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.

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.

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.

Video game acting requires a unique set of practical skills. You’ll need to be able to give physically embodied performances and, in some cases, stretch your voice into larger-than-life characters. You’ll need a solid agent, and you’ll also need to know about game studios, local and international, and the kinds of games they are developing.

Voice Acting or Plain Old Acting?

This article isn’t strictly about voice acting for video games. That’s because nowadays, companies with big budgets will often use motion-capture to create their characters. If you’re lucky enough to act in one of these massive projects, you’ll get strapped into a funny suit and act out scenes from the game in a studio, as if you were acting in a film or a stage play. Check out this behind-the-scenes video from The Last of Us Part II. It’s unreal.

Even on projects that are strictly voice-acting, your ability to stretch your voice will depend on your physicality. Video game characters are often heightened, and most of the creature or monster sounds you hear in video games are created by people pushing their voices to the limit and making sounds that seem impossible. Vocal fitness and physical fitness are intrinsically linked: the voice is not separate from the body after all.

WFH

The beauty of voice over work is that you can work from home. You need a good home studio, which does require some startup capital. But once you’ve got it, you’ll have it for as long as you need and it can open you up to international opportunities. Voice artist Misty Lee, works from her home studio and creates some truly harrowing sounds for major video games made all over the world:

How Do Our Voices Work?

In order to be a proficient video game actor, your vocal range will need to be somewhat superhuman. The way you get there is just like anything else. Practice. Having a good understanding of the different components of our voice will help us practice safely, so here’s a crash course.

It all starts with air. If you want to speak or make a sound, you take a breath in. The louder you want to be, the deeper the breath you take. The air then travels up through our oesophagus through our larynx where our vocal folds hang out. These pretty things look a bit like butterfly wings as air travels between them. They are delicate, but capable of some crazy stuff if the right amount of air is travelling through them at the right rate. Your voice doesn’t stop there, though. If you got your head cut off just above the larynx, it would make a sound similar to a duck. The things that shape this duck sound into words and noises are your teeth, your tongue, and your lips. 

So, to make sounds and voices worthy of a great video game, you need:

1.  Well-supported breath which comes from regular breathing exercises and good physical fitness. 
2. Just the right amount of air flowing through your vocal folds. If you’re experimenting with sounds or voices and you ever feel any kind of scratchiness in your throat, stop. That’s your limit and it shouldn’t be tested.
3. Muscular and precise articulators. We have some amazing warmups on our YouTube channel that, if practiced regularly, will strengthen your vocal muscles and keep your body relaxed and loose which is the best state of being to make crazy sounds.

The essence of this paragraph is to train. If you want to be a video game actor—if you want to be any kind of actor—you need to train. We’ve said it before, we’ll say it a million times more. Whether it’s at drama school, in workshops or your own consistent personal practice; be sure to train.

The ‘Style’ of Video Game Acting

In 2011, now-defunct Australian developers Team Bondi created L.A. Noire (published by GTA juggernaut Rockstar Games.) The main pull of the game—revolutionary at the time–was your ability, as a grizzled, 1940’s Los Angeles detective, to read facial cues and determine if a suspect was lying. L.A. Noire revolutionised the way that performance capture could give video game characters a sense of naturalism.

In the decade-plus since, technology has allowed for more nuanced performances to be captured. With announced projects like OD (a collaboration between game developer Hideo Kojima and director Jordan Peele, trailer below.), the blur between film performance and game performance has never been, well, blurrier.

What does this mean for actors in this field? Without old mate Kojima on speed-dial I can only speculate. But it’s safe to say that performances for games will become smaller: intricate, nuanced, cinematic. Not every game will have the AAA budget to make this happen, but the trend towards this will ensure that actors trained in stage and (particularly) screen will find acting in video games a lot like their usual gigs, than something they have to completely retrain for.

Physicality in Video Game Acting

So how do these technological advancements translate to physicality for the actor? Our advice is to develop a complete understanding of how your character moves, stands, interacts with the story world. Returning to the example of L.A. Noire, one of the limitations of that game was ultra-realistic faces being mapped onto computer-animated bodies. It sometimes looked like a robot wearing a human face—and it’s about as scary as it sounds…

If you want to act in video games, be ready to get physical. Move, crouch, jump, fight and get killed as many different ways as the devs can dream up. But that’s not to say that you’re not shooting for a sense of truth or naturalism. Even in stylised movement or performance, there are still rules that dictate the way you traverse the plot.

For some inspiration, check out what we have to say on mask work, animal work and clowning. If you wish to become more comfortable with physicality as an actor, these are some fun places to start!

Types of Video Games

Okay, now that we’ve discussed the practical skills required to act in video games as characters/creatures/robots/monsters/et al., let’s talk about a few of the different types of video games and what kinds of characters they’re likely to contain.

Action Games

The biggest games in the billion dollar industry are overwhelmingly action, FPS (first person shooter) titles. Expect lots of performance capture, exertion and fight choreography. And while you might think action games are light on dialogue, there is often a lot of talking to propel the plot forwards.

The other thing these games require is a lot of foley: sound effects that undercurrent the action added later in the production. You can expect to do a lot of screaming, shouting, grunting, growling, breathing–anything you would expect from a high-stakes action scene with explosions and bullets. Action games usually have a lot of background characters, too, who will need someone to give them the scream they always wanted.

Adventure Games

Fantasy, role-playing games (RPG) are usually the most character driven, because they are needed to prop up unfamiliar story worlds that make the player feel welcome. Expect plenty of dialogue, and large casts of characters that require a voice. As an example, the script for fantasy epic Baldur’s Gate 3 had two million words in it: not only can you speak to every character, you can cast a spell that speaks to every animal.

In adventure games, vocal work is essential: you’ll need to provide distinct voices for human characters, as well as supernatural and monstrous beings as well. Experiment, have fun, but don’t sacrifice the truth of the thing.

Simulation Games

Simulation games span a few sub-genres, including real-time strategy (think a board game come to life), life-sim (in which the player lives an alternate life through a character in a fictional world) or the replication of a real-world job/event/career: Acting Simulator 2024 might have you going to auditions, submitting self-tapes, sneaking out of work early to see a friend’s showcase…

These games are trying to create something as true to life as possible, which means that any and all voice work for them will be highly realistic. You can expect to be doing things like radio chatter, news broadcasts or perhaps giving orders. Space simulation games are pretty popular at the moment and there is always a lot of background dialogue to enrich the world.

Indie Games

This is a term used for smaller games developed by smaller game companies. Due to budget constraints, they won’t often have big chunks of voiced dialogue but they’re very likely to need sounds for creatures or humans. These kind of projects are the ones you’ll start out on because there are more of them and the demands of the performance are not as high.

Where It’s All Happening

Most video game companies, even the smaller ones, operate out of major cities around the world.

Canada

The Canadian games industry is one of the most robust in the world, sporting international heavy-hitters such as Bioware, Ubisoft (from the French parent company) and EA Canada. While most companies are moving west to establish studios in cities with government and provincial support, Vancouver, BC, is known as a staple for production of both independent and studio titles.

United States

Measured by sheer size of its industry, there is arguably no better place to develop games than in the United States. It has the largest number of game developers employed anywhere in the world. If you want to act in video games, this is the place for you. A lot of companies are based out of California, which makes that LA acting dream all the more appealing.

Notable companies include Naughty Dog (responsible for The Last of Us series), Take Two Interactive (the parent company of GTA’s Rockstar Games), Riot Games and Blizzard Entertainment.

Japan

Japan has a rich culture of video game development, and its industry is an enormous supplier of games to both domestic and international players. Unless you speak Japanese, you’re unlikely to find this industry readily hospitable, although the need for dubbing games into English does necessitate actors from all over the world.

Nintendo, Capcom Konami, From Software and The Pokémon Company are just some of the major players, along with Sony Interactive Entertainment—whose PlayStation Studios (U.S.-based) are responsible for many of the AAA titles that have revolutionised performance capture in modern gaming.

