Emotional Preparation For Film

Emotional Preparation is used in film. Film Artists are Actors who use Emotions in acting. Activating an emotional range prior to acting interaction increases the likelihood that emotion will interact within the acting. By Self activating the emotion you leap yourself forward internally. To Activate your own emotion into acting you need to receive the other actor. By receiving the other Actor you gain the ability go on an emotional ride that they influence.

Copyright Simon Blake

The Great Experience Awaits

Emotional Preparation for Film is more subtle and in a tighter emotional range for Actors and Musicians. The camera captures being able to put emotions into acting and music videos with a flair of relaxation. Relaxed Emotional Activation is the key.

Some Main Quotes of this Acting Article:
“The Plight of Discovery is the Emotional Journey of a Stimulated Experience.”
“… you want to go through the steps of Emotional Preparation for film every time before an audition.”
How Emotional Preparation Improvises the work of the Actor is fascinating.

Copyright 2018 Simon Blake


Emotional Preparation Chapter One

Emotional Preparation for film Introduction starts in Chapter One. Start to understand, what is Emotional Preparation and how to include it in your acting work and storylines. Later learn the technique of Independent Emotional Preparation yourself.

Copyright 2018, Simon Blake

  • Storyline introduction to this continuation. .. .
  • A student arriving in class.
  • A student driving to class gets a hands free phone call.
  • An experience the night before class, flash back as the teacher speaks about certain topic.
  • An audition technique practiced at an audition.
    — — — —— —— — — —— ——

Driving to class about 30 minutes away Emelia gets a hands-free phone call. It is her mother, so she decides to answer it. “Have you decided to come back yet and finish that silly thing you are doing out there?” her mother asks. Emelia feels a stab like a knife into her heart as she hears her mother’s voice.
She calmly says back “No, I am still carrying on and doing what I planned mother”. “Well, I was just checking to see if you were ok. There are several people taking bets to see how long you will stay away from us all out there.”
Amelia has to watch the road carefully as when she hears the comments of her mother there is a shock to listening to it. “Well, I am off doing something. Can you call again next week? Tell everyone that I am alright and that I haven’t changed my mind.”
“Ok dear. Your uncle is going to be mad he owes me a six pack every week that you are away.” Her mother replies. “Ok., bye” Emelia says.
Her heart is pounding how dare those who she grew up with be so cruel about her dreams and ambitions of being an actress. What she had to face just to be able to leave was enough and now this. She contemplates cutting them out of her life completely as she finishes her drive to class.

The classroom assembles for another day of work. Emelia also arrives. It is apparent that there is a mix of emotions amongst the students. Some are confused and dreading to work, and some are overly excited. Other students have personal things going on like Emelia.

Fade In:


Is Everyone ready to work today? Who’s ready to be affected by another person.

The classroom Moans with differences. It is starting to be clear that this is not a performance class in acting, but not needing to perform is also an added ease to the process as well.

Student – question: about Emotional Preparation (could be about auditioning)
When you audition how much do you use Emotional Preparation?

Teacher- Answers question (more obvious) about Emotional Preparation.
You want to use Emotional Preparation to get that blood running through you. To activate yourself, then to let go into the participation of the work.
So, to answer your question, in auditions you want to utilize Emotional Preparation for film to find and activate something in you every time you work. If there is something that is key or has a depth you want to find and activate that part of you in it.
Student – So you want to go through the steps of Emotional Preparation for film every time before an audition.
Teacher – You become more aware of yourself so it will become more automatic. You want to use Emotional Preparation to find your way into the work or for the first moment of the work specifically. This way you will have a life that is beneath the dialogue running through you.
Be absolutely sure to let go of it and forget about the emotionality of it unless the interaction while during your audition gets sparked by the other person.
(Once you start participating in the scene you don’t have anything to do with Emotional Preparation, that aspect has either already started working in you or it hasn’t. You just live out the experience in front of you.)
Student – I guess that makes a lot of sense. Why would you not want to be activated while acting!
Teacher – Exactly.

(She understands how every thought of her lines leads to the next thought, which surprised her to make line memorization easier).
Scene – between student and student –
Example – within the work.

Mark being a plumber. During the class he starts thinking about his last plumbing job and how it relates to what he is seeing in the classroom. It is interesting to him how all the pieces fit together when the teacher says that aspects of the work was done well or worked.
Mark doesn’t think he can be as good as some of the people in the class but he sure is hyped to be able to learn something.

  • Over emphasizing language and words.
    Teacher – this is an early correction of the work, and we need to address this accurately. In this class we will approach each other directly within the scenes we do. It is especially important when doing film to really talk to each other. Really address the other person and don’t talk over each other.
    You both did this to each other in this scene. We need to relax.


Early Vinyette Here – Ashley, dancer
Ashley knows that it is early on in the class. She was expecting there to be more emotionalizing in the classroom environment. It is odd to her that the teacher is commenting on interaction because in classical dance it is about doing the movement well and with precision. She thought that learning Emotional Preparation would be learning how to be precise with her emotions. She is seeing examples in class where there is more encouragement about being looser and freer with the emotion. She is not sure how she feels about that aspect of the class yet.

  • Sense memory student – brings in their research on how to activate their emotional life.
    Teacher – I am not afraid of your reading up or bringing in the concepts that you are reading about. I only ask you to bring into your work what activates you and have a real experience in your work rather than doing acting techniques when your attention should be on the other person.
    Student – What do you mean by that?
    Teacher – does it stimulate you, whatever your reading, researching or following the technique of?
    Student – actually that’s what I can’t figure out. It makes sense much of what I am reading.
    Teacher – ok, so whatever method you choose to approach acting with needs to stimulate real emotional life from within you. Don’t bring concepts into your work but try whatever you want to in your Emotional Preparation time period. Many, many different techniques will open up areas of yourself in acting.
    You may find that some of that reading will open you up in a certain way emotionally and that will be good for your acting. However, if the research of acting gets you in your head and thinking about things instead of receiving your partner, I will catch that in your work and let you know about that.
    Student – So as long as I am in real time taking in the other person during my scenes the other research shouldn’t interfere.
    Teacher – Exactly.

Researching anything that stimulates you and awakens memory of self from within you is healthy for your acting. It should also be balanced with your efforts in life so that you don’t get encompassed by it to the degree that you forget your own balance.

[Matthew Classroom notes:

  • Anything that helps open up your emotions has value.
  • Don’t marry acting technique
  • Don’t marry sense memory techniques, let go of all your stimulations in your acting.
  • Emotional Preparation you do, so you can let go of it and experience what is in front of you.

The Plight Of Self Discovery in Acting

The Personal Journey of Emotional Preparation:
(The Emotional Journey or the Journey of Self Experience)

Acting is The Emotional Journey or the Journey of Self-Involved Experience

One of the first aspects an Actor needs to understand in Acting is that when they work, they enter into a Plight of Discovery. The Plight of Discovery is the Emotional Journey of a Stimulated Experience. The experience is Self-Involved and engaging even when only a witness to a situation.

