them because he was no good. And Jack said he would go because he knew they were right.” Lemmon won two Academy Awards in his 50-year career and was nominated eight times in total. He was without question a great actor, and yet he constantly carried around a deep-seated dread that he was never actually good enough.
Mackenzie also talks about working with Meryl Streep, who with 19 Academy Award nominations holds more than any other actor, and is generally agreed to be one of, if not, the greatest actress on the planet. Working with her on Nancy Meyers’ It’s Complicated, he played the therapist to her protagonist and recalled a particularly gruelling 13-hour shoot for one and a third pages of dialogue.
“On every take Meryl committed 100 percent, giving the same energy when it was over her shoulder for my close-ups. Eventually that took its toll. She turned to me and whispered, ‘Am I any good in this scene?’ The back of my head exploded.”
It just goes to show: whether you are an aspiring actor or a successful one, that negative part of your brain, criticising every move and revelling in your mistakes is shared by everyone. The real skill comes when you learn to turn that voice against itself and use it as a positive force.
What can actors do about negativity?
The acting industry is tough, so it’s hardly surprising that negative thoughts seem to come a lot easier than positive ones. Although you will have received positive feedback in some auditions, the likelihood is that the comments that stick most in your brain have come from incidences where you received negative feedback: validation, to you, of your worst fears.
Actor Bret Shuford writes that although our natural response is to work at pushing these negative thoughts away, most of the time this only makes them stronger.
“The best response you can have is to embrace them. Listen to the thoughts. What are they saying to you? These thoughts are trying to protect you because you are going into dangerous territory.”
In other words, negative thoughts are not there to make you feel down for no good reason, rather they are a natural response to you being in an area outside of your comfort zone. As far as your mind is concerned, it would be easier to just give up and walk away. After all, the easiest option always seems like the best option at the time. However, once you understand this, it becomes easier to silence these thoughts and turn them around to work for you instead of against you.
From Fears to Flowers
According to Bret Shuford, his three tried and tested methods for turning negative thoughts into beacons of positivity are as follows:
1. Be grateful. Since gratitude and fear are not coexisting emotions (according to scientists), when you begin to feel negative and fearful, focus on what you are grateful for. Maybe you already have a job or a great shot at a role, or have recently moved somewhere new. Whatever you currently have, focus on how grateful you are for them: a sure-fire way to reinforce your positivity.
2. Make Mantras. Listen to your negative thoughts: what are they actually saying? Do you hear some things over and over? Break down sentences, such as ‘I’m not good enough for the part, no one will like me’ and realise that it is only your brain trying to protect you and prevent you from allowing yourself to be vulnerable, as you would be in a performance. Reverse the sentence and make it your mantra- ‘I’m not good enough’ becomes ‘I am a talented and worthy actor, I am a valuable part of the production’, and so forth.
3. Meditate. Nothing is more proven to increase feelings of positivity and general well-being than meditation. Meditation allows you to focus on yourself and see the world around you in a different light. It can also help you let go of feelings of stress and feel calmer and more at peace with yourself. There are many meditation programmes available online to help you get started.
The Marriage of Positivity and Persistence
With your new and improved positive outlook, you’ll be able to achieve the second most important thing when it comes to acting: persistence. Just as in any industry, persistently putting in the effort to keep going and offer more than your competitors is one of the most effective ways to make sure you get steady work. Hollywood is rife with tales of long-suffering actors consistently going the extra mile to gain the attention of the people in charge who would eventually give them their big break. So it’s very much worth keeping this in mind during your darker moments.
The truth is success in acting is just as much about luck and persistence as it is about talent, and you need to have all three to make it big. That negative voice in your head may be gnawing at your confidence and motivation to keep going, and it is only by turning it into your greatest ally that will you become able to beat it down once and for all. Positivity and persistence will get you there eventually, you just have to believe not only in this philosophy, but also yourself.
