Acting Career
Tackling Talent: Part 2 with ACS Assistant Coach Ian Watt
Friday’s have become special days at the ACS studio. Over the last few weeks we’ve been working through a DVD of Meisner classes. It’s a real treat to watch the man himself training actors in his own techniques. At 8 hours it’s a bit of a marathon but it always sparks off lots of discussion.
We’ve been thinking about talent. The core skills of Repetition, Script Analysis & As Iffing can all be developed through hard graft – so does the term TALENT even fit with the Practical Aesthetics ethos of acting? Does it matter how TALENTED or UNTALENTED you are?
Talent is a difficult term to understand to begin with. One dictionary definition is – a natural ability or giftedness. So someone with talent has an aptitude for certain things or an innate ability to achieve a level of skill or competency. Now here’s a much misunderstood term. Competency sounds like an apology for being just-about-passable but is defined as a combination of aptitude, knowledge, understanding and attitude.
Two indisputable talents sprung to my mind – Picasso and George Best. Picasso’s early works are worth a look if you ever thought he couldn’t draw and Best was such a great footballer that Pele, the Brazilian legend, signed an autograph for George with the words “from the second best footballer in the world.”
Yet Picasso said it had taken him a lifetime to learn to draw like a child and Best worked so hard in extra training to develop his weaker left foot – it became stronger than his right. Without doubt both showed signs of having great talent at an early stage in their lives but they also demonstrated they had a great work ethic – even in Best’s case.
But all of Best’s aptitude for balance and ball skills didn’t help him extend his playing career and Picasso’s understanding of form and hand to eye co-ordination wasn’t the reason he continued to produce works until he died aged 92. Maybe the difference between them was attitude.
Mamet wrote a private letter to the original students of Practical Aesthetics before their first performance – ‘A good actor trains his voice and body and analytical powers even though this training is taxing and “no one may ever notice.”
I feel talent shines out. It is obvious and noticeable – especially to those who can’t. So how does that fit with the P.A. approach? To be honest – I dunno. I like the idea of talent being a gift – something you’ve simply been given. It’s nothing you can or should take any credit for – it’s just the way you are. If you perceive a gift as something of value then you’re likely to take care of it – nurture it and not hide it at the back of a cupboard next to the horrendous cardigan you got from granny last Christmas.
REAL talent makes something difficult look easy to do – SO easy that everyone thinks they can do it. Ultimately I guess you can either use it or choose to waste it. My advice – which you didn’t ask for – is nurture however much talent you have whether it be great or little. Don’t worry about whether you have it or not, work hard and concentrate on developing the skills you need. If you are tenacious enough to keep on learning – you might surprise yourself and manage to be competent!
Thanks
IAN
To You, The Best!Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
Tackling Talent: Part 1 – A Guest Blog from ACS Assistant Coach Karli Evans
How many successful actors out there do you think built their careers on talent?
The answer is, probably 3.
Not only is acting not exclusive to those very few who have true talent, true talent being the ability to instinctively live truthfully under the imaginary circumstances of the play or film EVERY time, but someone with talent very rarely works hard at acquiring a technique. Why would they need to? They have talent and, so far, it has always worked. But what happens when it doesn’t work? You don’t instinctively feel it? The muse doesn’t strike? Where do you go and how do you still give a truthful and exciting performance?
A technique is designed to be a fail safe system that an actor uses when needed, to create consistently great work. That doesn’t mean being exactly the same every night, but being consistently honest, real and in the moment and therefore watchable and exciting. And a technique is learnable. You aren’t born with a technique.
Can you build a successful career on talent? The necessary characteristics of an actor extend much further than the ability to act well. An actor needs to have a fantastic work ethic, self motivational skills, incredible staying power and the ability to constantly accept rejection without slipping into self loathing and despair.
If an aspiring actor is not as naturally gifted or talented as others, to continue on this career path takes grit, passion and absolute love for the job. Does this mean talented people are less passionate because the same level of grit and hard work are not essential?
