Acting Technique

Acting Technique for Actors

Acting Technique creates Freedom for the Actor. Technique is the necessary addition to acting that amplifies the Actor’s talent. Techniques help find the Actor’s expressions and Depth. Finding and Activating Your Emotions is the KEY. Use Emotional Preparation Techniques.

Building your own Acting Technique is the KEY. Personalize your acting by activating your own personal emotions.

Get Benefits.

Key Quotes to article chapter:
“The result of actually experiencing our work expands the product of ourselves.”
“Do not try to filter your emotional life if or when it becomes active even when it goes in a different direction than intending.”
“You need to learn to craft yourself to resonate.”

” Acting technique works with your talent to help it express itself.”

Learning Acting Technique is a humbling experience for some Professional Actors.

The ability to allow yourself enough time to self-study to learn techniques that consistently achieve putting emotions into acting is key.

Copyright 2016-2019 Simon Blake


Before we begin acting is a chapter portion of an acting book that is still being published by Simon Blake. The book describes spontaneity and mastering spontaneity in acting.

Mastering Spontaneity in Acting
Copyright 2016-2019, Simon Blake

  • This section may be the section of “Beginning of classroom” front part of chapter.

The mental aspect of the work will be isolated in every section. The Actor will know what the Mental component of the work is. Outside of the mental component we will work only internally within ourselves to achieve greater acting results because we are building up the inner life of the Actor.

The Actor has the advantage of having clarity within their work. They are able to isolate the components that require mental thought and then submerge way past the mental components of the work and any criteria that anyone could say is missed mentally if only the artistic level of the work is taken care of.


We are individually trying to look or revisit ourselves and how we technique our art forms, our experiences doing art or acting, and how we conclude our experiences.

We want to know that we have fully emerged ourselves into our efforts and achieved the deepest connection to the artwork as which translates into being able to relate to our audience without direct contact with our audience.

It is often a foregone conclusion when we participate in our art form or in our Acting work. Technique is a way that the foregone conclusion can be loosened to become an explored conclusion taking in the reality of what is actually with and around us into an account and not just the foregone conclusion that is sought after or scripted.

With a small amount of effort in the right place we can turn our unspontaneous experiences into living explorable experiences. Together Experiences that can have an outcome pending upon what we are actually going through during the time we participate in our acting or craftsmanship.

The result of actually experiencing our work expands the product of ourselves. and layers in an inter-weaved way more of ourselves in our work.
Another aspect that we need to consider is that the audience of whatever effort we put into will be able to tell if and how much we have invested ourselves just by looking at the product of our work and without actually seeing it in real time.

We Begin in acting with the understanding that technique is the process that we engulf ourselves in so that we can be in a discovery process rather than a logical or regimented routine. This way our artistic elements will flow into our craftsmanship and our inner life of feeling will flow into our end product.

We are going to use technique as a discovery tool of ourselves which will flow over into the work that we do. Before we begin in Acting we can receive more than predisposition

  • What we are planning to do in this book.
    There are a series of techniques that we will teach in this book that will process artistic inner life and meanings from the artist so they will be creating in real-time rather than regimentally doing a process in logical sequence.
    This change from logical sequence will have to be overcome of free will from the artist and Actor so they can discover more about who they are and what they represent while doing their craft.
  • Other Techniques Regiment or Routine your timing:
    Other techniques regiment flow of the artist and dictates to the Actor how much energy they will pour into their work at certain intervals. This book teaches the opposite approach so the full artistry of the Actor, Craftsman, Sculpture, Painter or Artists can be utilized. The approach to acting is the same as the approach to artistry which is why we utilize other artistic endeavors in our acting.
    You can time yourself instinctually to your own rhythm or change your own timing midway which is part of your adjusting to the reality of doing in your work.
  • Our technique will uncover inner elements and even hidden elements of ourselves rather than try to build up a false entity. We do not want in this book to contribute to building up a false persona but instead discover uncovered persona’s within the artist which can then be utilized by their discretion in their work. An Artists or Actors discretion in this book means that they can layer in techniques that they know will uncover more effort within themselves directly into their work and have real-time discoveries in their craftsmanship.
    Technique can make it a regular occurrence that an Actor or and Artist can reveal another layer of self in the real-time doing of their art.

Remember: Any emotion that becomes active or reaction that becomes active in you while you Act, you include in your work.

Do not try to filter your emotional life if or when it becomes active even when it goes in a different direction than intending.
Question: What do we do with our life’s energy and how we are feeling about life before acting?
Answer: What parts of life you can’t use in acting you can lose. Let go temporarily the ailments of your life unless they happenstance being needed for your acting.