Start with Great Training
Nothing will help you stay positive quite as well as having an excellent training course behind you. My exclusive One Year Ultimate Acting Programme offers everything you need and more to start your career as a professional actor. We specialise in teaching ‘the Method’, as well as the skills you will need to navigate the business side of the industry. If you want the chance to meet Hollywood casting directors and build useful connections to give yourself the shot at becoming a professional actor, check out the testimonies from my past students who have gone on to become successful working actors. Make it happen today. (And hurry! Auditions for next year will take place on the 28th September!)
When it comes to acting there are a few misconceptions about it held by those outside the industry. If asked they would most likely decide that typecasting must be a bad thing for an actor, sure to doom them to a career of playing the same characters over and over. For those who know the industry, that couldn’t be further from the truth.
As any aspiring actor will know, getting work can be a tough process, and there are always more actors than there are parts available. So if you are lucky enough to get an audition, or even a part, you should take it, even if it puts you in a role you would rather not play. Everyone has a ‘type’ which dictates the sort of characters they’d be most suited for, and if you want to get anywhere in this industry, you will have to learn to love yours.
What ‘type’ are you?
Before you even start looking for work, you need to understand the sort of characters you have a decent chance of being cast as, and one of the best ways to do this, is finding out for yourself the type of actor you are.
Just as we unconsciously stereotype people in everyday life, from what they look like to their behaviour, casting directors are experts at assessing you and your personality. Whether you like it or not, they will put you into a box of sorts, which helps them decide exactly where you’d fit in their production. Help yourself by working this out for them, and going for the roles they would see as most appropriate for you.
Discovering your ‘type’ is not as easy as just looking in the mirror and asking friends and family about the kind of roles they think you’d be good in. You need to find some objective strangers to enlighten you.
Go out and meet people to strike up a conversation with. Ask them what age they believe you are, and what job they think you have. Then, find someone else and ask them the same. Ask enough people and you are sure to notice a few trends in the feedback you’re collecting. This will allow you to understand how people see you, and the sort of assumptions they make on you based on your appearance and personality.
For many actors, what they are told may be different to what they are expecting to hear, since a lot of actors can be delusional about how they come across. Completing this exercise is the best way to get a true picture of your type, and allow you to begin to make use of it.
Enhancing it
Working out where you’re most likely to be cast is infinitely useful, but to increase your chance of clinching those type-specific roles, you should work on enhancing your type.
Say, for example, you are a leading bad-guy type – you could enhance this by dying your hair darker and giving yourself more dynamic facial hair. Likewise, if you are more suited to motherly roles, get a ‘mumsie’ haircut and make sure you go into the audition in appropriate clothing. Playing up your type could very well give you the edge you need to start getting cast.
Headshots come into this too. To get that audition, casting directors spend around 3-5 seconds looking at your photo, so it needs to both look like you and clearly demonstrate your type. Don’t choose the best looking one, but rather go for one that conveys something about you and your personality.
Work will come
Only by embracing your type and playing it up, will you be cast, and even then, you should not be worried about being typecast. To some degree, typecasting is inevitable and it can be seen even at the highest echelons of Hollywood society. Whether you like being the geeky best friend or the dumb muscular boyfriend or you hate it, work is work and building up your CV credits and getting your foot in the door is the most important thing.
Being a working actor is a huge achievement in itself, and while you might not be enjoying the roles you are currently playing, it will give you a chance to meet people in the industry who might be able to change that for you a little way down the road.
Eventually, if you continue to have success in your career, there will be a chance to ‘play against type’, like Charlize Theron did in Monster and with a little luck that will help propel your career forward when the time is right.
Not every actor needs to break away from type for success however. Take Clint Eastwood as an example. Eastwood has made his gritty hero type iconic, having played it to perfection for decades.
Typecasting can be key
There’s no avoiding it, you will be typecast, and you must be grateful for it. It is your foot in the door and embracing it is your best bet towards getting work and building the career you’ve always dreamed of. Every great actor has been put in a box at some point and had to find a way to get themselves out of it eventually.
Remember- to be typecast is to be considered appropriate for some sort of role, which is a whole lot better than nothing at all. Embrace your type and work it for all it can be, it may even lead you to Hollywood greatness one day.