The more the Actor is able to become stimulated by the circumstances the more will occur in the outcome. This gain of understanding is the height of the tight wire rope in acting.

If you do not have a journey of stimulated responses you do not have activation of yourself within your circumstances. There are a lot of things that can leap you into experiencing the discovery of your circumstances. Training yourself to be open to the stimulations is part of the key.

Main Keys: Having your own journey of experience, not someone else’s experience.

Facts: The facts are that when you are in discovery mode in acting you are blindsided as to the outcome and often unknowing of the entire picture. Part of your ‘job’ as an Actor is to not know what the experience will be until after you are in it. You do not know the entire picture of the scene.

The Fraudulent Story is not lived with the arc of the Self Protagonists Journey. Every single Actor in every single scene has atleast a small arc of life experience and discovery of unknown. If they don’t, they are not active within their own work.

Getting yourself into the understanding that you will be subjecting yourself into unknown events is an adjustment in your acting is something that you want to make early in your training. The more you are able to in nearly every scene adjust yourself to having a Self-Protagonist Journey the more you will actively adjust to acting.

The Emotional Self has the experience that the Actor actually lives during the filming or on/in the theater stage production. If the emotional Self of the Actor is not really alive and functioning during the living of the acting experience most will consider the work to be fraudulent. Not really experienced work will be pretended rather than lived.

Many Improvisational Actors forget the point of improvisation is to connect their own inner discovery with their work. There is no point to an experience unless it crests a period of human growth. Just because something happens anew does not mean that you need to respond to it with a discovery that it meant something that it didn’t.

Even failure can gain the experience of an inward journey. The journey of the Self Protagonist gifts the value of life to an audience of lives actual experience. The audience is capable of experiencing with the storyline only if the Actor has an actual experience.

Using Emotional Preparation techniques ensures that there will be a personally active experience available to the Actor. Each scene will have to cultivate a real interactive experience, but the use of Emotional Preparation increases the chances of real experience.

The journey of Self is the protagonist journey, or inner life journey which is the talent that can be offered into the experience of the story. The Protagonist Journey is the inner life and inner emotional dimensions that the Actor emotionally goes through. The Emotional journey and the Journey of self is the journey that audience members identify within and reconcile with during the film and after the film.

A lesson of growth because an experience of growth has happened is never boring. When something internal is alive and connected to something else a real happening is ensured to occur. The only sure-fire way to ensure that you are not boring your audiences with antics or planned performance is to experience the journey of self-involvement. The lesson of self-involvement takes away meaningless certainty.

Telling the story is not so much the job as an actor than as much as in having the experience. Experience will illuminate all active ingredients within the part without conscious effort. The conscious effort will remain as preparation outside of the work rather than inside of the production.

Some very new actors try to have their emotional preparation experience within their acting experience instead of isolating it before they work. This usually leads to contrived acting work and interrupts the actual experience of the acting connections. Once you are having the acting experience you need to stay in it and connected with it rather than stepping away from it and reentering it. This way the experience builds upon itself and gains further insights.

If the actor is only talented enough to tell a story, then they should stick to what they are capable of. Real Actors are capable of having an experience and the experience is self-evident in telling story by having experience. The stark difference is incredible. One piece of work is interesting to watch while the other experience is predictable.


Major Key: Not knowing all that is about to transpire.

Not knowing what is going to happen when you are the reason why the journey is an experience. All experiences have an element of not knowing what is about to happen, both good and bad. Both good and bad experiences have the element of surprise and spontaneity of not knowing fully what will happen.

Instruction: Do not as many Actors do go over the scenes happenings before they occur. Acting is not a Dancing Choreography. Know the materials but require not knowing what to expect just before doing it. This will increase the chances of having something surprise you or gift your acting experience.

The Major Key to understand, then implement is not knowing all you are about to experience until the experience happens to you. The journey of Self involvement does not mean that you know all the elements of Self involvement before you begin.
If you are not discovering things that you did not know about yourself prior to being in the experience you may not be alive, awake and taking in the happenings. The journey of external experience awakens internal elements that personally reveal parts of yourself that you did not know you had.
Not knowing all that is about to transpire is part of gifting yourself into the work of acting rather than intellectualizing yourself into acting. An intellectual actor will always predecide what the involvement of external elements will be. This mistake takes away from their actual involvement in the circumstances. The truth is that actual involvement is surprise of having the experience. If you have no surprise in having the experience you can be certain you are taking a logical approach to the scene and are intellectualizing your acting.
The craft of acting is not the cleverness of doing to avoid experience or surprise. The craft of acting is the personal involvement to experience surprise and revelation.

The Self Protagonists Journey:

Story is meaningless without the discovery of Self. Few writers have figured that out. The discovery of self is the human experience that audiences ingrain into their memory and forever stay connected with because as the Actor was stimulated internally so was the audience. It was not the storyline of the picture that encapsulated them as audience as often times facts can easily be forgotten but have explicit memory of the shared human experience with the cast member resonated well after the experience of watching the film.
Story structure is far more important to understand as to how it relates to personal inner life experiences of the Actors then the actual factual storyline. An actor can become more involved in the scripted material when they are filming if they know more about how they relate to the factual storyline than when they just have the memorization of the storyline.
The Experience of shared connection is always the pinnacle of and take away from the production with the audience. Thus, the Actors emotional involvement is increasingly important to that of learning Acting and more attention is being placed on learning Emotional Preparation for film in Arts, including Acting for Film.
There is a striking difference between experiencing something with inner emotional life availability and just walking through the motions of a scripted storyline without personal involvement. The more personal involvement the Actor can become within the material richer the undercurrent of the storyline will be.
Understanding Acting in a way to understand that Acting is the Self Protagonists Journey will lead you in the direction of personalizing your work instead of generalizing it. The deeper you can identify and connect to taking a journey of self in your acting materials the deeper opportunity the audience will have in relating to you.
Audiences have been awake far more than given credit to their awareness to this specific creative issue. The personal value added of personal experience for both the Actor and audience gifts the Actor a greater personal growth experience as well as the audience the ability to grow also from the shared personal experience of the Actor.
The only way to make a film project or stage production abled to allow the audience to grow personally from partaking in witnessing the production is to have your cast of the production really going through personal experiences on stage under the protection of professionalism.
Professionalism does not protect the Actor from going through personal experiences under imaginary circumstances but cultivates the imaginary experiences to ensure a personal experience for the Actor. Often times a well structurally crafted storyline supports such an experience for both Actor and Audience Member.
Exercise – Journal Entry possible – write the story of your protagonistic journey ?? – – good.

