My proposal here is that all the teaching and training and experience in the world will not replace the one true reason for your presence in this moment. And that reason is desire. Desire to be free, desire to connect, desire to feel alive. For it is precisely that desire that triggers the almost unconscious but fully instinctive choices that lead us down the artistic rabbit holes in each moment, where we fulfill our appetite for the one thing that brought us here. Do we wish to Act? Be judged? Serve the perceived expectations of others? Get our lines perfect? Make sure our hair or outfit is amazing? Try to fit the ever-changing box of corporate networks? (that last one is a bit extreme I know) But no! We want to feel, or connect, be moved, and believe. So instinctively, in any moment, we will welcome stimulation and information, and then innately decide what we already KNOW about this moment, (like we did so well as children at play) by welcoming our instinctive feelings, interpretations, and imagination. We evolve and grow, and learn, right here, right now. JUST LIKE our characters do.

You see, I had a near lifelong misconception about Acting and being seen. But it is clear to me now that this is not what Actors do. They are NOT Acting. They ARE seeing.

Acting is the opportunity of expression of the human soul. And our soul often speaks a more authentic language than the more “fearful” language our surface self may speak. It makes sense, because the world many of us live in often demands we protect ourselves, and many of us have been hurt, many times over, and so are understandably ever-cautious in society’s arena.

But this is Acting Class. And the very reason you chose to be here is to be free, feel alive and to connect and listen. THAT’S what you want; THAT’S why you’re here. So in fact; your desire for pleasure pre-exists your decision for defence, meaning it’s your genuine instinct to want to connect and feel and empathize grow and learn, and that you really don’t have any true need or desire to prove yourself or get anything “right”. No techniques or mechanisms required! Our souls do not need a filter, and do not require disclaimers.

So, in fact again, the students were right; they can survive on the one thing they get out of this class. In fact, they can thrive on it. And they CAN speak their natural language.

In fact, it was suggested to me that same night…it’s quite possible, their souls can’t survive on the other language.

I wholeheartedly concur. Acting Class: it’s already in you! Better to KNOW it than to SHOW it.

The Students are always right.

That is a lesson I never get tired of learning, and never stop being thankful for 😄

Now that I know what they get out of this class…I will endeavour to remind them of what they’ve “already got” in this class…and what they give US.

The post What you’ve ALREADY got! appeared first on First Step Actors.

Or is it.

The original objective is to force Artists to build a scene by listening and reacting and paving a road out in front of them with performance. It’s an intense experience to participate in, and can often be very difficult and stressful…like juggling plates while spinning fire, and talking your cat out of a tree, and being judged for it all along by a group of peers who only want to be engaged and possibly amused. Yes, it’s fun, but it might be a kind of pressure-filled fun…like skydiving…or wisdom teeth removal.

I digress I know. And it should be made clear that I am a HUGE fan of improvisation; I love the curious unknown; it is at the essence of all that we do. But what I am not a fan of, is improv for result, feedback or praise. Just not my thing. But that can be for another blog post.

So in this off-shoot of Actors Nightmare, (I Don’t Care) we give one Actor the script, and then we put the other on camera, and allow them only one response and objective, both of which is “I don’t care”. The idea being that no matter what is said to them, they respond with “I don’t care” and with the full and committed intention of convincing the other person that this is in fact true…that they do not care! Then the real fun begins, because as classmates, we get to watch this experience transpire live on the big screen, and then, whenever we feel that this person does care, we call out “whoop!” to let them know that we can feel, that in fact, they really do care. So they are forced to work harderand perform less. It’s super fun, and beautifully challenging and complex.

Remember that each of these participants is doing so on camera, in front of bright lights, on a big screen, before an audience…and without the prepared script. So in a sense, the participant is doing the opposite of their usual inclination: perform, deliver, please others, while doing everything they can to not participate in the forward motion of this dialogue and potential journey or to service the camera, lights audience expectations etc. This is VERY difficult to do. To NOT be good at this exercise, and to willingly sabotage any hope of doing a great piece of acting work is the goal. And therein lies the rub.

You see, what actually transpires on the screen for the rest of us is the actor becoming a character, due to the fact that they are more committed to something of greater importance to themselves than that of the delivery and performance of this scene. We see a human who is not acting…but is “doing”. And the “whoop!” we call out to them isn’t a declaration of failure of the objective and ridicule but is a celebration of the energetic flow that resonates because of their integrity and strength and character. And that moves us. It always moves us.

In the end, what we get is exactly what we maybe don’t know that we’ve wanted all along. To NOT act. To not put on a show. To be enough just as we are, and to be welcomed to pursue THAT path. To prioritize what we KNOW over what we show. To be, or not to be.

So lets say you have an audition, and you’re asked to play the cop interrogating the bad guy in a crime investigation, or vice-versa. And they send you the pages of lines and the description of the character and the moment, and a bunch of directions and instructions on how this should feel and what it should look like etc. Sigh. And you learn, and prepare, and you’re totally on top of your game, and ready to be the most super-auditioner of history. Turn on the lights, get set for the ultimate delivery of greatness. This is your moment.

Now breathe. Turn around, and ask yourself: is this character an actor? Is this character auditioning for a part in a tv show? Does this character have all my hopes and dreams? The glow of wanting to be seen, heard and approved? Does this character even want to be here at this moment? Even want to have this conversation? And keep asking questions if you like…but the answer will almost always be no.

And let the last question be something like this: do I have the courage and love of this craft to honour the character instead of the Actor? And subsequently, honour thine self in the process? Do I have the confidence and belief to NOT act? To NOT audition? But to live truthfully under these imagined circumstances?

