Always Come from Somewhere

Always Come from Somewhere

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This week, Milton talks about the importance of having a clear impulse for all of our work so that we “earn” the text. Nothing starts from nothing or nowhere. We’re always somewhere, in a particular circumstance, with something going on which gives us the impulse for the scene, the monologue, the entrance, the first line, what have you… A great way to get clear about your impulse is to talk it out or improvised it before the text, monologue or scene begins. We never want to recreate the performance or the preparation that we did the last time. If we find a choice we love, we can continue to use it but alter it slightly each time, either adding or or adjusting it, so that it always stays fresh. This preparation work helps us always “come from somewhere” and therefore seamlessly move into the world of the play. Have a question for Milton? Email him at questionsformilton@gmail.com

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Jaksot(247)

Simplify Your Choices

Simplify Your Choices

There's a tendency to complicate our choices by inventing elaborate plots, when simplifying to something specific will bring us to life. Also being more specific allows you to dig deeper.

21 Heinä 0s

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

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