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45 Top Acting Activities to Add to Your Acting Scenes

Acting Activities reactions for scenes

Top Acting Exercise Activities to Add to Your Acting Scenes

Acting Activities exercises are a great way to practice and improve your performance in any acting scene. You improve your performance in acting by adding focus and concentration as you move around the room or within the scene. There are many different types of activities that you can add to your acting scenes to make them more dynamic and engaging.

One of the most popular is improvisational techniques are adding doings in scenes, which involves using activities as an accomplished measurable achieved task during your acting interaction. This is by the way, very difficult to improvise a scene or even using exact scripted language yet stay concentrated enough to complete an acting activity.

acting activities to do in scenes
acting activities to do in scenes get reactions that are authentic!

There are of course other popular exercises include physical warm-ups, group games, and monologues but they are not as interactive as acting activities. Many techniques work to help actors find their emotional motivation with the ability to listen within a scene, as well as sharpen their ability to stay present in the moment and react honestly to other actors. With a little bit of practice and dedication, these exercises will help any actor bring their performances to life with ease.

How the Top Acting Exercises Improve Your Acting Skills

Acting exercises are an important part of any actor’s training. Through regular practice, these exercises help to improve physical and vocal expressiveness, give a greater awareness of the body in space, and sharpen the ability to interpret an identified emotional range for a more deeply expressed moment within your acting. The most common acting exercises focus on relaxation, improvisation, concentration, character development and physicalization and “Independent Activities” also called “Meisner Activities” or “Acting Activities”. These are doings that you accomplish during the interaction of an acting scene.

By regularly engaging in these activities, actors can develop a stronger sense of their craft and gain higher levels of confidence in their abilities. Two actors working with a drama teacher can both add Emotional Preparation to their acting rehearsals with one actor involved in an Acting Activity, even using scripted materials.

Acting exercises also allow actors to explore different aspects of a scene or emotional range through improvisation and experimentation. This can increase an actor’s ability to think on their feet and make bolder choices for their performances. Through consistent practice with top acting exercises, actors will be able to perfect their skills and become more successful at delivering powerful performances that captivate audiences around the world.

Acting Activities are a Game For All Ages

Acting activities are a great way to get people of all ages involved in the creative process. Whether you’re playing improv games, performing skits, or reading out loud from a script, acting activities can be incredibly rewarding and fun. Not only do they help build confidence and self-expression, but they also foster collaboration and communication among participants.

Acting activities can be tailored to any age group – adults might enjoy performing and watching plays while children may find it more enjoyable to act out scenes with their friends while using props and costumes. No matter what age group you’re dealing with, encouraging everyone to take part in a spontaneous game of charades is sure to bring plenty of laughs!

Audience members will stand in a circle during intermission chatting about how the whole group enjoyed the concentration the Actor showed on stage because they were skilled enough to include Acting Activities. Drama students in drama club sit in a circle talking about how exciting it is to add a difficult acting activity to help them find an interaction in acting they had not found before.

Top Acting Activities List Part 1:

  • painting a bird house
  • assembling a desk
  • Pouring Acrylic Paint wet art on canvas
  • Painting a Ceramic Vase – https://amzn.to/3T9u6jU
  • Gold Foiling Mirrors Edge – https://amzn.to/3D2jePb
  • handmaking a greeting card
  • staining a casket for an unexpected funeral
  • building a BBQ for a party
  • cleaning a lawn mower
  • opening Chestnuts – https://amzn.to/3Tsob9p
  • Painting a Hunting Duck Decoy – https://amzn.to/3s0nQzh
  • sharpening a lawn mower blade
  • decorating a Christmas Tree
  • Tying a slip knot

Improvisation Drama Games Include Adding Doing to Your Scenes

Improvisation drama games are a great way to get creative and explore different perspectives. They involve creating scenes without preparation, using only the ideas and impulses of the players in the scene. These games can be used to explore story structure, character development, comedic timing, and more. It’s a great opportunity for actors to practice their craft and take risks without the pressure of performing a fully scripted play.

Adding elements such as doings, or physical actions that express emotional intentions, can help add depth and realism to the scene. Doing can also create tension and humor when used in unexpected ways. Improvisation drama games are a fun way to exercise creativity while learning about yourself and your abilities as an actor. Kids and adults must find fresh ideas about their authenticity to stay interested in wanting to continue doing acting. A fun improv with an acting activity doing is just the key to continues a fun variation to the person looking to find their authenticity or to improve their emotional range.

React to acting activities improvisations towards scene work
React to acting activities improvisations towards scene work

Activities Add Depth to the Improv Game

Activities can add a lot of depth to an improv game. They can help the players become more engaged, focused and creative while they are playing. Activities can be used to brainstorm ideas, create acting scenarios, or practice improvisational techniques. For example, if you’re playing a game where everyone has to take turns being different ranges of emotion, activities like role-playing or using props could really bring your emotions to life and make it easier for the other players to interact with them.

Activities will always help bring the fun and creativity to the next level! Get the students to walk with a cane with a handicap or fix a cane as an acting activity in an emotional scene. The more students to be creative the better they will expand themselves and help inspire their own motivation.

In a new scene you need to create rehearsals that the scene becomes an improv game. Choose a student to illustrate how to increase the difficulty of an acting activity to match their own determination then get another student to interact with them while they are completing it. The group of students who practice with acting activities will be further advanced than those who do not.

Top Acting Activities Part b:

Improvisation Games Increase Instincts and Spontaneity

Improvisation games can be a great way to increase instincts and spontaneity. These types of games are all about making quick decisions in the moment, without relying on pre-planned ideas or strategies. Improvisation games can help people to become more creative, as they must think on their feet and come up with new solutions to problems in real time. They also encourage players to take risks and trust their own instincts, which is essential for any type of creative work.

Furthermore, improvisation can help people develop better communication skills and improve their ability to think quickly under pressure. All in all, playing improvisation games is an excellent way to increase spontaneity and hone your instincts! Listening skills are drama lessons that create a scene in function. Teachers and Directors require Actors to listen so the playwrights vision can come to life in a real time experience within the Actors.

Acting Games are Exercises to Improve Your Acting Interaction

Acting games are a great way to improve your acting skills and interaction with other actors. They can help you practice improvisation, emotional development, and communication skills. These fun games can also help you develop your confidence in performing, allowing you to be more creative with your scene work. By playing these games, you get to stretch your imagination and think outside the box.

It also helps you to better understand how others interpret their characters and how they interact with each other on stage or on screen. Acting games provide a safe and playful environment for actors to explore, create, and grow in their craft. They offer a unique opportunity for actors to challenge themselves, build trust between them, and foster mutual respect among cast members.

Top Acting Activities part 3

Turning an Improv Scene into a Serious Acting Conquest

Turning an improv scene into a serious acting conquest can be a daunting task for any actor. It requires the actor to be flexible and able to think on their feet, as well as having the necessary skills to portray emotions effectively. A key skill is being able to read the scene and respond appropriately. Authenticity is the only appropriate answer that works really well and consistently in acting.

The actor must also be aware of the rules of improv and how they impact the scene, such as not blocking or contradicting other actors. The ability to listen carefully and take direction from other actors in order to maintain the flow of the scene is also essential. With practice and dedication, an actor can transform an improv scene into a powerful acting experience that showcases their talent and creativity.

Your Facial Expressions depend upon how well you listen to your other acting Partner. Don’t worry about how to create a character, instead be yourself and do drama games and activities in your improvisations to grow your humanity.

Copyright 2022 Simon Blake

You’re Invited – To the Actors Store – To Get a Christmas Tree – for ALL Year Christmas Emotional Preparations!

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Emotional Preparation Ranges

Emotional Preparation Ranges

Emotional Preparation Ranges is the emotional talent of the Actor. So there’s this very odd thing about acting because see what happens is uh people will come to the classes all sorts of classes acting you’ll go out and start a play you’ll get a part in Shakesperean you’ll think the problem is Shakespeare it’s not you or you’ll think that the reality is that you just weren’t good for the part but this is the key the key is we all

Have our own natural ranges it’s nothing that we could do about it i mean we can work hard to be able to expand our talent that’s true however i mean we’re still in a situation where we’re at least having to start off with what is our natural talent in the the journey of acting and that’s absolutely critical for the actor to understand so let’s take a couple minutes and just understand that

Emotional Preparation Ranges of Emotion Develop Acting Talent
Emotional Preparation Ranges of Emotion Develop Acting Talent

So it’s it’s an absolute truth about this whole thing i’ve been lucky and uh well lucky and not lucky but the reality is is i’ve seen over 30 000 acting exercises way well over and it’s the thing is i’ve been able to see various many i mean every single type of walk of life in many different cultures of of people and i’ve been able to study them and a lot of times teach them so it just depended on the circumstance so in this

Case here is that we’ve got this ability that we’ve got to understand this topic and this topic is very simple but it’s not but it’s simple enough to be able to get the beginning understanding of or to be able to use the time of this discussion to be able to advance your own understanding of the topic that we all have a natural range see some people will say uh in the critiques and they’re very right about it they’ll say like

Well that actor didn’t walk into the set that day when they when the first shots were taken and they would be absolutely right so with the grip people that would say that about famous actors and they’d say that actor never acted like that the first season it took time for them to develop their own rhythm it took time for them to develop their own technique it took time for them to be able to develop the expression of their own personality. Having an Emotional Preparation Ranges are vital to your ability to express your talent.

So that all of those things are encompassed by the ability to be able to understand what is our own natural range of talent see this is the reason why i did this emotions list it’s not to try and sell people a list for five dollars it’s not that it’s and there’s it’s all out there free you just have to put it out in different sections the thing is is that the reality is is is i want and

I have an emotions dictionary also which is key the reason why it’s a searchable dictionary so you can look up and see how you can be able to expand your emotions in your acting see this is the thing it’s a natural range of acting that we’re trying to be able to assess here for ourselves this is self-assessment are we going to work in the range of uh i don’t know rage or

Enraged or a specific type of disappointment are we able to isolate the self-activation now self-activation is the ability of having talent the ability of being able to do the work in the interaction is doing is the interaction of acting which is key but that has to do with the ability to receive other people under the influence of an emotional

Range that’s that’s acting that’s acting that is the fun and thrill of all of the um euphoric feeling that the actor will go through when uh the endorphins get set off by the technique that many people will call emotional preparation and and some people just call it actor preparation and i am very adamant that emotional preparation is is a great tool

But it requires the last step which is the emotional activation so what does this have to do with the half um we all have natural range right we all have a natural range look we’ve got to accept ourselves see there’s some times where you might go through uh a period of um realizing maybe you’re very gullible to life or maybe you’re very um bossy right

And and that might be something that is an initial range that you would have to work through right or an emotional color of which you have to do a lot of acting work with to be able to master that element within yourself to be able to activate it and be able to have fun with it and then then which is key key thing is releasing yeah we’re not training to become a whole bunch of narcissists at least i’m

Not i don’t train people like that because the thing is is that i want to be sure that everyone’s healthy now i’m not i can’t i’m not i’m not saying that it’s my responsibility because it’s not but what it is is uh my conscious effort to be able to try to make sure that the work gets served the best way possible and the best way possible to be able to do acting has to do with the element called freedom

Freedom is it i mean every single thing that you do with a free spirit is much more uh amplified um when you’re able to work with freedom than when you’re when you’re not working with freedom at all and that’s absolutely an important point so the key is isn’t where you’re starting out with your natural range of emotional life the key is whether or not you’re willing

To accept it because you might say like look there’s 1200 plus emotions like 1200 plus emotions i’ve um working through stuff and and you know um stay tuned with all the different things that i’m building out and by the way i’ve got 1100 emotional uh sorry 1100 independent activities list and 161 reasons to come to the door i mean these are things that are assets

To be able to put into productions and be able to put into practice of being able to do the only reason why i sat through 30 000 exercises plus plus um is the reality of the fact is that i enjoy seeing people having human growth that’s the only reason so um you know why not i mean uh human growth is one of the most interesting things and that is the reason why um a lot of times why projects will get

Driven ahead so where are we at on this well look you want to go through the emotions list and you want to try and identify what it is that’s your current situation now if your current situation is that you’ve just come from a divorce or a breakup or you’ve just come from uh changing locations or you just come from one situation or another situation you’re including some of that in the work it’s great to be able to do that

Having and Emotional Range with Emotional Preparation
Having and Emotional Range with Emotional Preparation

But make sure you’re releasing after your work so you’re not carrying around your acting baggage is what i call it your acting baggage is not something you want to have in life believe me um but the thing is is deciding and determining for yourself through self-examination which is part of the bean side of acting which is absolutely key because now you’re in a situation where you’re able to ascertain by feeling or by emotion

Which there’s a huge difference between a feeling and emotion a feeling is an inclination but an emotion you’ll be able to tell and feel your way through like uh almost like a blind sense of faith that you that you’re able to have as an actor so you build up that thing called actor’s faith which is brilliant that’s exactly exact proper acting technique so

Work with this and understand that you’re you’re working with the ability to understand that the natural range of your own talent although you might start out and it’d be limited it’s actually going to continue to expand the more you’re capable of doing the process of an acting technique which is your own personal acting technique which will be that you activate self activate the emotion you do whatever ascertain ascertain or

You determine right you determine what that emotional ball range is or ballpark some people call it ballpark i like to call it emotional range because it’s easier to understand although some people are into sports so that’s great so the thing is is you’ve got that whole thing where you’ve got this constructed to make a determination of what type of emotional color you’re going to need for a scene

But if you don’t have that color then that’s not the right scene for you at that point so then you’re working to see what you can do with your emotional activation do you have three different emotional activations that you’re capable of doing or do you have 15 or do you have 50. and are they in like two emotional colors or are they in 50 emotional colors so these are the things that that

Emotional list can then be able to assist you in being able to build out your emotional repertoire and some people have amazing big careers for all sorts of reasons good and bad but the reality is that they have a very small emotional range so uh it’s not necessarily um how big how much you can expand your emotional Preparation ranges although i think that’s an excellent exercise for every actor to to

To try i think it’s great um but understanding that you’re going to have to have a natural tendency and you might have to work through the nitty-gritty of one emotional preparation ranges before you’re able to loosen your talent up enough to be able to expand uh into another emotional range and that is absolutely natural absolutely natural so let me just check here um

Got that i got everything and thank you very much for watching please book the like button or like the like boop button whatever it’s called these days. Emotional Preparation Ranges are the vital part of expanding your talent in acting.

Copyright 2022 Simon Blake

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What are Feelings for Actors

What are Feelings for Actors

What are Feelings for Actors? Knowing this helps you access your own talent! Okay let’s get into this this is a very very very good serious topic for actors to consider for themselves and i want you to find your own answers in everything that i’m saying this but i’m going to give a lot of great answers you want to consider this what is a feeling for actors now there is a massive difference between having a feeling and an emotion and check and find the video on that that there’s comparisons that i

Do between a feeling and an emotion this is just to be able to look at feelings what do feelings do for actors what are feelings for actors so um feelings i’ve got these notes and then the notes on the front but i want to not waste any time i want to get right into it so sentiment is an example of a feeling so a feeling is something that is first of all it’s one thing that i say adamantly it’s an it’s

What are Feeling in acting different than Emotions!
What are Feeling in acting different than Emotions!

Actually it’s an inclination see you’ve got a feeling like say a detective’s a feeling and they hear something from somebody and maybe they have a feeling about this thing and they have a hunch right well the the hunch is a feeling and then they have to go and get it confirmed so as an actor you’ve got a feeling it could be something that’s there’s your own feeling and there’s

Other people’s feelings you get your own feeling even if it’s your own feeling then you want to be able to see it actually working in in in real time within your acting work within the interaction remember doing is the interaction of acting which is majorly the key so the the meaning of feeling looking at just the meaning of feeling sentiment

Desire idealization your point of view the initial impression the initial impression the initial aptitude of yourself right the initial opportunity it’s connected to the feeling tendency you have a tendency it’s a feeling of a tendency people who can’t drop habits have tendencies towards things

Until they’re able to drop the habit but they have to figure that out for themselves what is their tendency that they have to adjust in their feeling in order to be able to drop the habit so the next one is sensibility sensibility sensitivities premonition impression gut feeling your gut feeling is it’s it’s a feeling. What are Feelings for Actors compared to a deeper emotion is a critical comprehension for actors to understand within themselves.

But the gut feeling comes from the from your own instinct not from somebody else which is a big difference uh it’s it’s but it also it’s very key about this a gut feeling is it’s your own it’s your own it’s coming from below the chin but it’s actually not a flowing emotion it’s your own instinct though it’s definitely your own feeling but a feeling is not an emotion an

Emotion is this gush that flows from you that you know then becomes this emotional ride which everybody wants to have in acting which of course you can achieve you just have to learn acting technique well enough to be able to access that and self-activate it and not worry about trying to self-activate a feeling instead work with the feelings in ways that we’re talking about here work with them as sensitivities work with them as

Sensibilities work with them as receptors that receive in to so you’ve got this ability to to have this connection is part of the whole essence of feeling in acting so the next one is sixth the sixth sense the sixth sense see you can clearly see the sixth sense is not uh an emotion it isn’t an emotional flow but it is an inclination and an inclination is a feeling

So next one is initial opinion impression tactility tactile sense you’ve got a tactile sense now a tactile sense is very similar it’s maybe a different version or a different kind of strand of of what i would say is a visceral response when i when i talk and teach about visceral responses and acting i talk about responses that you have and you

Receive it and oh my god it constricts you in a way and then it might even release freedoms in you there’s there’s this it will gush but that’s when you’re dealing with emotion we’re dealing with with with a feeling right now we’re dealing with feeling and quickly quickly things can go from feelings to emotions let’s understand that but a tactile sense is again it’s almost like it’s like a detective

You’ve got a feeling and a sense that something’s correct but you have to confirm it through interaction through interaction which is the doing doing is interaction and acting all right now intuitive understanding you want to have there’s two different types there’s there’s another person’s intuition and then there’s your own intuition so if you’re working off of this with

Feeling you’re working with your own intuition and possibly the other’s intuition it could be written in the script that you have another person uh that is a consideration that you’re making in your scene so the biggest thing here is that it’s an inclination so when you think in acting terms you think of acting terms uh that you’ve got an emotion

Which is the emotional flow which is separate separate than feelings although they can very readily connect but when you’re dealing with receptivity you have to answer the question of what are you receiving well you have to be receiving a feeling a feeling is is the connector of which everything starts to be able to come together but it’s not the actual emotional

Experience itself so it’s it’s very very key this is incredible incredible incredible work to be able to understand this in your own acting all of a sudden opens up your talent all of a sudden your talent now instead of being locked down in a way or blocked off in a way when you’re listing or receiving and acting all of a sudden you can remain open and know that just because your emotional preparation has

What are Feelings in acting
What are Feelings.

