Starting a play reading club is a terrific way to keep your skills honed as an actor, and to build up your knowledge of the canon. Organisation is key: finding a location, a regular meeting time, a set text and a group of actors to read with. But a well-run club for play reading is not only a place to develop your process, it’s a space where you can uplift your acting community and enrich your social life.

From going to these readings, I’ve learned that there’s no such motivator as community. Even if there aren’t any existing clubs in your local area, setting up your own is surprisingly easy and could be very fruitful. So let’s go over the steps for setting up a play reading club of your very own.

Step One: Pick a Place

Whilst the comfort of your own home is … comfortable, it doesn’t always make for a great “getting things done” space. I can’t count the number of times my friends and I have talked about reading a play every Thursday and caught up at someone’s house only to end up playing board games instead.

A great way of building a strong habit is to associate that habit with a particular time or place. So, for your play reading club, I’d highly recommend a space you can hire. Check out libraries or community centres: they’ll often have rooms you can book for free or for very cheap. Make sure it’s somewhere central, too. Being close to the CBD or town centre will make it easier for people to get to which will increase the likelihood of them coming in the first place.

If you’re feeling particularly bold and enterprising, you could even approach a local indie theatre to ask them about space. It’s not a bad way to turn your club into a sneaky industry event… But eyes on the play reading prize, for now.

Step Two: Pick a Time

Again, consistency is key. It might sound intimidating to schedule a weekly read, it’s much easier to say “We read plays every Thursday night” than “We read plays on the 13th, the 14th and the 27th of each month.” Keep the timing as simple and regular as possible. Pick a day and a time that works for your schedule first, and let other people work around it.

You’ve probably heard before that the best way to build a following online is to post consistently. That logic applies to real life, too. If you do something regularly on a set schedule, word will spread and people will start to associate Thursday nights with play reading night.

Step Three: Pick Some Plays

Once you have a space and a time locked in, pick some plays to read and add them to the schedule. There are a few of things to keep in mind when making your selection.

First, pick plays that correspond to your numbers. Don’t pick anything too small that people end up sitting around, or anything too big so people have multiple parts to keep track of. 

Second, try to diversify the pieces you select. If you’re ever stuck for material, we have a great list of plays to recommend to you. When you select something, try to do a bit of background reading on the play and the playwright before you host. Having some background knowledge to share can really inspire people to keep coming and stay engaged with the material.

Once you get started with the readings, you can ask people for their recommendations and whether or not they have any PDFs they can share. Lastly, always invite writers to your readings. Not only are they a well-connected resource, but they might have a script of their own that they want to hear which could turn your humble club into a casting room for the night.

Step Three-and-a-half: Find Some Plays

Finding scripts can be a little tricky, because you’ll need to find a PDF you can download and send to everyone who is coming to the read. (I’d suggest this over killing a forest each week and printing copies out.) Thankfully, we live in the digital age and there are some great online resources to check out.

Drama Online is a fantastic resource; a membership actually comes free with a StageMilk membership. There are a couple of sites I use called AnyFlip and PDFCoffee which have a wealth of PDFs for viewing and downloading too. Failing all of that, a simple google search of “(Play name here) PDF” can sometimes yield results. 

This is a good time to mention that if you ever go to drama school, download and save every single script they give you. You don’t know how valuable such a thing is until you don’t have access to it. 

Step Four: Spread the Word

My least favourite thing about arranging parties is inviting everyone and then hoping they’ll want to come. You might feel similar about this play reading club, so keep it super simple. Invite your actor friends who you know are suffering from the same commitment issues we were at the start of this article. Regardless of how many of them show up, keep inviting them and reading every week.

The readings will gain traction over time. If you’re consistent, people will start to build their weeks around it as they realise they haven’t been reading plays as much as they should have. Once you’ve got a regular crew of friends reading each week, chances are they’ll ask to invite their friends which is great. The more, the merrier. 

Play Reading Club Itinerary (Example)

• Start by prepping the space: setting chairs, organising power for laptops/devices, popping the kettle on and putting out the biscuits.
• Greet people and get your cast comfy. If people are reading particular roles, you might wish to have them sit in certain places.
• Give a brief introduction about the play and the playwright. Nothing too long, just a little context.
• Read the play. Don’t forget to have somebody on stage directions, so that the visual aspect of the work isn’t lost.
• Schedule a short break after the read (or during, if it’s an epic.)
• Finish up with a discussion. You might like to prepare some questions to ask, or simply let the participants dictate this. Depends on how well you know people in attendance.
• Kick on to another location? You can always take the discussion to a cafe, or a bar, or a mini golf course. Up to you.

Remember that a good play reading needs structure, but not so much that it loses its sense of fun. If it feels more like a university lecture than a gathering, the club will die out quick smart.

Step Five: Keep It Organised, Keep It Going

As word spreads and more people become interested, you’ll need to get clever about how you arrange the readings. The simple way would be to create a group chat and add everyone to it. Then, when you know what play you’re reading next week, tell the chat which play you’re reading and how many actors you need. First come, first served.

If you want to be more professional, ask for peoples’ emails and create a mailing list. Then, at the start of each month, decide which plays you’re reading each wee and send out an email with the relevant details.

And if the club starts humming along, you can think about opening up management duties to any die-hard attendees. Share the load, ensure that admin doesn’t fall only to you.

Other Clubs To Start

Activities like play reading clubs are hugely beneficial to actors, because they provide structure—something that is all too often lacking from the artist’s life. If you find the regimented reading of plays and meeting up with fellow creatives is helpful, why not think about other gatherings you could run:

• Scene study. Pick a scene and work on it, either self-directed or by a third party.
• Self-tape/showreel Club. You know how many drama schools will charge you a fortune to do what you can do with friends for free?
• Writing Club. Work on a scene, bring it in and have professional actors read and workshop it.
• Film Club. Watch the classics, discuss cinema and get yourself caught up on the art of screen acting.
• Complain About The Industry Club. Honestly, this automatically forms with any group of actors.
• StageMilk Scene Club! Okay, we’ve already started this one. But our online membership includes monthly coaching sessions, tailored feedback and a wealth of acting resources.

Conclusion

There’s a certain level of logistical preparation that goes into creating a play reading club, but the pay-off is incredibly worth it. Not only are you reading plays and talking about what makes them good (or not so good) with likeminded people, you’re building up an address book of local artists who you can collaborate with at a later date. Congratulations on building a great habit and getting out there to meet some cool people.

Hope this helps. See you around the traps!

The post How to Start a Play Reading Club appeared first on StageMilk.

In this article, we examine the Biff monologue from Act Two of Arthur Miller’s Death of a Salesman. We cover the context of the speech, the text itself and give information as to how this monologue might best be considered and performed by an actor. As the Biff monologue is a popular speech for drama school auditions and acting classes, it is an important piece to learn and comprehend for any actor.

This the first of our Monologues Unpacked series to tackle a non-Shakespearean piece. Be sure to follow the link to the full collection, to gain information on every conceivable Shakespeare speech you might ever encounter in your studies or career. For now, let’s settle down with this masterpiece of American writing…

Context

Willy Loman is a travelling salesman who finds success and stability ever out of reach. In the action of the play, we witness a tragic series of events that pushes him towards despair, including the loss of his job and his proud refusal of another position from a friend. Adding further pressure to his life is the presence of his eldest son Biff, who has similarly failed at recent business deals and has returned home. Biff had once been a champion of his father, but found himself disillusioned after visiting Willy unannounced in Boston and catching him in the midst of an extra-marital affair. Biff is broken by this, but keeps his father’s secret.

This speech takes place outside the family home, following a disastrous dinner Biff had with his younger brother Happy and their father. Biff tried to tell his father about his latest business failure, and Willy responded by slapping him and admonishing him. The play slips into a flashback to Biff’s visit in Boston—as if to signify Willy’s growing sense of guilt and shame.

Original Text

Note: while this speech is presented as an unbroken monologue, it is actually drawn from a heated exchange between Biff Loman and his father Willy. The majority of the text is spoken as a monologue, but versions of this speech may very depending on the particulars of each edit. This version is StageMilk’s own, as available through our Scene Club membership.

BIFF:
Now hear this, Willy, this is me. You know why I had no address for three months? I stole a suit in Kansas City and I was jailed. I stole myself out of every good job since high school. And I never got anywhere because you blew me so full of hot air I could never stand taking orders from anybody! That’s whose fault it is! It’s goddamn time you heard that! I had to be boss big shot in two weeks, and I’m through with it! Willy! I ran down eleven flights with a pen in my hand today. And suddenly I stopped, you hear me? And in the middle of that office building, do you hear this? I stopped in the middle of that building and I saw- the sky. I saw the things that I love in the world. The work and the food and the time to sit and smoke. And I looked at the pen and said to myself, what the hell am I grabbing this for? Why am I trying to become what I don’t want to be? What am I doing in an office, making a contemptuous, begging fool of myself, when all I want is out there, waiting for me the minute I say I know who I am! Why can’t I say that, Willy? Pop! I’m a dime a dozen, and so are you! I am not a leader of me, Willy, and neither are you. You were never anything but a hard-working drummer who landed in the ash-can like all the rest of them! I’m a dollar an hour, Willy! I tried seven states and couldn’t raise it! A buck an hour! Do you gather my meaning? I’m not bringing home any prizes any more, and you’re going to stop waiting for me to bring them home! Pop, I’m nothing! I’m nothing, Pop. Can’t you understand that? There’s no spite in it any more. I’m just what I am, that’s all. Will you let me go, for Christ’s sake? Will you take that phoney dream and burn it before something happens?

Unfamiliar Language

As with any new monologue, begin by identifying and defining any unfamiliar words or phrases. Biff will give you a lot less grief than, say, Hamlet, but there are still a few terms that might be strange.

Blew me so full of hot air: To build him up with praise.
Contemptuous: Showing hatred, scorn, disapproval.
Dime a dozen: Unremarkable, common.
Drummer: Archaic term for a travelling salesman. In this context it might also refer to Willy’s constant (rhythmic) work at his business.
Ash-can: American slang for rubbish bin.
Dollar an hour/Buck an hour: Similar to “dime a dozen”, unremarkable.
Phoney: Fake.