Get a Head Start
Getting ahead in your acting career needn’t be tough if you start with a great course. 80% of Best Actor winners from the year 2000 make use of the Method, and here at the Brian Timoney Actors’ Studio, we offer leading training through the One Year Ultimate Acting Course. You too can join the ranks of greats like Meryl Streep and Robert De Niro by learning some of their most effective acting techniques.
Just like in any other line of work, acting requires professionals to do their homework and really get to know their craft. If you’re serious about becoming a professional actor, and following in the footsteps of the legendary performers who came before you, then you will need to know everything there is about the acting industry.
One key piece of knowledge that every trained actor should have is a thorough understanding of camera angles. You could be forgiven for thinking that this is something that applies more to behind the scenes staff such as directors and camera operators, however, when you get to know your camera angles, you will find this makes a huge difference to your acting ability.
Not only can an awareness of camera angles seriously compliment your on-screen performance, it can also convey your professionalism and dedication to your career. As soon as you walk on set, your colleagues both in front of and behind the camera will be impressed with your in-depth understanding of the filming process. So what type of camera angles are there and how can you become more familiar with them?
Extreme long shot
The extreme long shot is as far away as camera angles can get. In this instance, the actor takes up a very small section of the screen. Extreme long shots are usually filmed from the outside and can even be taken from as far away as half a mile. This is a scenic angle which is used to establish the location and setting of the film, rather than focus on the actor.
Long shot
Similar to the extreme long shot, long shots are taken from some distance away from the actor. A very common angle in film, the best way to describe the long shot is that it is as close to real life dimensions and perspective as cameras are able to capture. The long shot would typically show the entire body of the actor from head to toe. Somewhere between extreme long shots and close ups, people are in focus in this type of shot, but plenty of background can be seen too. Think of that iconic opening scene in The Sound of Music where Maria is singing and dancing alone with the stunning scenery of the Alps Mountains behind her. This is perhaps one of the most recognisable long shots in cinema history.
Close up
The close up is where an actor’s emotions really begin to show on screen. If you’re a film buff then you’re probably familiar with the character Norma Desmond’s iconic line; “alright, Mr DeMille, I’m ready for my close up” from the 1950 black comedy, Sunset Boulevard. This camera angle focuses on just one actor, with very little background in sight. We only look at the performer, usually from the shoulders up, with everything behind and around them appearing as a blur.
Extreme close up
As you might have guessed from the name, the extreme close up is a more zoomed in version of the close up. This is an exaggerated point of view, showing a more magnified version of the actor’s face than the human eye would naturally see. The extreme close up tends to focus on just one facial feature of the actor, such as the eyes or mouth. Famously used by Quentin Tarantino in many of his films, the extreme close up can create a very dramatic effect on screen. The way the camera focuses on just one feature means that intense emotions can be portrayed in an extremely intimate way. Tarantino isn’t the only director who is known for using extreme close ups in his work. Martin Scorcese’s 1976 thriller Taxi Driver famously opens with a dramatically intimate close up of Robert De Niro’s eyes.
Over the shoulder shot
An over the shoulder camera angle is usually used to depict the relationship between two characters on screen. This tends to be a medium distance shot where the camera is positioned behind one figure, with the back of their head and upper torso in view, as well as the face and front of the person opposite them. This is a common way for conversations to be filmed and really focuses on the front-facing actor rather than the person positioned in front of the camera.
Dolly zoom
You know that dramatic moment in a film when a character suddenly works out a huge twist in the tale, and the actor seems to zoom towards the camera while the background surges backwards? This is called the dolly zoom, named for the wheeled dolly cart that the camera is attached to during filming. This style of filming was first developed by Alfred Hitchcock and has been used to portray intensity on screen ever since. The example of the dolly zoom scene in Steven Spielberg’s Jaws when Chief of Police, Martin Brody sees a child being eaten by the shark from the beach has become so synonymous with this technique, that dolly zooms are often referred to as ‘the Jaws shot’.