Example: Jarod is enterprising. He is a crafting guy who often seeks out solutions and realities. Jarod is quite the thinker and creator. He is used to doing acting scenes with planned preparations. This improvisational approach using Emotional Preparation is a new experimentation for him.
He goes into the work as the teacher instructs with actual personal experience available. He remains open to the other and out of nowhere the world seems to turn on him. He doesn’t feel comfortable, he listens to his partner knowing that he cannot say or do the right thing. The timing that he is used to in acting seems incoherent. The you go, I go approach to his acting cannot exist with this new technique.
Out of nowhere, it seems, he gets angry yet doesn’t know where to apply his anger. The scene ends and Jarod is not sure what happened.
The teacher replies to Jarod that he “was successful in applying himself inside of the experience rather than watching the experience and adding commentary”. Jarod is shocked after the work, and it is hard to believe that he is getting praised for the confusion that just happened. He asks the teacher “This was right?”
The teacher nods. Jarod “I felt like I didn’t respond to her properly”. The teacher replies “Yes you did, you had a real experience”.

Well over half of the things that Jarod thought he had planned for the scene didn’t happen in the work. Over half the time we were going to express something and the other said something first. The majority of the time Jarod couldn’t believe how the other could have the gumption to be so disordered.
Jarod was planning on ‘doing a scene’ and trying to be polished with his work layout. Many sitcoms and acting classes wink and nods at each other after they say their lines so the other person knows they should say their lines. This is what they all did in the high school experiences.
The goal and value of the exercise that Jarod just undergone was that he had his own experience and experienced his own journey. He did not represent the sides of himself that he thought he projected to people. This is a baffling element to Jarod as he is still confused after doing the work.
The truth is that his experience of his acting exercise left him with having had an experience rather than giving a performance. In order to enter into the realm of Emotional Preparation Jarod will have to explore the experience over trying to tell his play by play of what he is observing. ??
As odd of an experience as it will improve and the functioning of his acting capabilities because it will add to his experience and journey of knowing himself.

Journal: Jessica: Opening myself up to the emotional journey of the improvisation and scene brought me to tears in the scene. I didn’t know there were going to be tears in the scene or else I wouldn’t have done my make up eyeliner.
I am not even sure exactly what upset me. It had to do with how I related to people and a comment in the work about me not being sensitive. I felt so bad, and it caught me so off guard. It was as though I was listening so closely that I became so affected.
I wonder if this work with Emotional Preparation is always going to be this surprising. When I was crying in the scene work, I thought I was ruining the scene. The teacher told me that it was good. Oh my gosh, I am so confused.
“Be open to the experience, add the Emotional component and see what happens”. I hope I can understand what that means better. If the emotional current changes the happenings of the exercise, then you just go with it.

= ADD – the workbook of Emotional Preparation for film needs to
b in this book. It needs to example and also work through emotional preparation issues so that actors do not quit their acting due to them
the value of this book is the workbook examples from students knows and the Journaling of experiences then taken into workbook format to problem shoot the Emotional Preparation Difficulties:
The idea here is to expand an empathic approach to acting. Different types of students can identify with each other’s difficulties and identify with each other’s vulnerabilities during their training and practice of Emotional Preparation. This leads to a better and more complete Actor being crafter and created during their learning of the craft of Acting.
The difference in sensitivity of an actor who is able to identify the vulnerable state of another is the lovemaking of communication and the standard of intimacy that requires the actor to be in tune with another regardless of how intimate or not the connection may be. We must understand that the medium of films abilities to capture and amplify the sensitivity on screen relies upon the training and understandings that the Actor practices in their rehearsals and while they initially develop their craft in acting. Audiences emotionally differentiate between the different states of the Actors capabilities. The actor’s emotional awareness’s immediately get encompassed into the experience that the actors are having because they identify with the work on an internal emotional level. The actual stimulation happens inside of the working environment of the imaginary circumstance they are encompassed by. This internal emotional level is also the level that the Audiences identify with not only the Actors but the storyline backdrop setting that places the context of the story and experience.
If you have an ideal about what ballpark your Emotional Preparation for film is supposed to be in and it comes out way differently than expected it could be difficult to just go along with what is happening regardless of any intended ballpark.
The difficulty with Emotional Preparation is letting go of the expectation of a performance and actually instead having the real time building relationship that the exercise or scene actually is if you can learn to allow it.

  • ADD – Journal entry notes: into the book BOTH BOOKS.
    Amy’s Journal: “When the teacher initially was helping me learn Emotional Preparation it was difficult for me to realize that the internal effects of the time preparing were actually coming through into the work. Once I realized that regardless of how I interacted, as long as I stayed active with the other, the undercurrent of what was going on in me was coming through. It was like the openness of whatever I was feeling would just somehow include itself in my work. The teacher would notice things that I did not intentionally do but was in my Emotional Preparations. Sometimes the other student I was working with would notice something about me that I had not thought of, but later on realized that I had Emotionally Prepared upon. “

Emotional Preparation Actor’s Discovery

The Artist and Actors Plight to Discover Self

  • The Plight of Self Discovery –
    Many icons escape from life into their artistic discovering so they can elude societies restrictions and focus upon their own Self development. Known and Unknown Artists and Actors have a plight to discover themselves and rediscover themselves in their artform.
    The Actors Plight to self-discovery is their abandoning of acting rules and regulations in their acting field for the improvisational techniques of self-discovery. Actors leap from regimented responses and non-real on camera conversations to boutique rehearsal environments to develop themselves so they have more to offer when they do have to get commercial parts in acting to pay their bills.
    These techniques are seldom seen to the public eye and often develop as decades pass within these very tiny communities of Artists and Actors.
    The first journey of discovering yourself is the ability to be the real you with all your own bells and whistles. You learn to use artistically and be involved in your art using no preconditions other than who you are. You do not need to pretend to be what you are not to be present in what your involvements are in acting.
    The second set of Self Development leads to advancing the range of what others may believe is you. These particular focuses of Self Development develop the Actor to strengthen certain parts of themselves even to the degree that they develop in a way that others could believe that they have become someone else. If they plight to discover a unique part of themselves then they can use Emotional Preparation for film to stay within a range within a series of scenes.
    The isolated range of Emotional Preparation is authentic but under conditions that tend to isolate certain parts of the Actor and thus give the persona of being a character. The Audience rarely see’s Actors develop their humanity to the point of characterization as it takes a maturity of self to achieve. Most Actors can never develop themselves to this degree because they don’t know the technique of Emotional Preparation.

Consider: Examples here with different artists, sculptor.

