Acting exercises

thef0x

thef0x

Active member
I go to a small college and I've created flyers asking for student actors.

Suprisingly, they responded. Now I have to actually figure out how to direct.

Are there good acting exercises to get actors and myself comfortable? I'll be behind the camera (my whole reason to do this is to learn how to direct and shoot) the whole time.

Suggestions? Books?
 
I've read where acting teachers beg directors to come to classes so they can learn where actors come from. I tend to agree with that.

Judith Weston has a book called "Directing Actors: Creating Memorable Performances for Film & Television." I've read it and it really helped me a lot but last fall I took some acting classes and it helped me even more. JMHO though.
 
Absolutely do an acting class...directing actors is a craft in itself so you must understand what you are asking of the actors...go to a reputable school that teaches acting in the classical sense...ie. from plays...not screenplays...you will learn more about storytelling then too. Large academys like Stella Adler also have a directors class and on camera clesses that compliment this...This might take some time and a little money but if this is going to be your craft, you must give it the respect of time and learning...it's not something you can just pick up as you go although you will get better as you do more...it is an art form and any art form requires training and practice...you do not become a concert pianist over night or a black bet, or a sculptor...if you are really serious about making this your chosen field, I encourage you to go to a great acting school...I suggested Stella Adler because that is where I got my training, but I am sure there are similar establishments in other states...

best of luck,

Stan harrington
http://www.igfdb.com/page.php?6
 
I agree with Stan, that there is no substitute for taking actual acting classes. I was trained in Meisner's interpretation of "the method," and have benefited greatly from it. If you are interested, "Sandord Meisner On Acting," is a pretty comprehensive book on what his technique was about. The forward is written by Sydney Pollack, who studied under Meisner and credits much of his success to him.
 
I too agree, take both stage and theatrical acting classes (they are VERY DIFFERENT) but don't get hung up on "techniques". Nearly all the actors I know think very little of these, mostly just a way to sell a type of acting class. Learn how actors work and think and it will go a really long way toward being a better director.
 
A very good exercise for learning directing is to write a short scene of two character dialog with just that, dialog only. Then take two actors and tell them who they are and what their purpose is for the scene. ie. Actor One: Your purpose is to keep secret a terrible truth.

Give them a moment or two to prepare. Then let them go through the scene. Evaluate how well the objectives were conveyed. Change the objectives and have them run through the scene again.

Then change who the characters are (ie. Actor One: You are the town bully and realize that you finally have no friends. Actor Two: You are a former victim but envy the wealth of the bully's family)

The actors can't do anything without initial direction from you and they will naturally look to you for direction since all they have is the dialog. You will get used to supplying information to the actors and the role of director will soon fit like a comfortable shoe.
 
khmuse said:
don't get hung up on "techniques". Nearly all the actors I know think very little of these, mostly just a way to sell a type of acting class.
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I think the greatest american actors of the past 4 decades would disagree, but everyone should find their own path.
 
bosindy said:
I think the greatest american actors of the past 4 decades would disagree, but everyone should find their own path.
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Perhaps 4 decades ago, but not modern actors, at least not theatrical ones.

Regardless, I do agree about finding out for one's self, its better not relying on hearsay and old advice from "actors" that never made it and now can only find a gig teaching other, untrained wannabe "actors".

Kinda the old

those who can do...

those who can't teach...
 
I hate to jump in on this one but I have to agree with bosindy...The greatest actors today all have a technique...just watch Inside the actors studio...I would consider De Niro, Pacino, Ed Norton, Harvey Keitel, Mark Ruffalo, Benicio del Toro...great actors and there are countless more that live by their training...and I do see many of them pass through my doors...

That's my experience, although I agree that there are more crappy classes out there than good ones...

Just my 2 cents...

Best,
Stan Harrington
http://www.igfdb.com/page.php?6
 
I wrote a long reply but it was erased somehow. I'll just say that if you have no technique, you may be able give a performance, but it will never be as deep and accessible as it could have been. I was at a talk with Chris Cooper recently and he was talking about the frustration of working with untrained actors. He said they dry up after one or two takes and once lost, can't get back to where they need to be. He also mentioned his teachers along the way and I could not place several. Most good teachers are not household names. James Galdafini is a Meisner technique actor who has his teacher on the set and I am sure you have never heard of her. Method acting began in the theatre and still thrives there BTW.

There is a dearth of good acting in independent film and that is because too many beginning actors feel they can get bye on looks and personality. Sadly, in my view, this is not the case.
 
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I never inferred that "training" wasn't a valuable aid, rather, I think that it is essential. However, where I strongly differ is that WAY too much emphasis is placed on specific "techniques" (method, Meisner, Adler, etc. are but a few of the of many examples).

Where this becomes limiting is when an actor has but one tool in their bag of tricks. Good actors train constantly, but training is certainly not limited to any "class" or technique. A good actor learns by acting, by living and by practice.

Watch a really great stage actor that lacks theatrical experience on set sometime its a rather interesting experience. Despite their obviously highly honed craft, they are rather ill equipped based upon the "technique" that they have mastered.

By the way, just for clarification, I am using the West Coast terminology here, where:

Theater = Stage
Theatrical = Film / TV

Just wanted to be certain that this isn't a disagreement over simple semantics.

For "bosindy:

By the way, I know a lot of great acting teachers and coaches, as well as a good number of CDs, so my comments are not without background and experience.