Australia

There’s a pretty decent indie game development scene in Melbourne and Sydney, though there aren’t a lot of big studios. If there’s a game or company you like the look of, look up some gameplay from one of their recent releases and see what kind of voice acting it makes use of. 

There are a couple of big studios based in Melbourne and Sydney that produce larger games. Activision/Sledgehammer Games are a heavy hitter in the industry. They’re a global company that own a lot of smaller companies. But take the time to find the interesting indie developers as well: Big Ant, Massive Monster.

Universities

Not a specific place, per se, but a great place to stumble across up-and-coming developers with projects needing voices and performers. Look to your local university or college and see if anybody is putting something together you can be a part of. It won’t necessarily be paid, but you’ll be able to network and build your profile. Think of it like doing a student film.

How to Get Into It

Like any other form of acting, working as an actor in video games requires a whole lot of patience and consistency.

Build a Reel

The first step is to build up a couple of demo reels. You can take some dialogue from existing video games, or write your own, and record yourself putting your own spin on it. A lot of phone microphones are good enough for starter reels these days. I would recommend having two reels: one for character dialogue and one for creature/monster sounds to demonstrate your range. Play video games or watch gameplay to get an idea of what to put on your reel. Best homework ever.

Once you have something to show off, I would start by sending emails to local universities that offer game design courses. Introduce yourself and tell them you’re an actor looking for voice-over work and send them your reel. You can also keep an eye on job boards like StarNow and Casting Networks for video game gigs. Recently, a friend of mine has landed a couple of voice over jobs through Fiverr…

Network, Network, Network

As you start to pick up work on student projects, you’ll naturally start to build a bit of a reputation–just make sure it’s a good one. There’s no prescriptive way of doing it, but you’ll hopefully start to gain more contacts with people who are well-connected in the industry.

University lecturers are great for this because it’s their job to know at least a few companies they can put their students in touch with. There’s also nothing wrong with sending a polite email directly to any game development companies you’d like to work with, similar to how you would contact a casting director, explaining who you are and giving them your reel.

Get a Good Agent

And make sure they have a voice-over branch. There are dedicated voice agents out there who you can sign with. But most good agencies will also be on the lookout for voice work. Just be aware of the city you live in and the video game scene there. As someone based in Melbourne, I haven’t ever received an audition for a major game development company because there aren’t many of them based here. That doesn’t mean there aren’t smaller opportunities to look out for, but it’s usually on you personally to seek those out.

If you have a mind to make the move to Los Angeles or another hotspot for game development some day, seek out smaller opportunities to get experience and to build on your reel. It all adds up over time and you could find yourself in the studio of your favourite game designers if you stick with it.

Conclusion

Video games present exciting and interesting opportunities for actors. The skillset you develop from working on them is essential to any other kind of acting you’ll do throughout your career. It’s important to note that bigger opportunities are more likely found in places like California, but it is entirely possible to do voice acting on these projects from home. As long as you’ve got the studio and equipment to do it. 

The steps to working on big video game projects are very similar to that of film and theatre. Starting small and building up. You have to run before you can walk. Keep your eyes peeled and ears sharp for smaller projects, keep developing your skills and delivering a great performance when you work. And you may very well end up in a weird suit in a weird studio working on the next major video game.

Hope this helps, see you around the traps!

The post How to Act in Video Games appeared first on StageMilk.

If you want to audition for movies, your best bet is to secure an audition through an agent, and to prep yourself as best as you possibly can. You can look for freelance opportunities, but reputable representation will serve you best. Read the audition brief, study the script and film your self-tape according to industry standards. No matter your level of experience or training background, it is vital that you maintain and project a sense of professionalism. 

(Funnily enough, my defining piece of acting inspiration was actually a commercial for Christmas trees. From the moment I saw that woman flash up on the screen and deliver her monologue about an unmissable sale, I knew that I had to be an actor. Takes all sorts, I guess)

Step One: Getting an Audition

Without a doubt, the most difficult part of an audition is actually getting it in the first place. It’s not something you have as much control over in your career, but there are some things you can do that will give you the best shot at getting ahead.

Getting an Agent

Getting an agent is getting easier these days, but getting a good agent can be tricky. In this dystopian digital age, there are a lot of agencies more concerned with turning a profit than getting their actors high quality work. A major red flag to look out for is if an agency charges a “joining fee” or a “start-up fee”: these shops turn representation into a commodity and sign as many people as possible by charging them money for the privilege of being on their books.

Work is few and far between with these agencies; the best you’ll get from them is some extra work or commercial work. There’s nothing wrong with extra work or commercial work, of course, they just aren’t the big budget movies these agencies might promise you.

You want to look for an agent that you can develop a good personal relationship with. It’s generally a good sign if an agency has fewer people on their books. This means the agency is more likely to know each of their actors and understand what kind of projects they’re interested in. Getting signed with a good agent takes time and preparation, and we’ve written an article about it full of helpful advice. 

The benefit of having a good agent is that their job is to look for films and other projects that suit you. Let them know that you’re interested in working in film and television and they’ll do their best to send suitable briefs your way. Just don’t forget to keep your ears open for any opportunities that might have slipped past them.

Freelancing & Staying in the Loop

A lot of the work I’ve landed in my career has come from hearing about auditions from other actor friends of mine. Regardless of whether or not you have an agent, you can and should be building up your network so that you’re more likely to hear about films that are casting. I’ve written an article on marketing yourself and building a network that is well worth a read, but here’s a super quick refresher:

• Train. Go to drama school, and/or take classes and workshops. You’ll keep your skills blade sharp and meet like-minded folks.
• Stay active. Work in independent theatre and short/student films.
• Develop an online and social media presence. Engage in genuine conversations about acting and casting online, develop a regular posting schedule and make sure people know that you’re an actor when they click on your page or website.
• Contact casting agents you’d like to work with. Keep it short and professional, tell them who you are and send them a headshot and a showreel. No more, no less.

The Actor’s Toolkit

Speaking of headshots and showreel: update them regularly. I’d say a new headshot each year is a good call, and your showreel will ideally build up over the years so you can slowly replace outdated material with more updated stuff as your look and your skill changes. At StageMilk, we call the headshots and showreel, along with your Acting CV, the “Actor’s Toolkit”. If you want to audition for movies, make sure your toolkit is at its best.

Freelancing and finding your own opportunities takes more work, but the benefit is that you’re managing yourself: you won’t be subject to agency fees. I would also definitely recommend looking into online casting networks like Showcast and Casting Networks and building a profile to promote yourself.

“Can I Audition for Movies Without an Agent?”

Of course you can! That’s often where you find some of the most exciting projects—the zero-budget, indie films made by a dirty dozen of up-and-comers. Just remember that this is the level of the project that you’ll likely be going for: Netflix or the MCU won’t cast outside of reputable, industry-proven agents. Should you do the small auditions? Definitely: if for no other reason than to get some audition runs on the board. But high profile jobs require representation to match.

Step Two: Preparing for an Audition

It might take some time and some elbow grease, but if you’ve been consistent with the above, eventually you’ll land an audition for a film or a television series. Congratulations! Once that sweet, sweet self-tape request email comes through, there are a few things to check before you even look at the script.

Technical Requirements

Look through all the logistical stuff that’s available to you. Firstly, read the tape instructions. I’ve failed to do this far too many times and had my heart’s been broken because of it. They’ll tell you exactly how to shoot your scene and your slate, if they need any extra photos and how to submit your tapes. If you don’t follow the instructions to the word, you’re already putting yourself at a huge disadvantage so, one last time: read the tape instructions.

Fine Print

Next, check the fine print. Where is it shooting? When is it shooting? Who is directing? Who has already been cast? Do you know the casting director? You should be treating any audition as if you have already got the job, so it’s important to be across everything.