How Emotional Preparation Improvises the work of the Actor is fascinating.
-Adds to the surprise of what is
It would be helpful to the Actor to realize that when their work is improvised or has an improvisational element to it is is more free and able to become a form of real expression. Emotional Preparation can assure the actor that their work will have some improvisational variant.
When you emotionally Prepare you take a journey beneath the logic of preplanning and surrender into a state of being rather than an execution of doing. Typical Performers will always execute their scenes and not live within them. When you are in a state of being you will always be affected by your scene work and scene partner with a little bit or variance level of surprise.
The Emotional Preparation Techniques are there for you to learn the craft of improvisation by first finding depth before amercing into an experience.
You are more likely to have an experience in your acting work when you have an experience prior to your acting work in Emotional Preparation. The Emotional Preparation for film takes your work into the experience level of being. You learn to take Emotional Preparation into your acting work by abandoning what you have prepared just prior to your scene or classwork. Trusting that you are still stimulated by your Emotional Preparation because you have in reality just experienced it. Trusting also that your active stimulations do not need your own attention on them to be active is key.
Doing the Emotional Preparation work takes you to a point where you have a healthy and lifelike uncertainty about how the scene is going to go. You are uncertain as to any preciseness about your outcome of being in the scene. The only thing you are certain of is that something is going to happen and that there will be at least an outcome. This is the certainty of life in real time, and this is the connection to reality within the real time experience of your acting.
Because you have found an experience before your acting work you can be assured there will be at least some experience in your acting work. You can also be assured that nothing will happen in your acting work unless you let go your Emotional Preparation experience and really live in the experience of the scene or classwork. The acting work will have an improvisational element to it because the prior experience is being let go of in a way that brings it to the acting work but does not predecide the outcome entirely.
Even in scripted materials with lines the Improvisational quality of acting and your prior Emotional Experience will vary the acting work turning the scripted work into an Improvisation to discover in real time rather than a stagnant thing. Talking heads remember lines will not be possible if you have an undercurrent beneath which will create the variance of a real experience being lived out rather than work participated in without life lived. The context of the dialogue even after the 5th time the scene is done will vary based on the undercurrent affecting the timing of the scene.
Emotional Preparation creates an improvised environment instead of a sterile one.
Many actors when just beginning Acting will experience an undertone to their work when they are new to acting because of their own nerves. Later as they become more comfortable, they lose others having interest in them. The reason for this is they’re not having the ability of Emotional Preparation. Emotional Preparation for film will provide the undertone of intrigue and interest that the Actor may have had normally when they were just learning Acting.
Circumstantial environments hold weight and interest with audiences and Actors in real time. Without the creation of the circumstantial environment, which Emotional Preparation does, you will not have the Improvisational Affect in your work.
Many Actors focus only on learning their lines and hitting their marks and then they wonder why they only have 1 – 2-year careers or only get bit parts their entire career. Most Actors do not know the craft of Emotional Preparation.

—— Just listened to the teacher and what they told me before the scene. The teacher asked me if I remembered a time when I was being made fun of. Gary tells the teacher that he was when he was in the 12th grade and didn’t make it into college because the grades were so terrible. The teacher coaches Gary into remembering specifics of how he felt and the consequences of it. As soon as the teacher see’s that Gary is catching the emotional current, he tells him to start the scene improvisation.
Gary started to get something done within the scene and out of nowhere comes a strength and energy that blacks out any logic from Gary. It is a drive that Gary feels, and the only choice is to go forward. There is a knock on the door which startles him and resonates all that he emotionally has going on inside of himself.
The lines of the scene come out sarcastically towards the scene partner. The scene partner is also affected and sharply replies. There is a presence about this scene that is as if Gary has stepped back in time to deal with a past issue that is still very much alive in him.
His partner erupts emotionally on him because they do not like the connotations of Gary’s glances and demeanors. Gary is in control of himself but the lines to the scene he is having to pull from thin air as he is consistently forgetting the past of what is going on for the present of what is existing.
The acute awareness is appropriate between the two students working and they are alive and responsive to each other. Each student the teacher had helped to emotionally prepare for film on the simplest of motivations. There is serious commitments to the motivations that the teacher insighted are the workings of the scene.
These students are too new to try anything fancy, so they allow the fullness of what was stimulated to happen without intellectual interference.
Teacher “That was good, alive, and spontaneous”. After the work Gary said to the teacher “what you gave me to do did so much to me, it was surprising. The whole thing was a surprise”. Teacher “that’s how to do scenes as well”

As soon as the Journey of Self had become involved in the work the emotional elements had a life that actually lived beneath the scenes becoming’s. Each new happening within the scene had the support of a living conscious journey beneath it.
The Emotional Preparation work became quest of Self becoming. The interest of the scene became about the life of a lived journey with self rather than a cliche scene with lines and planned mannerisms.
The Emotional Preparation allotted for the space needed to entwine real human experience with the occurrences of the scripted materials. Both paralleled each other in tandem and synchronicity.

The Difference between Emotions and Expressions

The Difference between Emotions and Expressions

Expressions need to be expressed in order to affect the work and connectedness in your acting. Emotions can often continuously regenerate themselves into different expressions as new expressions come up in your acting.

Actual emotions are the undercurrents to situational happenings.

Understanding Emotions as undercurrents change their context to the benefit of the Actor. Expressions that are real are always attached to an undercurrent emotion. The best expressions always allow the emotions to decide their intensity. There are times in acting where Actors need to Express in a certain area of their work.
The reasons for not contriving your expressions are numerous. Emotional Preparation for film is not contriving your emotional life, it is stimulating your emotional life. Controlling your emotional expressions are contriving approaches in acting.
Contriving emotions are usually done by amateurs as well as contriving Expressions. You do not need to know what your own expressions are every moment of your acting. Relax your intellectual pursuits and calculations during your acting for best results.

For base lining of Acting training the best way is to forget about expressing yourself in particular ways until the more advanced times of working with scripts. – ??
Expressions can be done things that can also be performed. Emotions can be exaggerated things to become expressions. The best ways

Expressions need to be let go of in order to be part of your experience.

The biggest difference between Emotions and Expressions are that Emotions can linger while usually expressions can’t. Emotions can still be felt without letting go of them. It is rare to have a lingering expression and common to have a lingering emotion. Most often the expression changes while the emotion may stay the same or similar.
The significance of this is that Emotions are not Expressions. Emotions have their own rhyme and rhythm different and separate than expressions. The depth of emotion can come out in expression yet remain present even when the expression has passed.

There is a strong difference between Emotions and Expressions. Most Actors practice their expressions to plan to time the expressions with the moments in the script. The rehearsals are planned expressions to the moments and precise timing of lines or phrases scripted.
Some Actors plan their emotions to come out during their work yet don’t realize that all they are affecting is the overall tone of their work and not the moments in their work.

Expressions affect the moments in the work.
Emotions affect the mood of the work.

Many Actors use Emotions to try to compensate for actions in scenes. This will never work because the Emotion is the general ballpark of the scene not the expression or reaction of the scene. It could take years for an Actor to realize that preparing on Emotions and relying on emotions doesn’t work the way they thought it was. They could be coloring the scenes they do with emotional undertones, yet it is not affecting the impulses of the expressions.
This is the reason why you can’t take Emotional Preparation and replace it for good acting techniques of listening, responding and receiving in real time. You need to have your awareness about you regardless of your emotional state and your attention needs to be off of yourself and paying attention to what is going on around you.