Already been done and yet then the only thing that you’re in is this odd circumstance now i’ve seen over 30 000 acting exercises way over so when i’m i’m referencing and thinking about all the different exercises that i’ve seen when i’m when i’m telling you this so when you’re in this odd odd area where you’ve done some deep emotional preparations maybe you’ve even cried backstage and then all of a sudden you get to the into the exercise or into the

Scene and all of a sudden this whole thing changes and you’re stuck in this kind of like this quagmire and that you know as an actor now that you can work with your feelings and know that that’s not the deep emotion and it’s completely valid see your your feelings are what’s keeping that door open to you and accessible to your actual emotions and and this is very very very very big very key very very very helpful um very. You must know What are Feelings for Actors using Emotional Preparations.

Helpful so uh here’s an example it’s a cusp of an emotion it is a cusp of an emotion again feel free to watch this again there’s a lot of information in this i’m gonna pack these things up because you know uh you can always watch it again so there is a difference this is another key there is a difference between two people right let’s say two people know each other happens a lot in acting. Knowing What are Feelings for Actors using acting technique helps the actor to develop emotional depth.

It’s scripted to happen a lot a lot of times it’s not doesn’t the actors may or may not get it but sometimes they will the the two actors each have an inclination or a feeling for each other right or thinking that they might or feeling that they might have some sort of chemistry then what happens is

The two people know that there is more than just a feeling going on between them now look that’s marriage material do you get my point that’s not just dating and having a good time on a friday night that this is that’s that’s that’s something or it’s a relationship have a good relationship with the pers or friendship with the person

See the the feeling has gone then from from more than just a feeling into something that is depth now you’ve got the depth of emotion working so look i’m going to cut it right there and we’re going to cut to part two and we’ll continue thank you very much.

Copyright 2022 Simon Blake

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Being Present In Acting

Being Present in Acting is an important skillset to learn. Okay um look there is a major absolute major difference between um how to when you learn how to do acting and you start building up that confidence level in yourself as an actor you start to be able to learn yourself almost by like an inclination where you can feel a sense about your work in acting where you’re actually able to actually you’re able to understand that you’re in

The present moment versus not in the present moment now i know it takes a minute to spit out but here’s the reason why it’s so important when you can learn to trust that element that small element that’s this like thing that i’m going to describe there’s this there’s like this nut and bolt that just clicks in you and all of a sudden you get it and what will happen is that you’ll just have this thing where you’ll have this understanding that’s not like logical

Necessarily it’s more like just like you just can feel it you just hit this thing and all of a sudden you know that you’re in the present real time experience of acting this is key now a lot a lot of people first of all there’s a lot of techniques in acting and you know a lot of great interesting things when you’re looking at doing acting you’re able to achieve the real-time experience you’re going to have the

Ability to be more of yourself and you’re going to have the ability to be able to receive more of the other person so you’re going to literally be able to amplify your own talent because you have been able to position yourself in this present moment right what is the present moment of acting and this is absolutely key so let’s get into this so i’ve got some notes here let’s look at them um the first thing i have. Being Present in Acting will make a huge difference to how you receive moments from the other.

On my on my other note is you gotta understand one simple simple simple thing and this is an ongoing understanding so you could look at at people that have been doing a lot of work over the years and you can say well what’s the difference between them and somebody who’s just starting out or somebody that’s kind of been doing this for a few years but there’s still adjustments to make there’s always adjustments to make an acting

This is a big one though the difference between having an active emotion and having an idea right so you’ve got an active emotion rather than just the idea of what you’re what you’re doing you’ve got an activated emotion so you’ve already decided within that emotional preparation what you’re actually going to do that’s key it’s key you’ve decided what the emotional range is going to be

And then you do the work just to activate that emotion it’s very important so then you get the difference of how to be able to work off of an active emotion versus working off of no emotion at all and when you have no motion at all you’re not going to be under any kind of emotional influence when you’re acting and that’s rather uh important note because when you’re understanding that see a lot of people and i’ve seen all

Being Present in Acting is a critical acting skill
Being Present in Acting is a critical key skill to learn as an Actor!

Types of different uh celebrities and all this other one of nonsense but the reality is it’s it works to be able to understand the acting technique which is what i’m describing the acting technique is the thing that i’m interested in not the fame or celebrities or whatever it’s called so we’re working to be able to get the ability to be able to self-activate our own emotion with an influence so when we listen we listen

Under the influence of the emotion okay so now the difference to be able to tell when you’re present in your acting and when you’re not present in your acting is that there’s going to be that influence and that’s when you’re working with emotional preparation which most people are starting to it’s going to start to i’m going to keep doing stuff other people are doing stuff if they are or not i have no idea but i know that

There’s a lot of teachers out there that are working and to be frank emotional preparation is a very sought after and very difficult thing to be able to achieve which is why i’ve got so much stuff on it so you input outside influences when you’re actually receiving a real-time experience that is enormously important the next one is your moments come off of

Others moments come off of other people then you do not fully know the direction of the scene that’s true you might know the result of the scene but you’re not result objective right you’re not an objective to get to the end of the scene you’re in a situation where you’ve got this balance that you’re doing where you’re also trying to be able to be

Inclusive of every single thing that you can be receptive of when you’re acting see that’s what’s going to make up that synergistic component of acting so you’ve got this synergy that just comes in and all of a sudden you’ve got this honestly what it feels like as an actor is it feels like you’ve built up this bubble this emotional bubble just comes in all of a sudden you’re like well you

Know you’ve got this thing activated and you know you got this thing activated and then all of a sudden you go you know you’re working with the other actor and you’ve got all of a sudden they’ve got something going on and it adds to what you’re doing and another thing happens and then the script has a an idea or something that that affects everything and then that gets received and then all of a sudden it just bubble and bubble and bubble bigger and bigger. You need to develop your technique of Being Present in Acting.

You get the point so that’s the key absolutely key the next point here is you want to accept detours right so there are absolutely detours in acting it is key you want to be willing to take the detours as long as they’re not like too far off now in rehearsals you want to be able to take wider detours uh for scenes to be able to add and find the depth needed to be able to self activate that specific area or that specific depth when you find that that’s

A piece that maybe the writer might have intended or maybe you as an artist wants to be able to put into your acting and then that is how you’re able to find those emotional brush strokes is by having those wide detours but when you’re working on the actual scene you want to have the detours happen but you want to have them more a little bit more narrow so the next one is your malleability your malleability is the ability see

Sometimes you know you’ll work and you’ll think that the uh set of ideas or set of expressions that um you’ve worked on as an actor where you’ve worked on the depth of emotion and you’re expecting that you know you’re likely you’re going to go in the order of a b c d e f g right however that’s not like that in acting in acting you might start off on a and then you switch to f and then go back to g and then go forward and then go

Backwards and then all of a sudden you’re on e f because things move around in real time and this is exactly how life happens this is the exact reason why you want to be able to consider yourself to be a real time actor a real time actor being somebody that actually takes in real moments the next thing here is um awake to differences this is a big note big note when you are

Awake to differences you are not only logically taking in the difference you are actually in a situation where you are receiving as much of that as possible so look you could be in a situation where you’ve got this huge huge despair and you’ve got that despair activated and that’s part of your the part of your scene however then you’re still open to be able to try and add to that and that’s where um

There’s this like emotional preparation meter that you want to have in yourself where you don’t fully fully fully fill yourself right up to your chin because you’ve got to remember you want to receive the other actor too you want to receive the the outside influence into your acting so you’ve got to be able to receive stuff so you’ve got to leave a little bit of space there so that you’ve got to have that ability to be able to have some ebb

And flow which is key so you awake to the differences and then you’re going to get to the point where you have ebb and flow which is the ebb and flow in acting is the ability to adjust in real time there is all kinds of great things that can happen in rehearsals and you’ll be like well i wish that that had been on camera or i wish that this had been part

Of the production well and then you might say well maybe it will maybe it won’t but if you’re able to keep adjusting in real time you’re going to always find something fresh and new and it’s just going to get more rich the more you rehearse it if you’re rehearsing it in a way that has freedom it has to have freedom all right the last thing here let me go through these notes first is very quick um the

Difference of emotions is activation and emotion okay we got that we have no emotion um versus weak feeling so you if you’re chasing a feeling that’s uh something that you want to be aware of a feeling is an inclination uh it’s very useful inclinations but they don’t have the depth of emotion work off of your depth now the biggest thing here that we’re going to talk about next is there’s going to be some

Stuff about reacting now so being present with an emotional weight emotional weight is going to be different with the different emotional range uh how mo emo how moments happen in acting how moments happen in acting are is very very key um and that’s going to be a separate separate topic because there there’s a

Specific way of how moments happen and you want to make sure that you have that you know exactly how to be able to know that when you’re receiving you’re actually in more real time when you’re blocked off and you’re just executing a doing then you’re in a situation where you’re not uh really acting because you’re not interacting acting is interaction it’s key trust me i know that that much

I can say absolutely absolutely for a fact fact fact that is such an important thing if you are doing because you are implementing you are actually ruining your acting in my opinion so next one is relaxation this is two major last points major keys major keys one is relaxation equals reaction real reaction comes from your ability to relax into

The stimulated impulse so somebody comes out your face and you don’t know what the heck is going on and you don’t even know why they’re upset with you you relax into it because that’s your reaction that’s how you get your full reaction you realize that because you relax yeah what i said was a huge huge huge so the next point is

A planned reaction equals bad acting it can unless you find a way to take that planned uh reaction and make it interactive the only reason why performers are really good with planned reactions especially in theater or other other mediums too even on film is because they find a way to interact with their planned reaction and every single time it’s subtly subtly different and that’s the key that’s the

Key and and you talk to people that have been doing this like me for over 20 years and you realize okay that there’s there’s a point there that’s that’s very massive and take that adapt it for yourself work with it this is the point is to be able to expand your human talent net last point here is doing is interaction do off of the other person not only off of yourself so when you’ve got to Being Present in Acting.

Copyright 2022 Simon Blake

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Emotions Triangle for Actors

Emotions Triangle for Actors will build acting technique by helping to realize the difference between an emotion and a feeling. Okay let’s jump right into this thing i’ve drawn this out so we can go through it a little faster this is an essential essential essential lesson for every single actor musician performer artist dancer anything like that if you’re doing anything with your emotion this is an essential essential essential lesson now this is something that i’ve come up with it’s called the emotions triangle

It is a triangle because it will tell you exactly where you’re working in your work are you working from your gut are you working from your head are you thinking of an idea or are you only working from a feeling feeling is lesser than an emotion and that is absolutely key to creating anything with emotion you’ve got to get the emotion activated first and you’ve got to know where to find it so let’s go through

This this emotions triangle again actors musicians dancers all of that all right thoughts the top of the triangle is thoughts you’ve got thoughts now there’s thoughts and then there’s other people’s thoughts so you wanna you wanna ideally there’s other people’s thoughts and then there’s your own thoughts okay that’s done now next is the ideas same thing there’s ideas and then there’s great ideas

Are these ideas your own ideas well they may or may not be but if they’re great ideas they’ll resonate with you they’ll absolutely verbate they will have an ambiance with you they will be something that triggers you in a way that you can actually put that trigger into your work that will be a great idea a great idea and that sometimes is enough to create with however

Emotions Triangle helps Actors Find their Emotional Preparation

There’s a lot more on this triangle to work with and work from and work from within yourself than just your thoughts ideas and great ideas let’s look at it so the next one here i’ve got is feeling we’ve got feeling okay now every i mean i can tell you i’ve seen way way over 30 000 acting exercises from famous people to people who were planning to be famous so that they could. Emotions Triangle for Actors builds acting technique by knowing difference between emotions and feelings.

Already have casted roles all that other nonsense listen it’s an absolute true thing i’ve seen so many times actors chase their feelings you don’t need to that’s the freedom of the work the work is actors dancers musicians everybody they can absolutely work from themselves without having to chase a feeling but the reason why they’re chasing a feeling is because they think it’s an

Emotion which now now that makes sense right so we’ve got thoughts we’ve ideas we’ve great ideas then we’ve got feelings then we’ve got deep feelings now in at split second if you are open as an artist as an actor then all of a sudden that deep feeling can slide right into an emotion but it’s still going down the elevator so

It’s it’s really key it depends how open you are these things can change very rapidly but you’ve got to know you know sometimes they get stuck in you it’s very hard to work through each single step it depends on what emotional range you’re trying to work on so we’ve got the feelings turn into deep feelings underneath that is emotion now emotion is different than feelings feelings are inclinations

Inclinations these are things that are just inclinations these are receptors you can work well with receptors it can be very stimulating it can be very spontaneous it can be very impromptu but it’s still just a receptor you want to have the audience only to have um some sort of receptor happening you want to be able to have something deeper than just a feeling going on in your work you want to be able to work harder just to

Touch because you know the difference between a feeling and emotion and then you can get beyond a deep feeling and get into the emotional range now this is the ambiance the richness of the work as an actor artist this is where you get audience absolute audience connection which is an emotion which is in deep feeling and is within interaction now of course if you’re working with your feeling you have a lot

Of interaction that’s that’s part of it that of course the audience will resonate with it but not as deeply so the emotion is the next one and then underneath the motion there’s deep emotion now for an actor or for a musician doing a music video uh if i’m training them they’ll go through a rehearsal of of of emotional preparation or emotional activation of rehearsals uh which will go the night

Before and then i’ll make sure that they’re ready and then the day of the the filming then it will be a process of going back in coming back up going back in coming back out just like somebody going to the pool coming out of the pool going to the pool out of the pool did you have your imaginary circumstance is the water of the pool it’s this it’s your it’s your film project it’s your music production. Emotions Triangle for Actors is essential to know when you are using your emotions.

You’ve got to be able to take dives into that ability with those activated emotions and then come out of those and then you go over and over and over seeing in the scene in the scene in the scene so you want to be able to try and keep your work in the area of the emotions deep emotions and especially in interaction if you can achieve the ability to just comprehend this simple simple thing now when i say

Comprehend i’m not talking logically i’m talking about this emotionally look when you go do emotional preparation emotional preparation is often this thing that actors will do just to determine what is the desired range that is needed for the music video for the acting for uh whatever the film medium is okay theater production so that’s great and that’s

Emotions Triangle for Actors
Emotions Triangle with Emotions Deeper Than Feelings!

Really great and and that will definitely warm up and a lot of times the emotional preparation techniques that people will use will just open themselves up to being able to be more responsive that’s great that’s absolutely fantastic but look this is where the responsiveness is thoughts ideas great ideas and feelings so you’re only working on the top half of your work you’re not even using much

Of yourself so then what you want to be able to do is understand this whole triangle and then understand emotionally when you go into your emotional preparation are you going into a feeling and you’re interacting with a feeling and that’s okay that’s that would be the equivalent of flirting flirting is great and that’s definitely part of acting in in some scenes of course but it’s not the meat and potatoes of the emotional debt and

Just have to have to have an awareness about that and then you’ll improve your acting you’ll improve your talent regardless of the medium even if you’re singing a song you’re singing a song and you’re out there you want to do and work with emotional preparation let me tell you that will be extremely extremely helpful to your songs especially when you’re working with emotional preparations and they’re getting recorded for videos

So you work with your emotional preparations you get yourself activated within an emotional range you’ve got that emotion buzzing within yourself you’ve got that flow happening and then you can prove to every single person you’ve got talent because now you’ve got your own active emotion going on and yet you’re mature enough to be able to be open enough to have an interaction regardless of the fact that you also have an

Emotional range happening within you that’s the goal so this is the goal of the emotions triangle thanks very much please share this with people it might help them a lot thanks. Emotions Triangle for Actors will help you build your own acting technique.

Copyright 2022 Simon Blake

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Anger Emotional Preparation Towards Acting

Okay hi welcome i’m simon let’s get to work let’s get into it so the thing is is we’re dealing with this topic today as it’s anger right so we’re this is part one of anger and and the anger we’re looking at now we’re we’re actors right we’re creators we want to be able to use the emotion of anger now and Anger Emotional Preparation Technique

Any any any any way that that’s gonna happen successfully has to happen with interaction that is the absolute just the absolute nuts and bolts of the entire thing any emotion needs to have interaction okay so we understand that right we understand that we’re not talking about going and self activating an emotion and then basically uh bulldozing everybody else with their emotion and

Saying that that’s acting now a lot of people sometimes there’s parts that that does fit but it’s very very specific scenario normally you want to be able to self-activate an emotion and then you want to be able to interact with it and that will actually expand your humanity you’ll you’ll find deeper and deeper regret and pain and sorrow and anger when you’re able to work with freedom in your acting okay so that’s all absolutely the

Full absolute truth now first let’s go to my notes because i want to make make sure that we’re staying on track so we’ve got get rid of stereotypes now the first thing to do the absolute first thing it doesn’t matter who you are and i’ve seen a lot of famous people work and i’ve seen a lot of people been cast before they even have to audition so believe me i know what i’m talking about

Anger Emotional Preparation Technique is very important for Actors to learn to achieve.