I always like to google the director, casting director and other actors on the project to see what they’ve worked on before. It contextualises the audition and I find it helps with my nerves if I can put the name to a face. 

Don’t audition for movies you can’t actually film. If you can’t commit to a relocation during shooting, or block out the full schedule, or can’t ride a horse despite it being a western, there is nothing cute about booking the gig and working it out from there. You may put hundreds of jobs at stake doing this, and you’re likely to never work with anybody involved again.

Character Brief

The next thing to check is the character brief. These briefs are your best friend when you audition for movies, because you’re unlikely to get the whole script. Put on your detective hat and start gathering as many facts about the character as you can. Be super strict, here, about what is a fact: gender, ethnicity, age, accent–anything that you could observe physically. Also things like family and relationships if it’s given to you. Try to avoid drawing any conclusions about the character just yet. 

Another thing to note about tapes for film and television is that you’re not often given a lot of time. A few days at most, 24 hours at least. Sometimes less. Within this time, read and analyse the script as many times as you possibly can. While you’re making dinner, while you’re cleaning up, in the bathroom of your friend’s house, after a run… Get lots of different reads on it and hopefully you’ll start to identify some things about the type of person your character is. What do they want? How are they trying to get it? What has provoked them in the scene? Where were they before, and where do they go afterwards: the given circumstances.

What you’re doing here is what Declan Donnelan calls “invisible work”. All of this research should never be shown to the camera (or the audience). But you can be sure that by having it in the back of your mind, it will enrich your performance tenfold. By discovering as much as you can about the character rather than inventing it yourself, you’re building them organically and staying true to what the writer and director want.

Step Three: Completing the Audition

Alright. Go time. Let’s talk technical stuff first.

Technical Requirements

You need a couple of things to shoot a great tape:

• A blank wall OR a blue screen. A neutral background is vital to shoot against.
• Good natural lighting OR a ring light. Avoid shadows that make you look like Nosferatu.
• A tripod. Failing that, a big stack of books or board games that will keep the camera level with your face.
• Your phone, or a decent camera. 

Set your camera and tripod up so that there is nothing distracting in frame. I have a fold-out blue screen that I bought for for $100 but if that’s out of your budget, a clean blue or white wall is great. Just make sure you don’t wear any clothes that will wash you out or blend you into the background.

Make sure you’re well-lit in the frame and there are no shadows on your face. Ring-lights are really great for this and I’d recommend getting one if you can. Sometimes you’ll have to shoot your tape at night.

Phones these days usually have decent cameras and microphones. Make sure the device shoots in 1080p and is picking up your voice clearly. You can buy shotgun microphones that attach to phones, too. Frame yourself so that the camera can see just below your chest and leave about a fist-distance of space between the top of your head and the edge of the frame. Your face should be in the middle of frame.

Shooting a Draft Tape

If time allows it, I always like to shoot a draft tape the day before I shoot my actual tape. This gives me a chance to play around a bit and not take it too seriously because I’m not sending it to any hotshot directors. I’ll also ask friends and tutors for feedback on the draft tape and apply it the next day. If you don’t have the luxury of this lead-in time, it’s still worth shooting a take and looking at it to ensure that framing is correct and it’s distraction-free.

A draft tape can also help you remember that you’ve got this. Once you have the first one in the can, it’s only a matter of improving on what you’ve already shot. Every take from there should improve your chances, and boost your confidence.

Warm Up

Before you shoot your tape, do a body and voice warm-up. It’s tempting with film auditions to really tone it down. While this is usually good practice, speaking quietly doesn’t equate to a realistic performance. My StageMilk colleague Alex refers to this as the “Netflix whisper”: this half-gravelly affectation that actors think equals drama and serious but actually sounds weak.

Speak clearly from your whole body, not just your throat and your head. Directors would much rather hear your powerful voice and go “Wow! Can you tone it down?” than “What did you say? Are your lips even moving?!”

Your Scene Reader

If you need someone to read across from you, try to find a scene partner who has at least a bit of experience with acting. It can be distracting doing a romantic scene with your mum or your dad standing across from you. Place your reader ever so slightly to the side of the camera. You want to make sure your eyeline is at camera height but that you never look down the barrel during the scene.

If you don’t have the luxury of an experienced reading partner, don’t let this throw you. The camera isn’t focused on them, they’re not going for the job. This exercise is about making you look good.

“How many takes should I shoot for my audition?”

When you shoot the scene, I’d always recommend doing a couple of takes. But I secretly think that the first take is always the. Don’t try to force a different take either. This is up for debate, but I think if you’ve done your research and you’re listening to your scene partner, different reads will come up naturally. Don’t “play it angry” for the sake of getting a variation on the take. 

If you do want to try something different, vary your character’s approach to their objective. If you play to the emotion of the scene (“I want to try one where I get really sad and cry.”), it’ll sound forced. Instead, ask what actions you could play that might make your character feel sad: if your character “belittles” somebody they love rather than “flirts” with them, you’ll get a radically different reading that feels considered and real.

Parting Thoughts

A few final words of advice for shooting your tape: pretend the camera is your best friend. Not just a hunk of wires and circuits. It sounds strange, but this can shift your psychology enough to make you more comfortable in front of the camera. If you find yourself getting nervous or overthinking the text, that’s fine. Think about your feet on the ground and notice your breath. You can use the energy generated from feeling nervous and channel it into your performance by taking a moment to ground yourself.

Remind yourself that the person receiving this tape wants you to be the one for the job. Meet them half way on this.

Conclusion

Once you’ve got a tape you’re happy with, gather up all your required material to submit: CV, photos, slates, documents etc., send it all off and forget about it. Remember that the director has a problem: they need someone to play a very particular character and they’re hoping that you are the solution to that problem.

If you’re right for the job, then you’ll get cast. If you’re not, but you did a great job, you’ll make an impression and hopefully be first in line for a future project. Either way, congratulations on your audition. Keep working, keep coming back, keep hungry.

Hope this helps. See you around the traps!

The post How to Audition for Movies appeared first on StageMilk.

You can learn an awful lot just by watching and listening famous actors. Many of us have the immense privilege today of living in a world where almost everything is documented and archived on the internet, including acting advice from famous actors—both living and dead.

For today’s article, let’s defer to them for some timeless advice that you can add to your acting toolkit. We’ve included some choice quotes, along with some clips of their work for inspiration!

Matthew McConaughey

“[You] Don’t try to remember all the lines. You look at what’s on the text. First you read it, you try to understand it. You read it again. Me? I read it after a run when my endorphins are flying, I read it late Saturday night when I’ve got a good buzz going, I read it right after Church, when I’m feeling very forgiving, I’ll read it when I’m mad, sad, glad, tired, excited, happy … that means I’ll have a different look at the same scenes because I’m in a different place. I’ll gather all of that for weeks if not months before I start locking in decisions on what my character would or wouldn’t do.”

The essence of what Mr McConaughey is saying is here is that you should be less concerned with learning the words of a script and more concerned with learning what the text is about. The more you go over a script, the more you learn about what is actually happening in a scene: what your character is trying to get (their objective), what’s stopping them from getting it and how they’re going to change tact to try and get it (the action).

Check out the source of this advice HERE.

Sir Michael Caine

In this interview, Sir Michael Caine talks about choosing and looking at one eye of the person opposite you in a close up:

“Don’t go from eye to eye… If you want to play strong, don’t blink; if you want to play weak… don’t deliberately blink but you can break it… Never change eyes. Only actors do that, real people don’t do that.”

He also talks about acting drunk. The advice first came from a producer, who saw fit to school a young Sir Michael on an early performance:

“The producer stopped [the take] and said what are you doing? And I said I’m drunk in this scene. He said I know you’re drunk but you’re not a drunk, you’re an actor trying to be drunk. I said I don’t know what you mean. He said well you’re an actor who’s trying to walk crooked and talk slurred; a drunk is a man who is trying to walk straight and talk properly. Go out and do it again!”

