Excerpts from A Practical Handbook for the Actor

1986 by Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel Pollack, Robert Previto, Scott Zigler.
With an Introduction by David Mamet

The great debate throughout the history of acting is whether the actor must feel what his or
her character is ostensibly feeling at any given moment. The bottom line is: What does it look
like to the audience? The crucial thing to remember is that the actor is not onstage to have
an experience or to expose himself to the audience, but to help tell a story.

Physical Action
To act means to do, so you must always have something specific to do onstage or you will
immediately stop acting. This is why physical action is so very important for the actor. Simply
defined, an action is the physical pursuance of a specific goal. Physical action is the main
building block of an actors technique because it is the one thing that you, the actor, can
sonsistantly do onstage. Choosing a good action is an invaluable skill that can only be
developed by long, hard practice. In this chapter you will find the requirements of a good
action; use them as a checklist when figuring out an action for any scene.

An action must
1. Be physically cabable of being done.
2. Be fun to do
3. Be specific
4. Have its test in the other person
5. Not be an errand
6. Not presuppose any physical or emotional state
7. Not be manipulative
8. Have a cap
9. Be in line with the intentions of the playwright

Preparing for a Scene

By correctly analyzing your script, youve already done most of the preparatory work for any
scene. What remains is to get ready in the moments preceding an actual rehearsal or
performance.

you are in a scene in which the character you are playing enters and finds his wife lying
dead in a pool of blood. Rather than figuring out how to act surprised, analyze the scene:

1. What is the character literally doing? Coming home to his wife.

2. What is the essential action of what the character is doing in this scene? Planning to
make a loved one feel like a million bucks.

3. What is the action like to me? Its as if Im going to see my grandfather to take him
out on the town for his seventy-fifth birthday.

The above action is a good one because it is so far from what you will actually encounter
onstage. The audience will perceive that you have unknowingly stumbled onto something
unexpected if you clearly make the beat change onstage; it will read to the audience as the
character trying to figure out what to do.

How to Act (An Acting Process)

Written by Samuel Campbell on May, 6th 2012
Acting Tips How To Resources

This article is a personal process for taking any character from a first read to a closing night.
As with all acting advice and methodology, it draws heavily on a number of influences: acting
coaches, method books, personal experience and advice from fellow actors and directors.
And like with all acting methods, use what works and throw out the rest.

I have tried to break this page into sections with relevant subheadings. I recommend reading
the entire article first, then re-reading any particular sections of interest. The article takes
you step by step through my process of how to act, starting from the early discovery stages
to the performance level. I have, however, intermittently added tips and other information
throughout the article. Their is no secret how to act well, though, I think this article,
audaciously confident, can really help guide you on your way.

Contents

A) From Page to Stage

1. First Words
2. First Read
3. Early Rehearsal
4. Late Rehearsal
5. Technical Rehearsal
6. Performance

B) Behind the Scenes

1. The Process
2. The Line
3. Given Circumstances
4. The Text
5. The Conclusion

First Words
Open up your play. Take in a deep breath and here we go. The magic of becoming a character
begins. In the early stages of a putting on a play you have to keep your mind open.

1. Read the play as much as you can bear!

2. Have a notepad handy and write down anything that relates to your character, the
play or anything at all that can you find inspiring.
 3. Ask questions. There is no way to know the answers to everything at the start so
dont try to. Write done as many questions as you can think of and dont worry about
trying to answer them immediately.

4. Read outside of the play. Read articles, reviews, interviews as well as investigate the
period in which the play is set. Read plays by the same author to get further
acquainted with their style.

5. If its based on a real story investigate it and the people who were involved. If not find
substitutes e.g. If you are playing a cane farmer, talk to cane farmers, go work on a
farm for a few days.

6. Write the 4 Lists. 1) Everything my character says about

his/her self 2) Everything my character says about anyone else 3) Everything
other characters say about my character and 4) All the facts about my
character.

Tip: If something you research or investigate offers you a trifle more detail to your characters
world, then it has been worth doing. If you can a detailed and well understood character that
means you can walk on stage with confidence and allow real connection and magic to
happen.

Tip: Start a play Dictionary. Often in plays, especially classical plays, there is an assortment
of unknown words. You cant speak what you dont understandso start a dictionary.

First Read
The first read is where you sit around or in some cases stand around and read the script for
the first time. It is usually attended by the whole crew including technical crew. Hopefully by
this stage you have already undertaken some of the steps above. As a bare minimum you
should be familiar with your lines, under pressure, cold reading can go very wrong and first
impressions do matter. It is not an occasion to show everyone how to act just be clear and
focused.

1. Be familiar with lines and understand the sense of what youre saying.
2. Be in the room, present. Really connect with who youre talking to. Give the text
energy.

3. Even though its a first read, first impressions do matter.

Accent: Learn the accent or be very familiar with it from day one. Of course take on what
your director or voice/accent coach tells you as the rehearsal process progresses. However,
the more you are comfortable with the accent/dialect to begin, the better. If you add an
accent late in the process it becomes a conscious thought on stage, rather than being a
natural element of your performance.