Amateurs love to marry to an Emotion and believe that because they are feeling something consciously that they are acting. This is simply not true. Conscious emotion can be a very big hinderance to the work of acting. It is not enough for an Actor to get an emotion and get in front of an audience and be entertaining.
It is a key factor for all Actors to understand the difference between Emotions and Expressions. When emotions are felt they are the undercurrent of what is going on, not the presence of what is going on. The Expressions can be the present things going on and what to interact with. Emotions can intensify expressions but usually when they are not being consciously performed.
What is being asked of the amateur actor is a hard thing to do. It takes a skilled actor a long time to develop the ability of taking their attention off of themselves and placing it on what is actually happening. The keys are in the interaction with what is going on instead of making up things based on how they are feeling.
Many early beginning Actors that have good instincts start to feel an emotion then start to make up dialogue based on the fact that they are consciously feeling. It would be better if they waited until they had expressions about each other or if they made observations about each other rather than milking their emotional experiences.
Audiences sit there while they watch Actors having a feeling that they are consciously committed to and wonder what time the performance will be over.
If the emotions that the Amateur actor is feeling consciously never gets to an unconscious level, then they are doing what is considered playing one note in acting. One dimensional emotional layer of feeling or emotion bores audiences and struggles to keep anyone’s attention.

All of the above mentions approach based on conscious Expressions or Emotions.
Emotions are inklings and inclinations that you have a tendency with internally. Most Actors familiarize themselves with Emotions, gain an emotional state then never let go of it until the time in the script where they planned to release the emotion.

Two Types: Conscious and Unconscious
The Top Layer: Conscious Emotions and Conscious Expressions.
Goal of Emotional Preparation: To tap into the Unconscious elements within.

The alternate way of working is with Unconscious Emotions and unconscious Expressions. Understand that we purposefully stimulate emotions in Emotional Preparation for film to purposefully allow them to go into our unconscious place of being where they affect us, but we are not focused on them.
The Conscious way of using emotions is to use the emotion, consciously hang onto to it and perform the emotion like it is an action of an object. Consciously emoting is performing.
Similarly, the way of working with Unconscious expression is to stimulate the motivation of it during Emotional Preparation and then allow it to go into a place of being where it will choose the timing of when to come out rather than you to choose the timing of it to come out.

Question: Are you brave enough to let go of your emotions?
Are you ready to grow as an Actor past the stages of Conscious Acting?

Growing past conscious acting means that you are willing to commit to your observations and opinions of others while letting the emotion work within you do its own thing. You learn to trust that it is more important to be conscious about your being present in your acting work than conscious about your preparation of your acting work.
Letting go of the preplanning processes of Acting and growing into the having of an actual experience is key. Letting go is the gift that Actors seldom realize. The biggest gift an actor can give themselves is one of trusting their instincts and turning their work over into the real time event of the scene. Every time the scene is done a slightly different event will occur.
The Trusting Process will include all of which is planned but not in the particular order that it is planned in. What seems to disappear into the unconscious realms will reemerge based on the timing from the interaction with the other rather than a planned timing of the scene. The variance of timing will be of interest to the audience.

There is a saying: If you love it, then you let go it.
Nothing could be better Acting advice. If you love it, then you let go of it. If it loves you, it will come back to you. If you love your part, then you work on it like mad then when it comes time to do the part you let go of it. If you don’t let go of it, it will never find you in the part you have done so much work on.
Your aim using Emotional Preparation is to do all your work on the part outside the experience of the part and then trust that the having of the experience of the part will pull in the experience from the Emotional Preparation for film.
You want the part to find you and to discover you in it. That means that the experience of being within the role will find the discoveries of your Emotional Preparation for film without your conscious effort during the time of the scene. You don’t want to carry the burden of the part into the script with full anticipation of when and where you will do each section.

Example: Colleen is a young College student. She is in her first year of Community College a two-year program. Her first play she is rehearsing. She practices in front of a mirror so she can really watch herself. She goes to rehearsal after a few weeks and starts to try to time what she did in front of the mirror to the timing of the script. In her own conscience this is her best effort. Whenever anything distracts her from what she has planned she completely ignores it even when it is a struggle to do so.
It is confusing to her because there are parts of what the other Actors do when mistakes happen, she tries to ignore them and follow along the script.
A guest teacher comes to the school and starts talking about Acting. In the discussion she learns a new way of an approach where she allows to what actually is happening to really be there and exist.
During her next rehearsals she watches what the other person is doing even when she knows that the other person wasn’t planning that part of what she is watching. A light bulb goes off in her work and she feels as though there is more internally happening inside of her. She describes it in her journal as feeling more awake when she is doing the role.
Colleen has just opened the Pandora’s Box which is exploring truthful moments in the work rather than only planned ones. Now she is on the path to listening and reacting to what is actually there instead of what is supposed to be there.

The Next Layer:
Listening and Reacting to what you see rather than what you’re suppose to see.

Goal: Integrate with what is actually happening

From your point of view integrate whatever work you have done on the part into what is actually happening. Listen and receive in every way possible as you express from your own point of view. If you have lines that are part of your work done towards the part, then utilize the lines if you don’t have lines than be straight forward with your opinions.
The Next Layer to acting is learning how not to act so you can start to comprehend the techniques of having a real experience. The only way the audience is going to have an experience is if you have a real experience.
Trusting your abilities to be both consciously and unconsciously released from controlling what type of experience you are having will build up the ability of Actors Faith. Emotional Preparation for film needs and requires you to have Actors Faith.

Example: Derrick is a good conscious student. This has served him well in life as people generally find him a considerate person. He trusts himself enough to understand that concepts and lessons of the classroom, but he doesn’t trust himself when it comes time to work in exercises. Derrick thinks that because he has an emotion going on that he needs to stay focused on himself in order for the emotion to get expressed.
In his exercise work he can’t get his acting technique out of his own head. When he comes for something simple in an exercise, he struggles to forget what he came for. When he knows that he is supposed to be upset he can’t let go of his upset feeling and focus on the other person in the exercises.
Derrick is frustrated with himself. The teacher stops the work and asks Derrick if he can identify something about the other student he is working with. Derrick replies that he can. The teacher responds to Derrick “than you know how to do the exercise, just trust yourself”.
Derrick realizes in a flash that he was missing the simple ingredient of pinpointing behavior of the other in his work. It makes sense to Derrick now. If he switches his attention on the other person, he will have his focus off of himself. It was so simple it felt complicated.

Life happens when you are not paying attention to your own self. You can’t take a leap into life like you need to in the exercise and remain the focus upon yourself. Integration can occur as soon as you pinpoint behavior on other things. You start to interact with things the moment you start to observe and put focus on things external to you. Building up of the will power of this simple reality is only the action of doing it and trusting that there will be a result from placing your attention elsewhere.