Notes on Performance

To help you navigate performing this piece, we’ve included some notes on performance, listed out in the five points below:

#1 Context

The first thing you need to do to perform this piece properly is read the play. This speech occurs at a crisis point for each party involved, and it is vital that you understand the significance of this moment within its proper context. This will help you establish the timeline of Biff’s story, as well as explain details such as the pen—an impulsive theft by Biff following a failed job interview.

#2 Objective

The objective of Biff in this scene is to wake his father up and have him see reason. It’s a lofty thing for Biff to strive for, which is exciting for an audience and a challenge for an actor. But it can also result in some fairly vague choices when navigating the scene. Try adding a goal to this speech: something concrete you want Willy to do which will signify your objective is complete: “My objective is for Biff to wake Willy up and have him see reason, and I’ll know I’ve done this when I achieve the goal of getting him to hug me.”

#3 Scene Partner

Who is Biff talking to? Well, sure, it’s his father Willy. But take the time to interrogate this relationship, especially in the context of the story. The Willy before Biff is very different to the hero from his childhood: a delusional failure, a cheat on his mother who has beaten his son out of his own desperation. Consider drawing a character relationship map to plot the complexities of this dynamic; it’s also important to consider who has the greater status in this scene.

Never forget that a monologue is still a conversation—it just so happens that one character has all the words. Beneath that, in the silences, in the pauses, there is still very much a back-and-forth occurring. Note how many times Biff ‘checks in’ with his father: “Now hear this…” “Do you hear this?” “Do you gather my meaning?” Don’t think about moving on until you are certain Willy has heard you.

#4 How Does Biff Feel?

A lot of the time, this piece is performed as angry and heartbroken. And this is entirely valid, given all Biff has been through. But don’t discredit the way your character might actually feel some relief from getting all of this off his chest. After a near-lifetime of deception and self-delusion, Biff and Willy are having a genuinely honest moment. And even the worst secrets shared feel better than being kept.

#5 Where Does Biff End Up?

This is good advice for monologues in general, but where does Biff end up at the end of the speech? What’s changed for him, for Willy? And what does the audience know? A good scene in any script is a point of no return: a moment when characters say something and can’t come back from it, their relationship forever affected.

Relate this point to the dynamic between you and your scene partner. Biff and Willy’s dynamic is radically altered by this exchange. It’s undeniably tough for a child to realise their father is fallible—human, capable of failure and mistakes—but it’s also a moment of a personal growth. Might a part of Biff feel better that this confrontation has happened?

Biff Monologue Audition Piece

This speech is a popular choice for drama school auditions and acting classes. You may have looked it up and found this article for this exact reason. If so, here’s a few things to remember about the piece to help. First of all, keep communicating. Keep Willy in your mind as you speak the words, and imagine him in the room: this will help you anchor your eyeline and keep the piece from becoming to fraught and chaotic. While we’re on the subject: don’t let the emotions take over. If you’re lucky enough to be in the room when other auditionees are delivering this piece, you’re going to see a lot of angst and tears. Resist the temptation to let go; Biff knows this isn’t the way to reach Willy and change his mind.

Finally, and this is a bit of a re-tread from our performance notes, but know the play. Know the text, understand the context, the story, the meaning behind the words. When you are auditioning for a drama school, you’re not actually being seen as an actor. You’re being auditioned as a student. So be a good student: be hungry for knowledge and information, and show the panel that you’ve taken the time to explore the text and bring it to life.

Conclusion

So there you have it: our very first Monologues Unpacked to tiptoe beyond Shakespeare! Whether you’re prepping this piece for drama school, an acting class or simply using it to practice your craft … enjoy it. Enjoy the words Miller has so expertly crafted, and enjoy bringing a little strength and closure to Biff’s fraught relationship with his dad. It’s the very least they both deserve.

Good luck!

The post Biff Monologue (Act Two) appeared first on StageMilk.

Depending on the level of production, actors have varying degrees of control over their choice of costume, and what it might say about their character. Costume can denote time period, class, occupation and even personality of your character. In productions where costumes can be chosen by the actor, considerations must be made that accentuate the character without feeling too obvious to the audience. 

In this article, we’ll cover a few basic facts around costume, and examine the differences between costume for stage and screen. Finally, we’ll speak to some more expansive ideas about how to find your character within the way they dress. It’s one of those areas that all too often goes unconsidered by actors, which is a shame: it’s a great place to explore a character and bring them to life!

What is Costume?

Costume is the clothing worn by a performer for a performance. Most people tend to think of it in terms of acting, but it can extend to the choice of clothing selected by, say, a musician for a performance on stage. Costume has been a part of drama as long as all the other aspects of the form: you can trace a clear line through history from the helmets of the Star Wars stormtroopers to the masks of actors in Ancient Greece.

The word itself can be traced back to the Latin word consuetudo, meaning “custom” or “usage”. Its more contemporary roots in 17th century Italian and French liken it to the English word “custom”—meaning that a costume is of the style, the fashion. To some degree, this usage carries through today: a costume is the correct clothing for a particular time or place. For an actor, the costume is what their character wears on stage or screen. For a mourner at a funeral, the costume is formal and black. And for a police officer, the costume is a uniform.

Costume in Professional Productions

Costume is a vitally important part of any contemporary production—be it stage or screen. As costumes adorn the actors who take up most of our attentions when watching a narrative unfold, they are extremely visible part’s of a production’s design. For this reason, they require highly skilled designers, fabricators and stylists to ensure they look authentic and correct.

Costume on Screen

Costumes for screen are typically referred to as “wardrobe”, as is the department in charge of their procurement and upkeep. A feature film employing extras could have over five hundred costumes for one crowd scene alone, and multiple costumes will be required for every major character as well.

In film and television, continuity is a significant challenge with costume, as the same piece of clothing will need to be kept in the same condition for months on end. In certain situations, wardrobe may produce several versions of the same item of clothing in case one is damaged beyond repair.

Costume on Stage

Costume in the theatre taken extremely seriously, as the scrutiny by a live audience is arguably higher than that of a person watching a film in their home. Every item of clothing has to feel ‘real’, as it is literally existing in the same space as the viewer.

Similarly to screen, stage costumes are designed to accentuate the characters or setting; however, their role may also be symbolic. Placing Hamlet in a dark suit might not be the traditional choice that Shakespeare envisioned, but still speaks to his status and mood. Modern costumes, or costumes that don’t fit a traditional understanding of a play are a terrific way to shake up the interpretation and breathe new life into a well-trod story.

Can I Choose my Own Costume?

The answer to this question depends on a few different factors. On a professional shoot like a film or a Netflix series, you’re unlikely to have too much of a say as to how your character dresses. Costume is handled by the wardrobe department (or designer on a stage show) and will be determined by the larger aesthetic of the production design. You’ll have the chance to give them your measurements and not much else.

However, if you’re in a starring role, you may find you have some sway as to how your character dresses—especially if you consult with your director. It all comes down to your influence and industry clout: if you’re Leonardo DiCaprio, they’ll probably let you film the movie in sweat-pants.

On lower-budget, independent or student productions, you are actually more likely to provide your own costume. Costume buying or hiring is expensive, and it’s a smart way for the producer to cut costs. The director or designer will likely ask you to “bring in some options” chosen from your own wardrobe. This has its advantages: such as you have a greater choice over how you look on stage or screen (see below)! But it can also put your own clothing items in jeopardy of being damaged or lost.

How to Choose what your Character Wears

Let’s say you’re gearing up for an indie theatre show, and the director has asked you to “bring in some options” for your character to wear. How do you choose what your character wears?

#1 Read the Script

First thing’s first. Do some script analysis. Look for any indication within the text that might give you an understanding of how your character might present themselves to the world. Are they tough? Do they like to stand out? Is fashion important to them? Do they wear a particular tie-pin that was given to them by a now-dead relative? Some writers will give you a complete description of how a character is meant to appear (thanks, Sam Beckett!) While others might skimp on details, that’s not to say there won’t be clues you can discover.

#2 Consider the Production Design

Next, think about the design of the production itself. Time period, location, genre, style, colour scheme… all of these things can be determining factors in the costume you pick for your character. If there is a designer, why not ask them for their opinion; if anything, it’ll help you find an outsider’s perspective on how your character might be viewed.

#3 Be Comfy

As you start to narrow down your own wardrobe, take a step away from character and imagination to consider the practical. Don’t choose a costume that is uncomfortable. Depending on the run, you may be wearing this costume over and over, night after night, and on a hard floor beneath some very hot lights. At least consider this when picking options. Is it hurting you? Can you move around in it? Will it constrict what you have to do in the performance?

Note: It’s also worth choosing something that is easy to wash and dry. You don’t want your share of the profits to be eaten away by constant dry-cleaning bills.

#4 Dress Up and Play

Once you find yourself with a shortlist of costume options, wear your choices and ‘play’ as your character. You can try moving as they do, finding the physicality and stance. Speak through some lines, perhaps a monologue if you have one. All the while, check in with yourself and ask how it feels in this particular outfit: does it resonate with the performance you’re giving?

If you complete this step early enough in the production, you can actually try wearing some options to rehearsals to feel and see them in action!

#5 Trust Your Director

Throughout this process, your director is going to be an invaluable resource. With the exception, perhaps, of the writer, your director will know your character better than anybody else on the production. Use them as a resource, as a sounding board, for how your character might dress. Are you in agreement? Or will a difference of opinion open you up to something not yet considered?

Ultimately, the call on what your character wears will be made by the director. When all is said and done, they are the one in charge of unifying the various threads that make up the production. So the more you can work with them to find your character’s look, the more you will be aligned with their overall vision, and how you fit into that.

Finding Your Character in Costume

When considering the importance of costume, I often think about this short promo clip for Netflix’s Mindhunter. Cameron Britton speaks about how the character of serial killer Ed Kemper emerges from a single act of costume preparation. If costume for actors is something you don’t spend a lot of time thinking about, it’s definitely worth your time. Because the character is often there, in the clothes and shoes and glasses, waiting for you to discover them.