High angle
In a high angle shot, the camera is positioned above the action, looking down. A crane is usually used to create this shot which gives the impression that the audience is looking down on the actor from above. The actor is the main focus in the frame and in many films, it is used to portray fear, submission or weakness in the character. The high angle shot is yet another example of a camera angle which was developed and perfected by Alfred Hitchcock. The legendary director often used this technique to portray a sense of foreboding and fear, it was particularly prevalent in scenes where birds descended down on people in the 1963 horror, Birds.
Low angle
In contrast to high angle shots, low angles, as the name suggests, are filmed from a low angle, where the camera has been positioned below the natural eye line. In the same way that high angle shots are used to make the character look inferior and insignificant, the low angle is a cinematic device used to create a sense of strength and power. This angle is popular in the superhero genre. Usually, when we are first introduced to the main superhero, we are introduced to them with a low angle shot from below.
Movement
It’s not just your angles that you need to be aware of when you’re in front of the camera. There are several different ways that the camera will move when filming you and this is also something that every actor should be well aware of. After all, the style of camera movement that the director opts for can be hugely important and completely change the pace and atmosphere of the film. Here are a few of the camera actions you can expect to come across during your on-screen acting career.
Pan
The classic pan is one of the most commonly used and recognisable shots in the history of film. This simple movement is a staple of the film industry and works by scanning the scene horizontally or vertically. By placing the camera on a tripod stand, the pan creates a natural movement similar to the ones we make with our eyes.
Handheld
Handheld camera angles are a great way to create an incredibly realistic shot. This type of angle is used in documentaries and news reel footage, so it translates on to film and television in a believable, fly on the wall style – and gives you a sense that you’re really a part of the action. When a shot is being filmed with a handheld, jerky camera, it is more important than ever that the emotions you portray in your performance are completely real. If you’ve ever been terrified while watching The Blair Witch Project then you know just how much handheld cameras can portray a sense of realism and building tension.
Get to know your angles
When it comes to acting, nothing is more import than getting plenty of practice and rehearsal in. It is well worth spending plenty of time in front of the mirror to really get to know your face and how your features look from different angles. You could also take some selfies on your Smartphone and record videos of yourself from as many different angles as possible. Another great bit of practice is try to master your smile, frown and other emotional expressions. Experiment with holding your chin in different positions and play around with your body language. The more you get to know your own features, the more adaptable you will be when being filmed from different camera angles.
This is just one of the many important features of acting that will be covered when you enrol for an intensive acting course at the Brian Timoney Actor’s Studio. If you want to find out more about the importance of camera angles and how exactly to utilise them to enhance your performance, as well as everything else you could need to know in your future acting career, sign up for our three day Introduction to Method Acting Boot Camp or the 12 month Ultimate Acting Programme. Get in touch for more details.
Method acting is not a single process, but rather a combination of different techniques which, when put together, create deep, engaging performances which feel entirely real. Knowing which of these method acting techniques to use at any given moment is one of the skills method actors have to learn and depends on both the circumstances and the needs of the actor and performance.
By looking at certain parts of the performance process and different types of actors, we can see the merits of the various method acting techniques and when they are appropriate to use.
Rehearsal
During the rehearsal process you are first working out how to play your role, so this is the point where you need to be focusing mainly on analysis, interpretation and experimentation. There are certain core method acting techniques which can significantly help you here.
Given circumstances – This is the process of analysing the script to understand the environment and situation your character will be in for each of your scenes. Getting a handle on this broader context helps to inform the way you perform, leading to deeper and richer performances. As such, this needs to be carried out as soon as possible during the rehearsal process.
Relaxation – For method actors it is important to get into “neutral” before they begin acting. This means letting go of your usual physical ticks, such as the way you hold yourself and move your hands when you speak and also clearing your mind of your personal emotional state at the start of each session. This makes you a “blank slate” onto which you can build a performance. This is just as important during rehearsals as at any other point in the performance process.