Releasing Prior Emotions in Acting


  • Where we want ourselves to be when we are working as artists. Clear minded and emotionally open regardless of what that openness brings to our reality when we are working on stuff.
  • We want to be able to function at our best if that is possible. This means at our most alert.
  • Rid or keep in check our prior emotions so we can gain more presence in the area of our work.
  • Find our most Alert self to work from at the time of our Acting

Ending Prior Life Experiences in order to have Fresh Artistic Experience:
Until you learn the techniques of bringing over prior life experience into your work you want to learn how to not bring over life baggage and circumstances into your work. You may be nervous to be on stage or in an acting circumstance and leaving behind your life baggage will make your work more powerfully connected and aware of those who you are working with.

You are better to learn techniques of releasing your life’s worry at first and then as you learn to layer technique into your acting you bring the conditions of life into your work one layer at a time. As technique is learned interweaving of life circumstances will be done in ways that will enter into the acting work without restrictions.

If you layer life’s baggage into your acting work initially without technique you could restrict your exploration of the material because you don’t yet have a freedom of working with the baggage. Adding real life experience is the goal but doing so in a way that doesn’t bring the constrictions of life into your work is concern. Techniques allow a freedom with the heaviness of life brought over into the work without a tied down structure to follow.

Remember that in life we are often overstimulated which constricts our expressions and receiving abilities with others. In acting you want to keep open and free your ability to respond to and take in others you work with. Technique can assist in a freedom being available in the actor without the baggage that working with that element may bring. Technique is how an actor can bring in a personal experience and amplify it with even greater sadness than it existed in life and yet after the work is complete be free from the sadness that was part of their work.

Acting technique works with your talent to help it express itself.

Before we begin in Acting, initially working free from personal baggage you can start to explore what the experience is of having an acting experience in real time and splendor. The intensity of a living and full experience can be a learned thing to surrender yourself into by itself. The initial goal is to learn to surrender yourself into a real time experience without personal issues or baggage attached.

Gaining the experience of being alive within the acting experience is the initial gift you want to give yourself as an Actor. The give and take that occurs with the other actor is an unfolding experience that builds upon itself as the time progresses. If you can achieve the ability to be stimulated by what is actually happening within your acting work in real time you are on track to experiencing the scene work and training yourself within the acting circumstances.

In order to achieve this initial awake experience, you need to let go of Prior Experience and let go of the current life experience that you have going on. The work of the acting scenario is enough stimulation to initially gift your acting. Additional Emotional Preparation juice will be given into the circumstances later on once you are capable of building a real time experience within your acting circumstances within additional stimulations.

Acting Technique adds with it the ability to express emotions. You may not have been able to express certain emotion without using the acting technique.

The option of releasing Present day Prior Experience is twofold. It is an effort to affect your ability to surrender yourself into your work without the distraction of life prior to doing your acting work. Secondly it is a sorting of current life experiences baggage that is not useful to your clarity of being present. The point of either approach is to become more awake to what is taking on presently in the acting exercise work at that present moment of being within the acting exercise work.

The goal of prior releasing of life baggage and both external and internal personal circumstances is the clarity that you give yourself as you listen and are stimulated within your acting circumstance. The clearer you are of personal circumstances the more you will be alive and spontaneous to those you are working with and to the circumstances unfolding in real time as they happen.

Of course if you have worked prior in acting before the work in this book with keeping part of your life energy or circumstances in you so you can put that baggage into your acting work than you may do that in an effort to craft your life experience into a concoction of self that involves an impetus that was spawned by real life stimulus.

The result often of using current life experience does not always result in your ability to remain present with the others in the work that you do which is why it is encouraged to build up the ability of being capable of doing the dynamic with the crafting abilities suggested in this book. The most important aspect of using real life experience is to isolate the dynamic to one single stimulus rather than a baggage of stimulus so that you can remain clearly connected to the in a present state of being in your acting work exercises.

For starting in acting or for starting a new chapter in refreshing your learning in acting, release of Prior Experiences is recommended. These are present day life experiences not rich life experiences that you would need to recall after years or months of not having the experience having actually happen to you. We are going to work through examples of all types of real-life examples throughout this book and teach the craft of using all aspects of ourselves and the good and bad experiences of our life in this book.

Clarity of Prior Experience

This is an important piece to acting. Gain the clarity of not having any active circumstance in your present life prior to your classroom or scene work. This will gift you the presence of clarity and awaken you to the presence of awareness outside of your own awareness of yourself. This readies you to live a new fresh experience and not relive an old, stagnant or life situation that you are current in.