My thoughts are that true talent (making it work instinctively EVERY TIME) is so rare that it doesn’t matter and even a truly talented person must find somewhere to showcase their work and get themselves known. Everyone who wants a career as an actor needs to put in the work. Some natural ability can be a good starting point, but a football player with natural ability still needs to train every week to make the professional league.
Remember that acting is learnable. A technique is learnable. Acting is not an exclusive club for the ‘chosen ones’.
We often see a great film or play with great acting and say ‘Wow, they’re talented. They’re so lucky to have gotten their break.’
Anthony Robbins’ definition of L.U.C.K
Labour
Under
Correct
Knowledge
Nowhere in that statement does it mention talent.
What you and everyone else see up there is not talent, but the result of hours upon hours of hard, gut busting work.
All the best
KARLI
To You, The Best!Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
A Few Good Resources
Hey All
In today’s blog, I wanted to offer you a few resources that I’ve found across the web.
STINTON TALKS MAMET: The first is for people in the UK or for those who can listen to the iPlayer or catch Radio 4 somehow. Tomorrow evening (Monday 8th February), Colin Stinton will be reading some of Mamet’s work on Emotions, The Rehearsal Process, and The Play and the Scene. It would be good to hear Mamet’s close collaborator Stinton expressing Mamet’s ideas before Mamet’s latest book ‘Theatre’ is released in April this year. This was meant to be a permanent resource, but check it out before it goes…
APPROACHING SCRIPT ANALYSIS: I was looking up some stuff on the web, and wanted to seek other perspectives when I found this interesting article on Backstage, it compares several acting teacher’s approach, one of which is Practical Aesthetics, take a look here. I’m interested in what you think of the OTHER approaches mentioned.
CASTING THE UNKNOWN: This is a great Radio 4 (finite) resource on the show FRONT ROW is taking about acting, using REAL people, non-actors, casting straight from the street.
It’s only a few resources, but I’ll bring more too, let me know your thoughts…
To You, The Best!Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
Making Excuses
There is one quality that I see in my students that indicates that they don’t really have a future in acting. It’s making excuses. There’s a million reasons why you didn’t do something, but if you want to be a successful working actor, then you must cultivate the habit of presence.
Acting is learned in through the body and presence is required. That means mental and physical presence, being there and once there, switching on and tuning in.
The cold you have, the busy you were, the ‘a lot’ you’ve got on at the minute, the thing you couldn’t get out of, the visiting nephew, the tickets you’ve booked, they are all an index to one thing, the value you place on your acting career. All these reasons are excuses and they all ask one thing, like the child that was caught being naughty and wants to evade punishment —Indulge me, I am special, I have special extenuating circumstances that crave special treatment.
Mamet says ‘what you practice, you will perform’. It’s the same with your attitude. If you treat class, or auditions or rehearsals like they aren’t the real thing, if you ‘i’ll do it on the day though’ you are making excuses. If you really want to nail it on the day, then from Day 0, you’ve got to cut the shit, put away your excuses and engage. And if you can’t, then perhaps this business isn’t for you.
Gatekeepers: A Secret about the Acting Industry
Anyone can act. I know it pisses actors off to hear that, because we all want to be special, but it is my sincerest belief that anyone can do it. Not everyone can do it as well as everyone else, and quite often some people are predisposed to excellence in a particular field due to ‘an accidental gathering together of molecules and atoms’ as Sean O’Casey has one of his characters say in Juno and the Paycock.
Now, I’m not suggesting that anyone, or everyone SHOULD act. But I am saying it’s possible for anyone to learn the basic skills and put them into action However, it is a unique set of characteristics and criteria that make that person able to become a professional actor.
It takes a lot more than the ability to kick a ball to become a professional soccer player. It is a particular combination of skills and personality (character) to produce someone that can play professionally. Some people just have it, some people do not. Most people that are excellent are obsessive, there’s little real ‘effortless’ success. Obsession means hours, weeks, months and years of practice. So even if you’re gifted, it takes obsession and character to take you to the position of being worthy, but then you have to be lucky too.
