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The Acting Room has a great post on how to substitute to achieve real emotions. I personally believe this is useful to start with, but once you have connected, you need to feel the characters emotions as your own, not substitute them. Make his emotions yours, not the other way around… Continue reading SUBSITUTION IN ACTING 
Meisner didn’t invent this concept but it is the principle upon which his technique is based. The technique is often mistakenly identified exclusively by his Continue reading BASICS OF THE MEISNER TECHNIQUE
After reading Stanislavsky’s dictum about the necessity of the actors being private in public, Strasberg created the private moment exercise. He viewed the exercise as a corrective for actors who were inhibited by the presence of an audience. By enacting a moment of true privacy in front of people, Strasberg hoped to get them to confront the issue and conquer it. He realized we do private things when we are alone, and we know they are really private when we cant continue doing them if someone walks in the room. Thus, in the private moment, the actor is asked to do something “that they do in real life, but which even in life is so private, when anyone comes in, they have to stop doing it”. Consequently actors sang, danced and even performed acts of private grooming. BUT Strasbergs’ new exercise was vilified from many quarters as word of… Continue reading ABOUT THE METHODS’ “PRIVATE MOMENT” EXERCISE JOHN: How can you expect a man to be brave when he meets with nothing in life but misfortune? Everything has gone wrong with me since the day I was born. Whatever I put my hand to fails utterly. You know it better than I do. I was brought up to be rich, and I am poor. I studied law, and I cannot string three words together. A man must be strong in that profession, he must have vigor of body and mind, yet I am all out of breath if I walk up a hill; I have not the heart to crush even a fly. To save the little that remains to us after the folly of my father, I need to be unscrupulous and bold, yet my mother, God bless her, has taught me to be good, good, always good! Yes, laugh … but this is not living.… Continue reading MONOLOGUE: POOR JOHN by Gregorio Martinez Sierra (Male, comedy, contemp) Here is a great article from Broadway Mouth that exemplifies how modern theater actors need change and an evolution in techniques that is paralell to the one happening in the medium. For the full article…Click Here. Continue reading FOUR OF THE TOP TEN ACTING TECHNIQUES WE NEED TO LOSE Here is a wonderfully clear example of WHAT NOT to do when acting on film. Enough said. Continue reading WORST ACTING EVER!
In film, you sometimes encounter actors who think they’re going to steal the scene by being big, and bombastic. Proving their value. Those actors are using their bodies and voices instead of their brain! They don’t realize in terms of voice and action, less is more… Continue reading LESS IS MORE…in Film Sometimes as actors we feel the need to be recognized for our job. And what better way that a grand award ceremony where other experts in the industry get together to hand you a statue? So for all of you out there trying to earn an award, know there are litterally hundreds of these to hand out. Here is a List of some of the most prominent ones: Continue reading AWARDS AWARDS AND MORE AWARDS
BACHELOR: To wed, or not to wed;–that is the question: Whether ’tis nobler in a man to suffer And at the altar end them. To woo–to wed– Devoutly to be wished. To woo–to wed;– That makes celibacy of so long life; Continue reading MONOLOGUE:THE BACHELOR’S SOLILOQUY by Anonymous (male, classic, comedy)
Pain is the basis for all humor. Its a simple fact that if nobody gets hurt, it isnt funny. This includes both physical and emotional pain. For example, when Teety hits Sylvester in the foot with a mallet, and he hops screaming, stars streaming from his foot, thats funny… Continue reading BASICS OF HUMOR: PAIN BOB makes some extra money killing noisy dogs for bothered neighbors. HE then meets AMBER, who – typically, as SHE does with every man – falls in love with HIM after one encounter. In this monologue, AMBER calls BOB and leaves a message on his answering machine.. Continue reading MONOLOGUE: DOG ASSASSIN by Stephen A Schrum (Female, contemporary) GREG: I said what are your intentions Johnny? I know. You come here to Phoenix to sell me your frames, maybe fit in some ‘gars and golf. But intentions… The fact of the matter is John our father’s taught us well. Price. Margins. Inventory. The power of a handshake… Continue reading MONOLOGUE: ETA: PHOENIX by Nick Zagone (male, contemp, comedic)
Continue reading LINKS FOR THIS WEEK… At 17, MICHELLE is bright and direct in her group therapy session. Applying lipstick, SHE addresses the audience as the group… Continue reading MONOLOGUE: ELEPHANT by Margie Stokley (Female, Teen, 1980) HALEY, a successful restaurateur and single mom- in her late 30s early 40s, thinks shes finally met Mr Right. In the monologue she calls her brother for advice and then the date. (She reaches for the phone and dials) HALEY: Hey, its me. No, not yet, he’s coming over tonight. B.J. stop it! I’m too nervous right now you cant make fun of me. Yes. Ha ha. Yes of course I got rid of her, she’s spending the night at Emily’s. No, honey, he more than assumes, its been stated specifically, the plan is that he comes over, we order Chinese take-out and then actually do the deed on the living room floor before the food even gets here. (she laughs)What? I guess… Continue reading MONOLOGUE: BAD DATES by Theresa Rebeck (Female, Contemporary) LEE is a wisecracking, cynical, private investigator. In this monologue, he’s talking to some other guys in a bar about his views on marriage. LEE: I don’t know. Being married… Its like…Its like chewing the same damn gum over and over and over for the rest of your life. Sometimes, sometimes you need some new gum!… Continue reading MONOLOGUE: DRIFT by Jon Tuttle (Male, Contemporary, Comedic) |
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