What an Acting Class Should Be
Acting is a rough, competitive, ugly business. Particularly here here in LA. For young artists, the prospect of a nationwide advertisement or a regular part in a series implies a lot of money. If the performer is up for the audition and up to appear in front of the camera, a successful movie role will launch a career. The concern with these conditions is the burden they cause. It counts each audition. It’s tough to get successful auditions for good programmes. So, are you prepared when you audition? Who helped you get packed, and how did they support you? Our website provides info about school.
Cold reading methods and professional performance lessons are most of what occurs in LA. In principle, there’s nothing wrong with these classes — they’d be fine if they were all warm-up or work out sites. The issue is that they have essentially substituted an existing acting programme in people’s eyes, or any acting scenario where a starting actor might practise the trade. People believe that they are equipped for the aforesaid burden because they have taken a cold reading class at a respectable studio. They’re not. The situations in which one auditioned in LA, and then the conditions on most TV shows and movie sets, are not conducive to having a novice or someone who took a few cold reading lessons to do successful work under pressure.
These facts are understood and reacted to by a good acting class and a good acting instructor by having intense, real training for the real world of work in film and TV. Technique and relaxation are emphasised by a good acting class as the cornerstones of a successful acting career, or perhaps just a successful audition. There are several methods out there for performing. But on Stanislavsky, the standard and most artistically sound techniques are focused. Sanford Meisner, Lee Strasberg and Stella Adler are the three most common interpreters and students of the function of the Master. Bobby Lewis is a less well-known promoter of work focused on Stanislavsky, but he also published a great book and was a very popular tutor. Why are these Stanislavsky strategies and explanations so significant? And why should one of them be trained by a professional acting teacher?
Since they explicitly discuss the necessity for the performer to deliver real behaviour, to be in the present, to speak from a deep level of emotional reality. Such strategies Teach actors to do certain stuff. These four key Stanislavsky interpreters have several offshoots, but these are the big instructors. Everything is lost if any iteration of their methods is not available. If, in fictional conditions, you do not perform actual actions, you are not behaving. You might be singing, but you’re not going to behave.