This whole thing you want to get rid of every single stereotype of what anger is now that might mean that you study angers stereotypes and we’re going to go do do that in part two and so we’ve got a clear understanding of what the stereotypes actually are you get every single preconceived understanding of what anger is understood and out of the way out of your way of acting so you’ve got it clear. Clearly activated Anger Emotional Preparation Technique.

Okay so we’re gonna get rid of the stereotypes there’s a reason then the second thing is this means that you get rid of typical you get rid of the typical you’re not going to be playing a part you’re not going to be playing an emotion you’re not going to be playing an idea because you’re going to get rid of the stereotypes now you you’re going to be willing to this is key you’re going to

Work with anger with your own anger in acting as a creator right first of all you’re going to be doing it safely you’re not going to be harming anybody working with an emotion you’re going to be working with yourself so that you’ve got this ability to be able to create art artistic elements with it right so there’s going to be humanity there’s going to be empathy within this this this craft of acting right

So the next point here is that you want to determine you want to determine which are your unique features when you yourself express anger maybe you get passive aggressive maybe you feel tired maybe um your um feelings of anger um comes out in uh different ways right so here’s a good question

Have you ever been angry and you just start crying that’s a good question to ask yourself some people have it’s definitely a human emotion so what about regret do you feel regret most commonly when you’re angry it does your anger is the thing that triggers your anger is the regret or is it hurt or is it pain or is it just simply an aggressive outburst and you don’t know where the anger comes from

See are you are able are you able to actually isolate the anger within yourself activate it and then receive another person regardless of yourself that your anger now let me tell you a very quick story a good friend of mine a long time ago monasteries all this other stuff exercises that the monks used to do that helps actors understand an Anger Emotional Preparation

Very true story is that they would hit the snake on the head anger anger anger anger and then they would put the snake up to the person’s face now the one thing you need to know about this story is it’s a defanged snake so if it strikes a person it’s just gonna it’s it’s not gonna put poison into them because it’s been unpoisoned the snake has but this is er exercise in uh this is done absolutely

As an exercise to be able to to deal with this whole thing called anger see if if you’re anger you’re angry yourself and you’re gonna be in a situation where you’re not receiving the other person what’s so interesting about this whole exercise is that with this snake scenario is that the snakes does don’t a lot of times they don’t do anything even though they’re very angry and

That’s very interesting so look although that’s a side topic this is very important story because look okay let’s go to the next point timing now are you in a situation where um where does your anger come from does it come with tears regret we got that one timing now is the other are you allowing the other

Person to dictate your timing of your emotional release right so we’re in this situation where you’ve got this like construct happening when you’re using your emotional journals your emotional acting journals then you’re in a situation where um you’re gonna be hopefully starting to catalog some of these highlights which

Will include i don’t know maybe somebody cut you off at the store going to some i don’t know super game or whatever it’s called you want to be able to go and write that down there’s something about that or you find some kind of aggression or there’s some sort of thing and anger is part of it so you write that down because that’s an emotional highlight that is an emotional element that is something that is an emotional range of Anger Emotional Preparation.

‘Anger’ Emotional Preparation Technique Access Your Own Anger in Acting

That is that is exposing of yourself this is key see you’re emotionally able to activate your emotion you know that you’ve activated your emotion not because your blood’s boiling and you just want to like have an emotional outburst you know that you’ve activated your emotion because you’re feeling a vulnerability that maybe you don’t want

To expose emotionally and that would be how you’re able to then start to be able to get way way way past the stereotypes now it’s an unanticipated moment to unanticipated moment which i just call it’s the real time acting scenario you’ve got to have real time acting scenario actually happen in your acting work

So when you’re when you’re dealing with this construct this is the part one we’re gonna get in deeper and and i’m gonna figure out how to do all this that yeah it’s terrifying to do all this it’s very exposing to be able to isolate all this stuff and help you to be able to do but it’s worth it because it’s going to help build out your creativity regardless of what platform you’re working with film theater uh Anger Emotional Preparation.

I don’t know writing some music or poetry it doesn’t make any difference you’re going to be able to access your emotion and put it into art and that’s that’s what this is about so uh keep joining me for these um share this if you want to and absolutely uh thanks a lot well let’s go to the part two and and we’ll get more into it thank you. Anger Emotional Preparation Technique will help you develop your acting techniques as an Actor.

Copyright 2022 Simon Blake

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Acting is Not Just Doing Here’s Why

Okay uh thanks let’s get into this uh thanks for watching okay a couple different new activities for the um people that do acting activities um that are not on the 1100 or 1200 activities list acrylic paint pouring options there is these things that you can make that are called the triangle ergonomic triangles different shapes and

You can put metals and different things to decorations inside of them and it’s an epoxy pour so you can literally get a mold and that could be an acting activity it’s actually very creative activity another one is uh make a cement flower pot mold that is it’s fascinating and on top of that both of these you could absolutely add some very sincere sentimental um components which are nice um other

Another one is um which is not on the on the list the huge list that i have alphabeticalizing books now you can alphabe alphabeticalize them both according to title or also according to name author you can also do that simple task um manually on a computer if there was some reason that you needed to do that because you’re doing that under a certain typeface or um something like

That so then the last one is you could be making a list of self um a list of certain types of books you could be making a list of books that you need to go to um university for or a course or say you have a new hobby on woodworking and you can then attach the meaning of being able to do that and that would be oh these are great all good activities so the topic today is let’s get um understanding that we have the the fact

That doing is so important it’s such an important thing and acting however however why doing and just doing is is kind of not that important is because of the trap that entrapment of what doing can do in your acting which is actually quite severe it can actually turn you into a robotic and lessen your humanity it can do all sorts of things by the implementation of a doing see this is where we get caught in this

Meanderness of you know activities doing an activity then we have to be able to be human and we bounce how to be able to introduce activities well into an exercise listen that’s hard hard hard work you know you might find that that simple task of organizing um or alphabeticalizing a um

Encyclopedia set that was out of order might be a great activity for something to be able to prove a point within a storyline or a film or an acting class or a theater production or you might want to alphabeticalize that as part of something that you include in the scene and because it fits so well within the scene that might be just a fantastic activity to be able to do but but that’s with the balance

Of the uh emotional preparation really i mean so i always describe it that there’s the being side of the work and then there’s the doing side of the work the doing side of the work is interaction you’ve got to be able to have the interaction but then you’ve got to also be able to get the emotion and the biggest thing people forget and it’s easy to forget

This because you’ve got a lot of different things to be able to figure out and to do and that is that you’ve got these these these things to be able to figure out well do you have the intended emotional range for the right that’s part of the emotional preparation process for a lot of actors that’s the only um emotional preparation process that

They do is they ascertain whether or not that emotional now this is obviously you’d probably advance beyond that but there this is definitely stuff that i’ve seen i’ve seen way over 30 000 acting exercises and i’ve seen a lot of actors do this where they’ll they’ll ascertain that they think that there’s a certain emotion and then they’ll come up with something that they’ll try and act out or they’ll try

And force a doing into their acting and what it does it comes out completely fake it comes out completely authentic this is the times where the teachers or myself if when i’m teaching is is i’ll be absolutely clear like look this person’s not listening this person’s not being empathetic this person is not receiving and this is the reason why i absolutely teach the emotional preparation is the ability to

Why Acting is Not Just Doing

Self-activate that emotion and then as you’re feeling the charge of that emotion in that emotional specific emotional range then you’ve got that emotional activation that emotional charge is running through you and then how you receive will be affected by that emotion but you will be receiving you might only be hearing whatever you’re able to hear at that

Moment but that’s part of the emotional experience and so this is far different far different than the typical acting and this is far different than some cliche which is a very important cliche of um acting is doing but the thing is is acting is doing but it’s really not and it is also because you’ve got that thing called balance and you’ve got to be able to understand that that thing called bounce is the thing that actually is what is the the confidence and you’re

Acting really it really gives you the confidence to be able to actually you know that when you when you’re able to do the the emotional activation right it’s one thing to logically know what you need for the scene everybody can go and and find the notes and and they’re very good good good good people will study extra to be able to get extra information and that’s fantastic but then there’s this click that happens in you there’s this like this moment of

Of just this thing that clicks inside of you as the actor when you do the emotional activation and you’ll feel this thing coming out of you it could be a rage it could be a hurt it could be a sorrow it could be a regret and all of a sudden it’s not that you’re you’re definitely not reliving your past regret you’re instead activating a past regret and then you’re receiving a new

Experience now that’s very very very important thing because when you can achieve that in acting then you can start to be able to actually rehearse and practice acting properly in a way where you’re actually involved in it now all of a sudden you’re getting a full rehearsal right which is very very very key so let’s look at these notes let me see if i’ve covered this already sometimes i get carried away and that’s just normal listen i really am into

Acting and the thing is that’s just the way it is so the first note i have here is force a lot a lot of actors and this goes all the way back to new york city and everywhere else to be honest it’s very it’s a it goes all the way back to shakespearean actors you know some shakespearean actors or any other theater components going back in the history of humanity you’ve got this thing where

You’ve got this this element of ego and an actor and the ego of the actor just is determined to be um forceful now this isn’t the kind of stylistic acting that i would suggest and this became very popularized in the 1950s and kazan was very upset by a lot of it and he had every right to be so the thing is is that the reality of this is you want to instead of having this force where

Brutally having a force or an objective to be able to hit with the other person whether you’re trying to control their mannerisms or you’re trying to be able to implement your emotion on them so that they have to believe you no no nobody has to believe anything that’s the key the absolute key to this whole acting thing is you activate your emotion and then you see what they believe and you see what happens when you receive them and you’re not there to

Question them you’re not there to be in logic you’re there to be able to receive them and that’s the the the empathy of your of your humanity you want your humanity to then be able to be those gears that just click which happens when you’re using emotional activation which is the key one of the big big big things and it’s not somebody else’s emotion it’s your own emotion so next note is forcing a goal on others

Versus freedom in nature absolutely key this is an absolutely absolutely key thing look there if you come to the door on an acting exercise and a scene you look at how many scenes have doors in them and people doing activities in them and it’s a plenty plenty of scenes are like that and you’ve got you’ve got even if you have an objective which is a very strong thing like maybe you need a piece of information and

That’s within the writing of the scene okay so even if you have a strong objective or a strong feeling or a strong inclination or a strong emotion even the stronger you get with your emotional range and depth the more you want to take in the other person the more significant it is that you’re accurate with what it is that they’re saying because what they’re actually saying is going to be able to

Affect you and that is the key absolutely another key so if you’re taking this in and saying well you want to be able to get through the exercise and have people believe you or you want to be able to get through the scene and have people believe you or you want to get through the rehearsal and see if you make a good impression for somebody well first of all don’t worry about impressing people your

Acting is going to only be impressive because of editors anyway most of the time so you want to be able to just trust that you’re in a natural ability to be able to get the talent which is the ability to be able to receive so instead of forcing a will on somebody um and i know a lot of famous names that have done this that i’ve seen with my own eyes do it so um just relax and and see what happens what can transform because you’ve got

Why Acting is not just Doing Mindlessly

You know sometimes you know people will say well they don’t need to see so and so work or they don’t need to see such and such thing happen and go and wait a second and then all of a sudden you know uh because i watch everything all of a sudden uh when when i’m when i’m in classes i try and watch as much as i can and then all of a sudden i’m i’m like i’ll take in and i’ll see all of a sudden there’ll be these two

Very unexpecting actors and the reality is is that they’ll be able to receive and then all of a sudden this whole thing will unfold and their work is the best work of the day absolutely hands down but you know that’s the reason is because they they were able to do that so the next note here is uh implementation you don’t never want to implement anything try and live in the freedom um everybody wants

To be able to go see a movie that allows them to have that freedom they don’t want to have um even freedom to explore a difficult topic would still be something that would be able to have an expansion of their humanity that’s what audiences actually want now the last one here i want to do a very quick reminder is a self-activation of emotional range your goal is to be able to self-activate that emotional range and that is absolutely critical in acting and thanks

For joining me today and check out my stuff and all that and uh thanks very much

Copyright 2022 Simon Blake

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The Rumors Group Acting Exercises by Simon Blake

The Rumors Group Acting Exercises practice cast dynamics in your Actors! Okay this is a a fun one okay this is definitely a fun one because this is how to be able to use the concept of like a group brainstorming session right using the concept of rumors so it’s the the rumors exercise for casts

Or classrooms so you could literally you sit around in a circle you get in a circle and you’re gonna be participating in creative license with each other right so you’re going to understand that although some of these things are going to hit real um real spontaneity in in you there’s going to be stuff that’s that’s real there it’s under the creative license that

You’re going to just treat the whole thing like it’s an imaginary exercise even though there’s a real there’s real stimulus there right and this is key so then you go around in a circle and you organize yourself to start the brainstorming of what you could actually be believable to each person about another person

So you sit in the circle just like we when you do uh group repetition right you have a group repetition and then one person notices something and then they they start working with the repetition and then switches to another person just do the same thing be very lucid relaxed and understand that this whole construct is to be able to one get to know each other and to be too able to start working with stuff that’s actual stimulus so you’re working with actual

The Rumors Exercise for Acting Develops Actors!

Real stimulus in your acting and this is key you want to mine that that that stimulus so you’re going to use rumors you’re going to use rumors so you might have one cast member look at the other cast member and say that they have um a rumor that they could believe about a specific cast member or a certain classmate and they look over their classmate and

They and they tell them the rumor and the rumor might be that they believe that they might have uh broke into their uh parents liquor cabinet one night they believe that that you know it’s a rumor but but you know they definitely could believe that they would be that that would be part of something that there’s a rumor that they could believe about them there are these programs that i use and

I use these programs to do these things like cartoons to be able to accentuate to to ex to absolutely um amplify the emotions that i go through and when i go through emotions first of all i absolutely emotionally prepare sometimes even before the videos because i i love emotional preparation i love to be able to get myself upset about one thing get myself upset about another and then put that into some imaginary work. The Rumors Group Acting builds imagination in the actors.

And these cartoons there’s links in the descriptions below and they can absolutely they can amplify those expressions that you can learn to be able to get with your talent okay so feel free use those links right or they uh crashed uh a person’s car the one you know they crashed a person’s car one day or maybe not drunk driving just maybe just because they crashed the

Car because they were careless or that a rumor that they could believe that could be a rumor that um i don’t know they they one of the examples is they cheated to be able to get the audition that would be a rumor a believable rumor now it’s very important to keep the dynamic going within this stuff the purpose of this is never to put each other down it’s not about ego this is the absolute

Essence of it the essence is to be able to do the exercise in a way that everyone knows like we’re looking at stuff that’s that’s believable we’re looking at stuff and we wanted to be real but at the same time it’s not about our egos like if if somebody says something to be to me if somebody said something to them it says something to them it’s a matter of then working and maybe writing down some of these things about the rumors that they

Think that they could be believable and then you brainstorm that up and then you work with the writers to be able to say well these are the things that we have believable we have believable things about ourselves we could believe that um you know we could be at our uh i don’t know uh grandparent grandpappy or grand grand daddy or whatever you call them uh papa’s house and and you

Could look at the whole thing and you could say listen um they fell asleep one night and you broke into their their liquor cabinet and you didn’t tell them something right and this could be an adult looking after an adult it doesn’t have to be underage drinking it doesn’t have to be that topic it could be literally like that would be something you know that they could do right or you know they could be you know

Essences like this you wanna you wanna see what could actually be believable now it’s gonna get real very quickly i’m trying to stay out of the the nitty-gritty at this moment but the reality to this exercise it gets very real very quick and the the essence of this is the ability then to be able to build trust within the cast you want to be able to build trust

Within the cast where people are are willing and capable of being in these imaginary circumstances that they would actually fit into you know the shoe fits but it’s an imaginary shoe you know what i mean or you know if it fits the circumstance that the actor does fit the circumstance and then the actor being able to work with that then is able to be able to do stuff to be able to to work with that with that construct and you can work with

Those circumstances within your cast so try this out and um you could also be it’s a very good idea you could also topic the the topic the the the circle so you topic the rumors exercise with a feeling so you want to work with like so then it’s it’s a little bit less like nitty gritty um it’s more in a way that will help everybody realize that there’s a topic right so everyone’s certain to

Starting to think of the different topics for each other and you could look at betrayal well one rumor that they could believe of their castmate for betrayal might be that um hi i’m inviting you to actually join me live on the internet and if you would you can bring your own emotional preparation we can work on emotional preparation

Together and we can really hone down and help build out that talent with inside of you now even if all it is is you want to just bring an emotional preparation do a spoon river i don’t mind come join us and absolutely practice the talent of your own acting gosh there’s so many different answers to this i’m gonna have to really think about it but write write down whatever comes to you and you’ll be very surprised as a producer what actually develop in the actors with the Rumors Group Acting Exercises.

Comes out of your cast and then you work with that to be able to make the the creations happen um you look at another element you know bring up another element everyone gets a turn goes around a circle you can do this two or three times you know as long as there’s genuine materials coming out of people and they’re able to find stuff it’ll be fun too i mean it’s it’s a little bit

Um uh putting yourself out there but that’s what actors do actors put themselves out there to be able to have experiences so um there’s there’s another thing you could work at with uh guilt so you pick another emotion out you get that emotion and you sit around you say listen uh let’s look at the topic of guilt so

When you’re the individual in the chair and you’re looking at the others you’re looking to see what might be something that you can brainstorm that would be something that you could be believable to you about another person that would cause them to feel guilty you know then then you could look at it and you could say you know i could believe that um i don’t know you could be guilty about. This is the why Rumors Group Acting rehearsals are so important.

