The Past in the Present and the Past

The Past in the Present and the Past

This week, Milton touches on a very tenuous aspect of building a character’s past. There is a difference between experiencing a past event from the perspective of the present, and experiencing the past in that moment, as if reliving the scene. It’s an important distinction because your relationship to the past event in the present is different than it was at the time it was happening. There are no hard and fast rules here. Often we move in and out of the past and present, as we do in life when telling a compelling story; and it’s a valuable exercise to talk out an event from both perspectives. But ultimately, how you experience the past is influenced by your relationship to it (then and now), and what you're doing in the scene.

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Jaksot(246)

Living Off Your Partner

Living Off Your Partner

Building a solid relationship with the partner gives you grounding. Knowing who I'm talking to and what my attitude is towards them opens up what's going on in a scene.

14 Heinä 11min

Talking Out a Preparation

Talking Out a Preparation

In this video Milton works with Rashaud as he prepares a monologue from The Laramie Project.

12 Heinä 7min

Specificity • a Key

Specificity • a Key

Not just unexperienced facts can deaden our work as actors, the need to explain or report the facts can get in the way of our most creative work. Digging down specifically can help this problem.

7 Heinä 12min

Getting to Depth

Getting to Depth

It's not just enough to be functional or accurate or good enough. There's a road in to our actor work that helps us find extraordinary choices and frees us up to do our best work.

30 Kesä 16min

Before the First Line

Before the First Line

If you think of the play as a continuation of what has already happened, it gives you a sense of how much work you have to do in order to earn the play. Excerpted from my New York class, we continue o...

23 Kesä 17min

The Human Being Behind the Character

The Human Being Behind the Character

Continuing work on the Frank Gilroy play, The Subject Was Roses, this expert from Milton's in-person class begins to explore the road in to building a character with more depth.

16 Kesä 16min

Working on Text

Working on Text

Working on a play begins to give actors the foundation of working on any text they get. These are excerpts from my Script Analysis class at The Actor Lab in New York.

12 Kesä 12min

The Partner and their Behavior

The Partner and their Behavior

We're combining two exercises in this class. (1) Seeing someone 'on the street' and being able to make decisions about who they are, based on their behavio and (2) building an attitude towards them.

26 Touko 14min

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