Early Rehearsal
Its time to play! Early on in my training I would in rehearsal try and give a full performance
on day one. I would make quick choices about my character and stick to them. Sometimes
this approach can work and people come into a first read with a clear character in mind and
it really clicks and the director is thrilled. However, this process tends to undermines both
your character and yourself. It means you are leaving little room for play and
experimentation in the rehearsal room. So unless requisite by the nature of the project
perhaps a short rehearsal periodexperiment.

1. Play! Try new ideas, physicalitys, intentions etc.

2. Give offers! Directors love offers and ideas. Its easier for a director to give cut back
notes, then to get something more out of an actor.

3. In rehearsal dont perform to impress, instead try to develop your character further.

4. Learn lines as early as possible, unless the director instructs you not to. Learn your
lines without emphasis so as not to be stuck in patterns.

Tip: Many teachers recommend learning lines without emphasis often called by rote. Getting
stuck in vocal patterns turns you into a mechanical actor and stops real connection on stage.
Play with key words and phasing in the rehearsal room or with your scene partners.

Late Rehearsals
As you near into the end of the rehearsal period you should begin to lock in choices. Noting
what really works and where you still need to go. You should be absolutely on top of your
lines so that they come to you easily and arent a thought whilst on stage.

Tip: If your director is happy and you are feeling confident with your character, doesnt mean
the work is over. Keep discovering more and more detail, both with your text and with your
character.

Technical Rehearsals
I have been told by every director I have worked with that ones behaviour in a technical
rehearsal is a key factor in reemployment.

They are long and monotonous, yet they are crucial to marry the technical and creative side
of the production. So dont chat or say jokes to cast members. And, unless otherwise
advised, give a full performance (especially vocally) so that they can match vocal levels to
background music and sound.

Tip: Use tech runs as a chance to clarify blocking and to find your light. Finding you light is a
great skill for any actor.

Performance
So here it is. The performances begin. Depending on the show you could be looking at a one
off performance or a 9 month run. Either way, I think the same rules apply. Show after show I
have noted the same things. If I am grounded, well fed and energised the show improves as a
consequence. When I am tired or in a scattered state I will not perform to the same standard.

1. Be well slept and fed. Keep energy levels up, performing is exhausting.
2. Come early and warm up. Warm ups should include vocal and physical exercises.

3. Walk through your blocking. A lot of actors walk through there blocking to be secure
on it so that when they walk on stage they are completely comfortable.

4. Be a positive cast member. Dont bitch about other cast member and especially not
the director. Dont be grumpy and complain about the fact that you have to perform a
show, it should be enjoyable so if its not go and get a real job.

5. Let it go. All the work you have done over the past however many weeks needs to be
let go. You can go over your scene objectives or look through notes but trying to play
your work on stage doesnt work! You have to let it go and hope it comes across.
Trying to act is the quickest way to bad acting.

Behind the Scenes The Process

You cannot simply rely on learning the lines and going into the rehearsal room day in and
day out. Some actors do this and use natural ability to get by and if thats you then well
done. However, unless you are completely comfortable with the character and are confident
with thinking on the spot, there is work to be done. If you follow the following list of
questions you will be in a very position with your character and the question how to act?
will seem a little easier to answer.

Function

1. What is the purpose of the play? What is it trying to say?

2. Function. Once you understand the play you are in, which is guided by the Director,
you have to work out what your function is in the play? Why has the writer put you in
the play?

Breakdown (Units)

1. You have to unit your script. Break it down into smaller sections to help you
understand the story clearer. Often directors unit the entire play and name the units.
This often happens in plays that have no scene numbers. You then need to further
unit your individual scenes. It is usually better to do this with your scene partner so
that you can discuss units and be on the same page. It is always useful to name the
units. A unit is defined by a change in subject matter.

Wants/Objectives

1. The next step is to look from inside your character. What does he want?
2. What is his super objective? What does he want out of life?
 3. You then need to work out your scene objectives. What does your character want in
this scene?

4. You can go even further to ask what your character wants in this unit and even in a
particular line.

Truth: Often the people who can perform freely without having done this background work
are naturally confident and comfortable performers. They also have well trained
imaginations and can fall into the world of a character easily.

The Line
The line was an unusual heading, but it is amazing how often how to actually say a line is
missed. There is a mix of different approaches to this and each is valid. I have numbered
them below, though it is not essential to complete all the numbered points.

1. One technique is called actioning which is where you put in a transitive verb
describing what you do with the line. For example; to admit, to betray, to rush It
gives you a basis for the line and an action you can play. It is often good to focus you
and make sure you know what you are saying. It can be argued that this limits your
expression and makes you act mechanically, as you are going into a scene with a pre
planned script and not responding to what your scene partner is giving you. If your
objectives are clear, however, and the actions tie in with those objectives it can work
well.
2. Know who you are and what you want and let rip. This is an organic approach which
allows you to change from night to night. You are encouraged to really listen to your
scene partner and respond to what they are giving you. If you are comfortable on
stage and you are solid in your character then this is the way to go.