The Group Acting Exercises called Rumors by Simon Blake!

Not um visiting um somebody or you could you didn’t bring uh flowers for uh your um a funeral you i could believe that you you’d be guilty about this and it doesn’t this is not real life this is imaginary stuff that is going to pinch out real life you’re going to have that that pinch of of real expression they might the person that it said to might wonder

How does that person even know or if they do know well that’s just something you can have to deal with with the cast dynamic because the thing is this is about making sure that we’re getting that real stimulus to be able to put in our work so try this out you know um you know you could also do um one thing that you lie about one thing you told the truth about so you add that to the exercise of the Rumors Group Acting Rehearsals.

Rumor circle uh rumors exercise circle and you work with that so that you’re telling one thing that that is a good thing one thing it’s a bad thing and what you can do with this material is incredible incredible because you want to be able to find those ingredients to be able to build off that whole creative element so then what you can do is you give all that material as a cast or as the produce to the

Producers you give it to the writers you say look listen um i didn’t realize um i had this like thing i was ashamed of and i don’t know if this is something that you can include in your writing it’s not real life it’s just something that would be a believable rumor um and then they can go yeah okay well let’s look work with that well we know the uh the cast wants to be able to work with uh

These types of different things so this is a one option for you to really open yourself up completely to be able to have these creative sessions that can actually replicate stuff that actually isn’t exposed to anybody in real life but is actually in a situation that’s still working with that component of being able to activate uh truth and reality listen one more thing about this whole

Rumor exercise you want as a producer to be able to get two different ingredients there’s two different ingredients there’s one is you want to get the rumor itself which is the story line right and then you gotta get these two things you want to get what’s believable what’s a believable thing that’s internal in the actor that the rumor is about right so then you can start building that imaginary circumstance out and then you want to get the

The reason why it’s believable to the person that said it why why would they think that way why would they why would they come up with that why would they you know brainstorm what it is that that’s a reason why it would kind of like what what is it that would be the most believable reason why that person would have thought that rumor about the other person and do the Rumors Group Acting rehearsals.

Then what you can do is you can really start to really piece together the pieces of the creative vision of that and then you can start putting that storyline actually in your work and once you do that then you will see that you are giving your actors this incredible fertile component where your actors have this ability then where they have got something that’s more you do the rumor exercise the more the Rumors Group Acting rehearsals will develop your cast.

Um likely to be able to offset this imaginary experience with this reality and that is such a gift for uh producers to be able to give to actors especially when you’ve got the right cast and when you’ve got a cast that especially is open to being able to work with those types of things where they want to be able to explore these imaginary circumstances now look this

Isn’t far fetched because i’ll tell you there’s writing groups that sit around all they do is brainstorm stuff the circumstances of of the actual actors and what they can go through we’re just taking an extra step we’re taking the extra step of actually getting it from the cast and being able to take the extra step of saying look this is uh rumors exercise we want to be able to do this to be able to to find these imaginary circumstances that not

Only the writers can believe in but actually the actors can believe in and then you can then develop it and add different quirks and different things about the whole process so consider this and then let me know in the comments how it goes okay okay so i teach people how to get upset i have a lot of fun teaching people how to literally purposefully upset themselves actually making their own activations up so that they’re

Emotionally activated there’s something that they can get upset about within a ballpark of emotion but the key the absolute key is i don’t want you to carry around that stuff in your life that’s what’s called acting baggage you want to be able to learn a technique i have to be able to tell you that it would be a disservice for me to teach you all these incredible techniques on how to access yourself as an artist with Rumors Group Acting exercises.

Without reminding you very nicely that you don’t need your acting baggage in life so feel free work on processes where you have a release time after you’re doing your acting and what this will do is it will actually amplify your work because it will give your acting muscles the break that they need in order to get the rest that they need so that your work will be even stronger okay thanks very much. Try the Rumors Group Acting Exercise Today!

Copyright 2022 Simon Blake

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110 Acting Classes Challenge with Acting Activities Not Just Scripts!

Hey listen i’ve done something incredible it’s absolutely fantastic i have done something that’s it’s a list it’s a list of an acting activities list now this acting activities list is for a hundred 110 classes it’s organized so that you can pick one of the selections of you know usually between seven and different eight maybe eight different activities and

Then you can choose that and then you can find your motivated activities so you can use this list and work anywhere you can put this stuff in films do all kinds of stuff because you want to be able to incorporate acting activities into your acting so listen if you would please uh check it out absolutely and see what other lists that i have available to be able to help you be able to learn your actions

Okay so let’s go down this list and let’s see listen i pick good good good acting activity i’ve seen over 30 000 acting exercises okay oh way over so look let’s get to work um now there is all the ingredients there we’re going to go step by step we’re going to go through motivation we’re going to go through difficulty we’re going to go through measurable success can you actually see your activity coming to life can you actually if you’re building your career with 110 Acting Classes or just

A house of cards which is this is an okay one but you could build it are you able to see the layers build um now the uh reason are you are you putting your reason with it right then we got the other one urgency urgency on your activities but typically it’s not on the door some people use that for door activities too but um uh consequence are you adding any consequence are you able to add a consequence it doesn’t always work for everybody um then the

110 Acting Classes Activities Worksheets!

Last thing that does work for every single person is emotional preparation you’ve got to be able to find your talent and you pat you find your talent by putting your talent in with your emotions so your activation of talent is the actual acting talent it’s actually what it is that is actually what talent is is whether or not as an actor you can activate your emotional life and still be able to do all these other things so we’ve got this

I’ve got this i’ve done this and i’ve got this completely organized so you can just go down and you can click right on the link and that link will take you right to a product in that product will actually give you even more ideas you can read the description links you can look at the uh the information you don’t you i would like it if you buy the product but you know you work with the ideas to be able to expand your talent that’s the point. Complete 110 Acting Classes!

The point is to be able to expand your talent we want to be able to drive forward creatively we want to be able to expand our talent now that comes from being able to learn first how to focus on the doing the doing the doing is key but then you’re going to later about class uh well later on in the classes on the sheets there you’ll add emotional preparation i’ve got it in very very good solid solid order and you feel free to

Use them out of order if you like so we’re looking at this um that’s that’s the thing we’ve got um drawing faces we’ve got um 3d pop-up cards um there’s chalkboard glass how to be able to make um a chalkboard glass we’ll use this chalkboard projects there’s origami projects there’s uh be spoken wall art um and instructions on how to get this stuff done and do it actually right now all of these different

Acting activities are exactly what you need to be able to work to do to one learn the craft of acting and two because acting is interaction right so you work with that and then you work with the interaction with the acting exercise and here’s the thing there is a lot of value you can get from this there is a ton of value now there’s relief carving on wood there is um

How to be able to do all these different activities of 110 Acting Classes making with fishing lures wooden fishing lures there’s an instruction on how to be able to do it so the fish will actually come and you can make them out of wood um premium um glass bottle cutters you can get a glass bottle and you can actually have the activity of cutting and a half for

Crafts or projects or something that’s really cool stuff that you’re motivated to do um now oh that’s what i was saying was basically all of these different acting activities acting activities is that you’ve got the ability to do the acting exercise and there’s all great values to all of it but then the other thing is that is if you learn how to do the acting activity well then you put that on your acting resume i’m not kidding

Can you sketch can you sketch a person’s uh face figure um um can you um do some sort of uh architect do you understand basic architecture i mean do you look at different things that are able to handle yourself within those different environments and then this is how you find your own parts in in acting because you’re able to find your own interests

Now you can carve um you can um carve the top of a crane that’s great great uh sorry i’m a cane sorry king um uh making a lamp out of um an object uh there is 25 different instructions to be able to make different types of lamps to be able to make an uh um out of of um an object they’re very different there’s different objects um poly polymer uh modeling clay kit there’s a there’s a carving wood um

Specific thing you can build your own ukulele you can build your own guitar you can build oh gosh um there’s uh you can um there’s a copious uh there’s there’s you know flare like bartending flare you can learn bartending flare there’s there’s bottles to get bartending flare um all sorts of things this is incredible incredible stuff there is a dye fabricing kit right that’s another one um there is carving kit um which is a different this

Is that you can build your own turtle a turtle carving kit and you can also make other shapes um drawing a rose um uh re-tapping it’s called re-tapping the badminton racket that’s interesting um it could be for somebody a tennis racket um um uh you can redo the spool on it right um there’s great great list this is over

1100 by the way there’s over 1100 acting activities on this list and i’m i’m asking for eleven dollars for the list for now and we’ll see because i don’t know if people are going to use the links or not but i really do want you to be able to use the links and it is great it is a really good these are the acting worksheets and you can literally pick up a worksheet and work from that and probably in a very short amount of time you can then be able to work with that

Worksheet and be able to go yeah this is great i’ve got a motivated you’ve got a motivation you’ve got to be able to get a reason you can you write that all down on one single sheet and it’s all organized for you and you just fill it in and you decide yourself on how to be able to do that or you work and fill it in on the computer either way okay so this is absolutely incredible um incredible you can do all sorts of that various neat um

My Props are Never Just Props! 110 Classes of Activities!

You can do kelp making oh my goodness there is an absolute instructional on kilt making and on top of that there is then a back up list on top of the 1100 there is then a backup list so if you don’t like that days you know and there’s 110 days then you work with that day that that 110 Acting Classes days and say if you don’t like that day and something just you know you only have one i suggest you pick three out of the

List of uh usually eight or ten it then you work with that and you work with it and you think okay then you go to the backup list you go to the backup list and guaranteed you’re going to be able to get something to be able to do your acting and it’s fantastic it’s fantastic okay so i teach people how to get upset i have a lot of fun teaching people how to literally purposefully upset themselves actually making their own activations up so that they’re

Emotionally activated there’s something that they can get upset about within a ballpark of emotion but the key the absolute key is i don’t want you to carry around that stuff in your life that’s what’s called acting baggage you want to be able to learn a technique i have to be able to tell you that it would be a disservice for me to teach you all these incredible techniques on how to access yourself as an artist with 110 Acting Classes.

Without reminding you very nicely that you don’t need your acting baggage in life so feel free work on processes where you have a release time after you’re doing your acting and what this will do is it will actually amplify your work because it will give your acting muscles the break that they need in order to get the rest that they need so that your work will be even stronger okay thanks very much

Copyright 2022 Simon Blake

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Urgency In Acting How to Use Urgency in Activities

Okay so what is this thing called urgency urgency in acting now urgency is this element that you can add to your actual work and it’s this thing that can really really help you out if you if you learn how to figure out your own nuts and bolts with inside of yourself as an actor so let’s look at this we’ve got um first of all it squiggles sometimes makes noise i can’t do anything about it and just ignore if you

If you hear any sounds but it’s fine so um look what is urgency why do we need urgency when we act so urgency is this thing that can help us to be able to give a little bit extra pep in the step now there’s two different ways to do this many people use this concept of urgency to try and put pressure on themselves

That is not the way i recommend doing this exercise or any exercise in acting if you’re going to deal with urgency you’ve got to be able to make it so that it’s something that’s instead of being in a way that’s putting pressure you want to be able to put it in a way that’s putting motivation okay now i’m absolutely clear clear on my opinion on acting my opinion on acting is that motivation is way more important

Motivation is way more important than a lot of things including consequence so let’s go through this what is urgency urgency is the the addition so urgency is not emotional preparation per se but it could be part it could be included in your emotional preparation you could include it with putting emotion into your work but it’s a separate ingredient or at least a separate

Sort of uh morsel that you can kind of add to your storyline or your activated emotion right most people in acting they work with acting they do emotional preparation and they literally only use these constructs of understanding logically what the emotional preparation is but that’s not that’s not where the the the special sauce is within the acting within your own acting within your own

Talent your own talent rests on your ability to actually activate that emotion and this is why this construct of urgency can be so important so urgency will be the extra motivation to be able to want to be able to listen it’s very key what i’m about to say acting is doing because acting is interaction only

Acting Urgencies

Doing works only because of interaction which is key so you want to be giving yourself the ability to be able to give yourself the urgency in your own talent to be able to want to do better acting that means that you are trying to get yourself in a way that you have more motivation to interact in your acting so every single time that you can give yourself an excuse to be able to have to interact with the other actor

The better your acting is going to be just like dancers just like singers you want to be able to have excuses you want to have moments of interaction within your acting whether that be with the audience whether that be on stage between different actors or dancers so this is absolutely key you want to incorporate this element of urgency so we’ll go through some examples of this later but let’s just cover the main

Topic in this video so what it why is this important this is going to amplify your i use these to read by the way um uh color tip glasses um so why is this important you want to be able to get yourself in a place where you’re in up in a spot where you’re remaining to be open right this is a key key key thing and acting you’ve got to remain to be open because you’ve got this thing that we’re balancing which is called emotional preparation or or you want to

Call it emotional activation but it’s emotion you’re act self-activating this emotion to come off in you and then you’re working in that emotional range to be able to get into your work into the interaction of doing of an interaction an interaction between people an interaction with imaginary circumstance it could be an interaction with your independent activity or your meisner activity or your acting activity

Whatever you want to call it so you’re in involved you’re gaining the ability to be involved by adding that urgency that’s the critical element so this is the reason why it’s so important all right next thing is it’s your urgency now this is that’s this is a major major major point in acting you you’re going to be in a situation where you’re not working you look i have 12 um 100 or 12

1200 i think 1200 or 1100 uh acting activities on on the website feel free check them out they’re great some of them are fantastic but pick the ones that work with you right but the thing is is you want to be able to help your concentration and get your own your own motivation going for your own urgency you’re not working with somebody else’s urgency see somebody else might be uh motivated

For other reasons but you want to find your own motivation your own motivation to be motivated to be able to be in a place of an urgent and urgent thing now this urgency has to be said that this urgency is not an emergency this is not an emergency this is an urgency this is something where you have uh let’s say for instance you are getting ready to go on uh i don’t know some hot date with some hot

Dancer movie star whatever whoever or whatever and you decide or just somebody that you you’re interested now you have a motivation to be able to get your hair makeup done or put some gel on your hair or try and make your shirt straight or something that’s a motivation right you have an urgency about that because maybe you’re expecting them to come at a certain reasonable amount of time it’s not that the person shows up at the

Door and you haven’t showered you haven’t dressed you haven’t done your makeup that’s that’s an emergency see that would be an emergency in a situation where you have no time to do anything but everything as fast as possible that would be an emergency this is totally different than an urgency in acting so it would be a funny scene for someone to show up an hour early for an appointment because they missed some

Sort of time uh change or some time delay happened that would be funny for a movie if that if the movie was about the fact that that at least that scene was about the fact that that was happening within the script but this isn’t how you want to do every single acting scene so that would be an exception you want to be able to find the urgency and the motivated urgency of every single scene that would be helpful for your overall

How to Add Urgencies in Acting

And progressive growth and exploration of your own talent and that is is valuable there’s a valuable point in that so this is something that you want to find of yourself right you’re finding yourself last uh two two more here is why uh this can help your concentration okay if you work with this construct of urgency and not emergency in your acting what you’re going to find is you’re going to start

Developing you’re going to start brainstorming your own unique ways you’re going to find out what kind of clicks with inside of yourself what kind of and that’s talent that’s that’s your talent your talent is the ability to be able to find the emotion your talent is the ability to be able to activate your emotion your talent rests in this ability to be able to further your concentrate or your concentration so at first when you’re

Doing these things these ridiculous exercises sometimes they look like these things called acting activities i mean at first you’re like well this is you just you’re doing some kind of acting activity there’s like you know some kind of um work with whatever it is and the whole thing is just like this mess and then all of a sudden maybe two months or maybe even just two weeks into into

Working with these maybe three or four times a week all of a sudden you start to have the ability to have the urgency start to affect your concentration right and then you will work up to or into being able to have an emotional range with that added concentration so all of a sudden what will happen then is that when you’re dealing with that activity whether it be um

Painting or doing a ceramic or whatever the activity is all of a sudden there’ll be a flow a stream of flow coming out of you and that will be part of the emotion that will come out of you as an actor artist and or performer of for for dance or film um and you’re going to be able to get that emotion and it’s going to be now interactive and now there’s going to be this ah

Thing that happens in your work where people are gonna well we know that this person’s doing an acting activity but they’re doing it uniquely they’re doing it with an effect that they’re having because they’re now interacting with that object of getting that thing done with an urgency so this is critical this builds up concentration this this is what is the bread and butter of your acting this is incredibly uh unique because you’re

Putting yourself within those circumstances of this so let’s look at the last point last point is very important uh okay consequences consequences can ruin your acting okay i said it all right i i know i i can imagine people getting all upset oh my gosh consequences that’s so important for your acting well listen if you’re gonna work on the operation of fear and expect yourself to be an artist well then you’re limiting your own expression

That’s my opinion about it i think it is absolutely ridiculous for people to work on consequences unless the consequences are something that are um involving some sort of freedom because the freedom is what motivates you to be open and honest and honest being in a way that opens up your empatheticness right the ability to be able to open up your relatability and the uh openness to be

Urgency in Acting Activities and Acting!