Gaining clarity of the anew is the goal of entering into any circumstance weather it is an acting circumstance or a real-life circumstance. Acting Technique can build up circumstances.

Rid yourself of prior responses that were previously unexpressed during the time they were activated. You, the Actor, are the blank canvas and so to start in Acting with a Blank canvas it requires you to start in a place where you understand how to clear away prior stimulation that is not going to be utilized in the craft of your acting. You are the Artist that creates the template of your canvas and the color pallet that you enter your work with.

Starting with a fresh experience means that you are able to not have prior expressions or responses enter into the present experience without another activating that experience or expression.

Taking this to a core level let us understand the situation that we enter into with a new and fresh intake. We will take in anew all of the complicated feelings and receiving of our being within the circumstance. This fresh intake is exactly what the audience needs in order to assess a new situation.

Having a fresh approach to every scene and start to a new exercise in acting builds up an interesting quality in your acting and will gift your career in acting. Most actors never practice taking in a scene anew. Most actors will always try to over complicate the scene with qualities they add to it yet miss the taking in of the circumstances from a being in them point of view.

acting technique
Simon with ‘Some’ of his acting notebooks

You must trust that you are enough without entering in with a prior experience as until you have taken the years to learn Emotional Preparation you will need to trust only your instincts taking in a scene as you are in it. You do not need to justify to the other your entrance into their presence, as the scripted circumstance will normally do that.

Often times a taught procedure that parents teach their children which degrade their children’s self-esteem unknowingly to ask the child to justify their existence to the parent. The parent doesn’t have to justify why they exist to the child normally because they are the authority to the child. In Acting life examples like having to justify yourself and your own existence get thrown out with the bath water. The ridiculousness of many aspects of life justifications are adjusted and never expected to be justified.

Part of the acceptance of art is the self-evidence that art does not need to justify its existence, it just is, and it interacts with the society and audience that it connects to. In Acting we do not need to justify our entrance with communicating with each other. There is no need to explain the story unless the script gives us that expression.

In an acting exercise or rehearsal unless it is a scripted line there is no need to explain why you feel an inclination to come in through the door or want to step closer to another person. The given give and take expectancy in acting is a give and take, an eb and flow that communication entails. We do not need to justify communication with another as a whole thing that needs justified.

Letting go of Self Expectation:

The letting go of self-expectation and the need to justify is the releasing of your inner self into your artistry and a bold step into the art of learning the craft of acting. This is the dropping of the need to explain as the movement and interaction is a self-evident thing that can be interpreted so many different ways that the explanation is the witness account of the occurrence.

The audiences own interpretation of what they personally related to is the self-evidence that something real was going on and being exchanged between the two actors. Gaining your own acting technique to find your own talent is key.

Taking that social pressure away from yourself to justify who you are in society is a necessary step in clearing a pathway to yourself in a being state and providing a blank canvas as to who you are as a person in the work of acting. That step will be learned in a crafted procedure that will be purposed towards you utilizing yourself in ways that you only could have dreamt of being able to in your present life experiences.

You want to work to have the experience without knowing what the experience is going to be. Have the experience from a first-time perspective without knowing what the meaning of the experience is intended to be before it occurs.

If you can open yourself up into having an experience without an expectation of the experience you are along the way to having an improvised approach to your art. You are also along your way to an artistic approach to acting rather than a mental approach to acting.

Hence, if you can get to the point of not bringing prior experience into your work without the intentional crafting of it, which takes years to achieve (called Emotional Preparation) then you can commence the journey of your authentic self being in your art and acting development. The importance of not bringing into the exercises your personal baggage without the skill of crafting your life experiences and just being free of Neurotic tendencies. Acting Technique will help express with interaction Neurotic tendencies.

Your authentic self will be present and open to the experience that you are having in your acting rather than you trying to perform how you think that part of the audience thinks you should be feeling or how you as an actor thinks you should be feeling. You will transform your acting from a mental approach to an intuitive approach and be training your raw nerve if you can make the leap from the mentality approach of performing.

Who honestly could have thought that the way to learn is the way to not to know what you are learning until you are in the moment in real time of the learning. The journey to self-discovery in the art of acting begins with not knowing what you will discover or learn as you are actually doing the work in real time.

The reality in life is that honesty is the key to survival. When you get into tough circumstances honesty usually the key to agreements happening in acting. This is important because agreements are the connection in acting that resonate like a string of a guitar resonates on its instrument. Activating your own talent with acting technique is awesome.

You need to learn to craft yourself to resonate with like and with what you aren’t attracted to in order to achieve reality which is the resonation within an acting scene. This is very key and important. Understanding what is agreed upon creates “proper conflict” within scenes vs. improper conflict which gets no resolve. Even evil people don’t want to see films with scenes that do not have resolve.