The Significance of Emotional Preparation for Film:

All Emotional Preparation Activities are meant to be let go of and integrated into the work lived. In order to have an actual experience within the work you must train yourself to throw away your preparation by gently letting go of them and allowing them to remerge at a timing of your involvement rather than a timing of your choosing.
We utilize Emotional Preparation as a tool to get ready ourselves internally and be available emotionally without pulling our own emotional strings. This way your partner does your work for you and you do your partners work for them. Simple observations and human demeanors will pull our Emotional Preparation aspects. You do your partners work for them by receiving what you observe. Your partner by receiving what they observe pull out organically the emotional life that is genuinely within you.
You may in early stages of the work believe that you have an incredible Emotional Preparation yet in the work your partner doesn’t notice it. This safety guard of human interactions protects you as an Actor not to over emphasize what in your mind you might think is real and grounds you to what is actually observable.
What we feel might look humongous to another person may actually be very difficult to notice to the outside observer. This is the litmus test of Acting. Trusting and learning from the initial moment of scenes can gain you experience quickly. Complaining about what another is not seeing how you feel can quickly create internal drama when in truth the intensities that an Actor must feel so that they are noticed by an outside person is tremendous at times.
We can start the journey by choice in realizing that what we let go of comes back to us if it is genuine. This is the hard facts of reality. Actor’s struggle and blame one another for not observing each other often. If your partner doesn’t notice what you have going on inside of you wait until they do instead of bringing attention to it. If the script writer has written dialogue to bring attention to yourself than of course follow that direction.
Understand the subtleness of humility in acting is the willingness to humbly submit to what the other notices. Acting is not the art of self-indulgence. If you can mature to submitting to what the other notices without pushing or forcing your opinions, without the script directing it, you can discover a whole new world in acting.
The significance of Emotional Preparation for film is that it works to ensure that you are not empty for the other person to observe. Emotional Preparation is a courtesy you give to the other Actor to arrive full of something with life in it. You get yourself prepared in a way the living of life is warmed up and you enter the acting work with your engine started.
Emotional Preparation for film does not grant the right to control the work that happens after you achieve a specific emotional state. How you feel will integrate and exchange with what is present.
You allow the other person to inform your logic as to what you are putting off externally. When practiced you give nearly all your logic over to the other person and only work from your emotional opinion. This way you are informed from what the other is teaching you and you are also expressed upon what you are emotionally opinionated about.
Emotional Preparation gifts you the ability to prepare and then forget anything other than how you feel about the other person and your observations of them. The facts are that the less attention you have on yourself the better you will be able to take in the other.

Question: Why do all of this work in Emotional Preparation for film just to let it go?
Answer: You only let go of it entirely as much as you are able to. When you become seasoned at Emotional Preparation you learn that the more you let go the more will come back to you consistently.
When you are in situations, any emotional situation, it is more important to receive all that is going on around. When you recognize in others, or they recognize in you your Emotional Preparation for film it will usually come back stronger than when you were individually focusing on it.
If you don’t receive the circumstance that you are in and interact with it than you are not actually present within it. When you learn to let it go you learn that the love that you gave to your Emotional Preparation for film returns organically and with the information of the new circumstance that you are in.

Important Note: Do Not Provoke.
Impulses will give the impetus to you to express. Expressions that are intentionally made to provoke the other person so that something is happening are very acted and superficial. Instead of trying to gain experience by being the catalyst and provoking it in the other person use Emotional Preparation to ensure that you have something alive and active within yourself.
When you work with Emotional Preparation for film and offer a genuine aliveness within yourself you will give far more to the work you do than trying to provoke emotion from another. You will be more awake and have a deeper connection to the other person due to the relaxed connection that will vary with the other person.
Solving the element of not provoking in your work will gift your work much more than you could even calculate. The experience of connectedness is a significant event. Habitualizing riding the experience of being connected to another is beneficial.
We then add the elements of Emotional Preparation for film to the experience of connectedness we feel when we work in acting.

Goal of Intuitive Expressions:
Intuitive Expressions release unconsciously to the expressor. The expressor will automatically express themselves just by staying in contact with the others that they are associated with.
This trustful dance of trusting that your automation of worthwhile expressions is ongoing is developed as you learn the craft of acting. Intuitive acting training will invite you to let go of the logic of calculating your own yh

Classwork Monologues

John, a former athlete goes to his men’s health club. John was a very smart athlete and knew that studying the game plays and going for a run thinking about them works to activate them in his memory well. An injury made it impossible to compete at the professional athlete, but John has always remained active.
He thinks about the lessons so far in class.
What is additionally interesting is that John knows his body and rhythm enough to know his own heartbeat.
As John runs. His brain starts to think faster and he gets into rhythm to really ruminate on the lesson. His 20 minutes on the track running at a consistent speed really is a time of concentration. He calls it when his body and mind can get in sync.
What John will do during the period of his studies in classes is between studying to go for runs as he ruminates on the concepts of the current class. This will likely increase his learning.
It is important to understand that although this is a vital ingredient to John’s learning cycles this is not going to be everyone’s process. In fact, most will not gain from trying to find this technique by intentionally doing it. Others will only need the reminder that this type of recollection aspects are possible and immediately start to integrate its approach.
This lesson of integrating physical training for absorbing material thoughts is part of John’s unique imprint as an Artist/Actor. It serves him with results of better awareness in acting. As long as he does not try to control it or manipulate it and let its natural course affect him it will likely work in his favor as he studies acting and finds work in acting parts. There is something real about this type of physical body rhythm aspect for him.

Teacher – Early on in our training we need to understand what happens to ourselves when we have a feeling or an emotion. All emotional things are resonance based. This means that resonance needs to merge with ourselves and sense of presence when it happens to us or occurs in us.
An old television star once told me she used to call this getting your blood to boil or getting yourself worked up. Getting that blood flowing, the emotional blood flowing is the resonance factor in your artistic endeavor. It is the vitality that happens inside of you when you gain the relaxedness of self that allows the resonation to play.
This is an internal intimacy that happens emotionally within you when you are emotionally activated.
Any Questions:
Alice – What you are saying is that once our emotional lives are activated, we will resonate better if we are relaxed about it happening in ourselves?
Teacher – Yes. That is exactly correct. It is important to allow the reality to activate inside of you in real time rather than rushing or thinking. Let the emotional chord ring its truth within you.
Alice – Thank you .

Student raises her hand
Mark – Yeah. I have a question. What happens when you feel overwhelmed by emotion? What do you do? How do you handle your situation?
Teacher – Allow yourself to be overwhelmed if that is what you become. This is a different approach than others may teach, but by allowing it then you can live and experience it. It is critical to embrace what is happening to you.
What you might also be asking is to what to do or how do you respond or know when to respond when you are overwhelmed. This is a different answer.
As you continue to receive your situation which allows your automatic adjustment. You wait until something makes you respond to it. Don’t think, don’t worry just stay connected with whatever is overwhelming you until you something that the other does causes you to respond.
Causes are impulse based rather than intellectually based. Then you will always be justified in your acting rather than prepositioned or preplanned.
Mark – Ok. That makes sense. So just have the patience required to trust that something will cause your response.
Teacher – The biggest mistake that many make, and this included myself when I was learning was that I falsely believed that the action would quantify the emotional life. The truth is that there is no action big enough to fully express what is going on in you emotionally. Therefore, trust that the emotional life will eb and flow and react to what causes you to react rather than trying to represent what your emotional life may be.
Finding your brilliance in acting is usually more Suttle than most think it will be at first.