Likewise, the actor needs more than just the capacity to ‘play’ to be an actor. They need obsession, practice, luck and character, and most of all, will. The desire to succeed no matter what. Most of the actors that I know that didn’t give up after being rejected found success and those that were instantly successful probably gave up when they found the going went tough. It is the strugglers, or should I say – the grafters that make it.
In order to become a professional actor, you must combine ‘a talent to amuse’ along with certain aspects of character that will ensure success. These characteristics are personal, but all are learnable with time, effort, experience and the capacity to organise oneself sufficiently.
But here’s the secret, if anyone can act, and if the rest is learnable? Won’t everyone become actors in an already tiny marketplace. No, because the gatekeepers will keep you out.
The secret is that the industry has many gatekeepers meant to trip up those that aren’t going to make it. But I believe that it usually only favours the instantly fabulous and forgets the struggler, the grafter, the one that has the character to succeed. I remember a friend of mine Kirstin, who auditioned for an acting course and was knocked back by the gatekeepers, so she took a different route, and now is an award winning actress. Why? Because her will to succeed was stronger than any gatekeeper’s will to keep her out. Kick the doors in. As Hannibal (the one with the elephants, not George Peppard) said ‘We’ll find a way, or we’ll make one.’ If you want to succeed, this must become your new motto.
Gatekeepers include Drama Schools, Agents, Producers, Creative Programmers, Directors, Committees, Panels, Casting Directors, Actors and actors that didn’t make it, university lecturers (not to be confused with the former) and of course, acting teachers.
Now I don’t think that everyone should become an actor. Just like everyone could learn to fly a plane but not everyone will or should become a pilot. But it shouldn’t be the gatekeepers that decide our future for us.
The real secret is that the industry will always, at all times, try to protect itself from the hordes, the barbarians at the gates, the thousands of people that want to make it in the business.
My advice is: patience is a virtue, and time brings the gates tumbling down.
To You, The Best!Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
The Craft of the Actor
It’s a new year, a fresh start… and it’s time to start taking a fresh look at your profession.
Despite living in a quick-fix world, our profession does not support this kind of culture. The profession of the actor is one of the apprentice and one of the craftsm’n. The craft cannot be taught in a few minutes, a few hours, weeks or even months. Whilst training may only take a limited amount of time,the craft of the actor requires the acquirement of skill, expertise, knowledge and experience which takes the actor from the position of an apprentice – someone learning on the job, to the position of master craftsm’n. To learn the craft of the actor takes a significant amount of time, it needs both professional and life experience.
The craft of the actor is learnable. It is a discovering and developing a set of skills that will eventually allow you to effortlessly perform a task, just like the craftsm’n. Of course, a knack for your craft will probably help you to move faster in your learning at the beginning of your career, but acceleration will eventually slow right down. In the end, it’s a marathon and not a sprint. Craft requires constant work and unfortunately since most actors are out of work a lot of the time, they cannot get enough time on the job in order that they properly learn the craft of acting sufficiently.
Too quickly come the shortcuts, the basics are not well-learned, the technique still feels awkward, stiff and difficult to apply. You must spend your years working on the associated skills and knowledge of the craft, but it will take much longer to gain mastery of language, action, nuance and your own vulnerability. It takes years to learn to remove the layers of self-protection, self-doubt, self-conscious, to get out of your own way significantly enough that you can reveal yourself to the role and to the audience. That’s the greatest challenge of the actor’s craft, not to create a clever character, or out-think the writer, but to reveal youself, without barriers. That’s the real craft of the actor.
To You, The Best!Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
Why We Fail in Auditions
How come some talented actors never make it? Some very talented individuals, who are amazing in class, do incredible work on stage, really nail it on camera, but when end up in the audition room, or in front of a casting director, they simply fail – they fall to pieces.
It’s the audition or casting session when it really counts, because you can be the best actor in the world, but if you fall flat on your face in the audition, you’ll never get the chance to show your skills off.