He gives more advice on crying on camera that follows a similar logic.

“You must fight the tears. And if you fight the tears, the audience will cry for you.”

The brilliance of Sir Michael’s acting is his subtlety and complexity. In this advice, he proposes that playing against your expectation of what someone might do. Never “show” the audience what a character is, but play to the truth of the scene.  Humans often fight against all of the uncomfortable things they’re thinking and feeling, so why wouldn’t actors do the same with their characters?

Kate Winslet

“There are challenges in every single day, the biggest one to be honest I think is being able to stay focused. Because you can rehearse and you can plan everything and you can think you have a framework that you want to stick with or a few ideas … and sometimes the craziness of an onset environment can be so intense that you can find yourself forgetting all of those things that you planned. So staying really, really focused and knowing it’s okay to take yourself off to a quiet corner and reminding yourself what it is that you set out to do.”

“It’s a funny thing because actors can’t really help other actors and I find that quite frustrating because I wish I could …”

“I think what I would honestly say to people starting out: it is difficult. It is definitely a hard job to do and you do have to keep working at it. You do have to keep practicing things, you have to allow yourself to make mistakes; make them, rehearse in your bedroom, try not to look in the mirror too much because then you rehearse a scene in front of a mirror and you like the way you’ve said something or done something and all you will do is keep picturing yourself doing it the way you liked rather than being completely present in the moment…”

“You have to keep at it, you do. And if it is the thing that you really believe you want to do with your life, you will get there, you just have to keep going and keep going and keep going. Keep yourself busy, don’t wait for the phone to ring. Fill your life in other areas because the more you enrich your life, the more enriched you’ll be as an actor.”

Ms Winslet is really talking about focus in both of these excellent pieces of advice. Whether it is on set or in your bedroom, there is a level of focus demanded of actors that it unique to the career. If you can keep your mind and your intention clear through the highs and lows, then you’ll be just fine.

Check out the source of this advice HERE.

Denzel Washington

“Dreams without goals are just dreams and they ultimately fuel disappointment. Goals on the road to achievement can not be achieved without disciple and consistency.”

Short, sweet and a crucial reminder to the actor that in order to have a sustainable and fulfilling career, you need to set goals that are tangible and achievable. Make plans and stick to them, rather than staying forever stuck in your dreams of winning an Oscar one day, somehow. Thank you, Mr Washington.

Don Cheadle

“People think that you have to have a job to work on acting. Which you don’t. You can read plays, you can work on monologues, you can always work on script analysis, you can very often read scenes with people that you don’t have to be performing to … that’s all working. That’s all doing acting work.”

“If you think [being in a film or a television show] that’s the only way acting happens, one of two things are gonna happen: You’re never gonna get that shot or you’re gonna get that shot and very quickly they’re gonna see that you’ve got nothing to bring to the game.”

Mr Cheadle reminds us that you don’t need to have been cast in a movie or a play to be working on your craft. You can develop a very strong personal practice that you can do anywhere, any time. This will ensure you’re able to give the very best performance when you do get your shot.

Check out the source of this advice HERE.

Hugh Jackman

“When I first began, to get over my nerves of auditioning I used to always go into an audition as though it was a first rehearsal. So I would always ask the director or casting agent, whoever it was, questions. If they said I think you should sit, I’d say I think the character would stand. It was just my way of trying to redress the balance so it wasn’t just you’ve got all the power and I’m trying to please rather we’re trying to work together.”

Ah, the dreaded audition room. Mr Jackman gives us a way to reframe the audition for ourselves to address nerves and think about the audition as already being on the job.

Check out the source of this advice HERE.

Bryan Cranston

“I tell actors all the time: get your personal life in order. If you really want to be an actor, you have to get your personal life in order so that you don’t flake out.”

There are many actors, particularly young actors, who seem to think that part of being an artist is to be a little (or a lot) unhinged. The age of the diva has left us all with a strange impression of what having an artistic career is. But this attitude has proven time and time again to be a very unsustainable way of being in this career. The first thing to focus on when embarking on the journey of an artist is yourself. So, take a leaf out of Mr Cranston’s book and get yourself together, damn it!

Conclusion

So there you have it: a wellspring of inspiring and helpful acting advice from famous actors of (and before) our time. I often find when I’m feeling confused or jaded about the industry, a remedy that works for me is to search for some words of wisdom from those who have tread a similar path to my own. You never have to go it alone. 

See you around the traps!

The post Acting Advice from Famous Actors appeared first on StageMilk.

Learning how to market yourself as an actor is a vital part of a successful career. It requires an online presence, fostering authentic ways to engage with your community so that you can extend your network. Marketing yourself also requires consideration as to your branding, or ‘type’ so that you pursue correct and achievable goals.

Building a Brand

When I was in drama school, we had a class called Professional Practice which was all about the business side of acting. It took me a fair bit of mental gymnastics to get my head around the idea that, as an actor, you are your brand. You are the name and face of your own brand and you should treat your branding in the same way that any good business does. 

In my article about stage names, I briefly touched on the Twelve Brand Archetypes. This is one of the easiest and most effective templates that an actor can use when it comes to building their brand. The twelve archetypes are aesthetics that brands use to market themselves. What makes them so effective is that they represent different personalities. People are more likely to connect with personalities rather than features or benefits. Here they are:

• The Outlaw: “Rules are made to be broken.” This archetype makes you feel like you’re out of the ordinary, you’re not going to play by anyone’s rules but your own, you’re a bad boy etc. James Dean is a good example of an actor who was an Outlaw.
• The Magician: “It can happen.” You’ll see this archetype in a lot of tourism campaigns that want to make a place feel enchanting and magical. This archetype makes you feel like there’s more to life than meets the eye, that your dreams can come true. Michael Gambon in the Harry Potter franchise suits The Magician well.
• The Hero: “Where there’s a will, there’s a way. Sports brands like Adidas and Nike love The Hero. They want you to feel unstoppable; like anything is possible. Actors like Matt Damon, Tom Holland and Gal Gadot fit The Hero.
• The Lover: “I only have eyes for you. Feminine fragrances will often market themselves as The Lover. They want to make you feel sensual, beautiful, delicate and graceful. Think Rachel McAdams in The Notebook.
• The Jester: “If I can’t dance, I’m not a part of it.” This archetype has become more popular in modern advertising, it fits well with The Everyman (see below). It appeals to the goof in you, it’s off-kilter and sometimes a bit bizarre. Jack Black is textbook Jester.
• The Everyman: “You’re just like me and I’m just like you.” This is another archetype that is getting more and more popular in film and television. Think about all of the Netflix series these days that have main characters who are everyday people with everyday problems. The Everyman is all about relatability: Tom Hanks, Jason Segel, Jennifer Lawrence.
• The Caregiver: “Love your neighbour as yourself.” Most charity organisations market themselves as Caregivers to appeal to peoples’ inner parent. They want to make you feel like you can do good, that you can lend a hand to those who need it. Julia Roberts usually plays The Caregiver.
• The Ruler: “Power isn’t everything. It’s the only thing.” A lot of luxury brands such as Mercedes, Rolex and Louis Viton use this archetype, because money equals power in this day and age? The aim is to make you feel mighty and respected. Meryl Streep in The Devil Wears Prada.
• The Creator: “If it can be imagined, it can be created.” Tech companies love this one. They want you to feel like the world is at your fingertips, if you can dream it then you can create it. Anthony Hopkins in Westworld is a great example, as is Richard Attenborough in Jurassic Park.
• The Innocent: “Life is simple and simplicity is elegant.” A lot of cosmetic brands such as Dove and Aveeno want to provoke a feeling of simplicity and elegance in their commercials. Timothee Chalamet suits The Innocent well.
• The Sage: “The truth will set you free.” Apple, Google and BBC are all about knowledge and understanding, and so is The Sage. They want you to feel like there are answers to your questions, that with learning and knowledge comes power. John Hurt made a good Sage in my eyes.
• The Explorer: “Don’t fence me in.” Any outdoorsy brand markets themselves as The Explorer. They want you to feel a sense of boundlessness, like the world is out there and waiting to be explored even though we have satellite navigation. Emile Hirsch is a good example of Explorer.

