Technique is The Antidote to Panic

Technique is The Antidote to Panic

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At the end of the day, the technique is there for those moments we feel absolutely panicked and lost, like we have no idea what we’re doing. Maybe we’re staring blankly at a script thinking: I don’t know how to prepare, or where to start. Maybe we’re on stage and have no idea why the choices that have been working for months suddenly have stopped. Or, we’re on set and the director is giving us an “effect-direction” which we need to translate into something actable. Although there’s never one “right” answer to any of these problems, there are certain concepts we can always come back to, like working on character, the social circumstance or making what we’re building more specific. All of the tools we have are there to help feed us emotionally and give us something to hold onto so that we’re confident we do know what we’re doing. Have an acting 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.

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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.

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Talking Out a Preparation

Talking Out a Preparation

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

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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.

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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.

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Before the First Line

Before the First Line

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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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