Objects – To create a convincing performance, actors have to believe in the environment they are inhabiting. One way method actors do this is to focus on the objects in the set, such as chairs, bowls of fruit – anything real – and build a belief in their relationship to that object. By buying into the environment on that small level, they then can ignore the less real parts of the environment – such as cameras or an audience. This process of buying into the environment has to start during rehearsals so it is second-nature by the time of the actual performance.
Affective memory – One of the most fundamental method acting techniques, this is the process of using real memories to stimulate real emotions for a performance. Method actors recall personal memories with a strong emotional association, then vividly recall those memories so they experience again the emotions they felt when the memory was formed. By starting to do this during rehearsals, actors can be confident they have the tools in place to produce real emotions on cue when performing for real.
Substitution – The memories used for affective memory do not have to be direct analogues of the scenes being acted out. This means if you need to be sad, you simply have to recall any sad memory, not just one that is very similar to the scene being acted out. Working out these substitutions should happen during rehearsals so you have everything in place before you start the real performance.
Sense memory – This is a way of making affective memory work. Sense memory focuses on remembering the senses associated with particularly powerful memories. That way you effectively hotwire your brain into replaying the required emotions without a lot of logical processing. So, for example, thinking about a song that was playing when you were really happy can instantly make you feel happy again. These sensory cues should be worked out during rehearsals so they are all in place before you go in front of the cameras or an audience so you can be guaranteed an effective performance when it counts.
Animal exercise – One way to create a convincing physical presence for a character is to base their movements on an animal. If you want a character to seem powerful and aggressive you might base your performance on a gorilla, as Marlon Brando did for his Oscar-winning performance in A Streetcar Named Desire. Do this during rehearsals and try out different animals and different interpretations of their movements until you find something that works.
Speaking out – This is a technique specially designed for rehearsals. It means breaking character during a run-through in order to directly explain an issue you are experiencing, such as not knowing how to say a certain line. You then return to the rehearsal and carry on as if nothing happened. This means issues are identified without breaking the flow of rehearsals too badly, saving time while still dealing with potential problems.
Private moment – If you are struggling with getting comfortable on stage or in front of cameras, the private exercise moment can help. This involves taking something you would normally do in private and doing it publicly instead. By forcing yourself to get used to doing private things in public, you should then suffer less anxiety during performance and appear entirely natural, as if you were not even conscious that you were being watched or recorded. As this is a tool to prepare you for performance, it is inherently part of the rehearsal process.
Performance
When it comes time to give your performance, you will usually no longer need to actively go through some of the exercises. You will have already worked out the given circumstances and so, although these will be in the back of your mind, you will not be running through the exercise during a performance. Likewise, you should have already worked out your substitutions, so unless a memory suddenly stops working for you, you shouldn’t need this exercise anymore. If you used an animal exercise to create a physicality for your character, it may be helpful to consciously remind yourself of this occasionally, but ideally the physical side of your performance should be second-nature and instinctive by this point. Finally, you will not be speaking out or carrying out a private moment exercise during a performance for obvious reasons – it would completely break the reality of the performance!
The techniques you will still likely use during performance are:
Relaxation – Being able to get into neutral is just as important, if not more important, for a performance as it is during rehearsals. Using method acting relaxation exercises before a performance means you are prepared to let go of “you” and become your character. It also means you can be more confident of delivering results when it counts, helping to boost your confidence and deal with nerves.
Objects – Having an audience watching or cameras rolling can make it even harder to believe in the environment you are inhabiting for your performance. Focusing on objects is therefore even more crucial during a performance than during rehearsals.
Affective memory – This is not just something you use during rehearsals to work out how to more accurately “fake” emotions during performances. Instead method actors use affective memory during every performance so the emotions they show are real every time. This is particularly helpful in theatre where you may end up performing the same part night after night for weeks, months or even years. Affective memory can help keep your performances fresh.
Sense memory – Although you should have worked out your sensory cues during rehearsals, you still need to use the sense memory technique to focus on those sensory cues and activate the required memories and emotions.