Tl;dr? Personalities are marketable. A great way to start building your brand is to figure out which archetype you suit best and, yes, it can be a combination of two or even three. Think about the way you like to dress, the things you’re interested in, ask your close friends what archetype they think you are.

“But wait, this is typecasting!”

Yes, it is. I think we need to dismiss the belief that typecasting is always bad. Playing diverse roles is fun and varied, but when it comes down to it, you have to play by the industry’s rules and generally, the industry wants you to represent something specific whether that’s a rebel without a cause or a paragon of virtue. You’re more likely to land more roles if you can fit a specific type of character rather than being a blank canvas upon which anything can be painted – even that is falling into Creator or Magician territory.

Now that you’ve got your brand to think over, let’s look at some ways to develop it.

How to Market Yourself as an Actor Online

Marketing online can feel a little overwhelming—given how many different platforms and websites you might feel require your attention. Below, I’ll give you some advice on the major ones to hit up, but don’t feel as though you need to be everywhere all at once. Wherever you are posting your fine features, here’s a few rules to follow:

• Consistency. Try to post to a schedule, with content planned in advance. Sporadic posting means that people don’t retain awareness of you, and fewer posts will mean you’re pushed down the scroll of endless content. It’s like treading water: keep your head up!
• Professionalism. The internet is written in ink. Anything you post will be there forever … and discovered at the worst possible time for your career. There’s no rule against having fun, but post/speak/comment like you’re at a job interview. Be proud of the things a person can trace to your name online.
• Boundaries. In a post-influencer culture, there’s a real blur to the line between posting as a professional and posting as the human you are. Increased access and contact with people may raise your follows and likes, but know that drawing the line with these interactions is your fundamental right. Stay safe, feel respected.

Instagram

Everyone and their dogs, quite literally, are on Instagram these days. It’s very well suited for actors because of how aesthetically focused the platform is.

Create a professional page that is dedicated to all things actor-y. The name of the page should be something like “@firstname.lastname” or, if that’s taken, “@firstname.lastname_actor”. Your name is also the name of your brand so keep it simple and professional. The bio of your Actor Insta, as it shall be referred to from henceforth, should have links to your website, your representation and any projects that you’re currently working on.

Any photos or videos you post should showcase you, first and foremost. Snaps of your lunch and sunsets are reserved for your personal Insta; your Actor Insta is all about you, your talent, and your gorgeous mug. While you should throw in the odd headshot or self-tape you’re particularly fond of, don’t fill your page up with just that. It’ll end up looking bland and repetitive, and like you’re constantly going for the job but never booking it.

This is when your chosen archetype(s) come into play. Try posting content that showcases your archetype. For example, if you’re The Explorer, get some shots of you hiking through the great outdoors. If you stick to your archetype, your Actor Insta will have a very clear theme and colour palette, and signify to potential employers that you have an understanding of branding. You can also post good quality production photos and any photos you take with other artists to start building up your links and demonstrate that you’re active in the industry.

X (Twitter)

I think I speak for many fellow Gen Z’s when I say that Twitter is a mysterious place to me–I don’t know anyone my age who actually has an active Twitter account. But my research has told me that Twitter is a great platform to engage in conversation with other artists and influential people such as directors and casting directors. You can and should be doing this on your Actor Insta too, but if Instagram is mostly for looks then Twitter is mostly for chat.

When you engage in online conversation on any platform make sure it’s genuine. Being unnecessarily controversial or contrived will damage your reputation and make people less inclined to follow or engage with you. Make sure if you’re replying or reposting something, that you have a personal and vested interest in the topic itself and not just that it was posted by a high-profile casting director.

Showcast, Casting Networks, StarNow, Altai and many, many more

The list of profile-based casting websites seems to get longer every single day. But they’re important to be represented on, as they are how many casting directors, producers and directors first engage with your brand. Casting networks depend on your locality, but the heavy-hitters are Backstage, Showcast, Casting Networks (inventive title, right?) and StarNow.

Bear in mind that most of these websites are subscription-based services; before you throw down your money make sure you have good material for your profile: headshots, showreel and an updated CV. Without these, curious parties won’t have anything to look at when they stumble across you.

Facebook

You won’t find yourself using Facebook in the way you may think: I’m not going to recommend you build yourself a fan page (unless you’re looking for a hobby, in which case you do you.) Facebook is a great marketing tool if you’re willing to join and participate in Groups and related pages for actors, theatre and film in your local area. These communities are a great way to get a few lines of credit on your CV, or gain some much-needed on-set experience. You’re unlikely to book any high-paying jobs this way, but you also never know what kind of exciting project you might stumble upon.

Personal Website

There are two huge benefits to having your own website: one, it makes you look like a proper professional and two, you have complete control of the content. DIY website tools are hot property at the moment, with WordPress, SquareSpace and Wix being the most popular. They do have a slight learning curve and are “freemium” services that lock certain features behind a paywall.

If you’re tight on cash and time like the rest of check out about.me to get yourself a free, one page website. It’s certainly the quickest way to centralise your online presence, but you won’t be able to make it look as schmick as a properly designed website.  

Design, colour, layout and font are all important to consider. Remember that you’re building a brand for yourself, so you want to make design choices that align with your archetype. Think of your personal website like a slick, online CV. Much like your Showcast and/or Casting Networks profile, your website should have your big, beautiful headshot on the front page, showreels and voice-reels and list your credits and skills.

Electronic Press Kit

The last thing you’ll need is an Electronic Press Kit. This is basically what you would include in an email to casting directors: your headshot and CV. You can include a compressed showreel file, but its a lot easier these days to include a link on your CV (and one in the body of the email you send them, if you want them skipping straight to the good stuff.)

You have every right as an actor to send a friendly hello and your EPK through to casting directors you admire. You aren’t guaranteed a reply so don’t bank on getting one, but a lot of industry folks appreciate it when actors reach out. It demonstrates professionalism and ambition, so don’t be afraid of sending an email once a year as your material updates. 

The Real World

So much of our lives are spent online these days that it’s easy to forget that there’s a REAL WORLD outside our homes and muggle jobs. The real world is very important for actors when marketing, as a lot of their early career support will come from the connections they make with other artists in foyers, classes and on the sets of some student- and low-budget films.

Independent Projects

We’ve written a couple of articles in recent weeks about the importance of working in independent theatre and student films. From a marketing perspective, these projects are relatively easy to access and they are the single best ways you can build your network as an actor in the early stages of your career. I feel that it is worth mentioning not every independent project you work on will guarantee you a great cast and crew. Sometimes you’ll work with people who you don’t vibe with or don’t have the same level of interest in the craft as you do. That’s okay. If you extend your network by even one person, that’s a win. Get chatting to the good eggs, show them your Actor Insta and keep an eye on the things they work on next to see if any of their new projects need actors.

Screenings and Showings

As well as working in theatre and film, you should be watching it, too. Not only is it essential to expose yourself to art to better your own practice, going to theatre shows and film screenings are great ways to meet like-minded industry people.

Here’s some personal advice that’s really worked for me. I get socially anxious and the idea of waltzing up and introducing myself to a total stranger, so an opening night is an express ticket to said anxiety. If this is something you can relate to, think about it like this: instead of going up to someone in the hope that they’ll remember you and put your name forward for a role, go up to someone to tell them that you really enjoyed the show and they should be very proud. That’s it. Don’t attach any kind of networking goals to the interaction, just congratulate them. If the conversation goes nowhere from there, great: you’ve just made someone feel good about themselves.