3. Inner monologue. This is a technique where you write out the real inner thoughts of
your character. If you have worked this out thoroughly you know exactly what you are
thinking and how you feel about the world around you. It means you can go onto the
stage and invest fully in the moment.

4. What is your intention? How do you want them to react? Why are you saying the
line?

5. As if. This is where you look at the line as if you were saying it to someone you know
in a similar situation. The as if can be similar or it can just share the essence of what
you are saying. For example: if you were saying you wanted to kill someone, then
saying it as if you were annoyed at your mother might suffice. If can also be
invented, yet it should be a possible event that could happen in your life.

6. Substitution: this is similar to the as if, however, with substitution you try to get as
close as possible. If you were being broken up with in a scene you could substitute a
personal break up experience you have had.

Ultimately we aim to make the line as real and natural as possible. What technique or
method you use to achieve that goal is unimportant.
Tip: Play to win. Your character, like in life, believes he or she is right. In any scene they want
something so fight for it. Never play the victim, it is low energy and uninteresting to watch.

Tip: Get to the end of the line. A though travels to the end word in real life, so do the same
on stage. Make sure you keep the vocal energy to the end of the line.

Tip: Push through the pauses. Often, pushing through the text and not having long pauses in
the text can really change a performance.

Given Circumstances
The idea of given circumstances is used by a number of theatre teachers namely Uta Hagen.
She breaks it into a six step process which in covers a lot areas we have discussed above. Her
book, Respect for Acting, is fantastic.

This below list is a combination of questions and given circumstances I have found useful to
help further understand my characters. I use the heading Whole Play and Scene because
there are aspects which remain unchanged through the entire play and those that change to
the specifics of a scene.

The whole play

General Character

1. Age, occupation, religious beliefs, political beliefs, economical background, physical

condition, specific traits, past injuries, living area (apartment, homeless etc.)
2. What is my inner running condition (Fast, slow, frantic etc.)

3. Where is my centre (head, chest, groin, hips, core)

4. What are my relationships (married, children, family tree etc.)

5. How do other characters treat me? How do they feel about me?

6. What is my function in the play?

7. What is my overall objective?

Scene

Who am I?

1. What is my present state of being?

2. How do I currently perceive myself?

3. What am I wearing?

Location and time

1. Whose space am I in? How does this make me feel?

 2. What is the time (day, month, year, and season)?

3. What is my geographic location? Am I in a city? What neighbourhood, landscape do I

find myself in?

4. What immediately surrounds me (desk, equipment etc.)?

5. What is my relationship with the space?

6. What has just happened before the scene?

7. What have you planned to do after the scene? (Where are you going?)

Who am I seeing?

1. What is my relationship with the person/s in the scene? How do I feel about them?
What do I know about them?
2. Who am I with?

Wants and needs

This was spoken about above. However, this set of questions makes it simpler.

1. What is the function of the scene? Why is it in the play?

2. What does my character want in this scene? What is his Objective?

3. How will I know when I have achieved my objective?

4. How high are the stakes?

5. Am I arriving as a guest, intruder or as a surprise?

Obstacles

1. What stands in your way of getting what you want?

2. What tactics will you use to overcome these obstacles?

The Text
All the above information relates to character. In many ways if you do all this work you really
dont need to get to intellectual with the text, as hopefully it should come naturally. However
here are some useful techniques.

Key Words: in any line there are usually one or two key words. Often we can become
monotone on stage and so actually going through your text and picking out key words is a
great idea. This is really important if you are working on a Shakespearean or classical text.

Rhythm and verse. Often text can be written in verse and a good amount of time must
be spent understanding it, again this is especially important for Shakespeare.
 Articulation: often our articulation in day to day life can be lacking. We as actors are
performing in large spaces and often with heightened text we have to really get the words
into the audiences ears. So sitting down with your text and marking out end consonants or
s sounds is crucial.

So what is the secret to How to Act?

Well there is no secret about how to act. Fundamentally it is about working hard and
practicing as much as possible. Acting isnt different to any other art form. It requires practice
and hard work to be successful. Over time you instinctually learn how to naturally do a lot of
what is discussed above. But as it has been said time and time againthe best actors are
those that work the hardest. You have to be a detective! Constantly search for more
information and detail in the text and in your character. If you can make this process fun it
will help.

Story is a fundamental part of our society. And an actor, in which ever medium, be it film,
theatre or TV, has the ability to truly bring a story to life. If he or she can transcend into a
character and take an audience on a journey that is a wonderful thing to offer the world. It is
always important to remember that.

For more on going acting advice check out our Acting Lessons page. If you are looking to
study more seriously check out our list of Acting Schools to see where is what acting schools
are around.