Able to open up and access your talent in a way that then it becomes interactive so there you have this feeling of um well let me put it this way if you do this work long enough you’ll often get to a point where you’ll go through this phase and this will often happen in the urgency stage of acting where you will feel this light lightness happen in your work you’ll be focused on i don’t know

Crafting this i don’t know um designed sculpture or something and all of a sudden you’ll lose track of time completely lose track of time or all of a sudden you’ll be in a situation where well you know i mean you’ll you’ll just be involved in a circumstance and you’ll be working with your acting partner and all of a sudden it will just start taking your breath away and you’ll start

Feeling like you’re like you’re floating but not in a way that’s that’s uh any anything strange that’s just the artistic feeling of the feeling of floating so this should be an element because the interaction is giving you a highlight that’s that’s literally creating that synergy i like to call it the acting synergy so that’s actually something that can be done over and over and over and over and over every single time you work

But this is the reason why you want to start to craft urgencies see urgencies are far far different than consequences and that is very very important point so thank you for listening check out my other stuff and thanks very much

Copyright 2022 Simon Blake

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How Honesty Liberates the Actor

How Honesty Liberate The Actor For Great Acting

Honesty is the Authenticity that saves the Actor from collapsing into thinking they have made mistakes. Mistakes are the progression of learning to build success in acting. Honesty is the Liberation and forgiveness in life that is great for acting.

When Actors allow themselves to be honest they start to learn through osmosis and inflection rather than Logical Calculation. Be honest and simple and don’t rely on upkeeping a fake or presented persona during acting. Instead learn the acting technique of authenticity because that’s what we’re here to do as Actors, which is find growth within ourselves and put our growth into interaction.

Doing is nothing more than Interaction in Acting. Being is the adding of emotion to your doing in order to have inner life in acting.

Actor’s Root Themselves in Honest Authenticity Using Acting Technique

Actors who root themselves in honest authenticity don’t have a mind game to balance while acting. Instead they trust that however they are expressing themselves is accurate to the approach of growth on the acting path they are on. The craft of acting is more about growth than perfection.

To be a principled teacher in acting a student must become their own teacher by learning to utilize themselves as their own instrument. Good acting takes the ability to consider contrary opinions and learn lessons through repetition. It is indeed ok to make the same mistake over and over until it is overcome. Through working with acting techniques and actor must confirm their own instincts within the imaginary circumstances.

Honesty is Admitting The Real Moment When it Happens

Honesty is receiving from another a contrary opinion even when their opinion is a hardship to receive. The idea of an interesting actor is to receive the real moment and interact with it regardless of preconceptions or predetermined identity.

The real moment will make you a better actor as you interweave the results of your imaginary world without refusal.

Honesty Liberates Acting Students Acting Techniques

What is Honesty in Acting

Honesty in acting will help the Actor achieve instinctively an fulfil a impromptu quality of spontaneity within the acting work. Honesty is the baseline and keynote address of how an Actor must be authentic. The instinctive responses within the Actor onstage will recognize unique qualities within the Actor.

Honesty will help the personality of the Actor be celebrate within the acting work and help to achieve scene work. When Actor’s bring in preconceived notions about who and what they are they create an impediment and form a coalition that they defend rather than a interaction they include.

How Honest Emotion Helps Audiences Identify Their Own Truth

Honest Emotion help audiences to identify their own truth from their own internal fiction. The idea how liberating an Actor can get within a part will enthuse an audience to find within themselves a similar liberation. Protagonists in playwright scripts often enthuse the audience with authenticity to help the audience recognise where to release their own insecure habits.

When an Actor is a freedom fighter for the audiences internal conflict they goodwill success in finding their own marketplace and often can last an entire career once this break through occurs.

Is Sanford Meisner Truthful or Method Acting or Simple Acting Improvisation

There are all types of conflicts within the ability to find or credit acting techniques. Sandford Meisner was involved to help many actors as many other teachers did. The crime however is in the conflict that students feel they must defend their acting technique approaches. Simple Acting improvisations were also the techniques that were done long before the re-popularity of these techniques to modern society.

The arguments over method or not still remains that Meisner is a principled teacher of acting as are the other “guru” acting teachers and followings. Whatever helps you to find your internal self into expression into imaginary conditions is a great approach.

Acting Improvisations with Emotion Will Find Your Truth

Actors I can pretty well count on are ones that study the ability to find emotion within themselves. These Actors often keep Activation Journals and work to find Emotional Preparations within themselves to self activate their emotional truth.

There are acting improvisations done with emotions dating back to Greece Dramas on Theatres before the popularization of Modern Day Televisions, Broadcasting and Internet Connections.

The Truth of the Acting Business is Far from the Truth Within Self

You can pretty much tell which ones have an Acting technique and which Actors do not. The truth of the acting business is it is really political and most of the casting is special casting circumstances. People who know other people is often the term used to do early casting sessions and include back office casting calls.

Most parts in the Acting Industry do not audition, but are negotiated with Managers, contacts who know one another or other scenarios. It is also key to note that most parts cast in open front office auditions are not for the main parts in the scripts, they are usually for the smaller parts in the productions.

Production company politics have all types of nuances.

Is Lee Strasberg, Stella Adler, Stanislavski and Meisner Technique Ego Trips or Helpful To Actors

The “Guru” Acting teachers of Lee Strasberg, Stella Adler, Stanislavski or Sanford Meisner all have their own value for the right student. Some students choose to learn more than one acting technique in order to learn who they are as an Actor.

The biggest consideration is to know you have to have the advancement of creating your own acting technique in order to fully be able to utilize Emotional Preparation. Having a reliable place to rehearse in acting classes will show you how you differ from one week to another.

To say that Meisner believes that the actor must be authentic but other teachers did not is not the most accurate of information. Each teachers drive had authentic points and intentions.

Authenticity Does not need defending! Finding your own Authenticity is not following someone else’s.

The 4th Wall of Imaginary Circumstances Helps Actors Find Their Own Power of Truth

The 4th wall is the concentration that acting activities build within the Actor. The 4th Wall is the rule of law of the theatre. It is essential for the audience not to be a distraction to the actor during the Actors participation within the Imaginary Circumstances.

Practicing entering into and Releases after time spend in the Imaginary Circumstances is essential for the Actors Technique Training.

Oppression on Stage Is Nuanced In Logic Rather Than Freedom Of Expression

Logic is the Ruin of Freedom on the Stage. The oppression of the Actor often initiates with self doubt or logical thinking. The leap of faith into the imaginary acting situation practices the freedom of expression within the given reality of the playwright.

The Impulse of the Actor to Be Authentic Is Natural

The repetition exercise will help the Actor to gain their impulses and responsiveness into expression. The goal of authenticity is to rid yourself of judgement and get into a state of a type of Natural relaxedness. A tense relaxedness is the ideal suspenseful ideals of an Actor who has the training to explore the authentic moment.

You Must Embrace Who You Really Are as well as How Others View You

Often times Actors learning acting redefine themselves to learn about who they are all over again within the freedom of the Stage. Developing acting techniques require you to embrace who you really are and find out how others view you when you are under emotional influences.

The keys to embracing yourself require the Emotional Preparation Technique. Emotional Preparation is the process of self activating your own emotional life and then interacting with it in your acting world. Playing around with different Emotional Preparations is critical to being able to find out who you really are and how you respond with different activated emotional ranges.

Authenticity is Honesty Activated!

Actors Train to Truthfully Honor the Vision of the Playwright

Actors who honor the vision of the playwright will achieve the truthful journey the playwright intended. The skill the Acting Student develops to be able to activate their emotions to match the emotional ranges of the journey of the storyline is the fascination of acting.

Lay Down Your Complications for the Simplicity Of An Honest Moment

Simplicity is the honest moment that we must lay down to and humble ourselves to realize in acting. Acting with simplicity means being able to turn on a dime to the reality that is present rather than defending what ideal we want to be seen as.

Performing Arts without the Performing Is a Perfect Performance

The perfect performance in acting is no performance at all. Performing Arts is the ability to not be aware that you are performing at all because you are caught up in the moment of the real time happening.

Copyright 2022 Simon Blake

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How to Put Emotion into Intentions

How to Put Emotion Behind Intention

In order to put emotion behind intention, it is important to first understand what intention is. Intention is the result of a thought process and has the ability to create change. It is the power behind our actions and can be used to manifest our desires.

To add emotion to our intentions, we must first get clear on what we want. We must be specific and focused in our desires, and visualize what we want to achieve. Once we have a clear understanding of our desire, we can then begin to feel the emotions associated with achieving it.

We must believe that what we want is possible before being relaxed enough to receive it and feel the excitement, happiness, and joy that come with achieving it. When we put emotion behind our intention, we increase its power and are more likely to manifest our desires into reality.

Express Past Experience by Reactivating Emotion in Real Time

It is possible to reactivate past emotions by focusing on specific sensory cues in the present moment. This can be useful for understanding our current emotional state and how it relates to past experiences. Focusing on the bodily sensations associated with the past emotion can help us to access and process those emotions in a more effective way.

The Trick to put Emotion behind Action is to tip off the emotion by awakening your authentic emotion. This could take place by recollection of a memory or a what if assumption that will start to work and create a new mood within you. When your interpretations start changing your psychological aspects of your feelings you have started to tap into your emotions beyond your feelings in a visceral way.

Remind yourself that it is a skill to get into the emotion to activate it beyond a flirting feeling. People use Emotional techniques of others when what they need to do is find it within themselves.

How to Put Emotions into Actions

Actors Re-Activate Emotions to Awaken Them into Present Reality

In order to connect with their emotions, actors often have to re-activate them. This means recalling a past experience or event that evoked a strong emotional response. Once they have been able to access these emotions, they can then use them to inform their performance in the present. This allows them to create a more believable and authentic character. Additionally, it can also help them to better understand and connect with the emotions of the character they are portraying.

Reactivating emotions you’ve got to remember you are not activating them for therapy but instead to signal the distress within yourself. Get a feel in any given circumstance and start to interact with it. The other Actor confirms your own self perceptions, not your assumptions. The first step is your own ability to pursue your own emotion which is the definition of talent.

After working in acting you may be wise to go for a walk to start to release the activated emotions in a letting go process.

How a Journal is a Record of Your Emotional Access

A journal is a record of your emotional access. It can help you to process and understand your emotions, as well as provide a space to express them. Writing in a journal can be a cathartic experience, helping you to release emotions that you may be holding onto. It can also help you to see patterns in your emotions, which can be helpful in understanding yourself better. Journals can be a valuable tool in managing your mental health, and are worth considering if you are struggling with your emotions.

Organizational Techniques will help your well-being and success in gaining the emotional facial expressions all Actors seek. The applicable behavioral elements desired is yourself as a lit fuse that is active with the desired Emotional Range.

What is Emotional Preparation Technique in Acting

Emotional Preparation Technique (EPT) is a method used by actors to help them prepare for a role. It was developed by Constantin Stanislavski, and later refined by Stella Adler. Others credit the Technique to 1600s Shakespearian Actors or to Sanford Meisner. It is a Fact that Actors going back to Greek Theatre that Emotions were prepared upon for Dramas.

The technique requires the actor to imagine themselves in the shoes of that Emotional Range they are activating. They must then think about what the character would be feeling in various situations. This allows the actor to tap into their own emotions, and use them to interact with emotion realistically.

When activating anger and sadness take time trying to figure out several ways to activate that emotional range.

EPT can be used for any type of role, whether it be a dramatic or comedic one. It is a helpful tool for actors to create believable and authentic performances.

It’s Important To not Confuse Negative Emotions with Positive Emotions

It’s important not to confuse negative emotions with positive ones. Just because you’re feeling bad doesn’t mean that something good isn’t happening. And vice versa.

It’s easy to get caught up in the moment and think that everything is either good or bad. But life is more complicated than that. There are a lot of gray areas.

When you’re feeling negative emotions, it’s important to take a step back and try to understand what’s really going on. What are you really feeling? What’s causing these emotions?

Once you understand what’s going on, you can start to work through the emotions and figure out what, if anything, you can do about them. Just because you’re feeling bad doesn’t mean that there’s nothing you can do.

In fact, often times, the best thing you can do is to just accept the emotions and let them run their course. Don’t try to fight them or push them away. That will only make things worse. Just let them be and eventually they will dissipate.

Emotional Reactions are not Only Reactions They have Emotional Intention Behind The Actions

Emotional reactions are not just reactions, they have emotional intention behind them. The actions we take are often determined by how we feel in the moment, and our emotions can have a powerful influence on our decision-making. When we react emotionally to something, it is usually because we feel threatened or upset in some way.

Our emotional reactions can be a way of protecting ourselves from further harm, or they may be a way of trying to control the situation. Either way, it is important to understand the emotional intention behind our actions so that we can make more informed decisions about how to respond.

Misunderstanding is part of the learning process to put emotion into interaction!

Being able to put yourself in a bad mood is a step toward finding your own internal emotional range. It is important to put yourself in situations where you can yell and have deep breath to be able to find your conscious choices.

Emotion Is a Work Thing That Actors Do to Add Value to Their Expressions and Imaginary Circumstances

Emotion is a work thing that actors do to add value to their expressions and imaginary circumstances. It is not something that can be faked or copied, but must be carefully worked on and cultivated. When an actor is able to evoke emotion in their performance, it can add a great deal of depth and meaning to the role they are playing. It can also help the audience to connect with the character on a more personal level.

What The Heck are Imaginary Circumstances in Acting and Why Is That Important

In acting, imaginary circumstances are important because they help create the world in which you have an emotional investment in which you live as the Actor. By imagining what the characters’ lives are like, we can better understand their motivations and actions. Additionally, imagining the circumstances of the story can make it more believable for the audience.

Imaginary Circumstances precisely help you get into the freedom of an imaginary situation. You learn to accurately live within the limit of the clarity of that given situation and expand it. When upset with emotion you may notice that your tone of voice may be able to change with subtle or drastic differences.

Putting Emotions into Intentions

Align Your Own Anger, Sadness, Anxiety and Regrets into Activated Reality

It is often said that we should align our anger, sadness, anxiety and regrets in order to achieve our goals. While this may be true, it is also important to remember that these emotions can also be used to motivate ourselves. If we can use these emotions to fuel our actions, we can turn them into positive experiences that help us achieve our goals.

For example, if we are angry about something, we can use that anger to drive us to take action. If we are sad about something, we can use that sadness to motivate us to change the situation. And if we are anxious about something, we can use that anxiety to push us towards taking action. By using our emotions in this way, we can turn them into positive experiences that help us achieve our goals.

Psychology can Lower Emotionally Active Moments Because of Logic

Psychology can lower emotionally active moments because of logic. For example, if someone is feeling overwhelmed with emotion, they can use psychology to understand why they are feeling that way. Once they understand the root cause of their emotions, they can then use logic to determine how to best deal with the situation. This can help them to calm down and avoid making decisions based on their emotions.

Having Your Own Strategy to Emotions like Angry is both an IN and OUT Process

It’s important to have your own strategy to deal with emotions like anger. It’s not enough to just try to bottle them up or ignore them. You need to find a way to release them in a healthy way. And you also need to be proactive about managing your anger. That means learning how to calm yourself down and how to prevent yourself from getting too angry in the first place.

It is a Skillset To Put Emotional Intention also into Interaction

It is a skillset to put emotional intention also into interaction. When we interact with others, we are constantly sending and receiving nonverbal cues. Emotional intelligence is the ability to be aware of and understand these cues in order to effectively manage interactions. Those who are emotionally intelligent are able to put themselves in another person’s shoes, see both sides of every issue, and find common ground. They know how to build relationships, resolve conflict, and create win-win solutions. In short, they know how to make things work.

Communicate Emotionally Charged Insight Through Interaction of Receiving

In order to communicate effectively, it is important to be able to understand and interpret the emotions of others. When we interact with others, we can use our own emotions to help us understand what they are feeling. This emotional insight can be very helpful in communicating with others, especially when the conversation is emotionally charged. By understanding the emotions of others, we can better respond to them and help them feel understood.

Extreme Emotion Suggest Desperate Attempts to Act Out Instead of Living a Calm Reality

If someone is feeling extreme emotion, they may try to act out instead of living in a calm reality. This could be due to feeling desperate or wanting to escape the current situation. Acting out may provide temporary relief but it is not a long-term solution. Ultimately, it is important to find healthy ways to cope with emotions instead of relying on unhealthy coping mechanisms.

Copyright 2022 Simon Blake

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Acting Verbs

Acting Verbs

Acting verbs are a critical study for the Actor. By learning Action you create your input into the play or the acting part. By studying the list of acting verbs puts you on course as an Actor to find your talent and interact with those actions.

Action Verbs add to Actor Realities

Action verbs, such as “run,” “jump,” and “fight,” add to the reality of an actor’s performance. They help create a sense of movement and energy, and can make the difference between a good performance and a great one.

Why Verbs Matter in Acting

All Action that matters is part of Interaction in acting. Doing is interaction when effective within a script or a storyline. The action verb is doable and achievable by focusing to get a result.

Doing is Interaction in Acting Studio

Doing is interaction. Doing when not mindless adds tremendous value to your scene work. Action gifts the ability of the actor to interact with activity.

The main point of improvisation in acting is to practice interaction. Doing that is mindless or completely by forced action lessens the value of doing. Interactive doing matters to a scene because it intwines with the playwrights intentions. When an Actor forces a doing instead of interacting with the action they risk being fake in their acting. Being real means being adjustable which is key in theater or on camera.

acting verbs – kissing

What are 5 Action Verbs in English

Action verbs are words that describe an action. For example, run, jump, and write.

There are many action verbs in English. Here are five of them:

1. Run

2. Jump

3. Write

4. Swim

5. Drink

Actors Add Subtext with Verb List

Adding Emotion as an undercurrent in your acting with a verb list will amplify your talents. Using Emotions will enhance the actions of your acting. When you merge the verb list you can add those elements to your scenes.

An example you decide that you want to do the improvisation of the scene with the handicap of drinking. You can find that partially emotionally within yourself and it will color your emotional life and actions within the scene work. Adding verbs will add action readily without any dialogue.

The Work of the Actor is to Read and Write

The work of the Actor is to read and write in a way that achieves several actions. Pursue the action readily without preconceived notion. Then your actions will respond off the other actor. Thus your moments of response and interaction will be justified by the other as well as your own instinctual impulses.

