Public Solitude

Public Solitude

“All of our acts, even the simplest, which are so familiar to us in everyday life, become strained when we appear behind the footlights before a public of a thousand people.” Stanislavsky It was Stanislavsky who first introduced the concept of Public...
Finding the Super Objective through Empathy

Finding the Super Objective through Empathy

The Super Objective, or Spine of a character, is the driving force of every character in every script. It’s the personal battle of the character. And, it’s this battle that creates the emotional bond between the character and the audience. It’s the...
The Magic of Acting

The Magic of Acting

People can be taken away by the experience of acting, truly uplifted. That experience happens when you’ve become completely absorbed in something outside of yourself, so much so that you lose yourself. The beginning of our training and really the base of all of...
The skeleton and the colour of a performance

The skeleton and the colour of a performance

How do you work out a plan for a performance and then drop it so that you are alive in the moment?   In the attached clip you can see Actorium student Nancy Kato’s progression in her work. In the first clip (black and white)  she is focused on her Objectives...
Over-thinking your role?

Over-thinking your role?

A topic that came up a lot this week was over-thinking scenes. But the question is not actually a matter of whether or not you’re over-thinking a scene, the question is whether or not you’re thinking about the right things. This 1st Set of questions are examples of...
Obstacles to the Super Objective

Obstacles to the Super Objective

Character Development: Obstacles to the Super Objective When taking on a role, one of the first exercises is the identification of “the battle” that your character goes through. What’s life without a battle right? When does it ever not happen? The...
Clarifying Goals in Acting

Clarifying Goals in Acting

The training that we do in scene study at Actorium is based on Meisner and Method techniques. The ultimate goal in this training is for the actor is to be living and responding freely in the moment. This is an important factor at every level. I judge an actor’s work...
Stop Doing it Right

Stop Doing it Right

In the beginning, actors work very hard to do a scene, or play a role ‘correctly’. They struggle to meet the demands of the script to the point where they follow it like an architect may follow a blueprint. They no longer allow themselves the freedom of...
Outside the Lines

Outside the Lines

In order to be able to fulfill a role you must be able to extract a character from the script. What does extract a character from the script mean? It means you are able to play the character as a separate entity. You are able to separate the character from the story....