  • learning to receive the others perspective of you
    Every time you need to learn other perspectives of you do so personally and directly. Be brave enough to take on the chin the comments and intonations of the person’s perspectives directly in the real time moment of the acting exercise or scene that you are participating in. If the other actor wants to pull you aside and tell you how to act tell them to do it in the scene work and exercise, then. You want to give yourself the freedom to have your instincts respond to your acting partner in real time, without having your logic and mind filtering your response.
  • The least amount of head engineering or mental work of agreeance with the other actor the more spontaneous the work will become. If you’re instinct develops a disdain for the other you are working with you want this to happen in real time occurrence, not in a pre-planned fashion before the real work commences.

    In order to have a new and fresh existence in a new reality it is important to be able to understand that it takes being able to not only be in a state of being but be in a state of having active events. Active events are communications between yourself and those you are working with as an Actor. When something is said to you and you listen, hear it, receive it, believe it and respond to it you have now activated yourself within the moment.

    You want to be and take in your acting partners in fresh ways where you are consistently rehearsing without pre-planning out what your demeanor is going to be with the other person. It is essential for your acting health to allow yourself to experience in real time when you rehearse and learn acting. In order to achieve the spontaneity of a fresh experience that you desire, which is that alive and awake feeling of being in the moment, an Actor needs to take in the experience in a fresh way and with as little information about the experience that they are in as possible.

    The rampantly successful ability of the Actor to not carry over into their work active baggage of their life unless it is crafted within their work with skill and purpose is the optimal approach to the work of Acting and the learning of Acting. The optimal Acting Technique will amplify the actor’s talent.

    You may be in a state of being and not even know that you are carrying around baggage from life that others can see. So, if you are keen and interested in learning you will take seriously the observations of the other individuals you work with within the exercises. Trusting that the other has insight is the incredible step that Actors take as they progress in their learning and developing in learning the craft of Acting.

    The misunderstanding of what you believe you are being and what another sees in your being is the pertinent existence of self that encompasses more than a one colored one layered human beings’ exterior layer. If you are not interested in exploring what another sees that you have in your being than maybe you can find better training outside of the acting field and learn another art-form that would fit, you better with less insight into self than acting consists of.

    The inclusion of the others’ opinions of self and the present moment of your existence must be acknowledged with your truthful first-person perspective. Regardless of present moment is in front of you, you must be willing to live the experience of it as living the experience of the real time event of the exercise will grow you more into an understanding of yourself that is forever evolving in dynamic.
    If you are in a life circumstance that does not allow you to entirely dismiss the active ingredients within you then you bring those ingredients into your work just as a mother would bring in the reality that she has children.

    But the reality of her children’s needs is crafted into the exercises and not randomly entering in and out of the reality of the exercises. This consistency allows the Actor to acknowledge their life with honesty rather than fraudulent denial which no one should request of the Actor.

    Many times, in the work because of the freedom of expression that is encouraged particular events will happen to the actor that will bring active personal baggage that before they did not know how to access or that they did not have awareness of before the participation in the creative exercise.
  • This is the gift that the actors receive by doing the work and these are some of the discoveries of self that contribute to the reason that training in Acting is an addition to the life process that the Actor accumulates as they are training.
  • When the events of prior life experience or emotional expression occur within the already happening exercises simply put them openly into the work without filters. The remaining effort to understand can happen after the exercise is complete or the work has been accomplished.

    The learning of craft could remind the mother that her children have needs that she has not attended to because of her finances as example. This reminder came from the doing of the work in the exercises and the working off with the other actor and not the wondering thought of her unfocused self.

    This is again not a denial of what transpires within the exercises but an acceptance and honest reality of receiving what the other stimulates within you. These discoveries are valuable to the actor to be able to learn the ability to craft the acting experiences to themselves in personal ways that are truthful to their being and life experiences.

  • Training yourself to be able to take in the receiving of a moment that is affecting your personal state of being even when it crosses over into a real-life recollection is the ideal situation to habituative yourself to as it is the most honest state of being. Being able to find your own acting technique is key.
    When you are affected truthfully emotionally and your life flashes before your eyes have that experience. Shying away from the depth of experience of self in acting is a fool’s game and a trait of an amateur who is afraid of discovering themselves in their acting work. This receiving of a moment is not a pontification but an often hit to the chest or cause of changed breath or breathing pattern that happens when you work with real stimuli and real feelings.

    The more you discover the craft of acting the more you will have internal moments discover you surprising you to the core which often go beyond what you thought was possible in your own personal experience.

