Interruption and Conflict
A short, practical method for breaking down an audition scene by finding where you were headed, what interrupted you...
A short, practical method for breaking down an audition scene by finding where you were headed, what interrupted you...
When adding your own lines to an audition helps and when it costs you the role, told through two recurring TV bookings.
Why sleeping on fully drilled lines is the fastest route to effortless recall, and the speed-run test that tells you...
A two and a half minute performance of Antony's funeral oration, and what its refrain, evidence and final pause ask of...
Philip Quast takes Javert's soliloquy apart line by line: the argument inside a lyric, and why he has to reach ahead of...
Karl Malden on what made Brando different: the full pause, being guided versus dragged, and the studio fight over...
Stella Adler on acting with your soul, choosing imagination over emotional memory, and playing action in the body...
Objective and emotion as two separate tools, and a way to reach real intensity without mining your own life for it.
What a summer intensive gives you when you cannot commit two years to a conservatory.
Marci Liroff on booking the room instead of the part, why the breakdown is cliff notes, and what she thinks of paid...
William Esper on deciding what kind of actor you want to be before you decide where to train, and where the American...
Larry Moss on attention, breath, script analysis, and the psychology that stops talented actors long before technique...
Six practical tricks for getting lines down, including two that have nothing to do with repetition.