Putting on your costume is the cornerstone of any pre-show or pre-shoot ritual. It’s a time where you step out of your everyday clothes and into those of the person you are going to become on stage or screen. You are no longer yourself in a costume—because these clothes belong to somebody else.

So the next time you’re putting on your costume, or picking out some options to show an up-and-coming filmmaker, take the time to think “How can I find the character in this costume?” Often, as Britton tells us, they can simply appear…

Good luck!

The post Costume for Actors appeared first on StageMilk.

It can be difficult to determine what makes for good acting, because we often lack the tools to explain it. “It just felt good”, “it felt real”, “they had a great voice”, are all common answers. The same is true of bad performances as well. Determining good acting vs. bad acting is all about understanding the tools of performance: energy, connection, context and technique. This will help you make worthwhile choices in your own work, while avoiding thoughtless blunders.

In this article, we’ll focusing on the actor and what they’re doing right or wrong, but you’ll never catch me calling someone a “bad actor.” Honestly, I don’t think they exist. Declan Donnellan describes what people call “bad actors” as “blocked actors.” I think is a far more accurate and sensitive description. And never forget that direction, writing and even cinematography can have a huge impact on performance as well.

The Bad

Let’s start with the bad. In trolling for examples, I’ve tracked down some shockers—but let me clear that these performances are not necessarily an accurate representation of the actor themselves. Let’s work our way through the scenes in this handy compilation:

Troll 2 (1990)

Connie Riet plays Holly in this scene. The main thing going wrong for her is she isn’t connected to what she’s saying. She’s speaking clearly but not really communicating anything. Declan Donnellan talks about something called “The Target” which is the thing in the scene that you are being affected by and are trying to affect yourself.  Connie Riet has over-rehearsed and decided exactly how she is going to deliver dialogue in the scene, rather than allowing herself to be affected by her scene partner.

If you are paying attention to “The Target” every time you do a scene, the scene will be a little bit different every time because you’re actively discovering how your character is affecting and being affected. We don’t believe Riet is playing a character because she isn’t making discoveries about what she is saying in the moment.

Sidenote: I won’t be looking at every scene from Troll 2 because it hurts to think about that film for too long. If you’re game, I encourage you to identify what is going wrong in the other scenes and report back with your findings.

Judge Dredd (1995)

Sylvester Stallone and Armand Assante are really giving it their all in this one, to their credit. My acting tutor always used to tell us never to play a character as Stoic because it’s boring and it closes you off to your impulses. I understand that stoic is Stallone’s brand, and he must be doing it well to have worked as much as he has … but are you convinced that he is anyone other than himself when he performs?

It’s blaringly obvious in this clip that Stallone’s using old tricks. He’s not much more than a tough guy and if you watch his eyes, you can see the lack of connection between what he’s saying and how he’s saying it. Even the way his mouth moves is “looking cool like Stallone” rather than how Judge Dredd’s mouth might move. Armand Assante has moments where it “feels good”–when he checks his watch and looks back at Stallone, there’s some electricity there–but he throws it all away when he turns his head in the next moment. It feels unnecessary and uncertain, and so we get confused.

And let’s tackle the way Assante shouts “Law!” You can hear a gravelly tone, which suggests he is pushing from his throat and not supporting it with breath. This is very important in acting because human beings will, often unknowingly, mimic the shape of someone’s vocal qualities–even if they don’t say anything. Watch the scene again and see if you notice a different in the way you are holding your throat. This feeling affects how we view someone’s performance, even if we’re not consciously aware of it.

Bonus: Troll 2 (1990)

I can’t help myself. I want to talk about the second scene from Troll 2 in this compilation because there’s something unique about what is wrong with it. The way George Hardy is talking to Michael Stephenson doesn’t feel like how a father would speak to their 8-year-old son. If you changed the character and the context, the performance might make more sense, but this is a good example of how having a clear sense of the relationship between characters can be make or break a performance.

The Godfather Part III (1990)

A classic of bad acting—practically the standard against which all else is judged. The pacing and the action in this scene is so bizarre that I found it funny to watch. A lot of their reactions and attitudes feel out of sync with the action of the scene: it affects the pacing and rhythm. The final shout of “No!” doesn’t feel connected at all and is so abrupt that it makes us giggle instead of cry.

And while the actors aren’t blameless in this instance, it’s a great clip to examine for how the filmmaking can fail the actors present. Coppola was famously miscast by her father, and the scene feels like a melodramatic attempt to claw audience sympathy back. The framing, editing and even music feels melodramatic—at odds with the truth a scene like this lives or dies upon.

Tough Guys Don’t Dance (1987)

“Oh God, oh man. Oh God, oh man, Oh God, oh man…” Whether this was written in the script or not, Ryan O’Neal’s performance is comical when it should be dramatic mainly due to the lack of variation in his delivery. If you’re stuck with a script that’s making you repeat the same thing one too many times, ask yourself why the writer has asked you to repeat it. Even if it’s completely overdone, it’s up to you as the actor to analyse the script and determine the meaning.

Another way to deal with repetition is to stay attuned to emotions. Our emotions rarely stay exactly the same for longer than a few seconds; it’s a skill to be able to track them as they change. If saying “Oh God, oh man” over and over starts to make you laugh, then laugh. Let the laughter become embarrassment, let embarrassment become shame and so on. 

The Happening (2008)

We worked with a film director in drama school who taught us one of the best ways to create energy in the scene is to let it move. Zooey Deschanel and Mark Wahlberg are clearly dealing with a terrifying situation, but they’re getting stuck right next to each other right up against a window. See how when the camera cuts back to a wide shot their lower bodies are completely disengaged? Even if you’re doing a super tight close up, make sure your entire body is engaged: a lack of engagement in your legs will read on your face.

When Wahlberg answers the door and speaks to Betty Buckley’s character, you can still see how trapped above the neck he is. The given circumstances of the scene don’t seem very clear either. Stanislavski insisted that actors needed a crystal clear idea of where they were, where they had been, where they were going next and what was happening–everything that contributes to the situation the characters find themselves in. The stakes in this moment between Wahlberg and Buckley seem too blurry to make any sense of what either character is feeling, which leads to a very wooden “What? No!”

Star Wars: Attack of the Clones (2002)

A lot of people have a problem with Hayden Christensen’s portrayal of Anakin in the prequel trilogy and I am included in that demographic. There is a distinct lack of energy and grit to Christensen’s performance. It’s common for screen actors to dial back their performance to try and be more realistic but if you end up too dialled back, you appear lazy, stoic and boring. Great performances, even if they are subtle, have energy coursing through them (as we will see next.)

The Good

Now that I don’t have to worry about getting back problems from cringing anymore, let’s start with one of my all-time favourite scenes:

No Country for Old Men (2007)

Javier Bardem and Gene Jones are masters of creating an unsettling and subtle tension that builds into the final coin toss. What makes both of their performances so excellent is how receptive they are to one another and how they’re honouring the status of each component in the scene.

At the beginning, when Bardem’s character walks in, he’s no more than a customer at a gas station. There’s nothing at stake here, other than the price of the gas he just bought. The initial interaction is so domestic and simple that we’re almost convinced it will end with Bardem paying for the gas and leaving. That is, until Jones asks whether Dallas has been getting any rain. The switch in Bardem is instant and so intense that we, much like the gas station attendant, are shocked by the shift.

It’s a terrific example of a beat change. Bardem takes all of the status in the scene and pursues Jones into a corner that he squirms to escape from. When he introduces the coin toss, Jones (and the audience) are at the mercy of a little chunk of metal. And once the result is revealed, the tension dissipates.

There’s no immediate threat of violence in this scene, which I think adds to the unsettling atmosphere. If Bardem came at Jones with aggression and anger, the tension would vanish because we as an audience would anticipate what was coming next. Playing opposites is a simple yet incredibly effective tool for actors.

Bridge of Spies (2015)

In Bridge of Spies, Mark Rylance plays a man accused of spying for the Soviet Union. His performance is another lesson in playing against audience expectation, in that the stakes are clearly very high for Rylance’s character but he doesn’t respond how you might expect. Rylance is a master of portraying innocence in his performances. I believe this ability comes from the immense respect he has for the characters he plays: he understands their motivations, their wants, their dislikes and he uses all of that information to create a character who is an ordinary person—no matter how extreme their circumstances.

Never judge your character. Even if they are the most horrible person in the world, you need to find compassion and empathy for them somewhere–it’s very uncommon for even the evilest person in the world to believe themselves to be in the wrong.

Anatomy of a Fall (2023)

If you haven’t seen Anatomy of a Fall yet, stop reading this article and go and watch it right away! Sandra Hüller has considered her character’s history so thoroughly that it makes us resonate and empathise with her. Everything she is saying in this argument feels like resentment that has built up for a long time. Sandra’s character is giving voice to thoughts and feelings that she has had well before the events of the movie, making it feel justified and realistic.

It’s common for audiences to switch off when actors start to get frantic and angry in arguments, but if the actor has done their homework and really considered why everything is being said, we lean into them instead of away from them. Stanislavski and Meisner would be proud.

The White Lotus (2021)

Jennifer Coolidge is so entertaining throughout the whole series of The White Lotus because of how engaged her whole body is. It’s a terrific example of an actor “embodying” a character, and not simply reciting their words and miming their actions.

Remember: everything that happens in your lower body shows on your face. You can see everything about Coolidge’ character from the way that she runs, walks and leans on the railing of the boat. She is honouring the stakes of her character too, no matter how absurd they might seem to the audience, which makes it all the more enjoyable to watch her.

So, what is the difference?

We’ve identified a few different things that decide the difference between a good performance and a bad performance.

Energy

There is energy in every good performance. Rub your hands together quickly, get them warm then hover them above your skin. Feel that electric warmth? That’s some real good performative energy right there. When you’re performing, you’ll feel a similar sensation inside you somewhere. It might feel like nerves: sweaty palms, shaky legs or your heart pounding – that’s energy you want to learn how to harness.

Seasoned actors are masters at harnessing this energy and directing it where it needs to go, which is towards the other actor. If both actors are doing this, you get an electric exchange of energy that creates mesmerising performances.