  • Rehearsal scene. –
  • Have this be the bomb squad story that the script dictated.

Sculptist – & Larry (rehearsals are play format, not script format? ))
(Is this too soon? Or next section?) – Two students get ready to rehearse scene.
Well all I know at this point is that we need to be personal, one student says to the other.

  • Explain the rehearsal.
    Student – there seems like a lot of don’t.
    Student – Yeah, but if you think about it. For me there were two things that I was trying to do, and I didn’t know that wasn’t even in the ballpark of having a proper technique.
    Student – what were they?
    Student – The self-indulgence thing and also the backwards thing reflecting on the past. I do that in my life all the time and sometimes it is helpful, other times it can really hold me back from completing things. I literally thought that a scene was the recorded history of what the author wrote. But this teacher is saying he wants us to live in the present and not use these things as crutches.
    Student – It’s fair enough. In life I ignore a lot of things, If I am honest. He wants us to do scenes without ignorance and that is going to take some time for me to be able to do.
    Both students laugh at their foibles.

-(One day after a class lesson ) (a reaction to class lesson).
Student (Jake), wants to quit after hearing the teacher speak about what Emotional Preparation is Not. Student had done a bunch of research about activating prior memory and doesn’t think this will be the class environment that will cover that topic.

Fade In:

Student raises their hand.
“Will we in this class utilize past memory to Emotionally Prepare?”
Teacher – Yes, if you choose to. Are you familiar with it?
Student – I’ve studied a bunch of books on the topic.
Teacher – Whatever works we allow exploration of in this class. But will you trust me if I tell you it isn’t working is the question.
Student – Can you explain that.
Teacher – Past memories and stirring up past memories is a technique that we cover but we need to understand while we do this work that whatever motivates us and stimulates us we will use.
This means that if we are stimulated by our partner while doing the scene, we work off what is actively stimulating ourselves. We don’t ignore our partner so that we can work out of a past memory. It is a bit of an advanced question for this early on in the work, but it is a great question.
Student – I guess I just want to know that the work studying it hasn’t gone to waste.
Teacher – You will have opportunities to explore whatever stimulates you in this class environment.
Student smiles at the teacher.
Student – Great.
Fade Out:

  • Other materials.
  • Example of the work that does not stimulate the student -.
    ??here –
  • topic of ego and not admitting to yourself that you are not activated – where to fit?
    Teacher – you have to be willing to admit to yourself when your emotional Preparation is not activating you. You can tell by when you relax do you feel something. Does something tingle when you relax.
    If something tingles than you know something was activated. The discipline comes in not questioning your own instincts and abilities and carrying that activation into your work. The truth is that intelligence is not intellectualizing. Intelligence is Instincts.
    Student – I thought that it was.
    Teacher – Yes but learn to listen to yourself better. This work is not the work of convincing yourself that you have something active within you. It is working to the point where you feel something active in yourself.
    Ego will lie to you until you learn to defeat it. Becoming more and more convinced that your belief of your Emotional Preparation is real is not activating emotionally your Emotional Preparation for film.
    Student – I kinda see what you are meaning. You are saying that you could see that I was convinced but not emotionally active?
    Teacher – yes.
    Student – So I had done the work of convincing myself of the story and believing it but this Emotional Preparation work is more than just acting is believing.
    Teacher – Well said. Belief is only the mental capacity of the scene, not the emotional.
    Student – Well, I hope I will be able to learn this work then. I was sure of myself for real.
    Teacher – And that’s ok, that’s why this is a learning process. You’re having a great attitude because most times students, even myself had to go through our own belief systems to get to our own depth. Depth rather than intellect is the road to real acting.

-Journal or students thoughts about this topic in the class?

Emotional Preparation Scene Example

  • Scene example –
    Student before the scene starts, asks:
    Michael and Suzzanne are at Michael’s apartment building in the northern parts of Hollywood. Suzanne finds Michael’s fridge pictures and framed photographs interesting. Michael has picked a scene and they have both read it. It is of a hostage situation which Michael takes Suzzanne hostage.
    Michael: You know this one looked so intense I thought it might be a good way to start in the class and really get ourselves involved. I just want to let you know I promise not to hurt you at all but emotionally the gloves are off.
    Suzzanne: Yes, I agree.
    Suzzanne is a bit flattered being able to do a scene with such a good-looking man.
    The first read through Michael and Suzzanne sit down at his kitchen table and go over saying the lines to one another. They then stop and discuss each line and some of the meanings of it.
    It gets really loud and they both go over the script several times over a period of about one hour.
    After the rehearsal Michael offers to walk Suzzanne back to her car which is a couple blocks away being in Hollywood parking was not on the street in right out front. As they walk about a block from the building, they see a police force with riot gear gearing up on either side of the street.
    Michael: Looks like something is going on.
    They talk at her car for about 10 minutes then Michael walks back to his apartment. He notices that he is walking past the Police again and one is titled “Bomb Squad”. He continues to walk to his door with looks of these officers wondering who is walking up behind them. He casually walks back into his apartment. Hollywood can be so weird he thinks to himself as he reenters his apartment.
    Three loud knocks come onto his door almost immediately after he enters. He turns about to answer the door opening the door to a couple of guns to his face.
    Police: There is a bomb threat here? Get down on the ground!
    He gets down on the ground.
    Michael: We were rehearsing a script.
    A team of 6 officers come in and an additional officer comes in with a sniff dog. The officers clear the rooms to the apartment securing the situation. Michael gets put in a chair and the police start asking questions.
    Police: You said you were doing a script? We have a bomb threat report said there was yelling coming from this apartment.
    Michael finding himself in a similar and ironic situation that was Suzanne’s part of being held hostage.
    Michael: The scripts on the kitchen table. I swear!
    A couple moments of apprehension gets broken by the officers reading the script and laughing aloud as Michael is still cuffed to the chair in his living room.
    Police: You need to be more careful we thought this was a real thing. We heard it on the 911 call your neighbor called in.
    Michael’s neighbor Jordana rushes over as the police have brought her over to the scene.
    Jordana: Oh Michael, your safe.
    The police look at each other past their initial laughs wondering how the woman didn’t know that it was her neighbor’s voice.
    The Bomb squad lets go of the cuffs on the chair.
    Police: We have seen a lot of weird things with Actors in this town and this is one of them.