Moment-to-moment – This technique may be used to a certain extent during rehearsals, but is perhaps more relevant during performance. Moment-to-moment means believing in and inhabiting a scene so fully that if something unexpected happens, such as a co-star fluffing a line or improvising something, you do not react in character. This is because you are experiencing the performance “moment-to-moment” i.e. not just following a series of predetermined actions like some kind of automaton.
Types of actors
Generally, all method actors will make use of most of these techniques most of the time. Some, like affective memory and given circumstances will almost always be used by all method actors. However, how much use you make of some of the exercises will depend on the type of actor you are.
There are three broad types of actors and which you fall into will determine which of the method acting techniques you need to focus on most:
Creative actors – These are your quintessential method actors. They analyse a script, work out which emotions they need to portray and then use all the core techniques such as affective memory, sense memory and animal exercises to create a rich, dynamic, living performance. They will use virtually all of the method acting techniques, although more experienced creative actors may find less need for exercises like private moment and objects. This is because, over time, dealing with the issues they are designed to resolve can become second-nature meaning the exercises are no longer actively needed.
Imitative actors – This type of actor relies on consciously imitating what emotions look like, rather than actually feeling them. They may use techniques like affective memory initially, to work out how best to fake the emotions they need to show, but they don’t use the technique on an on-going basis. This type of actor may be convincing up to a point, but their performances will never feel quite real. They need to focus more on using affective memory and sense memory to really start feeling the emotions they want to portray every time, rather than falling back on studied imitations.
Stage hacks – Nobody likes to be called a hack, but the reason we use the term is because these are actors who may well have a fair amount of performance “talent” but they fall down because it’s all about them, not their characters. The hack never really tries to “become” their character as their own ego gets in the way so they never really leave their true self behind. Stage hacks need to focus more on relaxation, getting into neutral and letting go of themselves, then use given circumstances, affective memory and sense memory to start building more real, three-dimensional performances.
Understand method acting techniques in just one year
Ready to start getting to grips with method acting techniques? The Brian Timoney Actors’ Studio offers the world’s leading method acting tuition for aspiring professional actors. Take our 1-Year Ultimate Acting Programme and you will learn to master every aspect of the method acting process and develop your own unique approach to the discipline.
Not only that, we also train you in the business side of the industry, so you know exactly how to get out there and land paid acting work straightaway. With our help you can become a highly talented working professional actor in just one year. So, if you are serious about making your acting dreams into a reality, don’t hesitate – apply today!
To find out more or to enquire about our 3-Day Introduction to Method Acting Bootcamp, please get in touch.
At first glance, a script may seem the be all and end all of a production. You expect the script to contain everything you need to know about the production and the character you’re playing. But when you take a closer look, they actually give little more than the bare bones. It is up to you to fill in the gaps and build a performance out of what’s there. Scripts are often vague and open to interpretation and to clinch the part during an audition, you must become the best interpreter of the bunch.
During an audition your particular interpretation will be scrutinised, and with the prospect of getting cast hanging in the balance, it is crucial you get all the information you need out of the script. It may not be easy, but learning how to go about it and understanding the importance of research will give you the head start you need.
Deciphering the Language
Who is the character?
Unless you’re auditioning for a big role, it’s likely the character description will read something like this: POLICE DETECTIVE, 42. So you get a profession, an age and maybe some sort of appearance description if you’re lucky. You may already be able to make some assumptions on the character based on similar people you’ve encountered in real life, but ultimately, the description doesn’t give you a lot to work with. You have little information on how to really make your character come to life.
First things first, read through the script in its entirety (if you have it). Use it to extract as much information about the character as possible: What have other characters got to say about them? What’s been their journey? What’s their overall impact on the production? Then you can take to the internet to do your research. Find out what it takes to become a police detective, the sorts of things they do day to day, and look further in to the types of crimes and events that are features in the script.
Then focus on their age. If they’re 42 look back and research the world they grew up in – if you can work out how things were different when they were children, you can understand how this might shape their world view and behaviour in the present day.
As actor Stephen Tobolowsky writes, if your character is based on a real person, and they are available, use them for research too! They will offer you a much greater insight into the motivation behind the creation of your character, and may even give you a new perspective on them.