Connection

Connection in every direction. Not just towards the other actor, but the text and given circumstances as well. This translates as being present and having intention. Every word said is considered–though don’t take that as speaking slowly. Let your character think fast, but always know what they’re saying and why they’re saying it.

You can develop this skill simply by reading the script over and over in different states of mind to get as many different reads on it as possible. One of my tutors used to tell us to imagine a golden line running from your stomach to the other actors’ stomach(s) and it’s amazing how it reads. The best way to give a great performance is to make the other actor look good.

Context

Actors love context. When I was working on The Seagull by Chekhov a couple of years ago, we’d all hang around and talk about things that weren’t explicitly said in the script after rehearsal for ages. “Do you think your character hears that offstage?” “Why do you think she says that?” “What’s making her so anxious right now?” “Where did they all go to school together?”

Remember that acting is a great big game of playing pretend. You need to have an active and vivid imagination to really participate in the game. Meisner talks about imagined circumstances as if it’s a hard science, but all it actually is, is creating the most realistic game of playing pretend, informed by your understanding of text and character.

Technique

There is undoubtedly a lot of technical skill that goes into giving a good performance. Vocal and physical proficiency is essential to any actor. Having a versatile and powerful voice and body only comes from consistent training–many of the great performers we looked at today come from some kind of theatre background which is generally more demanding than the screen. And it shows when these actors make the jump from stage to screen.

Bonus Comparison: Richard II

Have a look at this:

And now this:

Both excellent actors, but which performance did you find more watchable? Personally, I engage more with Mark Rylance. He plays against expectation and finds an ease with the text that Tennant does not seem to grasp. I find Rylance’s Richard to be charming and innocent, which makes it all the more tragic when he starts to cry. Tennant sets up a wizened Richard who is tortured from the moment his exploration of death and kings begins. 

Conclusion

“Know what you’re saying, say it clearly and mean it.” I could’ve opened and closed this article with just that saying, but there’s a more complex interplay of factors at work within it that we’ve explored today. In our dynamic profession, talent alone doesn’t dictate whether a performance is good or bad, but rather a complex interplay between energy, connection, context and technique.

Some homework for you: get together with some pals and watch a really good movie, then watch a really bad movie soon after. The more you analyse the good, the bad and the ugly, the more accurately you’ll be able to identify what is required to give a good performance and to know what’s good is a huge step towards being good.

Hope this helps. See you around the traps!

The post Good Acting vs Bad Acting appeared first on StageMilk.

To start writing a short film, you’ll need to have a solid idea in mind, and the resources/equipment needed to see the project to fruition. Choose your software and writing space, set aside time and have a concrete goal in mind for the script once it is completed. When it comes to actually starting to write your short film, look for the simplest and most direct way of beginning the narrative. After that, take it shot by shot. 

Before we dive in, let’s straighten something out: today’s focus is not how to write, per se, but how to begin the process. We have countless other articles covering the process of writing to completion, which we’ll link out at the bottom of this article. For now, let’s put pencils to pages and fingers to keys…

What You’ll Need to Write a Short Film

Let’s start out by covering what will you need lined up before you start writing. There’s not a lot you’ll need to do—in fact, a lot of would-be writers spend more time preparing to write than actually writing. But a little preparation can ease you nicely into that creative mindset.

Equipment

Laptop or desktop computer goes without saying, so let’s cut straight to the software program you’ll need. A scriptwriting program like industry standard Final Draft is ideal, although free-to-use programs like Celtx or WriterDuet are equally suitable.

The advantage to a dedicated program is its built-in formatting. You won’t need to measure your page or check your margins: everything will be pre-set and perfect. This is important for when you show your work to others in the industry, because if your screenplay isn’t in the proper format, nobody will take you seriously. Great writing or not.

If writing on a computer is less conducive to creativity for you, that’s A-Okay. You’re welcome to write your ideas out longhand, or even with a typewriter if you’re feeling like a fast-talking 1940’s reporter. Just know that you will still need to type everything up before sending it out.

Space

Finding a good space for writing can make all the difference in your personal process. Aim for a space with plenty of room and light, free of distractions and too much foot traffic. This could be a public space, like a café, or a private space like your dining table at home.

Our advice on choosing a writing space is for it to be somewhere you can arrive at for the sole purpose of work. Try not to make it the same area in your house where you unwind, or the same café you like to hang out at with friends. Find a clear demarcation between work/leisure as a writer, and you will train yourself to write simply by being in that designated space.

Time

Make time to write. Set it out in your calendar and spend that time on the business of creating. Sometimes you’ll sit there and be lucky to clock a word an hour. But the time spent at the work is as important as what you produce. Your writing will require your personal respect and conviction: the best way to establish this is to make the time needed to do the task.

Start with an hour every second day, or at least four writing sessions a week. You can bump this up if you like, and change the times to better suit your schedule/preference. (Personal example: my last commissioned play was written over the course of three months, every weekday, from 7am – 9am. After that, I had the whole day ahead of me to work, rest, fold washing and lament the choices made by my characters.)

Goals

Finally, you’re going to find it a lot easier to start writing when you have an end point in mind. Think about what your script is for: are you working towards a production? Is there a competition you’re submitting for? Do you have a particular actor in mind with whom you’d like to work?

Even if there is no concrete goal, set yourself a deadline to work to. You can always move it if you think it’s becoming unreasonable, but a date on your calendar that dictates the end of the process is sure to light a fire under yourself when you’ve yet to start!

Ways To Start Writing

Given that our focus today is starting the actual writing process, we’re going to assume that you’ve already got an idea in mind, and given some thought to the plotting of this idea into a narrative an audience can follow. A good idea might feel like an asset in starting to write a short film, but it can also paralyse you: you don’t want to ‘get it wrong’ and do injustice to the brilliance of your first artistic impulse.

Remember that an idea is useless until it’s written out—and written well.

Location, Location, Location

What’s the first thing the audience will see? Usually, it’s the location where the action takes place. Before any of the story unfolds, take a moment to describe it. Make it feel real, ‘lived-in’, like it’s existed for years before the reader of your script picked up these pages and learned about it. Here’s an example:

INT. BUD’S DINER – NIGHT
Bud’s Diner is empty, save for a lone COOK behind the long, red counter. With his back to the room, he scrubs the filthy fry top, swaying his hips to music from a muffled jukebox.

Applying a little script analysis to this description gives us so much to work with: the few details we have suggest a lot about the state of the diner, its popularity, even a hint of a personality for an unnamed character. If you’re struggling to start writing your short film, focus on the world of the story first.

Start Where It Gets Good

A man wakes up, has a shower, brews some coffee, commutes to work, sells insurance over the phone. After work he has a late lunch, hits the gym, calls his mother and then goes to his favourite bar. In the corner booth of the bar, a strange figure sits watching him. The figure calls him over and hands him something: a picture of the rocking horse he owned as a child…

Notice how that story picked up towards the end there? It was three-quarters diary, blah blah blah … and then suddenly a mysterious figure! A relic from the past! Mystery! Adventure!

How late can you start telling the story in your script before it stops making sense? If it takes two pages for the thing to get interesting, consider cutting the first two pages—especially in a short film, where every second has to be justified. Start where it right where gets good. And you’ll feel the same excitement your audience will.

Focus on the Action

Do you feel the burden of your film’s overarching themes and ideas? The need to truthfully represent, whilst keeping your audience engaged? Are you experiencing the pressure of having to write “The Definitive Guide to [TOPIC]?”

Focus on the action. What’s the first thing that happens? “Sandra wants to be the world’s greatest stand-up comedian.” That might be the plot, that might even be your character’s objective, but it’s not the action. What’s the first thing the audience sees? “A comedy club.” More specific. “Sandra at the mic.” Great! Now answer the most important question in writing: “What happens next?”

INT. COMEDY CLUB – NIGHT
Sandra stands at the mic. She tries to open her mouth but nothing comes out. In the dark, she can see the abstract shapes of audiences shifting uncomfortably. Elsewhere, the sound of a smoker’s cough. She tries to speak again, but only a squeak comes out. She grips the mic as her vision blurs…

What happens next? What happens next? And after that, what happens next? Note the cause-and-effect of the action above. Take your script action by action, and give each moment a sense of importance as it sparks the next.

‘Watch’ your Movie

This technique comes from the great writer/director Robert Rodriguez, spoken in one of his series of ‘Ten Minute Film Schools’. If you’re stuck writing your script, stare at a blank wall in your house and ‘watch’ your movie. Let your imagination go and picture what it looks like when the lights go down and the titles flash up. What’s the first shot? How does the action unfold? What are the characters saying?

Script writing forces us to boil down our imaginations into readable chunks so that a director can bring it to life and a producer can pay for it. Sometimes, if you let yourself get caught up in the pressure of writing it all down, you can lose sight of the inspiration and ideas that spurred you into action in the first place. Watch your movie. Enjoy it. And then write it down!

Write Badly

If all else fails, start your script as badly as you can. Seriously: make an effort. Write your dialogue over the top, have too much detailed description and characters straight out of The Room. Push the melodrama, raise the stakes! And if the story is set in a retirement home, you better open your movie on the space battle happening above the Martian colony.

Why? (Entirely fair question.) Because bad writing is better than no writing. And once you’ve written the worst version of your script’s opening, you can focus on drafting it into what it should be. Start by cutting unnecessary things: descriptions, double-ups in dialogue, the space battle happening above the Martian colony. It won’t be long before you start strengthening things, adding better lines or more succinct versions. Before you know it, you’ll have cut through the crap to discover what your story should actually look like.

Conclusion

The effort it takes to start writing is immense. That’s because it’s the hardest part of the process: it’s what starts to turn that idea you’ve had into something others can experience and enjoy. So if you find yourself at the start of your writing journey, know that it gets easier the minute words are on the page. And you’re ten times the writer somebody else is who hasn’t written a thing.

So do whatever it takes to write. Try each of the tactics above, try a combination, ask peers and mentors for their advice. Sure, it’s tough. But there are few things as artistically rewarding as coming up with a little world of your own and telling a story there. And it’s especially true for actors, when you spend so much of your time caught up in the worlds of others.