    If you are in a situation where you are sacrificing hunger in order to be in a classroom studying than allow your honesty to be just as straight forward in the times where the other, you work with take notice of your condition.

    Denying the present living condition may be needed if you are living on the streets trying to make it as an Actor but do your best to be as honest as humanly possible. Unfortunately, there are many starving actors studying in classrooms all over as they prioritize the learning of the craft of acting over their own nutrition and survival.

    There is no blame in choosing the mindset when you are learning to access parts of yourself for a part that you hope to be able to achieve to not only change your life circumstance but also better relate to the human conditions that you share with audiences when doing acting roles. The lessons in this book will be very helpful.

It is better to release emotion before your work and be clear from it than to hold it back the Emotion planned to put into your work

If the emotion is real and your acting partner is really connecting with you can trust that the emotion will be there. If you are holding onto emotion believing that you need it for a scene you are better to let, go of it before the scene and allow your partner to stimulate you and the emotion will come back with the magical timing from your partner. This trust is vital to learning acting without faking things.

We understand the crafting of acting in this book and we understand how to gift you an authentic experience and will be teaching you how to build up emotional life in steps, stages and through dynamics. There is no need to feel that you need to hold back emotion to channel or place in your work. When emotion is real it will reemerge in the timing of the scene and a result in living within the scene.

Release the pressures of your life before working is an action of trusting that your human being is enough for you to work with in your acting. It is also a trust to believe the instruction in this book is capable of teaching emotional aspects back into to your work again.

Acting technique amplifies the life of the Ator.

The best advice that an actor can get is that once you learned to use your bicycle (your craft in acting) you will not lose your talent, you will be able to ride your bicycle again. Allow yourself to release the emotions of your everyday life in layers as they come up. Do not force yourself to hold onto the emotion until you enter into the classroom or scene work.

Classwork will teach us way more than one emotional current being held for a week to use in a classroom setting will ever achieve. Do not be afraid to release your emotion and experience it as you let go of it. You are better off healed as an individual and as an Actor.

A Healed Actor is a far more tangible asset to a production than a broke crooked one. This book will honestly teach you how to construct the emotional world you need to create without having to live the emotional experience for several years waiting for your film break to release your life story of your heartache.

The biggest unfortunate lie about acting that is believed is that once you release the emotion you can never get it back. That is the result of an Actor not having craft. An Actor with craft can always find an improved version of the emotional state that they were looking for or working with after releasing their emotional life that they worked on for that part or life situation.

Craft teaches us how to access ourselves so it will be counterproductive not only to your own health but to your progress as an Actor if you hold onto the talent that is within your emotional expression thinking that you are going to be wasting yourself if you are not in front of a camera when you express it. Find your acting technique.

Once you find the meaning of an expression or an expression finds a way of expressing itself off of a meaning close to your heart express it. express it express it. Write it down, journal it, write it on the sidewalk, carve it into a tree or carry a journal around with you. Holding back emotional expression is a ridiculous thing and it is not the crafting of Acting or the learning of the Crafting of acting.

Learning the crafting of acting is the learning of allowance of self to allow the expression of yourself to find the meaning that you have within you express itself. Not the forcing of an emotional expression. Every single time that you have an actuality happen to you where an expression is capable then work with the expression by allowing it to express into an appropriate way of expression (a non-violent form of expression where no one else and yourself is not hurt).

This one aspect is an aspect that Theater Actors do better than Film Actors is that the theater actor releases their emotions quicker as they are felt while a film actor often treats the classroom as the only place where they have emotional expression, which hinders their own professional growth as an Actor.

  • expand this , not sure how.
    Lastly, we are entering an emotional art form. Limiting our emotional expression to refrain from emotional expression until class time is not a practice that will manifest a growing awareness of emotional self. When emotions arise then find a safe way to release the emotion fluidly.

Acting Technique Summary

It is important to use an Acting Technique. The right Acting Technique will help expand your talent and find your own way to express yourself.

Acting Technique is an ability to give yourself a process which will help you relax and be more of yourself in your acting.

Mastering Spontaneity in Acting
Copyright 2016-2019, Simon Blake

About Simon Blake

Get Benefits for your Acting.

Simon Blake has studied over 30 000 – 40,000 acting exercises and studied over 8-10++ thousand acting students work in acting. Studying their Emotional Preparation to their Spoon River Work. Studying every area of Meisner training work with well over 30 Teachers including himself.

“Meisner In and Out Exercise, which was later known as Doors and Activities give a basic building blocks to modern day acting”

Simon Blake runs and operates the website which teaches Actors how to add Emotion to their acting using improved acting techniques.


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