The post To Audition or NOT to Audition appeared first on First Step Actors.

An interesting question that caused me to pause; not because I was searching my brain for celebrities in our studios’ history, (there are a handful…that we’ve never, ever mentioned) but because the question intrigued me…or I should say, the possible reasons for the question intrigued me.

Now, after 26 years of flailing field research, for me the answer is an easy one, but certainly not a short one. But in that moment, I could really appreciate the inquiry, and was curious about this person’s perspective, such as it was at the time.

Do any Stars come here…

What is a Star?

What is an Acting Class..?

Artistry and Industry are two very different things. Do they interact? Absolutely. All the time. But they are utterly distinctive disciplines. In this case, we’ll use Acting Class as our comparable study:

In the Artistry column, Acting is an art-form. In Acting class, we are committed to a deep understanding of a character’s history, wants and needs, and a full understanding of this moment; we employ curiosity and empathy, and our movements and actions are motivated by information and emotions. Basically, we live truthfully under imaginary circumstances.

In the Industry column, star-making is a business. Scripts for films, television shows and commercials are largely (not always) organized with the objective of viewership and ad-sales as priority. Methods and strategies are employed to maximize engagement, influence, and encourage purchase of membership and related products. So in a sense, the movements and actions of Artists under these circumstances are often, motivated by a corporate interest, strategy or an algorithm…which is not acting by definition.

But again, do they interact? Yes, all the time. Are they related? Sort of. But it can be quite exciting to learn that the beautiful and revelatory craft of Acting itself, does not equate to being an industry star.

Some of the greatest, most spellbinding actors I have ever witnessed, are not involved in the film and television or related media industry.

Some of the most powerful moments of my artistic and human existence took place in a crummy little room on Welch Street, by selfless individuals who don’t have an Agent.

Some of my greatest personal lessons and growth have come as result of my work in Acting Class; and yet, some of my most negative and regressive messaging has come from my work in the film and television industry.

To live truthfully in a near un-manageable moment, having selflessly researched a characters past, empathized with their plight, and courageously embodied their wants and needs with a hopeful eye to their future, and to do so in a room among one’s peers, with and open heart, curiosity and a rapid heartbeat, and to be committed to oneself and one’s scene partner, and to actually see the world that exists in the story,  totally connected and focussed on what truly matters…oh my God! UGH!.. the heroics of this magical and mysterious thing!

But am I hoping to curb favour for one over the other? No, certainly not!

Well…maybe I’m a little biased. But in all transparency, I did do an audition for a Hallmark movie yesterday, and I gave it my all!

The point is really about perspective, and having a healthy understanding of this work, so we don’t mix the two disciplines and use the results as a measuring stick for our self-worth and personal pedigree.

Also, the point can be about following our genuine gut and not second-guessing ourselves and our decisions…and being able to identify when our choices, actions and movements are being influenced by industry rather than by our innate instinct…and working toward trusting the latter.

Imagine the complexity of bringing Art to an Audition. I mean, that’s a whole other Blog post!

I digress. Back on track.

“The person you are is a thousand times more interesting than the greatest actor you could ever hope to be.” Bottom line. No debate. Period. Mic drop.

So the answer to the question- you remember the question, don’t you?

“Do any stars come here..?”

Answer:

Yes. Absolutely. They all are.

And having learned from this experience, I think a good question for me to ask is:

What am I actually “doing” in Acting Class?

Or maybe even…

To be, or not to be?

That is the question.

The post What are we actually doing? appeared first on First Step Actors.

Drama 8 was a unique experience in my life; improv, emotional expression, sense memory, connectivity and collaboration; a safe place with a nurturing vibe, provided by a teacher who loved her work, and truly cared for those she was working with. It was a refuge in the storm, and a club for those who wanted to be seen and heard… so they could learn how to see, and why to hear.

In Grade 8, 9 and 10, I pursued the Acting Award.

At Senior Secondary, I was introduced to accountability and discipline in Acting 11 and 12. We worked on character and story, and having a reason for our actions. We had to hold our own, in a competitive environment, and be resourceful, dedicated and responsible for our work. We were led by a teacher who loved his work, and insisted we honour our best selves. In grade 11 and 12, I pursued the Acting Award.

As a young adult, I hired an Agents and attended a thousand auditions, some good, and more than some, not so much. I posed for photos and did background and worked on my hair. I was in a constant chase to be seen and heard; to be known as special and admired. I pursued booking jobs, so that telling people, would be my Award.

It is said that an Actors reason for wanting to act is to be seen and heard. In my case, that was certainly true. But perhaps we are also misunderstanding the statement.

Maybe we are all people who need to be seen and heard, and rightfully so. I’m certainly one of them…and likely so are you. And maybe that sometimes leads some of us into the performing arts. And maybe some of us, like me, carry on the chase; audition to audition to audition.

But what if there exists a place, that’s not an audition, where upon crossing the threshold, we ARE seen and heard?

Well, then I wouldn’t need to act for my award. And I could do what I really love: living truthfully under imaginary circumstances; connecting & collaborating, feeling, sharing, and evolving; empathizing with characters and their story, and realizing my highest artistic expression.

“Playing” in a safe space, with people who see me, hear me, and care.

These are the things that enraptured me when I walked on to the carpet of the drama room in grade 8.

Acting class is a safe place where I don’t need to ACT. I can just BE.

So I get to love the work.

And acting becomes its’ own reward.

The post The Acting Award appeared first on First Step Actors.