Good luck!

Additional Resources

Before we sign off, here are some additional resources you might find helpful in your writing journey:

• How to Write a Play
• How to Write your First Screenplay
• How to Write a Scene for your Showreel
• How to Write a Monologue
• How to Write a Short Film
• How to Write a Vehicle for Yourself
• How to Write a Cabaret

The post How do I Start Writing a Short Film? appeared first on StageMilk.

This is being reductive, of course. But most punters can identify such abilities when they see them. Acting ability, on the other hand, is harder to nail down. It’s why so many people have differing opinions on what good acting is, and who a good actor might be. So in this article, we’re going to look at what the undisputed components of acting might be. “What is acting?” Let’s work towards an answer.

An Actor’s Process

You might be asking yourself what it means for an actor to have a process. Don’t actors have the same process if they’re performing the same job? And if not, how do we know which process is the right one, the correct one, the best one?

In short, an actor’s process is whatever gets them over the line. I, myself, have a particular way of working that may be totally different to how you were trained or currently operate in the industry. But if it works for you, like mine works for me, I’m not here to tell you to change a thing about it.

There are some aspects of acting that remain unchanged, such as the tools one is taught or picks up in schooling or through experience in their careers. But the actor’s process is an entirely personal journey, and one that should, hopefully, keep evolving throughout a long and vibrant career.

Is the need for craft changing?

My curiosity on this subject was piqued last month when Patsy Rodenburg, a leading voice specialist, decided to step down from her position as head of voice at the Guildhall School of Drama and Music. Guildhall is a prominent acting school in London that has produced some of the finest and most recognisable actors of screen and stage. Rodenburg cited changes in teaching standards, and the industry as a whole, as her reason for leaving the position.

To summarise, Rodenburg identified a shift away from traditional teachings in voice, movement and text analysis—a shift she could no longer take part in. To be honest, It’s a decision I respect. She saw the cultural shift in the industry and didn’t feel like she knew how to contribute. This allows someone who can take up the task to move in. Kudos to her.

An Acting Teacher’s Perspective

I have been teaching students of varying skills and ages for about four years. I can clearly see a difference in the interests of students, compared to what I was focused on as a student myself. For context, I graduated from The West Australian Academy of Performing Art (WAAPA) in 2008. Our training focused largely on the idea that, if you could learn how to command the stage, everything else fell in place. This meant our training was steeped in more traditional training methods of standardised vocal and physical coaching.

Students now seem to be more screen-focused, and therefore some of these traditional methods are losing their appeal. This is not necessarily a bad thing. The world evolves and shifts. Interests change.

The training I received was grounded in the idea that there were controllable things you could learn that would make you a better actor. Namely: you could learn how your body and voice can be used to enhance a performance. Personally, this took me from an actor with some basic instincts to an actor who could extend my range to areas I didn’t think were within my reach. However, I do feel as though I was on the cusp of the change I’m referring to. We received minimal screen training, and that meant a lot of my learning in that area was done in audition rooms and on the job. In that sense, I felt behind. I had to learn fast and fail often. 

Different Acting Tools

So, with the tide shifting towards a heavily weighted screen focus, what is the validity and place for those vocal and physical assets? Whenever I think of this question I hear the words of one of my favourite lecturers: “Screen doesn’t require less technical skill, it requires more specific technical skill.” A reduced (like the sauce), more refined screen performance often means we have to use our voice and body more efficiently. It’s not about doing less, it’s about communicating differently.

Command of the voice and body are as vital as ever. What does seem up for debate is how we go about acquiring and implementing the knowledge around these skills.

Finding Your Process as an Actor

Now we are in an area that is open to more debate and differing opinion. What goes on, intellectually, for acting to work? Are there undisputed intellectual processes that must be adhered to?

In this vein, I’m reminded of an interview I read with the late actor Anton Yelchin, a brilliant performer whom I admire greatly. He stated that instincts were all he had as a teen, and eventually he had to expand on that. I think this resonated with me because it is something I empathised with so deeply. In my training days, I could get away with big, bold choices that had conviction fuelling them. When it came to stretching to more uncomfortable areas, I felt at sea. That’s when I realised I needed to know why what I was doing was or wasn’t working. I needed to do my analysis.

Start with your Objective

I’ll cut to the chase here, I am absolutely certain that objective is an essential part of acting. If objective is something new to you, it is, put simply, ‘what your character wants and why they want it’. If we’re talking about the more invisible elements of acting, I believe we must always have our characters trying to ‘do’ something. I have never encountered a situation where a performance wasn’t enhanced by an actor focusing on what they were trying to achieve.

There are, of course, a bevy of other tools we can use to shape a performance. Emotional recall is one tool that I resisted for many years. Now, it’s essential for me to find truth in certain performances—whether I set out intending to use it or not. For those of you new to the idea, emotional recall is using your personal past experiences and applying those feelings to a performance that requires a similar emotional connection.

However, I offer up emotional recall with this caveat: a lot of self-monitoring needs to happen. If you draw on trauma or confront parts of your past, you need to balance what is helpful for a performance with what is safe for you and your mental health. It’s an example of the kind of tool I use in my own process, but wouldn’t necessarily recommend to any actor looking to try it.  Is it essential? I don’t believe so. Has it been essential for me at times? I think it has.

Playing Actions

Another popular example is the use of ‘actioning’. This is the use transitive verbs to influence a person or people you are speaking to—sometimes referred to as the ‘tactics’ that your character uses to get their objective. I know many actors who swear by it, but I’ll confess I rarely implement it in my own work.

There is an inevitable amount of trial and error when it comes to what processes work for you. You have to be glutenous, at first. Eat up any and all ways of working. See what fits, and find out what is and what isn’t for you. Some roles and projects will require more of one thing than another. The next project will likely require a different approach.

If we are trying to answer ‘What is needed?’ I’ll admit, I have more questions than answers on the subject of ‘process’. I will reiterate, though, that if something isn’t working for you, you can always return to your objective. What are you trying to do? Why do you want to do that and how do you go about it?

What can I do right now?

Great news is, you’re doing it. Engaging with places like StageMilk, and other resources, is part of ongoing learning that we should all continue. No matter your experience or skill level. The desire to investigate is a most essential component. Consume all art and information with an open mind, and take active interest in human behaviour and the patterns we see.

My most pretentious view on this subject is that acting can be seen as being ‘professionally empathetic’. It isn’t the job of the actor to judge or label our characters, but to understand them. Actor Ethan Hawke talks about seeing himself as the lawyer for his characters, and I think I see what he means. We go in to bat for our characters. We want to represent them with empathy and understanding. Where an audience may see characters as ‘good’ or ‘bad’, we must see them as justified in their actions.

Start engaging with the world around you. It sounds broad and simplistic, but an actor’s work is enriched by an expansive knowledge of the range of human experience. Read, watch, listen and ask questions.

So where does this leave us?

Let’s revisit the idea of ‘ the essential components of being an actor.’ It’s a question that I don’t think I can ever truthfully articulate a complete an answer for, at least for myself. But I think of this as a positive thing. If something is harder to define, then it is harder to narrow down. We can bring our own experience and perspectives to a lot of the work and go from there. There are more choices. While that can seem daunting, it can also be liberating.

I remember a staff member at WAAPA asking a visiting company of accomplished performers what they thought the ‘key’ to acting was. An awkward silence fell across the room and the performers, all of which were in Australia to perform one of the most acclaimed productions in the world at the time, had no answers. There are no shortcuts and there are no hidden secrets, just work, time, patience and dedication.

In terms of technical tools that we should look to as consistent guiding lights, there are things that I do think are a little less up for debate. If the industries of training and performing are moving away from traditions of vocal, text and physical coaching, then perhaps we need to hold ourselves to a greater level of personal accountability for those elements?

Conclusion

I talk to my younger students a lot about finding a place for themselves that I refer to as ‘your neutral’. What I mean by this is that there isn’t a correct way to stand, sound or ‘be’ as a performer, but there can be ways of identifying what works for you personally, and also works for communicating as an actor. It’s about identifying where our own strengths and weaknesses lie, and how we each go about growing from there. Trying to take note of our own assets and potential areas for further development is important in taking the next step.

Beyond the technical though, I think the closest thing I have to offer in terms of a ‘key’ is to continue to be curious. Continue consuming different ways of teaching. Continue consuming art that surprises you. And continue being observant. There will always be new perspectives on acting coming through that challenge our ideas and question what we thought we knew.

For now, my approach to the shifting tide is to find a balance between the old and the new. To look to peers and the people I respect for guidance, and put aside pride in the face of new information when necessary.

The work of an actor never ends. How wonderful.

The post Finding Your Process as an Actor appeared first on StageMilk.

B: “Hi.”

What just happened? Are these people two friends seeing each other for the first time since the summer break, or a condemned (but innocent) criminal greeting his smiling executioner? The joy of A/B scenes for actors is that both could be true. Without the context of a larger script or any supplementary information, A/B scenes (sometimes known as ‘open scenes’) give you all the power in the world to shape and bring them to life. They are extremely useful resources, which is why we at StageMilk decided to write and publish this collection.

This page contains a collection of free, original A/B scenes for actors, perfect for use in acting classes or drama workshops. These scenes contain minimal information regarding character and setting, allowing actors to experiment with characterisation and context using their given circumstances. In addition to traditional two-handers, there are scenes for multiple actors with the same, pared-back information.

Whether you are an actor looking to improve their craft or an acting teacher looking for resources in a drama class or workshop, this page will give you all the info you need to properly deploy and help your students/peers/yourself through the process. Scroll down to the bottom for additional resources StageMilk offers regarding free, original script available to our entire acting community.

How to Work with A/B Scenes

Before you jump in, take a look at the following concepts to help you navigate the A/B scenes on offer. Just because information in the script is minimal, doesn’t mean you can skip any part of the script preparation process. If anything, it’s more important than ever to find the context and thrust of the scene.

Script Analysis

Read the script, analyse the script and know the script. For A/B scenes, look at vocabulary and sentence structure in particular: what does one character’s style of speaking tell you about who they might be? Are sentences short or long? Does one character speak more than the other, or perhaps more confidently or emotionally than the other? Writers will always leave you hints in the words they chose (or didn’t.)