An Actor Reads and Writes to be able to merge additional ideas into the playwrights vision.

Choose to Direct Your Order of Activations in Acting

You can spark yourself into an direction for your acting. Part of acting is you putting yourself into the roles you work on. Thus working with text and adding activations will immediately enable the actor.

What is Emotional Preparation in Acting

Emotional Preparation is an acting technique that the Actor finds within themselves. Determining what type of emotion the playwright intended points the actor towards their own discoveries.

Emotional Preparation without the last step of Emotional Activation has only a book value. By adding Emotional Activation the Actor finds and self activates their own emotion into their acting scenes.

Verbs are Used to Direct Actors

Great Directors know how to help the Actor’s objective using verbs.

Verbs are the foundation of every sentence. They are used to direct actors and express actions, thoughts, and feelings. Verbs also indicate when something happens. For example, the verb “run” indicates an action that is happening right now. The verb “ran” indicates an action that happened in the past. The verb “will run” indicates an action that will happen in the future.

Verbs That are Commonly Mistaken

There are many verbs in the English language that are commonly confused with one another. Some of the most common mistakes involve verbs that sound alike but have different meanings, such as “affect” and “effect.” Others involve verbs that are used in similar ways but have different connotations, such as “implicate” and “imply.” Still others are just commonly misused, such as “literally” and “figuratively.”

What are Imaginary Circumstances in Acting

Imaginary Circumstances actually help the actor to pursue the action. The key of exploring Imaginary Circumstances in acting is to think of your acting like a giant pool of water. You enter the pool to have an emotional discovery of the experience of the circumstances.

Entering the Imaginary Circumstances are like leaping into an unknown element where the interaction is not a guaranteed result but at least a slightly unknown event that occurs in real-time.

Action Verbs Need to Be Included in Acting

Action verbs need to be included in acting in order to create a believable and convincing performance. Without action verbs, an actor’s movements and expressions would seem stilted and unnatural. Action verbs help to bring you into a perceived character to the audience and make you more real by increasing how much you are involved during your acting.

25 top verbs list for actors

There are many different verbs that actors can use to improve their craft. Here is a list of 25 top verbs that can help any actor become better at their craft:

1. practice

2. train

3. rehearse

4. study

5. perfect (independent acting activities – completing a doing)

6. research

7. enhance

8. develop

9. expand

10. grow

11. progress

12. advance

13. uplift

14. sharpen

15. upgrade

16. intensify

17. capitalize

18. Exploit

19. Flourish

20. Boost

21. Prove

22. Reinforce

23 strengthen

24 Empower

25 Thrive

What is an Acting Beat Mean in Theatre

An Acting Beat is a pause in most acting training. However, a pause by itself needs to have a meaning and the only way to add a meaning to a pause is to receive.

Pausing should be replaced in play scripts as receiving. When an Actor receives deeply they adjust themselves to be pursuable without words. They open an vulnerable element inside themselves. This is a different pause then just a timed pause for effect.

Try to have meaningful pauses in your acting where you actually receive a moment that is happening and experience the effects of it.

shelter acting verbs

Verbs Enable the Actor To Respond

It is true that verbs empower the actor with actions to respond to. Every action that is justified by the actor is an action that adds value and meaning to the real-time happening of the play or film.

Brainstorming how you can be affected and then doing the hard work of improvisations to find the additional behavior within yourself with enable your responsiveness.

Actors Remain Being a Student

Great Actors almost always remain a student. They master the ability to remain open as a student with the mastery of confidence to experience the unknown. Letting yourself relax into the unknown is a fantastic technique for the actor.

Learning to be a student and keeping yourself open to receiving is a new approach to acting that might really help to bring your acting verbs to life.

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What is Talent

What is Talent

Talent is the ability to put into motion Depth. Talent is the ability to put emotions into interaction. Talent and Skills work hand in hand to achieve interactive outcomes.

Define Talent in Acting

Talent in acting is the ability to access your own emotions. Feelings are the inclinations that Actors have that attach to their instincts. When Feelings go deeper they can turn into Emotions. Once Emotions are activated for the Actor talent pours out of them as the emotions respond with a gush emotional vomit.

In order for Talent to have value it requires innate interaction. Accurate interaction involves receiving not forcing. Forcing talent becomes a non interactive performance which borderlines fake acting.

The more interactive your emotions are in interaction the more talent you express in acting.

Talent in the Workplace

Talent in the workplace requires the ability to be responsive. Responsiveness is critical when applying any skill. Workplace talent is more clunky than a pizazz of emotional expression. Even though skill centered talent has a different responsiveness it remains talent.

Utilitarian function of skillsets is still considering the others point of view even when it is not always in the most real-time moments. This is why Actors at all levels are still able to use their talents in acting. The Actor may not be the most responsive, but they are intended and considerate of the others within their skillsets of communication.

You do not have to be a Picasso in acting to still be art.

Nurture Definition of your own Involvement

Nurturing talent takes the ability of practice and patience. Your best efforts are enough to cause your own growth.

Your work in acting will look entirely different a year later than what it does now.

When you’re looking at your own talent development take the time to use a journal. Your journal efforts can be basic bullet points of your thoughts or full sentences that explain your experiences in your own words.

Is Talent Emotion Expressed?

Yes. Talent is Emotion expressed in interaction. The sum of talented people only has a value as to the success of their interaction.

Knowing that emotions are not feelings will help for Actors to know they can work off of more than just instincts and inclinations (feelings). Feelings keep the actor open but are limited to feelings until they turn deeper into Emotions.

When Emotions express themselves they contain a self evident quality about themselves. Emotions are the natural abilities in acting.

Talent and Skills of the Actor

The skills of the Actor are their acting techniques. Acting techniques are personal to each actor. You may study Stanislavski or Meisner Method but your acting technique needs to still be personal to you.

The units of weight in your Actors Toolkit entirely depend on how well you know yourself. The more you are able to access emotionally the more you will have in your acting scene work. The weight is a concept that needs to be better understood. The weight of the emotion weighs on the moments of the actors and effects their scene work to help the scene be what the playwright intended.

Acting Techniques help Find Talent

Emotional Preparation is the skillset of adding a technique to find the emotion within the Actor. The actors recruit their emotions by remembering experiences or imagining experiences prior to entering their Imaginary Circumstances.

Creativity is the Actors right to find and activate their own Emotions. The parable of talents should help Actors expand their talents outside of their current range. When Actors expand their emotional range they are able to expand their talent.

When you become good at something you are able to give yourself instruction to find what the script needs. You build yourself a database of of emotions that you can readily access. You start to become an expert at one emotions, then several emotions. You learn where to find things internally within yourself.

The ability to self activate your emotion contribute to precise emotional ranges.

Ability of Skill to Release Talented Parts of Yourself

Many actors have to work through the fear their own reflection. You may have life issues that you need to heal outside of your acting in order to use them freely in your acting work. At the higher levels of acting you may require a wide range of emotions for a single acting role.

The ability of your skills (and practice) as an Actor to release your talent into interaction is the gear to rotate to release your talents.

If you rely heavily on techniques at present know that overtime your acting techniques will become more habitual. What takes you a lot of time now will take you less time in the future. Your profession in acting will pinpoint the different emotions that you need more readily.

Talent Definition = Interaction

The main Definition for an Actor is Talent is Interaction. Talent is not doing in acting. Doing alone often becomes an self instruction to follow and obey in improvisations in acting. Instead, know that Doing is Interaction. Doing is the involvement. The goal of acting is to have unanticipated involvement.

The responsibility of the Actor is to explore the discovery of the moments in a real-time experience.

Expertise of Aptitude

Aptitude is the ability that Actors judge themselves on consistently. The truth is the more you practice the better you get.

You learn an acting technique so you can reliably find your talent. At first you may find very little of your own talent, but in time and practice that same technique starts to work more and more for you.

Retain Acquisition of your own Aptitude

An optimistic attitude will build your talent pool. Your psychology of being optimistic is the acquisition you need to expand your abilities.

When you get down on yourself refer yourself to your optimism. Take leadership over yourself and your career. Talent acquisition is hard work and being a prodigy in acting requires persistence.

Many Actors take 3-5 years before ever really getting the knack of their own talent. Some Actors find talent within 3-6 months then forget it when it gets harder. Retaining the Acquisition of your own efforts will build fortitude and persistence for a very long career in acting.

What is Emotional Intelligence in Acting

Logic and Intelligence in acting can belittle an Actors confidence. Working with both logic and emotions in a balanced way in a critical thing to learn in acting. When you possess talent you must not defend it. Let the talent defend itself.

Emotional intelligence is the reliance to trust that the emotion is self evident. When something is self evident it will hold its own weight in gold. The meaning of talents you possess have their own values. Learning to trust the high serving high-performing factors of your own mindset takes both intelligence and creativity.

Dictionary Talent Meaning is not Your Meaning

The English Dictionary Definition of talent may not be your own meaning. You are a creative so define what the meaning of talent means to you. How you define yourself is how you define your talent. Just note, you want to define yourself precisely with how well you express externally with what is internal.

Enable your science of your own learning. Reflect how ever you see fit to expand your own talent. Most importantly permission others to be themselves too however they define themselves and express freely what you think of it. Agreeing to disagree is part of growth in acting.

How to Acquire the Definition of Talent

Be a cognitive creator of your own acting journey. Transform yourself through journal work and any technique that works to access who you are. Be a scientist and geek out on how you are feeling, and how others feel. But work from matured feelings once they become emotions.

Invest Your Talent to Achieve High Performance

People often use the word performance as a way to cut themselves off from their own reality and act out a preplanned event. If this is your definition of acting have fun and try to add spontaneity and depth with your current acting technique.

When you exceed in finding a deep emotion it will feel a restriction and gush, sometimes at the same time. Become athletic in practicing acting. You will grow from your acting experiences.

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Author Simon Blake runs and operates this website and helps Actors to train to activate their emotions for film, television and theatre work.

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How Actors Develop Their Humanity

How Actors Develop Their Humanity

Knowing how Actors develop their humanity put you on a path to find your own market and audience. Your growth attracts audiences to find humanity within themselves. Actors find and work with parts of their internal selves. The road of development for an Actor is the pathway to their successes.

If you choose to improve who you are at its core you will open yourself to experiences in acting that will entice growth.

The Actor and The Theatre

Grow is such a big deal for an Actor and it is because the perspective of the theatre offers protection for development. Actors need a solid training ground to be able to do acting training. This means that they need safety on the stage to explore even times where emotions cause desires to scream and yell. Providing training grounds for Actors to be both safe and able to access their emotions takes skill and is the credit of the theatre.

The Art of Acting

The Art of Acting is the exploration of self. Many actors force doing when they first learn acting. Forcing doing will lead to lessoning exploration of self. Defining doing as interaction evens the grounds of the theatre bringing reality onto the stage.

Everything that is felt is part of the acting experience on stage or in film during the Imaginary Circumstances.

What Does an Actor Do

The Actor finds within themselves the emotional development of the ark of the storyline the playwright has written. Finding the parts within themselves creates an involved experience for the Actor who takes to the stage as a performer. Real performers often live out life without being character’s in their own experience but appear to be character’s to their audiences.

What an Actor does is how actors develop their humanity by investing in themselves and developments.

Acting Technique is The Science of Self Activation

The Acting techniques that an Actor finds within themselves is their own science of themselves. It is a science to find all the different parts of yourself through introspection and improvisation for acting.

The next step after introspection is to gain the ability to self activate the emotional life of the scene. Some Actors call this their ability to create a character while other schools of thought put down the language a of character and plight for acting training only being real. The fact is that any good acting regardless of labels involves realism.

Finding Your Own Approach to Acting

There are many schools of thoughts and Icon’s of teaching techniques that have a lot of meaning to many people. This includes Sanford Meisner, Harold Clurman, Stanislavski and the Stella Adler Studio of acting.

Regardless of school of thought each Actor must find within themselves their own Acting Technique.

Here’s why:

Each actor has a different place to find their own anger, rage, sadness, guilt, happiness, joy and other emotions.

If you use other Actors motivations you may not necessarily find your own emotion. The key for acting to work for you is finding your own acting technique and road mapping your own success.

Dramatic Improvisation

When Actors focus on self discovery they work to find themselves through dramatic improvisation with others. Actor’s find themselves through interacting with others. What you find out as an Actor working with one person will be entirely different than working with another, or at least many times.

In Professional Acting Training actors will rehearse similar dramatic Improvisation. Instead of a Divorce settlement that is in the script they will practice an engagement break up being the improvised circumstance. Setting up a dramatic improvisation to a job loss.

Typically actors will expand their concentrations by doing Acting Independent Activities during scene rehearsals. Picking an Acting activity that applies to the scene adds freshness to the acting rehearsals.

The Visual Imagery of Emotional Preparation

The Imaginary circumstances are within the acting scene. The Imagination within the Emotional Preparation happen before the scene. Using Emotional Preparation without the last step of Emotional Activation will only get you into the logic of the scene. The really great imagination techniques is to self stimulate emotion just prior to rehearsals and final scene work.

Emotional Preparation is to find the Emotional Range that matches nearly what the playwright has written. However, finding and sparking that emotional range yourself is what is required.

Nurturing Imagination

Imagination is a two way street with both flattering and unflattering imagination.

Nurturing your imagination should attempt to find both good and bad habits in the other actor. Can you imagine the other actor doing something terrible to another that you are defending. If so, then find scenes that match that scenerio.

Can you imagine the other Actor having a crush on you , then that would be the time to find some romantic comedies or dramatic comedies and mutually work together on them. The life lived in the actor training is there to stay in the acting training but explores believable content.

Empathy for Her Character?

Many professional actors speak towards themselves like they are characters. This is your decision. There are debates that are individual to each side of character vs no character. What matters the most is accessing your talent. Can you find the talent within yourself. Empathy is a really important aspect which helps you as an Actor receive other Actors.

Accessing Your Empathy

Acting teachers are able to teach empathy in classrooms where listening and receiving are taught. If the entire focus is always based in competition empathy could be lacking.

When you find your empathy in acting you will likely have more patience in researching the parts you do. If you don’t find the empathy of the part you want consider finding another part you have more feelings towards.

Understanding Viewpoints

Viewpoints in acting is the ability to find your own unique point of view and to receive the other expressed view point. If you are acting only off your own viewpoint you are likely missing textures that could be added into your own work.

The Actor Must Have an Approach to Acting

There are all sorts of non-vocal forms of theatre. Sometimes by studying acting like Mime you can develop higher awareness into movement on stage. Whatever you determine to add to your acting approach you need to know that you need an approach.

Studying others approaches to acting can be fantastic when you can take some pieces and find what works for you. Take the Meisner approach for example. Some instructors instruct that Repetition exercise should have no fluidity and only be repeated 6 times and not done in improvisations. If you adapt this and find it helpful for your own acting technique it could be a real benefit. If you expand that repetition to be included in rehearsals and improvisations you could really develop yourself finding new parts of yourself in the process.

You control and you are in control to what ways you access yourself and your training. Of course, in order to achieve steps to becoming an actor you may have to learn your teachers approach before stepping into your own.

Imaginary Circumstances Train Actors

Treating the stage like a giant swimming pool of imaginary circumstances that you swim through every time you enter should help your acting. Imaginary Circumstances are conditions that train actors.

Set up different Emotional Preparation techniques and find your approaches to acting and accessing your own emotions.

Putting Oneself Into Your Acting

The art of acting rests in the technique the actor works on and determines works for them. How Actors develop their humanity is to find elements of themselves in rehearsals. Putting oneself into your acting ignite the emotions to spark and flow from their insides out.

Emotional Preparation Puts Your Emotion into your Acting

The goal here is to spark your own emotion. Actually have it with your meaning activated.

Actors and Actresses need emotions to be active within themselves and interacting within the scene. Once you put your emotions into interaction in acting you open yourself to the opportunity of exploring your real tendencies and the truth of your acting partner.

Go Beyond Your Emotions into Interaction

Leaping beyond your emotions and interacting with them takes courage. This is why is it a difficulty to learn acting. Recognize the hard work it takes to be entirely truthful in front of a crowd of people.

Scripted Exercises

Improvisations with scripted exercises a fantastic training grounds for actors. If you require the need to stick with the dialogue try to work with Improvisations then jump into the scene work. Try to jump into the section of script that will is alive within you. Don’t try to start at the beginning of the scene if the scene is about being overjoyed by news, jump in mid script and work that scripted improvisational exercises.

Actors are Theatre Artists

Reminding yourself that you are an artist may help to center your approach to acting. Take care in learning about how you can achieve depth within yourself. When interaction in acting has an unknown outcome it can be a real real-time experience.

Learn Emotional Preparation Techniques skills to self activate your own talent.
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How Actors Develop Their Humanity
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Why Take Drama Classes

Why Take Drama Classes

Why Take Drama Classes? Because you gain responsiveness doing Drama Practice! Drama is an incredible exploration of your self put into action. Drama requires emotion in interaction which heightens awareness and leaps the Actors into Imaginary Circumstances. Drama requires the health of the Actor to both go internally into themselves to find their drama and to be able to be free enough to interact with it.

Real Drama is the adding of Your own spark of Emotion into your acting work.

Benefits of Improving Reading with Drama

Reading and practicing cold reads are fantastic ways to find nuances of Drama within yourself. The benefits of reading in Drama challenge and expand your reading abilities in a real-time human exchange.

Reading in a cold read or while doing initial takes of a part can be a thrilling experience.

Drama Improves Story Comprehension

Story comprehension is an incredible element in Drama. Storylines arch an emotional current that capture the awareness of audiences. Audiences work together with the storyline to develop their own feelings towards the story.