Emotional Preparation for Film is an important consideration for acting students. Getting the initial emotional spark is key. You will likely find that you will use Emotional Preparation for Film more often than in theater.

-Into class:
Teacher – As we get to understand and to know each other we will find out what makes each of us tic and tick. What motivates us and what makes us ill to our stomachs just at the thought of.
If you emotionally understand the person in front of you in real time when you are acting, you will have some sort of emotional response. Understanding in Art and Acting does not mean that you will have a complete understanding necessarily. Don’t confuse results with functioning. Working from relation means interacting rather than dominating and will achieve something of a connection rather than pontification.
If you as an Actor can understand your actual impulses than you can understand your own involvement and in a tangible way, not a psychotic way understands your own responses. It is not about mentally understanding our own responses it is about understanding our own responses as they relate to another.
In addition. If you can weather the storm of your emotional preparation and trust that it has had an effect on you than you do not need conscious effort to realize it. What we are learning to do with Emotional Preparation Stimulation will achieve results inside of the living out of the work you are doing.
The key is getting yourself to the point where you start doing principles of the work automatically, with impulse and with instinct.
Ok. Let’s see some work.

  • Example of classwork exercise.
  • Then go into a storyline of another student here –
    At the book store noticing something.

Early examples- need to teach basic principles that all actors should know.
Teacher – We need to break down the essence of the scene for each of your points of view. Your points of view should be different than each other. This is basic Actors work to break down scenes.
Student – I think my point of view is .. .
Teacher – so that is your overall impression of the scenes meaning? Essence is the overall meaning.

Teacher – As you learn this work you always remember to give into your own emersion of experiencing. Silence and the notes between the happening can develop into very rich meaning when you let go of it to happen outside of yourself and by giving into the internal urges. Responsiveness is the instinct of tact allowing what is outside to stimulate whatever it does without filter. Only this way we achieve truth in art.
Often you will reveal more than you realized was in you. This is optimal, you want the interaction with the other person to pull out of you a new reality of what the meaning of the moments between you bring. This different approach brings out authenticity on a platter. Using Emotional Preparation for film requires constant authenticity during interaction.
The emotion will become stimulated by the involvement with the other person rather than a doing of execution to another like delivering a line or trying to influence them.

  • In script format :
    Gains some examples of how not to use Emotional Preparation.
    Students start to learn how to be activated and how to not use crutches during their acting experiences.
  • Example – student tries to implement their own Emotional Preparation. The whole scene goes haywire. There is no appetite to it. The context of the words changes and the balance that the writer intended is gone with behavior that does not fit the scene.
    Teacher – now if this was another scene it may have fit regardless of the flaw in how you are using your technique. The technique of Emotional Preparation must be let go of and not implemented. You were enforcing your emotional preparation on the other.
    There are Actors who do this, and they try to gain the reactions of the other actors. They believe that is acting because they are forcing themselves on the other to cause them to react. This is not working off of or being sensitive. It is rare that even in a stage direction that this behavior is suggested by writers.
    Student – So what are you suggesting? What do you want me to do?
    Teacher – Let go of the fear of not having emotion. Only then you can be free from your emotional preparation and let it permeate your acting work.
  • Journal – or student in class – I used all these tactics that while during the scene I would try to get myself upset, but I am seeing here that this is not the way to work. Am I understanding it correctly?
    Teacher – Yes, you don’t need to stimulate yourself during the work that is an older method acting technique that is not reliable.
    Student- wait, you’re saying that is a technique?
    Teacher – yes. It is the. .. Technique and many actors develop themselves that way because they don’t know any better.

Julie sits quietly uncomfortably in class. She is not quite sure if this class is for her yet. She wonders how anyone could trust themselves enough to have a real experience in front of an audience. It seems so unnormal, unnatural to her.

Example – scene work. —- — –

Scenework – Jake – sense memory studier.
Example – does the scene. You found a nugget of emotional life in you from the past is that what you used?
Jake – yes.
Teacher – Do you realize that you were loose with it in a healthy way that you could still listen to the other and be affected by the other regardless of your emotional life?
Jake – yes, I think so.
Teacher – You may favorite a particular approach in your work and that is for you to figure out. But, the reason why I felt this was correct is because you did not ignore the other person to dredge up past memory. You activated a past memory then put your attention on your partner.
Jake with glee – are you saying that I used sense memory correctly?
Teacher – what you understand sense memory to be at this point in your understanding helped you with your work. You did not marry to it, which is the pitfall which most people do when they use past experiences. You also kept your attention on the other person rather than trying to reactive it while in front of the audience or within the actual scene.
Your exploration led you to a lesson in learning how to affect yourself before you work and that is Emotional Preparation. Emotional Preparation for film is simply how to affect yourself before your working. There are a lot of techniques that we will learn that I am sure that you will find an interest in.

Jake goes from insecurity towards whether the classroom environment will be accurate for his learning to becoming really comfortable within the learning environment. He discovers that he is going to fit right into the classroom structure because the classroom structure is encouraging of finding
“Because you are committed to finding out what activates your own life and what means something to yourself your experimentation in Emotional Preparation will work” Jake recalls in his notes as to what the teacher said.
Journal: It is as if the zest for really trying to understand I can be certain is going to pay off. As long as I am willing to let go of what I have activated and see if it becomes activated again during the scene I am working with it in a functional way. I am going to get very comfortable in these classes from now on. I can really tell.

  • Monologue.
    Teacher – Before we begin let me ask you a simple question. Do you know the essence of your monologue?
    Student – well I didn’t know that until today.
    Teacher – well, lets do some of this work right now. Gain an understanding of what your essence is. Then prepare to communicate the storyline of that essence. The basics of this work is to communicate to us clearly the storyline of whatever your monologue is. If you can achieve this you will be ahead of most actors in the industry.
    Student – ok. Well, my essence of this scene when I think about is. .. And I will put the points across during the monologue that express it.
  • See’s the students work –
  • Describe it.
    Teacher – did clarifying that for you before you worked help you during your work?
    Student – I think so.
    Teacher – we will learn more advancing techniques that you can include with these basics. Keys are in the basics that clarity of essence is essential to everything that you do. We will learn to utilize more techniques but that was pretty good start for now.
  • Student sits down
  • Other students’ reactions.
  • Gain the essence of your monologue
  • Gain the essence of your part then Emotionally Prepare and activate that essence.

Copyright 2018 Simon Blake

Emotional Preparation for Film

Emotional Preparation for film takes the patience of learning Simmering Emotional Preparation Techniques and Emotional Meditation Techniques. These techniques will help the film Actor obtain the depth and patience themselves in their training so the interaction of their film acting will spark and continue to relay their active emotions.

Emotional Preparation for Film is a quieter technique then for Theater and often takes longer to achieve consistent uses of.

Find your acting park within yourself!

About Simon Blake

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”


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Over 900 Meisner Independent Activities
900 + Emotions for Acting List

Copyright 2018, Simon Blake

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