Finding your Objectives

What does your character want in this scene from the scene? Lack of context or action does not mean that you can skimp on this. Even in the example at the top of this page (“Hi.” “Hi.”) an objective must be needed: perhaps Character A wants to intimidate Character B, whereas Character B wants their scene partner to remain calm.

Plotting your Actions

Once you know what your character wants, it’s time to plot the actions/tactics they use to get them. Why does your character say a line? What’s the idea behind it that helps them achieve their goal?

Modifying the Moment Before

Establish what’s happened to each character before the scene begins, and then play around with it. “Hi.” “Hi.” could have happened after a lousy speed-dating event. It could also have happened after A caught B cheating on them after twenty years of marriage.

Establishing Given Circumstances

These classic Stanislavski questions of who, where, when, what, why and how will help you ground you choices in A/B scenes. The more context you can build with the given circumstances, the more realistic and compelling your scenes will be.

Changing it Up

Finally, be sure that you keep changing things around in these scenes: once you’ve played it a certain way, challenge yourself to re-invent the situation entirely. What else can you discover? What risks can you take?

A/B Scenes for Actors

While none of these scenes exceed a minute in length, it may be preferable in some instances to ‘split’ the text and only use a fragment for performance and analysis. This is particularly recommended for drama teachers—who may wish to use this material with greener students.

Encounter

Genre: N/A
Length: 1 min
Synopsis: A surprises B after time apart.

Refund

Genre: N/A
Length: 1 min
Synopsis: A would like to return something with B’s help. For cash, preferably.

Alone

Genre: N/A
Length: 1 min
Synopsis: A would like to sit with B to cheer them up. B has other ideas.

One More Thing

Genre: N/A
Length: 1 min
Synopsis: A doesn’t want B to worry about something, but they won’t get specific.

It Happened

Genre: N/A
Length: 1 min
Synopsis: A catches B up on a big development.

Do It

Genre: N/A
Length: 1 min
Synopsis: A wants B to do something. B knows they have to, but hesitates.

Turbulence

Genre: N/A
Length: 1 – 2 mins
Synopsis: A is going on a trip. B is nervous about it.

Catch Me Up

Genre: N/A
Length: 1 – 2 mins
Synopsis: A and B run into each other after a time apart.

Lost

Genre: N/A
Length: 1 min
Synopsis: A is searching for something. Be is not being helpful.

Remember

Genre: N/A
Length: 1 min
Synopsis: A wishes B to remember.

Leaving

Genre: N/A
Length: 1 min
Synopsis: A and B talk before leaving the house.

Embarrassed

Genre: N/A
Length: 1 min
Synopsis: A is embarrassed by something. B would like them to drop it.

Seat

Genre: N/A
Length: 1 min
Synopsis: A is sitting in B’s seat. How dare they.

News

Genre: N/A
Length: 1 min
Synopsis: A has big news for B, right before they make a life-changing confession.

Stolen

Genre: N/A
Length: 1 min
Synopsis: B has an issue with the way A has procured something important.

A/B/C/D/Etc.

These scripts follow a similar format to A/B scenes, but contain additional characters. These scenes may be useful in larger drama class settings, or for scene study workshops.

Voted Out (3 Roles)

Genre: N/A
Length: 1 min
Synopsis: A is informed by B and C that they are out.

Still or Sparkling (3 Roles)

Genre: N/A
Length: 1 min
Synopsis: A, B and C have an awkward disagreement over an order.

Relaxation (4 Roles)

Genre: N/A
Length: 1 min
Synopsis: A, B, C and D try to relax, but it’s not so simple. Apparently.

Additional Script Resources

A/B scenes are invaluable resources for actors that help train an understanding of the theory of character and drama. However, due to their short nature, they may only take you so far in your exploration of text. So once you’re done working with these pieces, you might like to take a look at some of the original material we offer here at StageMilk.

Original content:

• Practice Scripts for Actors
• Practice Monologues for Actors
• Short Monologues for Actors
• Scenes for Three Actors
• Scenes for Four Actors
• Scenes for Young Actors

Resources for acting and script work:

• Script Analysis: How to get the Most out of a Scene
• How to Discover Character Relationships
• What is Subtext in Acting?
• Rhythm and Pace in Acting
• Given Circumstances

All things showcase and presentation:

• How to Nail your Drama School Showcase
• Should I Take an Acting Class?
• How to Survive your Drama School Showcase
• Benefits of Scene Study for Actors
• How to Cut Down a Monologue or Scene

Across these pages (and the one you’re reading now), remember to check in regularly for new uploads. We are forever adding fresh original scripts for all your acting needs.

Enjoy!

The post A/B Scenes for Actors appeared first on StageMilk.

This article contains a list of essential films for actors to watch. These films speak to the lifestyle or the craft or the actor, how they navigate fame or the lack thereof, and how the world might challenge their journey to fame and recognition. In each of these films, there are things an actor can learn from that may inform or enrich their own careers and lives. They are also highly entertaining.

Before we jump in, the usual disclaimer: these films are chosen by the good people at StageMilk, meaning that they are our opinions and ours alone. If you think we’ve committed some great sin by leaving out a favourite of yours, why not leave a comment or drop us a line so we can add it in!

On Selecting These Films

This list of essential films for actors to watch came with a very specific criteria: actors have to be able to learn something from each movie about their craft. For this reason, you might notice certain omissions (gasp!), or completely fail to recognise some of the more obscure titles. Just remember that we’ve selected these films with the specific goal for you to watch them, engage with them, and find ways to enrich your craft.

Essential Films for Actors to Watch

All About Eve (1950)

The ultimate actor’s horror film: what happens when you grow old and the younger generation force you out?! Bette Davis plays Margo Channing, an aging Broadway dame. She gives a break to young hopeful Eve Harrington, who promptly begins to take over Margo’s life, career and social circle as the Next Big Thing. For actors, it’s a chilling reminder that the greatest villain of all is not the young starlets, not even one’s own age, but the paranoia that all-too-easily sets in.

Actors should watch it for a frank look at an actor passing their prime and contending with their limitations. It was a bold move for Davis to make this film, to declare to audiences that she might be more similar to her character than she’d like to admit. But Bette Davis was always a brilliant tactician with the roles she took on; All About Eve is a masterclass in taking a courageous career step and making history with it.

Singin’ in the Rain (1952)

The movie business loves to tell stories about itself. Singin’ in the Rain depicts one of the greatest shifts in the history of cinema—the move from silent pictures to sound. It’s a classic example of the Big Studio Musical, and carries such influence that films are still trying to recapture its magic today. (We’re talking about Babylon. Don’t see Babylon. It’s like Singin’ in the Rain but you’re jamming a fork in your thigh for three hours.)

Actors should watch it for a fun reminder that your business is changing, always changing. Whether it’s those pesky microphones coming to record your voice, streaming services changing the distribution model or AI replacing you with a few lines of code, actors need to stay on their toes. Will you be ready for what comes next? How will you protect your career in the decades to come?

The Goodbye Girl (1977)

The Goodbye Girl is an actor’s classic, an adaptation by Neil Simon of his smash-hit Broadway comedy. An out-of-work actor blows into the life of an out-of-work dancer and her young daughter. Comedy, romance, career angst ensues. The film gives its audience a fairly unromanticised picture of the realities of showbusiness: castings, rejections, day jobs. But it also demonstrates the joys of navigating this world with your closest companions—and how the life of an actor is enriching nonetheless.

Actors should watch it for its unflinching portrayal of career hardships. Elliot Garfield moves to New York to star in Richard III, thinking he has it made. But his director has very different ideas of interpretation… So what does he do? He works part time, makes ends meet, until the next big opportunity comes around. It’s not glamorous, but it’s honest. And it does end well!

Fame (1980)

These days, Fame tends to be a movie people are aware of but haven’t actually seen: it’s a musical, it’s a performing arts high school drama … it sounds pretty damn insufferable on paper, we know. But Fame is an honest look at the trials that young performers face. From their first disastrous audition (see above) to the excitement—and terrifying uncertainty—of graduation. The film never promises the characters their dreams—one excruciating scene comes to mind when the main characters are waited on at a cafe by the school’s former acting wunderkind. But such honesty is rare to find in movies about acting.

Actors should watch it to see themselves reflected in the hopes and dreams of the young performers. There is an infectious quality to the way they seize opportunity, develop their skills and enjoy the feeling of becoming good at they do. The know the odds are against them, but they carry on regardless.

Who Am I This Time (1982)

The very definition of an underrated gem. This TV movie was directed by Jonathan Demme (The Silence of the Lambs), based on a story by Kurt Vonnegut; it tells the love story of two introverted people in a small-town amateur theatre company who use their characters’ voices and passions to express their feelings. It boasts two incredible performances from Christopher Walken and Susan Sarandon.

Actors should watch it for a reminder that good work can happen regardless of your personality, your location or level of profession. Amateur, part-time, full-time or retired: acting is acting. And a great performer is a gift no matter  their circumstance.

A Chorus Line (1985)

Adapted from the 1975 musical of the same name, A Chorus Line tells the story of a group of performers auditioning for a new Broadway musical. As choreographer Zach puts them through their steps, the characters reveal the stories of their lives, their hopes and fears as they give their all to win a coveted part in the show.

Actors should watch it because it’s the most honest, in-depth portrayal of the audition process around—even if people do break into song. It shows a lot of audition dos and don’ts, and provides first time hopefuls with a lot of useful information. (The film version is somewhat sanitised from the original production, which is worth a look for its groundbreaking portrayal of queer actors in the theatre.)

Withnail & I (1987)

There is surely some kind of law that dictates any list of films for actors to watch contains this one. Withnail and I is a cult classic, with a superb cast and more memorable lines than a book of quotes. Two broke, drugged-out actors decide to end the decade of the Sixties on a holiday in the country. To say more is to give away the experience of seeing this film for the first time, or the hundredth. Tip: watch it with the finest wines known to humanity.