The Actor adds their own personal emotion into the storyline. Their Drama adds the emotion into the storyline so audiences can experience the arch of designed by the playwright.

In order to gain the Drama of your storyline, the Story comprehension involves the action of introspection by the Actor.

Make New Friends and Develop Life Skills

Drama activities help to build self-esteem and social development. Life skills like knowing what an experience is without having to have that experience in life can be felt and experienced within the theater. Learning in the arts about yourself is the main goal for many serious actors. You develop deep relationships and friendships in drama clubs because of expose your truth and interact with honesty which builds a baseline of trustful relationships.

The Positive Effects of Theater Class

One of the amazing positive effects of Theater Class is the expansion of imagination. Drama helps to expand not only imagination but also human empathy. Empathy is the ability to relate to others by asking yourself how you would feel if you were in their positions. Many Drama roles require empathy in order to successfully relate as a protagonist within a script.

Develop Oral Skills and Learn to Express Depth

Oral Skills release in Actors in Drama. Accessing and finding your own voice is part of the empowerment of theater. Real empowerment does not force another to be lesser than yourself, but rather builds ways to relate to others and experience with them.

Oral Skills involve speaking in front of people which you might not otherwise have spoken to before.

Can You Take Drama Classes Online

You can study a lot that you need to towards Drama classes online. Explanations of techniques to try to do will help you develop to access your Drama can be fantastic online. You can also learn important skills that will help you study and undertake your next Dramatic role.

As a lot of fine and performing arts migrate to internet platforms the limits are really limitless. You may find an article like the ones here that explain emotions that you need to find for your Drama Classes. By accessing yourself in introspection require you to tap into self-concepts and workshop your internal dilemmas.

If you are going to do Drama, you need to find that emotion and activate it within you. Then the final steps of dramatic academic achievement is to get in front of an audience and experience a real-time event.

Benefits of Drama Teach you Creative Expression

You will meet people from different walks of life. Teachers and parents who encourage authentic creative expression are brave. Be sure to thank your Drama Teacher and those who support you towards finding your authenticity. Drama has a way of making you get to the truth of yourself.

The benefits of drama teach you how to express your creativity. Improvisational exercises can be done in small groups or even just between two actors. You can also do drama practice alone by activating your emotions and doing acting activities (getting done an activity with the charge of an Emotional Preparation).

Every Student Benefits of Drama

Students enter the protected area of the Imaginary Circumstances in Drama scenes. The protection of the stage births freedom of expression and benefit every student. The enjoyment of drama is the interaction of teamwork.

When students find the benefits of drama education they relax and realize they can find a place for their own self expression.

What is the Best Age to Start in Drama Classes

Adults may benefit the most as they find the importance of drama within their own lives. However, many age groups including young people learning drama expand their arts education that lasts a lifetime of memories.

If you are over the age of 25 you have developed more life opinions and have that life experience to contribute to your drama. It is a real shame that more adults are less likely to do drama and think it is only for school ages. Drama classes definitely help dropout prevention in schools.

Difference Between Theatre and Film Drama

Theatre and Film drama are different forms of expressions. Attending drama Theatre training will grow out the imaginative aspects of yourself but your actions will have to meet the size of the stage. Your actions and body motions adjust to being on the stage versus gaining a small emotion in film.

An intense emotion on stage performing in front of others heightens oral communication and changes the Actor to have larger motion. Film drama is all about the emotion and subtleness of emotion.

Participation in drama for film will often look like a quiet discovery process that will have the actor find internal sparks of emotions with the camera ready to capture those very tiny moments. Tiny emotional moments in film look huge on a film screen. Performing a scene for stage can and does need the emotional spark but also amplifies to the size of the stage in order for the theater of 1000 people experience what is connected within the actor.

Building Up Your Communication Skills

Everyone involved in rehearsals with improvisations will tell you they have helped build communication skills. Improvisations in drama focus on the core emotional elements becoming interactive in a scene or exercise. Drama can help the actor find themselves internally and put themselves into the interaction of imaginary circumstances of the scene.

Exercise Your Listening Skills

There is a big difference in doing a production with emotion activation and doing a production as a planned performance. If you have planned out line for line than you have stopped your improvisational exploration of a real-time experience of a scene.

Listening while under the influence of a sparked emotion is an entirely different experience than with no spark of emotion. Being able to listen to another even when you are raging upset take the ability to learn to receive and not just listen for a line cue. Receiving in acting while emotionally active will have you think on your feet with your actions and responses being improvised.

Drama can Improve Skills Learned and Relieve Stress

Drama is a balance of activated emotions in a fun environment that causes you to relax enough to learn skills. Skills learned build confidence to relieve stress and become accurate to another expression. Receiving another expression will add intensity to your own already emotionally activated self.

The great thing in drama is that you can use the stresses in life as a way to activate them into interaction within the theatre.

How to Perform Being in the Moment

Being in the moment on Broadway is the same as being in the moment anywhere else. The size of the theatre makes a difference to the sensations of the Actor but the performance is the give and take that exchanges between Actors.

When you are present in acting you are open. Being open professionally is a skill practiced by Actors. Catching the impromptu moments in acting will stimulate new moments to occur in real time. When new moments unfold due to expressing the moments before them, you know that you are living in real time in your acting.

What Performance Opportunities Do For the Actor

Treat each Performance as a Job Interview. Take the stage and drama seriously because many parts are cast from doing parts in acting.

Producers constantly are attending or getting references of performances done and persistently cast based upon prior experience. Every part in acting is an audition for your next acting role. By respecting the authority of the unknown opportunities in acting you amplify your chances of getting given even more opportunities.

Acting Classes Help Improvisation and Projection

Playwriting materials are used in acting classes. Learning acting techniques in classes will teach you how to use your voice to project within the theater with the undercurrent of an active emotion.

An activated emotion is the secret ingredient that helps students find the projection of the roles they do. The creative outlet releases emotion into the part of the role in acting. You conduct the emotion by self activating it and then improvise your projection into your acting.

Self-Confidence within the Actor

It is vital that your self-confidence comes from within the abilities to commit within your participation in acting. Finding internal self confidence takes practice of doing in acting. Doing is the interaction of focusing on something other than yourself. If you self confidence comes from outside sources it will not last as long unless you find it from within yourself.

Adding Yourself into Acting with your own Emotional Drama

Any acting technique that helps you find yourself to put your own emotions into acting will help your growth. If you pretend to feel an emotion than you do not respect authority that is within yourself. You have powerful emotions that want to interact with Drama.

Many actors find their acting technique with Emotional Preparation. Emotional Preparation is the matching of an emotion to an acting role which has a last step of Emotional Activation. Many Actors do the research to understand the emotions towards roles but forget to self-activate their own emotions.

Self-activating your own anger, regret, happiness or sorrow takes a lot of work to do. This work adds the spark of emotions into your drama so your drama has drama.

Drama Teaches You How to Work Well with Self-Expression

Finding your internal self can be a journey into your introspection. You will become aware of what you like or dislike and be able to put your discoveries into your dramatic stage or film efforts.

Acting Classes that Improve Dramatic Expression

Knowing the fact that Dramatic expression requires activated emotion puts you ahead of any Actor who is trying to fake their emotions. Emotions want to interact when they are respected. You can respect your emotions by being honest with how you feel.

Lastly, Acting takes courage and it takes courage to be raw with your emotions in acting classes. Once you get the knack of finding and releasing your emotions into your work your receiving the other actor amplifies your own emotions. In acting synergy is possible and building skills as an actor can cause synergy most of the time to happen within your acting work.

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Feelings vs Emotions

Feelings vs Emotions

Knowing the difference for yourself between Feelings vs Emotions can enhance personal growth. Defining for yourself your personal tools can lead you to successes. Healthy relations develop with boundaries of knowing difference between the two elements of self.

What are Feelings

Feelings are Fleeting and important inclinations of occurring events. You may have a feeling to be in a certain location or speak to the right person to get the dream job. Feelings and instincts do connect but also connect to Logic.

Feelings are essential and essences to how we observe and receive. How we express our feelings will lead to how we shift into our emotions. If we resist having our own healthy opinions, feelings and instincts we could limit ourselves from emotional experiences. In essence, we must let go of the logic of our feelings to enter into the depth of our emotions.

Feelings are the conscious space of thought. Many people are influenced by rumors instead of facts to have feelings about a topic or situation that may not in application be an outcome.

Relationships are healthier the more that feelings are defined. Feelings connect to initiation of boundaries in relationships.

Feelings and Emotion Releases

Releases of Feelings are the freedom to release thoughts and opinions you have. Actors and everyday people need and express their feelings usually from above their chest cavities.

Many Feelings can be only opinions that are authentically believed.

Having a feeling about a rumor or claimed fact will come from above the shoulders of an Actor who is on stage releasing the logic of that feeling.

When an emotion releases it releases from the gut or bellow the chin. The conviction of emotion will resonate with the person in a less tanging way and more of themselves will be expressed with the expression.

Releases of Emotions let go from within you and have a conviction with more depth than feelings do.

Are all Feelings Fleeting

Feelings are based out of initial insight, instincts and inclinations. Inclinations are very important in communication as they are receiving receptors in communication. When an Actor receives another Actor they will listen from different parts of themselves that will be seeable through their body language. The stimulus of physical sensation will be limited of emotional response remaining a conscious experience.

Many Actors want to break through this conscious level in their performing in Actor. Being able to find that gear to switch in acting is being able to find the difference within yourself of your own opinions, feelings and emotions.

How Feeling and Emotions Differ

To use feelings and emotions interchangeably doesn’t serve the person expressing. The emotional state of the expresser releases from different areas of themselves between emotions and feelings. The neuroscience of the brain connects to the psychology of body motions and body postures.

The interesting parts of acting to an audience is watching a feeling within an actor switch from the logical feelings to the emotional physical state. A visceral expression of human emotions liven the script and acting Imaginary Circumstances.

Which Comes First Feelings or Emotions?

Feelings are before Emotions. Thoughts are before Feelings. Thoughts turn to feelings which are inclinations which do not get fully confirmed until they change into intense emotions. Emotions don’t have to be intense in specific ways of fear or greed but may also be positive emotions.

Emotion and Feelings Differences

External Stimuli tell the difference between feelings being activated or emotions being activated. Think of emotions as being mature and feelings as being abundant inclinations. The core emotions an of an actor do not lead to feelings, but the feelings lead to the emotions. When a moment changes to a new moment in acting and life, there is an adjustment of both emotions activated and fresh feelings associated with the moment adding to the present real-time events.

Learning the difference in human behavior will better your experiences as an audience in theater, art and film.

Emotions manifest changing in reality to the playwrights script. As the Actors explore their inclinations they identify their emotions.

Range of Emotions

The ability to access a range of emotions directly affects your talent. Talent is key in acting. Many actors feeling they can push the reality have big market share but short careers because they lack the talent of expanding their emotional ranges.

The body sensations come from different places with the different emotional ranges. Emotions get developed in certain areas of yourself the more you explore what’s the difference.

Do Emotions Have Emotions?

It is critical in acting that feelings arise as interaction occurs, which is how you know you are being real as an Actor. However, based upon the fact that once an Emotion is activated the feeling develops with mature transformation a pit in the stomach is often the bodily sensations.

After this initiation into expression your emotion tries to connect to find more expressive interaction when often times an additional feeling turns into a 2nd emotion. This is when an Emotion has another emotion. The person to person contact of two lovers will have more than one emotion activated. This is why the more feelings you have going on and activated the more feelings will turn into a larger emotional experience.

How Thought Processes Connect to Feelings

You will often hear the advice from Acting Teachers to be open minded. Feelings require discipline to remain open within Actors and everyday normal folks. It is better to think with openness which gifts you the ability to feel more. Thoughts and Feelings work in tandem with each other to keep the individual open to life experience.

Feelings vs Thoughts

A thought is pure logic and feeling is an activated inclination.

You can have the thought that someone is good, bad or simply not your cup of tea. Having feelings about if the person is good, bad or simply a cup of tea will start you interacting internally with your own inclinations. Feelings can and do work with imagination in order to determine different feelings about potential situations.

Thoughts and feelings aren’t the same thing. When you’re feeling the thought your inclining things about the thought more than just the thought itself.

What Influences Emotions? Feelings of Course

When it comes to a past experience Emotions need Feelings to reactivate them into expressions. The influences of emotions are of course your feelings, instincts, and inclinations. Feelings are inclinations essentially tied to thought.

If you remember a point in you life you can find the particular emotion with the help of your feelings. You mind works to respond to the stress and anxiety you recollect which will make you able to feel activated thought process of feelings. The more you activate your feelings thought processes the more your feelings will be likely to trigger the deeper emotions.

Your basic emotions will experience fear or range or the emotion that your mind has attached to that feeling. Some emotions originate from thoughts and some from feelings. Inclinations of feelings also included visceral effects like sensations related to the emotions. When feelings become activated fully emotions become aware and are often triggered.

How Emotion and Feelings work Together with Maturity

Maturity of Feelings are really important for Actors. Having an instinct that only works from feelings will not mature into a deep feeling or change into an emotion. Emotions that all humans activate always have a relationship with the inclinations of feelings. Psychology of your emotions relate directly to the thoughts that your feelings create.

Difference of How Emotions vs Feelings Mature

Actually feeling a feeling will lead you to being opinionated and flamboyant. Actually maturing your emotions will take you into the depths of your soul and your emotional needs vs the observations of your feelings.

A matured feeling is a observation of a persistent inclination. A matured Emotion is an activation of a deep emotional internal state. A feeling that is mature is more certain than a fleeting moment but a emotion that is matured is certain and grounded internally, not just observation or assumption.

Depth of Emotion vs Feelings

The Depth of Emotion will help you understand how you are in your natural and raw state. The Depth of your feeling will instead define the clarity of your observation and inclination of feeling. Feelings need confirmations to become facts. Feelings require emotions in order to express their depth when they mature into deep feelings.

Your emotional engine turns gears when a feeling turns from just an inclination receptor into an emotion.

Understand Emotions have more Depth

Understanding your emotional self is your job towards humanity. Rather than looking outward towards the way of looking that other control your internal self, look inward to express your depth to the outside world. Interaction is the element that may help you gain insight to be able to understand your own emotions.

Cognition of emotion require some sort of introspection with interaction. The interaction with your emotion could be a self involved activity like assembling a bicycle you need to get to your work or repairing a tent you need for a camping trip.

How to Accept the Depth of your Emotions?

Actors use interaction in acting activity exercises to accept the depth of their emotions. Other adult activities that work to process emotions are adult coloring books, building a ship in a bottle, other semi difficult tasks that focus on a doing that allows processing.

Grounding Your Feelings to Become Emotions

Grounding your Feelings is a technique in a process called Emotional Preparation in acting. Emotional Activation relies upon activating either a feeling or an emotion to ground within it until it starts to affect the Actor internally. Once the internal Emotional Activation sparks a flow of emotion which could have started as a feeling will be ready for interaction.

Finding the skills to achieve turning an feeling into an emotion is the definition of the craft of acting. Normal everyday people can use activities to ground their feelings to determine self reflection. Self reflection of feelings can take them deeper to find the Emotional undercurrent.

You can ground both your feelings vs emotions each within their own way.

Can Feelings be Measured?

The reality to measuring your feelings is difficult because we are always changing and developing. Emotions that feelings start the process of literally change from a feeling of inclination to a solid force of emotion. Emotion can be measured in depth but is difficult to compare from one person to another.

The human growth that occurs when emotion comes our from working with these talents will change the psychology and physiology of the individual. Hence, the individual will recognize and access emotions or feelings in a different way. The differences in experiencing both emotions and feelings will be a satisfaction of growth for the individual.

Understand The Difference with Emotions

A couple of examples of emotions are the layers that get created when they are activated. It is key to note that emotions cannot just turn on a dime once activated. When we feel our emotions we gain the layers of emotional life in both life and acting.

When we find emotional depth it will come into ourselves like a roaring tide coming on shore and emotions will leave us in a layered way. Feelings on the other hand are fleeting until they become serious. The flirting of Feelings will lead to quick transitions being there one moment and changed the next.

Emotions can be Short-Lived

Many Emotions when first working with them will be short-lived. They will still be layers in order to release them but the emotional expression will be short lived pending upon the talent of the individual.

Actors who work with their emotions all the time will be able to keep up their emotional ranges in their acting for longer. People first experiencing emotions will have the expressions of their emotional outbursts not last that long.

Difference Between Feelings and Emotions

So to recap the differences between feelings and emotions one has to see the components of both. If you are able to identify when you have an inclination and know that difference to when you have an emotional state activated you will be more in control. Actors work hard to gain this control in their craft of acting so audiences can related cleanly to both their feelings, instincts and their emotions.

How Emotions Impact Behavior

Responsiveness will be affected when emotions are activated. Activated emotions will affect how well a person responds. Often Actors will say they have gotten into their character when they have been successful in full emotional activation in their acting. Your behavior of feelings vs emotions will lead you to discover but not fully mature your instincts.

Emotions Trigger Physiological Responses

Physiological responses are part of the rides people take having emotions. It is important to note that some psychologists will say that any emotion expressed is a mental illness and a sign of a person not being in control. Emotional Triggers will have visceral effects on the individuals the same way they do to Actors when they are training to act.

Difference Between Emotions and Feelings and Thinking

Thinking is at the top of the Emotional Triangle for Actors. Beneath Thinking is Feelings, Beneath Feelings are Emotions.

Emotional Intelligence

Emotional Intelligence is both knowing the definitions of book smart differences between emotions and knowing the emotional abilities within yourself.

Feelings can be Provocation of Emotion

It is a true thing that feelings can be a provocation that Emotions get stirred up once thought about. If you have a fresh memory that you have many feelings about you may be able to produce an activated emotion readily.