After that you can start asking yourself some questions and begin filling in the gaps. Start simple: “What do they do? And then move to the less obvious. Do they do it well? Where do they excel? Where do they fall short? What did they think this job would be? What did it turn out to be?” For their age: do they seem younger or older than their actual age? Has their job prematurely aged them or kept them young? How would this affect their opinion of it? And for an emotional connection, “What is their greatest hope? What is their greatest fear?” Answering these questions will help add meaning and breath life into POLICE DETECTIVE, 42.
Note Your Heart Out
Often the scripts that belong to the best actors are the ones covered in notes. When De Niro was rehearsing for the main part in Jacknife, David Jones the director was so astounded by the amount of notes made on the script, he could barely take his eyes off of it.
When you’re auditioning you may not have access to the full script. Often you’re only given a small amount of information on your character and a few lines. Whatever you have, it’s important you go through it all and note anything that may be worth remembering. Whether that’s how you first react to a line, or an emotional moment that strikes a chord. The important thing to remember is that you will only get one chance to read the script for the first time. This makes your initial reaction a precious moment, and why it’s so important to take notes.
You can then go on to use your notes to aid your performance and understanding of the script and character. When making notes, think about how a viewer or audience member might feel or react to your performance and how this can aid your delivery and execution of the script.
If its good enough for the greats like De Niro and Anthony Hopkins, it’s good enough for us all, and those initial notes and subsequent additions may make a real difference to your audition.
Don’t freeze up: How to Handle Cold Readings
Sometimes you may not be able to read the script in advance, and will be handed the material in the audition room. Yet as scary as cold reading sounds, there are a number of things you can do to improve your chances of giving a great audition.
1. Research What You Can
You may not have seen the script prior to an audition, but as we’ve established, the script is only one part of a greater puzzle when it comes to character building. Use all the information you can find to get an idea of what the story line is, and the kinds of characters they are likely to be looking for. If you’re auditioning for a play in particular, you may even be able to find a copy of the script if you do a little digging.
2. Don’t Hide Your Face!
Just because you aren’t familiar with the material, don’t expect the casting room to be forgiving if you use the script to hide your face. Your performance is just as much about your facial expressions as the delivery of the lines- you need to make it so the room can see them.
3. Get Good at Reading Aloud
This skill is key to nailing a cold reading. The less stumbles and stuttering you do over the words the better. Read out loud as much as you can – poems, magazine articles, storybooks- the more you do it the better you will be at giving a clear and confident reading.
4. ‘Perform’ as Much as you Can
Walk around and act while you read, reacting to the words you are saying, and if it is a group audition, be sure to react what other actors are be reading. It’s important you look up as often as you can manage and respond to any other speakers. And if the director asks you to try something in a different way, be positive and do it- it’s important you can show you can be directed and show your openness to other ideas and suggestions.
Give A Great Read Every Time
Getting what you need out of a script can be difficult, particularly when you’re up for a part and you need to impress. By doing your homework and researching properly, by taking time to understand the character, and annotating your script, will ensure you’re a step ahead of the competition.
Understanding the script, its message and motivations, and knowing exactly how your character works and fits into that is a great way to give a stand-out audition.
You can learn even more about how to read scripts in an audition with my One Year Ultimate Acting Programme. We will teach you all you need and more about working the script to your advantage, and the many aspects of the Method that will help you get there.
Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity. – Charles Mingus
Making the complicated simple is acting in a nutshell. Actors take whole backstories and historical contexts and transform a wealth of emotion and event into simple physical gestures, and simply-spoken lines.
Another way to look at creativity in acting is as the point where imagination meets belief – this is the lifeblood of a good method actor. Some imagination is needed to get into the mindset of Hamlet, and see yourself walking through Elsinore Castle – but it is belief that makes you truly become Hamlet to not just the audience, but also yourself.