It goes without saying that if you’re going to congratulate someone and you didn’t enjoy the show, don’t pretend that you did. They’ll know. I’ve made that mistake for us so you don’t have to. 

Workshops and Classes

Here at StageMilk, we push every performer we can to take an acting class—regardless of their level or previous study. As well as honing your skills in classes, you’ll meet a lot of people with similar goals and a mindset to you. Make friends with the good ones and try to make a regular meeting time with them to read plays, run monologues, shoot self-tapes and all that good stuff. 

Within any of these scenarios, the key is to be selfless and focused on the other person/people. Much like acting, where your greatest successes on stage or screen will come from supporting your cast member to their best performance, rather than your own. People love that person. People remember them.

Conclusion

Woo, that was a big article! Because acting is such a people-focused profession, marketing it is especially important and unique. Seeing as how you’re marketing yourself, a big part of doing that effectively is a simple as being authentic. It can seem contrived when we talk about building a brand for ourselves and putting ourselves out there, but it should feel natural, and even a bit exciting, if you’re passionate about what we do and staying true to the brand: you.

Hope this helped. See you around the traps!

The post How to Market Yourself as an Actor appeared first on StageMilk.

A stage name is a name assumed by professional actors and other performing artists, for a number of reasons. Stage names can distinguish one actor from another of the same name, simplify an actor’s real name, or build on an actor’s archetype. Whether or not you should use a stage name will come down to these same factors. What you should change it to is a whole other question. But don’t worry, we’ll get to that.

As always, remember that this article offers up information and advice, but never an ultimatum when it comes to your acting career. Please keep that in mind before you dig up your birth certificate and potentially break your parents’ hearts by telling them the name they gave you just ain’t gonna cut it for Hollywood.

When to Change your Name

First of all, changing your name only really becomes a necessity once you reach a certain level of recognition. If you’re still on that very important independent theatre grind and you’re wondering about whether you’re due for a name change, you’re not. Of course, if you really want to, go for it! But you certainly don’t need to.

The most common reason that actors change their names is to distinguish themselves from other performers with the same name. David Bowie, for instance, was born David Jones and took the surname Bowie from a 1960s film called The Alamo. He did this to make sure no one mistook him for another English singer by the name of Davy Jones (of Monkees fame.)

The only caveat we’ll throw in here is that actors’ unions sometimes specify that you can’t have the same name as another performer in the same union. This rule varies, but is worth some research in your country/city/area.

Why You Might Use a Stage Name

Okay: let’s imagine you’ve hit it big and you’re on the route to worldwide fame. You’re landing some good roles, your agent is very excited and you’re being groomed for stardom. What’s your name in this scenario? Schnitzel Von Crummington III. As far as notable actors with the same name go, you’re pretty safe, but, wow… I mean, what were your parents thinking? 

While I do exaggerate with this example, if you have a complicated name—too long or too difficult to pronounce, or an unfortunate sounding name—it’s time for a change. You also may want to consider whether your name has the potential to pigeonhole you. If you heard the name Schnitzel Von Crummington III, what kind of person would you imagine? Some affluent, pretentious manor lord? 

Our brains are association machines and we can’t help but make connections and assumptions based on what we hear. A lot of big companies use this to their advantage to build an effective brand for themselves using things called “brand archetypes”. Actors can also take advantage of brand archetypes, and this strategy usually begins with their name.

Building a Brand

As an actor, your brand is you, so it follows that your name is also the name of your brand. We’re getting into my least favourite part of being an actor: marketing. As much as I complain about it to my friends on weekends over a glass of red, marketing yourself well as an actor is crucial.

Let’s talk specifically about archetypes. Archetypes are associated with psychology and also literary analysis, and speak to the common examples of character or behaviour that we might use to classify figures in a narrative. 

The examples listed below have their roots in Greek Mythology. I’ve provided a quotation to give you an idea of what each of them represent.

• The Outlaw – “Rules are made to be broken.”
• The Magician – “It can happen.”
• The Hero – “Where there’s a will, there’s a way.”
• The Lover – “I only have eyes for you.”
• The Jester – “If I can’t dance, I’m not a part of it.”
• The Everyman – “You’re just like me and I’m just like you.”
• The Caregiver – “Love your neighbour as yourself.”
• The Ruler – “Power isn’t everything. It’s the only thing.”
• The Creator – “If it can be imagined, it can be created.”
• The Innocent – “Life is simple and simplicity is elegant.”
• The Sage – “The truth will set you free.”
• The Explorer – “Don’t fence me in.”

I’ve got some homework for you that you can do right now: Open Instagram and scroll to the next ad that pops up, paying attention to the company it belongs to. Then, try to fit that company into one of the archetypes.

Weird, right? Just about any company you can think of makes use of one or maybe a combination of these twelve archetypes. We can apply it to actors as well. Jennifer Lawrence fits nicely into “The Everyman” archetype—she’s relatable, humble, and down to earth. James Dean was textbook “Outlaw”—rugged, alluring and rebellious. 

The reason these archetypes work so well for brands is because people connect best with personalities, not features or benefits. When you get the chance, take time to figure out which archetype best suits you. It’s useful information for an actor.

Let’s return to our up-and-comer friend Schnitzel.

How to Choose a Stage Name

So, Schnitzel Von Crummington III has been working hard and recently landed a role in a major television series. It’s only a few seconds to midnight for Schnitzel but they’ve realised a few things about their name:

1. It is too long and complicated.
2. They will probably be made fun of for it.
3. Everyone they meet seems to think they’re a wealthy English lord when in reality they worked in construction before their Big Break.

Schnitzel does some research on the twelve archetypes and thinks that they align best with “The Outlaw”—they’re a bit rugged from working outdoors all day and they have a gorgeous charlatan grin. Based on that, they decide to drop “Crummington III” and use the surname “Von”. Von makes a great surname: it’s punchy and it’s got a rough edge to it that fits with “Outlaw”.

As for their first name? Some actors use nicknames as a part of their stage name. (For example, Whoopie Goldberg was nicknamed “Whoopie” when she worked in theatre, because she was constantly breaking wind) Back to our friend Schnitzel, when working construction, their friends called them “Schnit”. It’s short and catchy, but it does sound a bit like a cuss. Something else actors do when changing their name is think about someone they’d like to pay homage to. Olivia Wilde took the surname “Wilde” to honour the great writer Oscar Wilde. Schnitzel is a big fan of Nicholas Cage. “Schnit” and “Nick” sound kind of similar, too, which is a bonus.

Schnitzel Von Crummington III is an eccentric aristocrat drunk on power and swan’s blood. However … Nick Von is an actor to keep your eye on. They’re known for playing the villainous characters you love to hate, and for capturing the hearts of everyone with their rugged charm and knowing smile.  

Sounds good to me.

Conclusion

The marketing side of acting can feel like a bit uncanny valley, as you’re effectively marketing yourself. Your name is the thing that people will remember, so it’s important to have a good one when you start to make waves. Even if you don’t need to change your name right away, coming up with a stage name for yourself is always a bit of fun. See if you can create one for a few different archetypes that best suit you. The names should evoke a certain personality or image, and they should be simple and memorable. When the time comes to make the change, you’ll be prepared with a few options in your back pocket. 

Hope this helps. I’ll see you, and your fabulous name (either stage or birth), on the credit roll!

The post Do You Need a Stage Name? appeared first on StageMilk.

Actors become famous for a number of reasons; these are often tied to the larger entertainment industry and its support of talent they deem to be marketable. But there are other pathways that actors may find themselves on that lead to fame and recognition as well. However, being a famous actor doesn’t necessarily guarantee success. There are lots of exceptionally successful actor/artists who aren’t so well known, and a lot of famous actors who aren’t necessarily good at what they do. Whether or not you strive for fame, it’s super important to understand that becoming successful actor does not depend on becoming a famous actor.