Actors should watch it for Withnail. He’s captivating, he’s talented (see the above clip), he’s charismatic … and he’ll never make it as an actor. He is the perfect cautionary tale, all too real and common in our business, of an entitled actor whose career stagnates because they are unwilling to compromise. It’s a heart-breaking watch for an actor, once you stop laughing at everything else in this movie.

Jesus of Montreal (1989)

In Denys Arcand’s excellent film, a group of gigging actors come together to create a Passion Play (a religious work depicting the life and death of Jesus Christ) for a Quebec church. The troupe chooses unconventional methods to tell the story, including historical details, audience immersion and fourth-wall breaking, and the play is an unexpected hit. But as the story complicates, and the integrity of their work becomes threatened, lead actor Daniel finds his life increasingly mirrors that of Jesus as he fights corruption and preaches compassion.

Actors should watch it to see how hard work and belief in one’s craft can elevate a banal project into something truly life-changing. The conviction of the actors in the film is infectious, as is their method for collaborating and workshopping an idea to make it its best. It is the kind of work we should all aspire to create, and is often more in reach than we realise.

Vanya on 42nd Street (1994)

As big fans of David Mamet, we talk about this unique film a lot on StageMilk. Vanya on 42nd Street is a strange adaptation of the Chekhov classic, that sees its actors arriving for a rehearsal with their director Andre Gregory in a decaying New York theatre. There is no set to speak of, only the stand-in furniture in the orchestra pit of the old stage. The actors transition into scene work so gradually you are almost unaware that the action of the piece has begun. It’s a metafictional oddity, but a must-see for actors of any level.

Actors should watch it for a masterclass in performance. With the staging and pretensions of theatre stripped back, the acting is on full display in this adaptation, and there is much to be learned in the subtlety of the ensemble’s work. Andre Gregory and his cast had workshopped Chekhov scenes together for years before this film was even an idea. Their confidence with and understanding of the script certainly shows.

Waiting for Guffman (1996)

Another cult entry on this list, Waiting for Guffman is a mockumentary about a group of small-town actors and their director. Tasked with creating a play about Blaine, Missouri on its 150th anniversary, they craft an ambitious (if terrible) musical they hope to one day take to Broadway. Director Christopher guest (who also portrays “Red, White and Blaine” director Corky St. Clair) allowed his actors to do extensive improvisations, resulting in a film that is not only hilarious, but touches on some truly human moments.

Actors should watch it to relate to the sometimes ridiculous nature of what they do. Not a scene in Waiting for Guffman will feel unfamiliar; while it sometimes laughs at the actor’s life, it is always loving towards the people who make complete fools of themselves just to feel like another person, if only for a second.

Me & Orson Welles (2008)

Richard, a precocious 17 year old actor, lands a job in the Mercury Theatre’s famed 1937 production of Julius Caesar. In the week before opening night he learns his craft, falls in love, finds his place in the theatre and grapples with the enormous talent (and ego) of wunderkind director/actor Orson Welles. Told with very rose-tinted glasses, the film is a delightful riff on history; it captures all the hope and ambition of a young artist at the beginning of their journey.

Actors should watch it for a fond, if frank representation of working in the theatre. It perfectly captures the measured chaos of life before the opening—including the regulation Disastrous Preview—and details the efforts of a brilliant director getting the very best from his cast. Plus: if you’ve never had an inkling to try your hand at stage acting … take this film as the inspiration to give it a go!

Once Upon a Time in Hollywood (2019)

Forget the ultra-violence, forget the period setting and the soundtrack. Once Upon a Time in Hollywood is a film about actors: how they come to terms with their careers beginning, blossoming or ending. Leonardo DiCaprio’s Rick Dalton finds himself at a career crossroads, choosing between bit parts in television or Spaghetti Westerns. As his star fades, young Sharon Tate (a criminally underused Margot Robbie) sneaks into a matinee of her own movie, her career stretching out before her. It is at this point the film diverts from history—arguably in poor taste. But Hollywood is ultimately the story of the optimism of actors hoping for everything showbusiness has promised.

Actors should watch it for the indulgence director Quentin Tarantino gives to moments like the above scene: a young girl discusses acting and career with Rick Dalton on the set of his latest job. His attitude towards his own process is changed, challenged by the convictions of a person who sees acting not as a way to pay for vodka, but a way of living. Inspiring stuff.

Conclusion

So there you have it: essential films every actor should watch! Before we sign off, there’s one final thing we want to leave you with. As actors, your job is not just about practicing lines and nailing auditions, it’s about absorbing art in all its forms to round your knowledge and appreciation. The films in this article are a great place to start (especially those with a cheeky link to the full version), but you’ll do yourself every favour as an actor by seeing all you can and absorbing as much from each movie as possible.

Remember that writers and directors immerse themselves in cinema: it’s the language they use to convey meaning and emotion, and how they may very well communicate with you on set. “It’s like the end of Fargo!” or “Remember how Viola Davis nailed that scene in Doubt?” Learn to love cinema. And learn to love to learn from it.

Good luck!

The post Essential Films for Actors to Watch appeared first on StageMilk.

Learning how to stay inspired as an actor will help you navigate the ‘down times’, when your career is quiet or when you find yourself exhausted from the hustle. The answer doesn’t lie in avoiding feeling tired altogether, but how you can harness dips in energy and ensure you’re fuelling up to hit the ground running again.

Acting is so much fun, but requires so much work. It’s very easy to get carried away with it–particularly at the start of a new year because when you might feel rested and motivated. Sometimes, no matter how driven or passionate you are, no matter how much work you are or aren’t getting, you’ll find yourself in these periods of exhaustion. Learn to cope with these, to deal with these, and you’ll be back on top again in no time. 

Motivation and Inspiration

First of all: I’m not writing an article about how to stay motivated as an actor (partially because we’ve already written that one.) Motivation and inspiration go together like vanilla milkshakes and French fries but they aren’t the same thing.  Motivation is what keeps you moving towards your goals. inspiration is the drive you have to set those goals. It’s that feeling you get from watching a great performance and thinking: “I want that. I want to be them.”

The problem is: when you’re feeling exhausted or downtrodden and you lose your sense of inspiration, it’s hard to stay motivated. And your goals grow old and un-ticked-off. When you’re feeling this way, your body/mind are telling you that it’s time to take a break. That’s normal and we should honour that. The temptation to keep pushing through these feelings is dangerous and can lead to burnout.

The great thing about inspiration is that it’s not as elusive or energy-consuming as we think it is. Motivation will always be there, so long as you’re staying inspired.

The Path to Inspiration: An Acting Parable

To explore the different ways to stay inspired as an actor, I’m going to tell you about my favourite, fictional actor, Nick Von (previously known as Schnitzel Von Crummington III in our stage name article.) Nick has been killing it for a couple of years, now. They’ve been on the main stage, they’ve been in a couple of feature films and they even landed a principal role in a limited Netflix series.

But that series was wrapped and released a couple of months ago. Things have gone quiet. The only auditions Nick is getting are for commercials—which they’re grateful for–but every tape feels like a huge chore just to be present for the camera. Nick watches the tapes back and is disappointed. They start to question whether or not they really have what what it takes to be an actor.

Their instinct is to push harder. They sit down with a two-line script for a toothpaste commercial and develop a character with a three-page backstory and peanut allergy. They ask their friend Claire to come over and workshop the character and give notes. The first thing Claire says when she walks in is: “Wow, Nick, you look exhausted.”

Mindfulness

Lightbulb. Nick is exhausted. They’ve hardly had any time to themselves for the better part of two years. They need some time off, but they’re worried that taking time off is a sign that they’ve lost all their motivation. Claire is watching all this flash across Nick’s face and suggests they do some yoga.

For the next 30 minutes, Claire and Nick are listening to the dulcet tones of Yoga with Adriene. After they’re finished, they spend some time stting and noticing their breath. Nick is already feeling a lot better. They shoot the toothpaste tape and send it off without a second thought. Claire suggests to Nick they should make a daily habit of practicing some form of mindfulness.

Over the next few days, Nick journals in the morning and does yoga whenever they get a spare half an hour. At night, Nick also makes a considered effort to check in with themselves and notice how they’re feeling without judging or trying to change it. The days start to feel a little longer and Nick notices they’re feeling less anxious about their career.

The Neutral State

Practices like yoga, meditation, physical exercise and journalling are essential tools. Our world moves at a staggering pace and encourages people to keep up regardless of how it could be affecting their physical and mental health. We’re so used to being overstimulated all the time that this abnormal state of being has become normal.

Making time to practice some form of daily mindfulness will allow your body to settle back into its natural patterns of regulation. You may have heard of “the neutral state” or “coming back to neutral” being taught in drama classes. “Neutral” is essentially a state of mindfulness where your body is relaxed and aligned so that it can dive headfirst into a character and/or scene without any held preconceptions about either.

Creativity flourishes when you practice mindfulness and allow your body to come to stillness in our nonstop world.

Trying Something New

Claire and Nick have been going to yoga classes for a few weeks now and they have a perspective-shifting conversation after one particularly rigorous Vinyasa session. Nick loves acting. It’s all Nick thinks about, reads about, dreams about and talks about. Claire noticed that Nick is muttering Shakespeare’s sonnets under their breath during their yoga classes and thinks it’s time for an intervention. Claire starts by asking Nick what their hobbies are. What do they enjoy doing in their spare time? What’s something that brings them joy? Nick’s answer is: “Acting, of course!”

“Acting is your job,” says Claire, “Even if it’s your dream job. When was the last time you learned a new skill?”

“Well, I learned about a great acting technique by Mike Leigh-“

“That’s still acting. Come on, I’ve got a voucher for a pottery class that we can try this afternoon.”

Work/Life Balance

Actors, even the most passionate of our kind, still need to consider their work-life balance. It’s particularly difficult because the work of an actor is often to imitate life in some way, so the line between where our work ends and where our lives begin can get very blurry. 

An essential part of being a well-rounded human being is to learn new skills and take interest in things you wouldn’t usually consider interesting. Pick up an instrument, read a book about science, go for a hike, take a coding class, go to a karaoke night–the less it has to do with the craft, the better. 