Oh well, maybe we can agree to disagree?
 
I actually do disagree quite strongly because having a technique is so misinterpreted because it is not about having a bag of tricks or one tool...nevertheless, I do believe that the discussion is healthy and needed...people should always hear the many sides to a topic and weigh up all the info so as to form a well rounded choice...
 
khmuse said:
Oh well, maybe we can agree to disagree?
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Agreed, also I think we were a little lost in semantics there for a second. I like a good nature debate on acting once in awhile so I appreciate the points you are making.

I disagree that a method is just one tool because learning one of these techniques provides many tools to draw from through imagination and emotional experience. A one tool actor in my mind would be more like Carey Grant "be charming" or Spencer Tracy "say your lines and try not to bump into the furniture." They are great doing what they do best, being amplified versions of themselves. Someone like Marlon Brando or Jack Nicholson, who studied with Strasberg, in my view had a ton more range.

Stage actors have a hard time on a film sometimes because the performances are so different, projecting v. nuanced. I am not a professional actor, I studied so I could better understand the process when I direct an Indy I wrote. Hopefully I'll get natural performances regardless what they believe.
 
stan harrington said:
...people should always hear the many sides to a topic and weigh up all the info so as to form a well rounded choice...
Click to expand...

I wonder if the same would apply to 'actors' and their craft?

Thanks for the engaging exchange.
 
Ok. As a "stage" actor, in my personal opinion "technique" is extremely important. My personal opinion, along with many of my peers, however is that there is no one be-all, end-all technique. Most people would say to study as much from the various "techniques" and theories on acting as you can and build your own from that. Every actor has their own "technique", their own way. That being said; as a director, that is one thing that I think is something you need to recognize. The great directors (of actors) realize that they must approach each actor differently. You can't direct every actor in the same way.
Away from that. I believe you were asking about excercises to help you and the actors become comfortable. This one may seem a bit silly to you, but it is a very good relaxation excercise, that you might want to spend about 20 minutes doing with your actors, before you get started. Every actor also has their own way that they like to warm-up, but in general, it is a good idea to have some sort of group warm-up as well. This is kinda from memory so bear with me.
1. Have every one lay on the ground, on their back, and close their eyes.
2. Begin some nice, long, deep breathing. you know the routine there.
3. Continue this for a few moments. Starting at your toes, as you breath in you tense up your toes, holding that for a few seconds, then slowly relaxing them with your exhale. The tensing and relaxing is meant to be done in unison, as a smooth motion, with the breath.
4. Move from there to the calves, following the same technique. Go from there to the knees, then the thighs, then the buttocks, stomach, chest, even back. Shoulders, and then down the arms to the fingers, and into the neck muscles, and even the muscles of the face.
Try to isolate each muscle and joint area of the body in the manner described above. You only want to tense the one part of the body at a time while attempting to maintain relaxation in the rest.
The early breathing just starts as an initial release from the life outside the "theatre" or the set.
You would need to "direct" them in this excercise in a nice calm voice, of course.
Anyways, that's pretty much it. If you do this properly, it should take 15-20 minutes. If you do it right and actually focus, I guarantee, you will feel quite relaxed after having done so. Then just stretch a little togethor, to get the blood flowing and go for it. You may even find that there is a nice sense of collective "comfort", if you will, due to the fact that everyone did this togethor, and its a good way to establish a calm tone on the set.
The body is an actors instrument. So it is very important to warm it up properly. All parts of it, including the voice. You want your body to work with you as an actor. Any tenseness in the muscles, will be counterproductive, and effectively act as an out-of-tune instrument.
Luckily in camera work, you can re-take, and as the day wears on, peoples jitters and what-not will begin to fade. Nonetheless, a good relaxation excercise as a group before you do anything else is a nice way to establish a tone, that can carry through the day.
There is a relaxation excercise for you. I hope it helps
Jason
 
Hey I am no director, and certainly no actor, just a lowly camera op and occasional DP, but I do watch actors and their performances from my prospective.

In that position, I really can't comment on talent's performances but on the occasions where I have gotten to sit in on casting sessions, I have gained a number of interesting insights as to relationship between performance and training.

Thanks again for everyones opinions, they are certainly interesting.

By the way its fine for the talent and director but crew really hates these "warm up exercises". When we get there all we wanna know is where crafty is located.
:Drogar-BigGrin(DBG)
 
bosindy said:
I think the greatest american actors of the past 4 decades would disagree, but everyone should find their own path.
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Yes, everyone has to find their own path. Taking an acting class isn't my thing. I learn in a very specific way.
 
I think the best exercise is to get drunk together! Well, maybe...

The best advice on directing actors I've heard comes from Elia Kazan. He said he would always try to learn as much as possible about his actors, really listen to them, hang out with them, do things that they wanted to do even if it terrified him (his famous ride with James Dean on the back of Dean's motorcycle during their first interview for East of Eden). Create a kind of friendship. This not only builds trust between you, it also gives you an advantage in directing them because you learn which buttons to push.

Also, as someone here suggested in another thread, having a party before you start the shoot is a great way of loosening everybody up; getting people to know and be comfortable with each other.

Howerver, I think whatever "exersices"you do, they need to be done before you step foot on the set. Once you start, you have to trust your actors to do what they need to do - be relaxed and focused - when they show up for work.
 
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