Before we jump into the list below: The discussion around fame is somewhat fraught due to a long and entrenched history of racism, sexism and classism within the entertainment industry. It’s important to recognise that privilege does, unfortunately, play a big role in who gets to stand in the global limelight and who doesn’t. Is this changing, and for the better? Yes. But there’s a long way to go until a person’s background is a diminished factor in their level of fame.

The Breakout Role

The best, most promising and (save perhaps for “Freak Accident” below) most romantic way of becoming famous. You’ve been hustling away as an actor for years. Commercial here, showcase there. Day job, bank account more pennies than dollars. And then… Suddenly… Without warning… BAM! A lead role in a brand new series, or a supporting role in the next big superhero movie.

There are 25 years, count ’em: a whole quarter century, between Morgan Freeman’s entry into the arts industry and his recognition by Hollywood as a viable star. Was he out of work? Hell no, he did incredible films and award-winning theatre work right up until 1989, where films such as Driving Miss Daisy and the incredible Glory put him on the map. Arguably, these were breakout roles for him as an actor and his career took off into the stratosphere.

So what’s the lesson, here? The breakout role path to fame does happen. In fact, happens more than you might think. The problem is a point I’ve already made once—and will likely make again before the bottom of this page. Fame does not equal success, any more than success equals fame. There’s nothing stopping an actor achieving a great amount of fame with a break-out role, only for their career to founder just years later. “Remember [INSERT NAME]? Gee, whatever happened to them?” Exactly…

Drama School

Throw a stone in the air and it’ll land on a renowned actor who studied conservatoire. Whilst training for three years at a renowned drama school doesn’t guarantee fame and fortune as an actor, it can do a great job at putting you on the path. Drama school offers structured education with professionals and exists to refine both your theoretical understanding of acting and your acting practice itself. What’s more, they often have standing relationships with agencies, meaning that their students get at least a guaranteed look-in come graduation.

But most importantly, drama schools produce great actors. And great actors generally have a better shot at fame. Some actors in your your drama school year will find work and representation almost immediately after graduating, if not slightly before. Why’s that? Let me throw you a few possible reasons:

• #1 They’re great actors. They’re diligent, they’re talented and they love what they do. They’re the kind of people you want to watch on stage and screen.
• #2 They’ve got the right look. An unfortunate truth about the industry is that there are aesthetic trends. Sometimes people fit the bill based on appearance alone. I don’t mean that these people are getting cast because they’re drop-dead gorgeous, rather they have a certain look/type/brand that the industry, and indeed audiences, deem “in-fashion”. Sad but true
• #3 They’re lucky. Sometimes it’s a simple as right place, right time. You certainly need talent and drive to meet the luck, though. And not all of the golden graduates manage to stick the landing.

Social Media and Self Promotion

Now more than ever in our cutthroat industry, actors are empowered to self-promote and build their brands. We have access to casting profiles, cheap and effective solutions for showreels and even the chance to build awareness through platforms like TikTok. Yay for us, right? Sort of.

Recently, one of the writing staff here at StageMilk told me a story about being in a casting meeting for a tv show they were working on. They said the executive producer checked the Instagram accounts of each potential actor and noted their number of followers—stating that it was most beneficial to secure the talent whose social media might translate to new, loyal viewers. Earlier this year, The Hollywood Reporter produced a list of 11 up-and-comers known to have started their acting journey on social media.

If you want to be famous—not good, not necessarily respected but famous famous—you need a presence on social media. This metric will become increasingly important as our industry melds and clashes with new and diverse media. Even if you’re not looking for fans in the tens of millions, it’s still an important field to be across.

Nepotism

Nepotism is the practice of favouring friends and family members in professional settings. When someone has familial connections in Hollywood, there is more of a chance that doors will open for them that otherwise would’ve remained closed. “Hollywood Dynasty” is a term used to describe families with a long history of success in the industry who pass fame and acclaim from one generation to the next. The Barrymores, Baldwins and Coppolas are all prime examples.

The debate around nepotism is largely centred around issues of inequality and privilege. People arguing against nepotism insist that it stifles diversity and opportunities for talented people who lack the same powerful connections. On the other hand, proponents of nepotism cite the benefits of passing down industry knowledge through generations to create a lineage of exceptional talent and familiarity with Hollywood. I don’t think I subscribe to such an idea personally, but it’s certainly worth knowing what is being discussed.

An example of nepotism in Hollywood is Angelina Jolie. Her father is Jon Voight, an Oscar Award-winning actor. It should be noted that her success, and many other actors who achieve fame by way of nepotism, isn’t entirely due to her familial connections. Jolie proved herself to be a transformative and talented actor, winning an Oscar for her role in Girl, Interrupted. That said, it would be naïve to say she started on the same level as everyone else aspiring to win Oscars some day.

Freak Accidents

A.K.A. “getting discovered”. Showbiz, baby, is unpredictable. There are a handful of actors whose journey to fame began with a twist of fate, a chance encounter or truly wild circumstances. Let’s talk about Charlize Theron and how her path to stardom began, of all places, in a bank.

One day, Charlize was in a bank, arguing with the teller. It just so happened that on that particular day, a talent agent was also in the same bank and watched in awe as as she quarrelled with such zeal, such presence and control. The agent approached her at once and asked if she’d ever thought about being an actor. Now set on the perilous path of acting, Charlize Theron had a breakout role in Monster, for which she won the Academy Award. 

Charlize Theron is an example of just how unexpected and downright random the industry can be. There’s no tried and tested path to becoming a successful actor, it can happen over many years or it can happen one day in a bank: you just never know. Do be careful about exploitation when you are ‘discovered’, though. When you operate outside the usual systems, it’s possible for directors or producers to take liberties with safety or appropriate conduct. It can end badly.

Hard Work

Let’s be a little more positive: some actors achieve success purely through hard work and recognition for their craft. Meryl Streep comes to mind, as does Daniel Day-Lewis. Especially in the case of Day-Lewis: do you remember any talk show appearances from him? Any long, profound Oscar acceptance speeches? No. But I bet you remember the conviction with which he approaches roles, the way he throws himself into everything from making canoes to making shoes to painting with his feet.

It’s rare, and it’s often in conjunction with another path to fame (such as a breakout role), but actors can become famous simply by the calibre o the work they put out into the world. Remember this at time, and let it comfort you.

Being a Delight to Work With

This final point relates less to being famous as being internationally idolised and paid in piles of gold. Let’s re-think more about the concept of recognition. You know which actors receive recognition, and with it lasting and fruitful careers? Those who are kind and thoughtful collaborators. Be a delight to work with and fame will come a lot more easily to you. Because people will like you and want to work with you again!

The best part about this point is that it’s true for the entirety of your career. We’ve written a lot of articles about the importance of getting involved in short films, independent theatre, workshops, readings—the list goes on and on. One of the reasons you should go out of your way to find these smaller opportunities is so you can build your reputation and work with the same people again. This is also known as “nepotism”, but this time it works for you!

If you’re a decent person, people will want to work with you again. If you do a good job, and make them look good, there’s no reason they won’t propel you alongside their own careers. Look at what Edgar Wright did for Nick Frost: you may not even know who Edgar Wright is! 

Conclusion

To quote Jason Bateman: “You’re one job away from changing your life.” That breakout role us actors chase can come about in bizarre ways. It can take many years of hard work for little pay and recognition, steadily building connections that one day lead you to that coveted role… Or it can literally happen overnight.

Regardless of what sets one on the path to stardom, it takes skill, talent and determination to maintain a steady course. My tutor says that you can either go for celebrity or you can go for integrity, and I tend to agree. There are pitfalls and traps on every side of fame that most of us are completely unaware of. But the allure will always be there and truly there’s nothing wrong with striving to be recognised for something you love and work hard at.

Hope this helped. See you around the traps!

The post How Do Actors Get Famous? appeared first on StageMilk.

From Stanislavski, to Method, to Meisner, acting techniques are theories on how actors can effectively engage with a character. For actors wondering how to choose an acting technique, it is best to remember that no one singular technique will suit a person entirely. Usually, a mixture of ideas and tools from different practices and practitioners helps create a rounded acting process for the individual performer.