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Feelings vs Emotions
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What are Improvisational Particularizations Towards Scene Work

What are Improvisational Particularizations Towards Scene Work

What are Improvisational Particularizations towards scene work? Improvisational Particularizations rehearse Actors towards their specific scene. The importance of training with particularization is to specify the emotional range being practice. Actors gain additional talents through accurate rehearsals.

Connecting the Flow Between Scenes

Finding the next moments within a scene help the scenes flow from moment to moment. The goal of improvisational rehearsals will help you fill out the moments within your scenes.

If you rehearse your scene work by verbatim techniques when you go to do your final scene it will look rehearsed. Having final scene work look rehearsed is a real problem that improvisational rehearsals help to solve.

When doing a play or any transition in film improvisation can help the flow of transition.

What Improvisational Work Does for the Actor

The goal for the Actor in adding improvisational work is not only the fluidity but also finding what works and what doesn’t.

Dramatic Acting requires Actors to put emotion into their acting work. One emotional experience may really amplify the meaning of the playwright while another may not.

Improvisational work helps the actor find the correct range to match the scripted materials. By accessing a wide range of emotions in rehearsals Actors can build their confidence for final scene preparations. There are many different ways for Actors to access their emotion.

Can You Improvise Without a Script?

Of course, a lot of times Actors will rehearse full scenes without the exact dialogue of the script. Improvisational Particularizations towards a scene are often without the exact dialogue of the playwright.

The Benefit of not using the scripted Dialogue helps the actors to explore the meaning and depth of the scene work. The freedom of improvisations for the actors is balanced with the particularization towards the scenes specific meaning.

Improvisations is the Actors Workout

Improvisations are the Actors workout. The more particular the Improvisations the more preparation is going to match the final scene output. By working out the Actors awareness on the topics within the scene the Actors can amplify their talents and explore possibilities.

How Many Improvisations Should An Actor Do Towards a Scene?

Improvisational Particularizations start off as a wide exploration of the acting scene materials. As sections of the script are identified and interpretations of the playwright is decided by the Actors and Director improvisation rehearsals become tighter and tighter.

Dramatic improvisation in acting requires specificity in order to achieve the outcome of the scene. Finding and filling in the moments of drama emotionally will help the scene to rest on solid structure.

An Actor should do a wider range of emotions at first until they start to determine the specific Emotions they are going to work with.

Most Actors will work on between 5 – 25 improvisations for a single scene in acting class. Some Actors will work on even more than 25 improvisations towards a single scene.

Matching Your Emotions to your Acting Scripts

Matching your Emotions, not a characters, will help you be seen as a character by the audience.

Acting scripts that are backed by emotions rather than feelings will have more depth. Feelings that become strong in acting will develop into Emotions. Deep feelings will easily trigger within the Actor into a flow of emotion.

Emotions will gush and pour our like a vomit of expression. Feelings are inclinations that remain open in order to gather information to make adjustments to. Feelings are highly connected to instincts but feelings are not emotions.

When you are matching your emotions to your acting scripts in Improvisational Particularizations you will need to continue to adjust the emotions of how you start your scene rehearsals. This trial and error of your emotion is the discovery process which is the success of a hard working actor. Knowing what are Improvisational Particularizations towards scene work helps you as an Actor

Understanding What is the Plot

Most storylines that Actors have scripted have an emotional arch to their experiences. Knowing the logic of a scene’s plot is not the same as learning about the plot emotionally.

Many Actors will only logically try to understand plot lines. Learning the plot lines by finding the depth of the emotions within yourself will amplify your real-time acting experiences. There will be an incredible amount of work to find the emotions of the plotline. The work and experimentation will have an end result of added emotional interaction within the scene.

Dramatic Improvisation Particularizations will highlight areas of yourself that you will have to work on. This hard work of finding your emotional self will pay off dividends in your final scene outcomes.

Adding Emotion Adds Drama

It is very true that it does take time to learn your own acting technique. The last thing you want to do is achieve someone else’s acting technique. Finding your own acting technique will help find and release the drama of your emotion into your acting.

Emotional Preparation

Emotional Preparation is one way of explaining techniques that help Actors use emotions to put Drama into their acting. The last element of Emotional Preparation is Emotional Activation. Many actors become book smart on the emotion of the scene but fail to do the difficulty of Emotional Activation.

If you leave out the activation of personal emotion you missing the possible outcome of your talent. If you exercise vision, dream and layer your Emotions you will express your internal values and sparks of emotion. The thrill and responsible details of expression will pour out of you the more you listen to the other actor.

Emotional Preparation many describe is only for the first moment but it can be so much more than just to spark the scene. You can warm up and learn to trust to let go of relevant parts of yourself in your acting profession.

Everything You Need to Know To make Great Mistakes to Discover

Mistakes are discoveries in acting. Everything you need to know about experiences is that they are never perfect and sometimes require wide adjustments. If you don’t know as an Actor that mistakes are necessary you will get in the mindset to force things to happen. Ignore the stage directions during your exploration of Improvisation Particularizations.

By working beneath the surface you will find everything you need to know within yourself for the acting scene. Knowing what are Improvisational Particularizations towards scene work will help you discovery as an Actor.

What Does Dramatic Improvisations Do?

Finding the next moment is important to Drama. Finding the deeper moments that build up the suspense of emotions require improvisations.

Find and release your Dramatic Emotion through interacting in your scene. The skills you build to release your Drama is worth its weight in Gold. How you release your drama involve how particular you are with what you stimulate in your Improvisations.

If you accurately spark a similar emotion to the scene you will have the control and power to adjust what you perform during the interaction of your acting. You won’t need to perform anything because the authenticity of the real-time moment will hold the interest and reality of the audience.

Dramatic Improvisations Add Emotional Weight

Emotional Weight directly relates to Emotional Depth. If you go too deep into the depth of your emotion you may not be able to express yourself. The trick to being able to express depth is to work off the other actor. By receiving the other actor your attention on your own depth is on them, not you.

Dramatic Improvisations spark current and active emotion to help you focus on the other, not yourself. This is a must to know when learning how to enter imaginary circumstances. The scene requires you to be active with the other. The weight and depth of your emotion can sit within you and your focus can be on the other instead of yourself.

Lastly, know that research may take you into theory about life that could be false but make you capable of achieving both understanding and the correct emotional range.

How Repetition can Improve Drama

Teachers in acting get weird about repetition in drama. The affect of repetition needs to explore the depth within the acting. The freedom to use repetition can help the actor find the meaning without the words.

The overall use of repetition even in final scenes can work to add audience comprehension of deep moments.

How you use repetition will either improve the interaction of the scene or take away the values of the moment. If you do repetition for the sake of repeating you will defeat your own meaning within your imaginary circumstances.

Rehearsing Emotion without Perfecting it

Rehearsing Emotion alone is an ideal practice place of an Actor. The effort of rehearsing emotion will effect the ability to concentrate on something other than yourself when emotionally charged.

This means that you don’t need to perfect it because it is thing that constantly grows and changes.

A fantastic trick to rehearse emotion without perfecting it is to use it with Acting Activities. Acting Activities are called Meisner Activities or Independent Activities and require you to apply yourself to a Doing.

Doing is the involved interaction during acting. Usually living truthfully under a moment in acting is thought to require an acting partner. In truth you can practice Emotional Preparations which practice gaining the emotional range and start the doing of acting activities.

The sequence of events that will be teaching you lessons towards perfecting activation of emotional ranges will be tremendous for your talent. Allow yourself to gain that perfection is freedom in acting. Freedom gifts the spontaneity that makes the work in acting an amplified reality.

Dramatic Improvisation Does not need to be Extreme

Extreme emotion is often a reality of depth that Actors need to reach. Dramatic emotion will affect the audiences heart strings not shock value. If you train yourself just to obtain a shock value for acting you may miss the exploration of drama in acting. To stay relevant with the times find dialogue in scripts that will exercise your drama, not your extremes.

Is the Meisner Technique Right For You?

Actors use a training popularity called the Meisner Actor Technique. Often times the statement that “Acting is Doing” without any explanation that Doing is interaction in acting is persisted. Actors get the idea that they need to force themselves to make things happen within their imaginary circumstances.

There are all sorts of interpretations of the Meisner Technique. The difference between Ego and Empowerment is the ability to develop your own technique. If you are stuck following a pattern without exploration find a place that will allow you to personally explore yourself for your work as an Actor. This may be a great Meisner Training Studio that you find, or it may be elsewhere. Wherever it is, find your human growth and potential.

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Why Do Drama or Acting

Why Do Drama or Acting

The elements of Drama are the emotions which activate movement within a storyline. Acting out a theatrical part with your Director will enhance the emotions experienced while doing the part. Drama in acting gifts an emotional undercurrent to your production.

Drama is Emotion, Acting is Performance

Acting without emotion omits the Drama of activated emotion. Emotion must be activated internally and put into vocal or interactive conveyance. A Performer who plans every action to try to trick the audience will be thought of as an amateur.

The art of acting is the skill and craft of drama.

What is a Drama School?

Acting classes and drama school offer a place and time to learn about emotions. At first learning about others emotions and experiences within the plays will occur. Later finding ones own emotions will add meaning and gesture to your acting work.

Dramatic art is emotionally driven.

Shakespeare without the emotion would be a boring thing to watch. The Drama that audiences enjoy is the real-time experiences of the actor’s reality.

Should I Become an Actor?

Do you want to feel empathy and participate with improvised values? Do you want to feel the impressions of being in an Imaginary Circumstance? Do you have the motivation to monologue a feeling, instinct or emotion?

Asking yourself why you want to be an actor will either reveal a motivation towards expression or let you know you may have other interests.

Why Do Drama in Acting

An Actors Plight Towards Self Discovery

Actors who are distinguished have a convention towards self discovery.

By experience of doing the interaction of acting Actors experience human growth. Reading scripts to establish the emotional range of the Actors assignment, Actors can amplify their internal values.

It is no secret that experiences help people grow. Actors grow with the clarity that the audience may identify within the performing arts. Having the plight of self discovery in acting will help the Actor choose roles that they both will fit better with as well as succeed at doing.

How to Audition with Your Humanity

Auditing needs to be thought of as nothing more than another opportunity to do acting. Auditioning with your humanity is tricky. Emotional Preparation techniques to activate your emotions just prior to acting will help you put your humanity into your work.

You can transcend in your acting auditions and feel like you are floating within the experience of the script when you add your human reality. Actors and playwrights have a relationship by means of interaction through the words in the script.

Why Playwrights Matter to Drama

Drama-based materials in theatrical production efforts will achieve an emotional experience within the Imaginary acting world. Playwrights matter to Drama as they arch the emotional elements of the story within the story structure.

You may find that another character (actor) effects you in one particular way within a scene. Trusting that the Playwright has already arched the storyline will help you relax and simply be in the moment within the acting scene.

Graduate Improvisations in Acting Rehearsals

You can advance your involvement and interaction in scenes by doing rehearsals. Improvisations help the acting dramatist to stimulate the emotions and feelings of the scene work without doing the exact materials. By rehearsing in spontaneous ways and inflection will be found within the Actor that will help the final scene work.

Another fantastic way to Graduate Improvisations is to set up Improvisations that are similar but not the same situations. You may have a break up in your final scene. By rehearsing an Improvisation of a similar situation you can warm up the emotions to practice having access to them without overdoing the final scene work. This is a critical approach for aspiring professional actors.

Acting Schools & Theater Degrees

If the only situation that you can get yourself into to fully emerge yourself into learning drama is a Theater Degree, then highly consider it.

For many Actors acting schools that have 2 – 5 day schedules are the only thing they are able to fit into their schedules. The key about acting schools and theater degrees is tricky. You don’t need a theater degree to do acting parts.

Having a theater degree may help your ability to study full time rather than part time to understand Drama and Acting. If you choose to get a Degree find out what you will be learning first and be sure that you will be wanting to learn that curriculum.

Playwriting

Playwriting is a skill of layering conflict and drama on top of each other. If you are skilled at Playwriting you are able to layer the emotional drama at times throughout a storyline that is audiences will readily understand.

Playwriters study everyday life and often create a character off of real life study. It is common for a writer to rename a script identity after modeling it after a real person.

Theatre Needs Both Drama and Acting

Acting is the overt expression of impulses, feelings and emotions. When an Actor has an instinct that is backed by emotion they develop a willingness to express it. Acting is dead without expression.

The Theatre needs both Drama and acting because it needs both emotion and expression.

The Faculty of Production is Emotion

A Production that is driven by emotion will have an emotional range. An Emotional range to a production is a market share. If you have an audience you need to learn what their emotional ranges are to find a play or production to do that would fit that marketplace.

Matching the marketplace to the Emotional Range will really contribute to the success of the production or the failure of resonation with the audience.

Actors study how to Emotionally Prepare an emotional range, which directly effects Managers and agents abilities to market the Actor.

How Drama and Emotions Link Together

Interaction is the link between Drama and Emotions. Linking Drama’s emotional undercurrent to the interaction of the scene enables the work of the production.

As an Actor you need to find why do Drama or Acting matter to you. If you only have the expression of acting then you have not added the Drama of Emotion to your work.

Building Your Network in the Theater Industry

Intonation is a factor in building networks in the Theater Industry. Your reputation will depend upon your genuine interests and interesting comments you make.

Building a Network requires you to combine your interests with the venue of receiving others input. Having a strong opinion alone will not build a network. Being able to respond after considering others opinions will build networks. Know Why do Drama in Acting so you can improve your own interaction in acting.

How to Become an Actor with Emotional Preparation

Emotions in acting are critical and take a lot of work and growth to achieve. Emotional Preparation is the bookwork of preparation to know the emotion of the scene. Emotional Activation is the last part of Emotional Preparation which will gush from your internals once activated.

The skills of Emotional Preparation are the self activation techniques to spark your own emotion. After you have a living real-time emotion gushing from your internals you still need to receive the other actor to put those emotions into interaction.

Interaction is the key part of implementing Emotional Preparation.

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Logic vs Emotion

Logic vs Emotion

Often times the logic within a person conflicts with their emotions. Emotions are deeper than feelings and logic is entirely different than both. Sometimes a feelings or inclination will turn into a deep emotion putting both logic vs emotions into a freeze.

Emotional Decision Making

There are ways to develop emotional decision making. Exercises that Actors do develop their emotional intelligence which trains their emotions to make decisions rather than their logic. These exercises take months of regular practice to attain. If you are following the flock without the opportunity of training your emotions you may have to rely on your logic.

How your Emotions help your Decision Making

Emotions gush once activated. A Feelings connects to an instinct but can turn into a deep emotion. There are different types of logic that effect decision making.

Some people can use their logic for decision processes and omit their feelings only for certain issues. There are several types of ways you can address merging logic vs emotion.

Use Logic or Emotion? Eat the Chicken or the Egg

You can’t have a chicken without an egg. People who say they only make logical decisions usually still have a tremendous emotional life beneath their daily life activities.

Audiences find an Actor interesting in a film when they reveal their emotional side beyond their tough exteriors. If you can rely on the logic of the egg can you rely that the egg will hatch into a chicken? Not all eggs hatch so merging the chicken or the egg to chicken and the egg would be the most intelligent decision.

How to Merge Logic and Emotion

The answer of merging logic and emotion may make some angry. Even in purity their is no answer which is the paradox of the question. All answers to Logic vs Emotion are how to work with both. Sometimes working at the same time.

Pros and Cons of Logical Thinking

The pros of logical thinking is a disregard for outside psychology. Anger can defend the use of logic and being rational. Brain decision for many are the way through life. However, the reality is that life is both emotional and logical.

Logical Cons are Predetermined Psychology

A predetermined decisions can lack humanity even when they prove great intentions. The cons of logic is the missing of information that is the events that unfold in real-time. A person with predetermined psychology won’t be influence by humanity when humanity happens to them. Empathy may lack in reality as a con of logic.

Does Thinking Logically Kill your Emotions

Putting everything emotional on hold is not killing your emotions, but in many cases it does. The real time moments of life are spontaneous and impromptu . When you make decision-making processes that ignore the emotional state you risk mental wellness.

Can Logical Reasoning balance Emotional Expression?

The social skills of balancing self-awareness do take a look at the facts and tap into both logic and emotions. Your partner may be too impulsive and rely on your logic to make good decisions for themselves.

The limitation of relying on others to be analytical puts you into a bind. Having fear that logic will ruin all your emotion will exhaust you with your own critical thinking. The psyche may seem like it is rational when creativity usually solves problems. Illogical approaches tax decisions we make if they are out of balance.

Everyday Decision-Making with Your Emotions

It is possible to stimulate your emotions and work from the emotional standpoint. If this reflects how you are internally externally, then analyze this for yourself.

The weird thing is that being logical is something that may increase your emotional awareness. Actors sometimes add structures to their acting by adding acting techniques. By adding the acting technique the actors find new moments of awareness and emotional depth. If the structure of logic was not there the emotionality would not have the support to brings expression to life.

Use Logic to Expand your Emotional Range

It takes practice to expand your emotional range and still be logical. Emotions make many people extreme until they work more with them. The old debate that people make is that after any emotional suppression Actors need to work through their extremes to find their balance. This could be true for you, but if it is, find a safe place to do heavier expressions.

How the Logic Mind can Stay Open

Logical and emotional productivity achieve openness. If you are including an emotional element than you are staying open even in you are being very logical. The significant role of rationality is security. Giving yourself the security builds the safety needed to express more emotion.

Is a Logical Mind a Wise Mind?

No one can deny that it takes logic to find a wise mind. A wise mind though is not purely logical. Comprehension of situations require considering variances. Know that negative emotions are often mistaken as being logical. Logic if balanced is not never or positive.

Have fun finding the balance between logic and emotional thinking. It will make you a better human being to have both.

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