Leapfrogging Emotional Preparation Technique 2


Leapfrogging Emotional Preparation

Leapfrogging Emotional Preparation Technique 2

Leapfrogging Emotional Preparation Technique can be done on purpose or by mistake. It is a double preparation that can catapult you into unexpected emotional life. Activating yourself Emotionally through skill of Leapfrogging can be an advantage and disadvantage if done unexpected.

This topic is on the over-stimulation that actors go through as they learn and use Emotional Preparation.

Note: Over-stimulation of techniques doesn’t often produce reliable results.
Key: The Key is to stimulate yourself enough that you can actually express what you have stimulated in your Emotional Preparation.

Some Main Quotes of this Acting Article:
“Leapfrogging Emotional Preparation Technique is BOTH a skill and an accident that occurs in acting exercises and acting scenes.”
Balance is key. You want to have balance in your life so you can continue to find talent for your acting.

Copyright 2021, 2022 Simon Blake
BEING Before DOING in acting is key!

Learning to balance your approach in Activating Emotions is desired so you can have consistent effort in your acting.

You need to be aware of Leapfrogging Emotional Preparation. Many times, it is done unintentionally, and the student will result in the work going in surprising directions.

Often the results can be better than expected but more often it will cause your Emotional Preparations to fall flat on their faces and sometimes lead to panic.

Leapfrogging is the Overstimulation during Emotional Preparation. Not realizing when you have already stimulated yourself is the learning process. Expecting yourself not to adjust to learning about overstimulation without experiencing it is not realistic. Most actors go through this stage of the learning process.

Utilizing Leapfrogging in Emotional Preparation intentionally is the different than unintentionally. When you are first learning these techniques allow the single process to be enough to learn from and experiment with. Experimentation means allowing initial Emotional Preparation to affect you without amplifying it.


Gain the insights from doing the process without doubling the process and you will gain more quickly results. Finding simple triggers will produce realities. Realities during Emotional Preparation is self-stimulation factors. You trigger a reality that actually activates something to live within you. When it does you go and use it in your work.

When the live activation occurs at first you learn to go and put it into your work without continuously redoing the stimulation. Learn to work with live activated stimulation instead of developing habits on stimulating them and then suppressing them is another key.

As you initially learn Emotional Preparation Techniques you want to learn to achieve singular efforts at isolating individual emotional elements. This way you can start to learn about the intensity and functions of your individual efforts. It benefits you to explore knowing about how to regulate your intentions rather than adding or multiplying your efforts before you know how to regulate them.

Finding a consistency in stimulating yourself to the desire that you are affected while not in the Emotional Preparation time period while leaving yourself able to be affected by the other person or circumstance is ideal. The balance is more important than the extremes and will lead to more things happening for you both internally and externally.


  • Do these as example sets?

Leapfrogging Emotional Preparation Technique by Accident
Leapfrogging is double or triple Emotional Preparation. Often times students will use an Emotional Preparation and find an emotional life then relax it, then stimulate it again. This leapfrogging is actually an intentional technique that intensifies the emotional element. The effect of a double emotional preparation needs to be carefully considered. You could end up having more emotional experience than you are expecting and that could be both a good or a bad thing to your work.
For consistent results with the Techniques in this book try to just do the techniques as they are written. Experiment with everything but do so in a way that once you are stimulated, you utilize that stimulation and put it into your work.

Jarod wants too really be successful. He finds and emotional element using an Emotional Preparation technique. He continuously goes over and over and over that technique. By the time he gets to class he is feeling lightheaded but determined. He goes to the back when it is his turn to work and goes deeper and deeper into that emotional element using the Emotional Preparation technique he has learned.
Jarod is unaware of the effects of overstimulation. He gets up quickly and rushes to the bathroom amidst his Emotional Preparing and vomits. He vomits so much that bile starts coming up from his stomach.
Jarod did not use any of his emotions from his Emotional Preparation efforts in his work. He does end up working with an exhaustion and the parts of him that were stimulated are long gone. He did not achieve the working with Emotional Preparation towards his craft of acting. He overstimulated himself even to the degree of physical sickness.
Key: Learning and working with Emotional Preparation does not mean you need to overstimulate yourself.

Jessica desires to become an actor and prove that she has worth to her parents and family who have unfortunately been insulting her entire life. She has a very active motivation to make something of her own life.
Jessica uses an Emotional Preparation technique to over and over again a painful part within herself. By the time she gets to class she is a ball of painful stimulation. Before working in the acting class Jessica restimulates her Emotional Preparation and reignites that painful part of her existence. This could all be good accept when she gets to doing the work, she is unresponsive to her acting partner. She is already flooding with tears but there is no interaction between herself and her partner from her point of view. She has successfully caused an emotional volcano but none of it is being used interactively in the work.
It is clear that Jessica has honorable motives but inside of the acting work she is only self-centered upon herself because she cannot even reply or in any way experience anything other than her own Emotional Preparation.
The usefulness of the Emotional Preparation technique has changed to becoming useless in acting because there is no interaction within the acting. The painful existence of her raw nerves doesn’t get utilized in the work because of its intensity and self-consuming condition.

