Finding What's Actable

Finding What's Actable

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As we continue making discoveries about all the dimensions that make up a character, we always want to look for what is actable or doable. For example, if your character is compulsive, the challenge is to translate that into something doable. One way to get there is by asking ourselves: what is the nature of being compulsive? And eventually we might come up with the need “to create order around me.” If our character is in a circumstance that is shocking, it’s important to go deeper and ask: what is the nature of shock? Maybe we pull away or lash out. Whatever action we come up with, we want it to feed us emotionally. If we fail to go deeper and instead play “compulsive” or “shocking,” we will end up playing a cliche. To oversimplify it: we must figure out what we’re doing, and then we must do it.

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Avsnitt(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 Juli 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 Juli 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 Juli 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 Juni 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 Juni 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 Juni 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 Juni 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 Maj 14min

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