That is the key to a good performance; believing in yourself. If you can’t, neither can your audience. Creativity, then, is what brings reality to a performance. If I were to play Hamlet, I would imagine myself walking through my own hallway instead of that of a fifteenth century Danish castle; this way I really feel that I’m in my home, just like the character does.
Creative Memory
One way to exercise your imagination is through the method acting technique of sense memory. When you recall a part of your life that is useful to a performance, you must recall every sensation you felt in that memory. For example, when remembering your childhood bedroom, you would explore the sight, smell, sound, touch, and taste of that memory.
It takes some creativity to begin with, but your brain can be trained just like any muscle. Soon, you’ll know the smell of that misty morning your father left and will be able to cry on command with no trouble.
Recalling past memories is one thing; the creativity comes in when you apply it to your performance. These sense memory emotional aids are sometimes called “parallel experiences”.
Christopher Walken shoots himself at the end of The Deer Hunter in an emotional game of Russian Roulette. When asked what he was thinking during the scene, he describes a memory of the summer camp he went to as a child. The memory evokes in him a sense of abandonment and anger, which his character in The Deer Hunter required.
In this way, creatively applying your past memories to a present performance can produce a more authentic and effective act.
Creative Emotion
Positive
The quality of your acting is affected by your emotional state. If you’re feeling down, your creativity will be shot and your acting will be affected. To get into a creative “mood,” we have to draw on theories of body and mind as interconnected.
If your body is creative, your mind will follow – so why not dance? For the next week, spend five minutes before you head out in the morning doing a dance. Find your favourite jam or just turn on the local radio station, and let your body be creative. Jump, clap, sing along – anything to get your body pumped and interpreting the cues around it.
You might find the day that follows to be more productive, or at least more positive.
Negative
Negative emotions don’t necessarily mean you can’t be creative. In fact, many acting methods and techniques aim to produce emotional vulnerability – this is where the stereotype of the highly-strung actor comes from. The idea is to train your brain to react with authentic emotion to a particular set of triggers.
This is done using a creative application of your emotions. When you’re feeling down, the last thing you want to do is work – I know. But if you take a moment to become fully aware of your surroundings and your senses in these moments then you can draw on them later, in performance.
Creative Improvisation
Improvisation is a class virtually every actor will take, although not many pursue it as their sole style of acting. It’s the most intense exercise in creativity and imagination that an actor can take, and as such it’s a good idea to indulge in some improv now and again.
For the uninitiated, improvisation is a form of acting in which there are no lines or scripts of any kind. Usually short form and consisting of games, a troupe will take words shouted by the audience and improvise a scene based on it.
There are many benefits to performing improv: quick reaction times, comedic catharsis, physical exercise and – most of all – creativity as both an individual and a team member.
Studies show that during improvisation, actors’ brains become fully immersed in self-expression and the self-monitoring part of the brain shuts down completely. This means that creativity is allowed to flow unhindered, like the actors’ version of a dance.
The shortest feedback loop I can think of is doing improvisation in front of an audience. – stand up comedian and actor Demetri Martin
Improvisation allows for instant feedback and self-improvement, helping an actor to hone their character and techniques.
Creative Habits
While not all creatives are actors, many actors are creatives. Thankfully, even if you’re not naturally creative there are habits you can learn to enhance your creative potential.
Flexibility is an adjective that follows creativity on most resumes, and it’s how the most creative people live. Work the hours that are your most productive, whether they’re 9-5 or from midnight to midday. This is because the rest of a creative’s habits depend on high levels of alertness and productivity; you must be at your peak performance.
Creativity is, largely, an act of improvement; on your own work and that of others. Creative people observe everything around them – pieces of art, public transport, and small conversations – and expand and improve on them.
When someone calls themselves a “creative,” our minds immediately go to art and theatre. The word creative conjures up wild emotion, authenticity, and colour – and that is exactly what you, the actor, create when you use your creativity on the stage.
In Brian Timoney’s Ultimate Acting Programme we take students who we can see a creative spirit in, who we know are passionate and driven by film and theatre. If you are open to vulnerability, dancing, and the freedom of creativity in acting – apply for the programme.