Acting is Acting\u2026in a performance in theatre, film, TV, or commercial work.<\/p>\n
The best definition of acting I\u2019ve encountered is Sandy Meisner\u2019s:
\n\t\u201cLiving True-fully in Imaginary Circumstances\u201d
\nEvery word is important in this wise idea. The actor must LIVE, not show or indicate. This means the teacher needs to help actors discover how to create life in a moment-to-moment way. Then that \u201cliving\u201d must be FULLY invested in TRUTH. This means that you must show them how to analyze a script in a deep way to mine the story for the values that the writer(s) has expressed. And all this must be done in situations that are IMAGINARY. This means that you must invent exercises to engage and strengthened their \u201cmuscles of imagination\u201d. I think my favorite word in Sandy\u2019s definition is that little one \u201cin\u201d. The actor must be IN the story to create believable character and relationship.<\/p>\n
My approach to designing an undergraduate curriculum was heavily influenced by Stanislavski\u2019s seminal work. Why not steal from the master!<\/p>\n
He organized his course of study in a three-phase structure:
\n1.\tThe Actor Prepares
\n2.\tBuilding a Character
\n3.\tCreating a Role<\/p>\n
So\u2026<\/p>\n
First year of study: The Actor Prepares
\n1.\tExercises to strengthen the voice.
\n2.\tExercises to explore and expand movement skills.
\n3.\tScenarios to develop confidence in the use of emotions.
\n4.\tMonologues to begin a personal methodology of character development.
\n5.\tIntroduction to the technical aspects of film acting \u2013 Framing, POV, eye lines, etc.
\n6.\tIntroduction to all the creative artists and their jobs \u2013 Producer, Director, AD, Cinematographer, Costumes, Props,
\n7.\tA good time to explore Hagen\u2019s Basic Object Exercises. <\/p>\n
Second Year of Study: Building a Character
\n1.\tLots of Sensory Exercises (use Strasberg\u2019s Sensory work)
\n2.\tScript Analysis work \u2013 They need to know what Action is and use it!
\n3.\tScene work with Film scripts. (Excellent time to introduce Meisner work)
\n4.\tScript writing exercises.
\n5.\tThe daily life on set exercises \u2013 Help them to know how it all works from their first day on the set to the wrap.<\/p>\n
Third Year of Study: Creating a Role
\n1.\tAn Improv Class
\n2.\tA Genre Class \u2013 Comedy, Drama, Sit-Com, the differences in Network and Cable, etc.
\n3.\tA Commercial Class
\n4.\tA Voice Over Class
\n5.\tPractical class in self-taping auditions.
\n6.\tTake advantage of the working pros in your area. Bring them in as guest artists.<\/p>\n
Fourth Year of Study \u2013 The Launch
\n1.\tA Production class \u2013 behind the camera stuff \u2013 learn how to write, produce, direct, edit
\n2.\tSenior Thesis
\n3.\tAdvanced Audition Skills class
\n4.\tThe Business of Acting \u2013 Agents, Managers, navigating the LA terrain, etc.
\n5.\tShow case prep<\/p>\n
I believe that a curriculum with a structure and content like the one above can be the essential framework for a substantial film acting program. Students need to watch a lot of first-rate actors\u2019 work. Show them examples of how crafted actors create character. Make them want to study film, how it\u2019s made, who creates memorable stories. Give them a sense of how difficult it is to \u201cmake it\u201d without squashing their dreams. The best advice I can offer any acting teacher is to make every day a collaborative effort. In the classroom your job is to really see what you are looking at, really hear what has been said and then report back to the actors what you saw and heard. That will take sharp focus and your ability to know where each actor \u201cis\u201d in their training at that moment. Bottom line \u2013 trust your instincts. <\/p>\n","protected":false},"excerpt":{"rendered":"
Acting is Acting\u2026in a performance in theatre, film, TV, or commercial work. The best definition of acting I\u2019ve encountered is Sandy Meisner\u2019s: \u201cLiving True-fully in Imaginary Circumstances\u201d Every word is important in this wise idea. The actor must LIVE, not show or indicate. This means the teacher needs to help actors discover how to create […]<\/p>\n","protected":false},"author":298,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-469","post","type-post","status-publish","format-standard","hentry","category-teacher-musings"],"metadata":{"_edit_last":["298"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"ase_chapter_enable_timeline":["off"],"_edit_lock":["1666362820:298"],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:29.76;s:3:\"lng\";d:-95.38;}"],"_wp_old_date":["2022-10-21"]},"acf":[],"yoast_head":"\n