Jeremy is learning the work of Emotional Preparation technique. He leaps frogs his Emotional Preparation technique by repeating his activation of himself. He gains an internal emotional life yet his responsiveness to the outside life diminishes.
His mother notices that his classes are making him different. Jeremy is leapfrogging and over preparing nearly every exercise. The work usually leads to it all being about Jeremy in his work and his teacher has let him know that he needs to make that adjustment.
Jeremy has been limited in life by his mother to not feel what he feels with honesty. The home environment has always been limiting to his emotional expression. Jeremy without realizing it has over stimulated himself in a way that now even in his life outside of that home environment he is not taking in the world.
The extreme conditions of not taking in the world causes him to get fired at his job for not noticing things with customers. His focus has changed because he has used the Emotional Preparation techniques to isolate himself in life and pay less attention to the outside world.
The teachers critique one day in his work is “The Emotional Preparation process is really supposed to wake up a part of yourself not shut down your responsiveness”.

  • Example of over preparation making them sick when they get back home.
  • Example of having too much emotion in their work they couldn’t even focus on the other person.
  • Example of over doing their emotions that they could not stop their emotions at all and found the other to be insensitive any moment that the other looked away.
  • Example of vomiting just before working.
  • These are all the over-stimulation stories of Emotional Preparation. Caused by over stimulation .

Balance is key. You want to have balance in your life so you can continue to find talent for your acting.

Examples of Leapfrogging that do work:

  • Student knows that they only feel an ounce of emotion.
  • They know their own work enough to know they will stay relaxed.
  • They struggle to get themselves into a very specific range of emotional life.
  • The script is over zealot the part requires larger than life emotion.
  • Adding an additional preparation to the overall to add last minute specific highlight.
  • When you know yourself enough to gage your intensity?
  • When you are able to have more than one emotional clarity in your work consistently.

Intentional Leapfrogging Emotional Preparation Technique
(The Proper Way to Leapfrog)
There is a higher technique point to make about Leapfrogging. If you intentionally build your craft up you can multiply your Emotional Preparation activations, so they build upon one another. This is more of a building up of an experience on top of an experience for a prior event than a Layered Emotional Preparation which is in later chapters.
Intentional Leapfrogging can encapsulate audience and leave an Actor over stimulated if it is not done with caution and craft. The craft is the ability to know yourself and the ability to stimulate yourself to the point but not past the point of your own responsiveness.


Leapfrogging will be adding to an already fluid emotional internally active river. This means that you will need to be leapfrogging in the same direction of the already flowing emotional river for the technique to work.

She was already upset, then the teacher added an additional full activating circumstance to her emotional preparation prior to her working in her acting.
Each circumstance was a powerhouse of stimulation to the Actor but the magic of how it worked was in the craft that the teacher exhibited by making sure the emotionally frequency was similar but not the same. The Emotional direction of the second addition was in the same direction as the first but different enough that two active emotional elements were alive and containing a life of their own.

Directors Note: Most Directors have not learned yet in the industry of buddy favors for favors community to do Leapfrogging Emotional Preparation Technique. You are lucky to find a director who will not be a time ticking producer who is policing a timed event and schedule. If you have craft or build this technique up for yourself, you can work it in with the less knowledgeable directors and they will think that they are the brilliant ones for hiring you. Over a period of consistency your talent will prove your different abilities in Emotional Preparation Techniques and the rest of the industry you can let roll off your back like a duck with water.

(If you are a Director who is experienced enough to know how to function allowing the Actor to think using Leapfrogging Emotional Preparation Technique, that they have done all the work will also work for you as long as they respect that you are contributing. They can believe that they have done the most work even when they haven’t seen that you took 18 hours to prepare for the first few moments of a scene.)


A Point about Film
There are many boutiques training grounds that are small theatres that train or experiment with emotional life in different ways. The ones that train with Emotional Preparation are fewer to find but available. Many training grounds train the actors to be overstimulated emotionally to the point that the emotion is not crafted specifically enough to be receivable on film.
Being receivable on film is a key reason why the work in boutique theater settings often do not translate on the camera. The simple truthful reality of every day upset conditions are far more internal than the theater often translates them into.
The solution is to treat your theater stage like a film set. Take dead seriously the training and learn to receive the other person without theatrical flair. Many students have achieved what looks decent on a stage to find that they become irrelevant on film.
If you are working at the level of your listening abilities are interesting to watch to an audience, you are starting to achieve training that can be useable by a camera. If you are interesting to watch because you have submerged yourself into a reality that you experience, then you are practicing the imaginary circumstances rather than theatrics.
Film doesn’t lie. If you work at emotional levels that overstimulate you it is not just the size of your actions that are limiting, you but also the lack of functioning. When you fail to achieve a functioning on a stage you will surely lack the functioning on camera.
Allow the Emotions that you do feel to permeate you without feeling a need to represent them.
The Advice: Utilize Emotional Preparation and explore it without over committing yourself to being emotional. Often in life you will become emotional by interacting with another person and not because you are already emotionally upset.

Goal: Is to learn to be a raw nerve that is a functioning while using Leapfrogging Emotional Preparation Technique. Listening, cognitive human being that is interacting with others and their environment. The Goals is not to become a raw nerve of uncontrolled mess of expression who cannot even vary their own breath. Affected and gently opened to outside influence without being controlled by outside influence is the adjustment to balance.

Leapfrogging Emotional Preparation Technique is BOTH a skill and an accident that occurs in acting exercises and acting scenes.

Copyright 2019, 2022 Simon Blake


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