I’ll tell you a secret, though. It’s all part of the craft. Any skill or activity that requires you to engage with the real world in some way makes you a better person and, by extension, a better actor. That being said, try something new that sparks joy, not because you think it would be a good addition to your special skills section of your resume.

Get Social

Nick considers themselves an introvert. They have a handful of close friends, but no one except Claire has heard from Nick since they landed that Netflix series. Nick’s journals are starting to fill up with lines like: “I just need to focus on my work”, “I’m too busy to socialise”, “I’ll get back to those texts eventually”.

Once again, our fearless hero Claire is here to save the day. She arranges a dinner with Nick and all of their friends. It’s an emotional reunion, filled with “I haven’t seen you in forever!” and “How are you?” and Nick tells them all about the pottery classes and hikes and piano lessons. They’re all shocked and delighted: they won’t be enduring a night of Nick actorsplaining the intricacies of Stella Adler, but rather one of board games and jokes and deep and meaningful conversations. All the good stuff.

As an actor, you need people in this life: both in the biz and outside of it. There have been a lot of recent studies that show the greatest contributor to good health and overall happiness are peoples’ social connections. It makes sense because human beings are pack animals – back in the day, if you didn’t have a tribe of reliable people looking after each other, you were dead. Engaging with other people doesn’t only give you more insight to the human condition which is necessary to understand if you want to be a good actor, it keeps you happy and sane which is just as necessary to being a good actor.

Back to It

It’s been a whole month and Nick hasn’t felt anxious about their career at all. Their feet are getting closer to the ground in downward dog, they’ve learned to play Hot Cross Buns on the piano and they haven’t spent this much time with their pals since high school. They look at themselves in the mirror one morning and with a glowing smile and a deep breath say: “It’s time.” They open their phone and book tickets to a stage play.

Nick is nervous. What if it’s not the same? What if they’ve been away from it for too long? They take a deep breath, notice how they’re feeling and decide that it doesn’t matter. What will be, will be. The lights go down and the curtains go up. It’s a rush that Nick hasn’t experienced in almost two years. The lights, the set, the electricity in the air, the rise and fall of the actors’ shoulders as they wrestle with their objectives and their relationships and given circumstances. Nick feels a pull to the stage, a deep appreciation for the actors and the director and the writer and everyone who made the show possible. When the curtain goes down, Nick leaps to their feet, applauding. Around them, people are a little confused: it was good but it wasn’t that good…

Over the coming days, Nick gets tickets for as many films and plays as they can. They’re noticing things about the acting, script, cinematography, lighting and the sound that they’ve never considered before. There’s a richness to it all.  And when those auditions finally start rolling around, Nick is excited: ready to meet them with all of this fresh energy.

Finding Inspiration in the Work of Others

You also don’t have to completely step away from acting in order to recover your inspiration like Nick did. Seeing films and theatre shows and reading plays can be a part of your life just as much as yoga and socializing and pottery classes are.

The simple act of exposing yourself to other peoples’ work can be incredibly inspiring and valuable for your own craft. But don’t just stop at film and theatre, though. Read lots of books, fiction and non-fiction, play video games, go to clown shows and puppet shows, art galleries and museums. Find as many stories and ways of telling stories as possible and soak them up. If you’re living fully and experiencing new things and learning new skills, this will inform the way you absorb these stories—and gift you perspectives you’ve never had before.

Conclusion

Simply put: the way to get inspired as an actor is to live a good life. It’s what makes this job one of the best in the world, because all of the best things in life are technically research for the actor. If you’re looking after yourself and the people around you and seeking out new ways to grow and engage with the world, you’re going to be just fine.

 I’ll leave you with a beautiful letter written by musician Nick Cave to a young aspiring artist.

“Read. Read as much as possible. Read the big stuff, the challenging stuff, the confronting stuff, and read the fun stuff too. Visit galleries and look at paintings, watch movies, listen to music, go to concerts – be a little vampire running around the place and sucking up all the ideas you can. Fill yourself with the beautiful stuff of the world. Get amazed. Get astonished. Get awed on a regular basis, so that getting awed is habitual and becomes a state of being. Fully understand your enormous value in the scheme of things because the planet needs people like you, smart young creatives full of awe, who can minister to the world with positive, mischievous energy, young people who seek spiritual enrichment and who see hatred and disconnection as the corrosive forces they are. These are manifest indicators of a human being with immense potential.

Absorb into yourself the world’s full richness and goodness and fun and genius, so that when someone tells you it’s not worth fighting for, you will stick up for it, protect it, run to its defence, because it is your world they’re talking about, then watch that world continue to pour itself into you in gratitude. A little smart vampire full of raging love, amazed by the world – that will be you, my young friend, the earth shaking at your feet.

Love, Nick”

Hope this helps. See you around the traps!

The post How to Stay Inspired as an Actor appeared first on StageMilk.

This article contains a collection of royalty-free, original scenes for four actors. There is a range of genres and styles, and some performance notes to aid in quick script analysis. These scenes would be perfect for scene study, acting classes or a student showcase.

Just like our other originals pages (monologues, scenes and three-handers), we will update this article regularly with new content. So feel free to give it a ‘bookmark’ and check in for fresh material each month!

Copyright-Free Scripts

Before we dive in, let’s talk copyright. These scripts are given without strings as resources for actors around the world: we want you to use them and enjoy them and have fun bringing them to life.

But we still encourage you to think about where your scenes and monologues come from: who writes them and how they pay their bills, especially when their work shows up online for free.

If you can, find ways to pay it forward to the artists who write your stuff. Did you use a great scene by a playwright for that audition you nailed? Consider buying the play online! Have a favourite book of monologues you swear by? Get it as a gift for an actor friend!

From The Writer:

Hello! My name is Alexander Lee-Rekers; I’m a professional playwright and screenwriter. I hereby give my permission for you to use the scenes on this page for personal practice. All I ask is that you credit my work and cite StageMilk as its source—especially if you’re teaching a class, or post it on social media. (If you’re feeling brave, you can tag me on Insta via @alexnobodyfamous so I can see what you do with it.)  Other than that: have fun, make bold choices and give ’em a go!

Scenes for Four Actors

These scripts utilise the in-house formatting of our StageMilk Scene Club scenes, and may be filmed or staged as required. Get experimental with this: take the relative lack of stage directions as a chance to take the unexpected route.

As always, engage with script analysis and some character creation work: just because the words on the page are relatively few, doesn’t mean the writer hasn’t given you clues for interpretation and subtext.

Finally, in the context of an acting class, a scene study or a showcase, don’t feel bound to the names/genders/pronouns as prescribed by the text. Modify these to reflect the best possible casting, not the other way around.

An Unfortunate Thing

Genre: Drama
Length: 3 – 4 mins
Synopsis: A married couple confront their overbearing neighbours with a piece of damning evidence.

Performance Notes: This is a deceptively difficult scene to bring together; the motives of Greg and Kathy need to feel entirely justified, even though they do shatter the privacy of their (admittedly awful) neighbours. What the hell is on the video that they show them? That’s for you to decide. A small piece of advice: try to avoid playing this piece as straight comedy. There are laughs to be had, but it’s far more effective as an exercise in claustrophobic suburban drama…

Bronze Monkey Statue

Genre: Comedy
Length: 3 – 4 mins
Synopsis: Two spoilt siblings argue with their aunt and the family lawyer over the inheritance of a bronze monkey statue.

Performance Notes: This is a fairly ridiculous situation, with some over-the-top characters and dialogue the match. The secret to performing it effectively, as with all comedy, is to play it completely straight. How can you make these situations and interactions feel totally normal and real to the characters involved? Set the stakes of the scene: what do they stand to win or lose?

Going Negative

Genre: 3 – 4 mins
Length: Drama/Political
Synopsis: A mayoral candidate debates with her staff on whether or not to use a damning story about her opponent.

Performance Notes: Going Negative is a great opportunity to explore rhythm and pace in acting: get that dialogue crackling! It’s also worth spending some time on the backstory and distinction between each of these characters. Also status: who has the most standing in the room? And why might it be Tim?

Red Dot

Genre: Comedy
Length: 3 mins
Synopsis: Three art students commiserate over the sale of a peer’s grad show painting.

Performance Notes: Gosh, they’re awful people aren’t they… Sometimes, you have to play a character that is entirely unsympathetic (usually in comedy, where the audience can have a guilt-free laugh at their expense.) The trick is to build a defence case for them: as the actor playing said garbage human, you have to be their lawyer and argue their actions are good and correct.

Switch

Genre: Drama
Length: 3 – 4 mins
Synopsis: Two couples are interviewed about their experiences

Performance Notes: Owing a lot to the influence of Samuel Beckett, Switch contains minimal information about characters and setting. That’s not to say that there aren’t characters and a story world to be built—as an actor in this piece, you have important decisions to make. Note that punctuation is practically non-existent in this piece. When does it occur? And why?

Additional Resources

There you have it: custom-written, free, original scenes for four actors! Remember to check back with us regularly for new uploads across this page and our other originals pages.

Finally, be sure to look at our other pages for free material and acting resources.

Original content:

• Practice Scripts for Actors
• Practice Monologues for Actors
• Short Monologues for Actors
• Scenes for Three Actors
• Scenes for Young Actors

Resources for acting and script work:

• Script Analysis: How to get the Most out of a Scene
• How to Discover Character Relationships
• What is Subtext in Acting?
• Rhythm and Pace in Acting
• Given Circumstances

All things showcase and presentation:

• How to Nail your Drama School Showcase
• Should I Take an Acting Class?
• How to Survive your Drama School Showcase
• Benefits of Scene Study for Actors
• How to Cut Down a Monologue or Scene (we promise we won’t be offended)

One Final Note…

If you couldn’t find a scene on this page that really resonated with you, and you’re struggling to find material elsewhere … why not try writing one yourself? Here at StageMilk, we encourage all actors to experience writing and directing to get a more rounded understanding of how they fit into the on-set/stage dynamic. Consider coming up with a scene for your showreel, or even writing a monologue to get the ball rolling. You might discover an entirely new artistic passion!

The post Scenes for Four Actors appeared first on StageMilk.