I can’t, and won’t, tell you which technique you should use—that’s something you’ll have to road test along your acting journey. Hopefully, with this article, I can help you make an informed decision when it comes to preparing for your next role, and nudge you towards a system of acting that suits you best.

Technique vs Practice

Before we begin, let’s clear something up. Acting technique and your personal practice are not the same thing. One is a system developed by an individual or school, with methodologies to support an actor. The other is your daily routine as an actor, as well as how you might prepare for a role. If you decide that Method Acting is your cup of tea, it should not replace your wider practice.

A good actor’s practise might look something like this:

1. Daily vocal warm-up.
2. Daily physical exercise.
3. Read a play a week.
4. Prepare two monologues each month.

You can apply your newly-found chosen technique to your monologue prep. But you should still be maintaining good vocal and physical health, regardless of the technique you’re using. Having a strong personal practice will ensure you are open and capable of trying out different techniques.

The Three Pillars of Technique

If you’ve ever had even a mild interest in acting, you’ve likely come across three techniques already: Stanislavski Method, Meisner Method and Method Acting. They form the foundation of modern acting technique and theory, so here’s a quick primer for each of them.

Stanislavski: Emotional Authenticity

Konstantin Stanislavski was a Russian actor and practitioner who emphasized the importance of finding emotional truth and authenticity in performance. The Stanislavski system involves delving into one’s own experiences to connect with a character and help generate their “given circumstances” (e.g. where is the scene taking place, who is in the scene, what do they mean to the character, why are they there) to create an authentic performance. It should be noted that Stanislavski changed his tune towards the end of his life and believed in a more imaginative approach to acting, rather than a deeply personal one.

As the man who introduced naturalism to American theatre, Stanislavski’s teachings have influenced countless other practitioners who have either continued his teachings or challenged an aspect of them. Lee Strasberg, Stella Adler, Uta Hagen and our next pillar: Sandford Meisner.

Meisner: Imagined Circumstances

Sanford Meisner was an American actor and teacher whose work revolves around the idea of living truthfully in imagined circumstances. There is a strong emphasis on active listening, spontaneity and truthful reactions. You may have heard of the repetition exercise where two actors make observations about each other and repeat them, over and over, to help develop the heightened state of awareness required of an actor when they are in a scene.

Method: Full Immersion

Method acting is one of the most recent techniques that has emerged in modern acting. It is also one of the most controversial. Popularised by practitioners such as Lee Strasberg and his students (among them James Dean, Marylin Monroe and Marlon Brando), Method Acting encourages actors to understand the emotion and psychology of their characters. By drawing deeply on their own experiences, they can explore a technique known as emotional recall. When an actor remembers a time they were sad/happy/angry in their life, they can try to replicate the sensation in their body to engage with a character feeling sad/happy/angry. The main controversy around Method Acting is whether or not it is a safe way for people to engage with characters, as it potentially means digging up personal trauma for the sake of an authentic performance. It remains a controversial—if often misunderstood—field of study.

How to Make a Decision

You’ll be able to recognise the influence of these three foundational theories on just about every western, modern acting technique. That should hopefully be of assistance when deciding about whether or not a particular technique is right for you. It’s important to develop a foundation for yourself when it comes to trying and testing acting theories, and here’s how you do that.

Know Thyself

When I’m trying to impress my friends, I tell them that acting is the active study of the human condition. As pretentious as that sounds, it’s true. When drama schools turn away young, bright-eyed high-school graduates and tell them that they need more life experience, what they’re actually saying is: “Go figure out what kind of human you are.” As painful as it is to hear, it’s good advice.

Knowing your strengths and weaknesses as an actor will be a huge help to identifying which techniques you’re better suited for. Are you drawn to emotional depth and exploration? Do you have a strong imagination? Are you spontaneous? Do you find a character through transforming your body and voice? Aligning your natural tendencies with a technique is a great place to start.

Educational Advantage

Have you trained? Drama schools and short courses are some of the best ways to expose yourself to new techniques. Often, they will establish an entire pedagogy based around a specific technique. If you’ve done your three years in drama school, consider the techniques you already know and which ones you were drawn to. It’s always a good idea to build on your educational foundation and branch out from there, rather than throwing away what you’ve learned in favour of a shiny new technique. If you haven’t trained, you have the advantage of malleability. Go out and rent some books on acting from your library and start building up your knowledge of different techniques. See which ones appeal to you most and build on them.

Your Vision

Every actor has a unique understanding of what a fulfilling career looks like to them. My heart lies in theatre, so I’m more likely to gravitate towards techniques inspired by Meisner and perhaps Stanislavski–techniques that support larger than life performances that emphasize the body and voice. My partner, on the other hand, is an excellent film actor and wants to have a career mostly in film. Techniques that draw from Method Acting, that encourage deep emotional engagement but also allow for subtlety, are more suitable. Consider your goals as an actor and then consider which techniques support your particular style.

Collaboration

You will rarely be working in isolation as an actor. Directors and other actors you meet on set will usually have their own personal style that aligns better with specific techniques, so it’s important to stay open. You don’t have to set yourself on one technique and one technique only, and you really shouldn’t. Develop your personal toolkit and be open to having a few extra screwdrivers thrown in, when you work with a director who obsesses over Suzuki.

Examples of Acting Techniques

Now that we’ve looked at some foundational theories, and you’ve done some honest introspection to figure out your style, here’s a few examples of some more advanced acting theories that are in practice today.

Viewpoints and Suzuki

Developed first by Mary Overlie, later Anne Bogart and many other acting theorists; Viewpoints emphasizes the importance of space and movement when it comes to developing a character or a scene. The practice combines gesture, movement and vocalization to emphasize the non-verbal component of theatre – and in some cases, film. Similarly, Tadashi Suzuki developed the Suzuki Method which places great emphasis on physical training to strengthen an actor’s connection with their body. Both of these methods are commonly used in a theatre setting.

Grotowski

Jerzy Grotowski coined ‘Poor Theatre’, a style of theatre that rejects elaborate sets and lights; stripping theatre back to the raw essence of an actor, attempting to connect with audiences on a primal and visceral level. Grotowski’s Cat is a popular physical warmup and a signpost for much of his techniques–highly physical and vocal, aiming to create a direct connection between the actor and the audience.

Commedia dell’arte

What began as a style of theatre in 16th century Italy is still used in many training institutions around the world today. Commedia dell’arte gives a set list of archetypal characters that are extremely versatile and, as such, can be applied to a wide range of characters. The technique encourages actors to embrace spontaneity, physicality and a deep exploration of archetypal characters which can then be adapted to just about any genre. Commedia dell’arte is often explored using techniques such as mask work and clowning.

Continual Growth

It should go without saying that no actor is bound to any single technique. Acting is a lifelong journey of growth and self-discovery. The more work you do, the more theories and techniques you’re exposed to. Therefore: the more your artistic preferences are likely to change. Whilst you may resonate with one particular theory in your early career, this may completely change later on and that’s a good thing. It’s a sign that you’re evolving and adapting with the ever-changing landscape of acting and all of the weird and wonderful parts of it. 

Conclusion

My acting teacher used to describe actors at the early stages of their career as a being stuck inside a circle. They could only extend their imagination and their bodies as far as this circle allowed. The more that they learned and worked, the more the circle started to break apart and the further they could stretch themselves. There will always be blocks that they run into but the more broken the circle is, the more likely they are to rebound off a blockage and find something new.

The more acting techniques you expose yourself to, the greater your range of potential becomes. There will be some techniques that you click with and others that you won’t, and others that you will come to love over time. Stick with the ones you enjoy but stay open to having that changed the more you grow as an actor. 

Hope this helped. See you around the traps!

The post How to Choose an Acting Technique appeared first on StageMilk.