With all your sacrifice, your devotion, your hard work and training, you are well prepared to do the work, but there is still one thing that gets in your way.
Call it self-sabotage, call it neurosis, call it freaking out or being nervous – but we do this to ourselves. We arrive without adequate preparation, we’re perhaps a ‘little’ late, we’re full of excuses, well okay, and we’re full of shit. We try far too hard, we end up looking desperate, we end up putting them off, and we end up turning them off with our repulsive neediness.
When we leave the audition, we end up feeling empty. But it’s okay, because we’ve already given ourselves an excuse, we didn’t really try all that hard, so we didn’t really fail. It’s a rather ugly way of protecting ourselves, because we didn’t risk it all, we can persuade ourselves that we didn’t actually fail.
We tell ourselves that if we had really tried, we’d have gotten the job. We give ourselves a get-out. We condone our own failure.
We tell ourselves that it will be different next time, but we know inside that it won’t. Sooner or later, we persuade ourselves we just aren’t any good at auditioning. You give up, all that hard work, dedication, training and everything is thrown away because you’ve self-sabotaged yourself.
So… what would I suggest? How could we fix this problem?
It will take a serious change, but it’s worth it. It’s really worth it, if you want a REAL and fulfilling career in acting for stage and screen, you need to make that change.
You need to cut the shit. Look at yourself. What are the bad habits that you’ve created to self-sabotaged your career? What causes them? Why are you late for auditions? Why don’t you put time aside to prepare properly for auditions? Are you lazy? What’s holding you back? How does all your self-sabotaging fit together? To get past this problem, you need to really take a hard look at yourself, look at what’s REALLY stopping you from getting what you want, make a list and go after it, change your behaviour.
But the real key is this. If you really want to be successful in your auditions, you need to attract success. How do you do this? You take every step you possibly can to attract it, create the expectation of success by the actions that you take. SIT DOWN RIGHT NOW AND MAKE A LIST OF 5 BAD HABITS THAT ARE PREVENTING YOU FROM SUCCEEDING. Next to it, write what you WILL do in 2010 to change those habits. Now start taking action.
Or you can keep running away from the real world, keep giving yourself excuses and end up in one of those safe jobs that will allow you to say to anyone who’ll listen ‘I coulda have been an actor, you know’.
To You, The Best!Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
Acting Techniques are Pointless
BellaLuce asked ‘What acting techniques/exercises have you found particularly pointless?’
Hmmm. Acting Techniques and their exercises are necessary. The trouble is that most of them are entirely pointless. They do keep you occupied, they’re often fun, or least they make you feel like you’re working, or mostly, they frustrate and irritate you into complying with whatever the teacher says you’re meant to think/feel/do/pretend.
We need technique. The problem is that most of them are nonsense. Acting teachers and Professors of Theatre don’t want you to know that, because it undermines most of their careers, and frankly, the way they earn their living.
Personally, I’ve always had what I jokingly call ‘a Wank Radar’, anything that seems like self-gratifying, time-wasting, pretendy-crap almost definitely is so…
Sandy Meisner said that acting was ‘the ability to live truthfully under imaginary circumstances. To me this is a good enough starting point for acting. When I teach acting, I think of acting as something a little simpler. Look at the person you’re meant to be speaking to and speak the lines with a similar intention to the character in the scene.
Many people have a talent for acting, some don’t even bother to train, they simply go on their gut instinct and the gift they were given. I must confess some admiration for this. Nonetheless, it is my belief that talent is never enough. It can take us so far, then we need a little help. To some, that means ‘technique’, some think of a ‘methodology’, some look to the stars, but let’s be clear – many can do well on talent alone – but without the challenge, someone or something to work from, a framework, you end up stuck in the same place.
However, any technique that doesn’t immediately make its use applicable to your work as an actor is suspect, not necessarily pointless but suspect. It becomes pointless, when after a few hours of work reveal no positive benefits towards actually acting the damned scene.
I have been warned for my whole career not to get stuck into one technique. The people that told me that usually realised that the techniques they learned were bullshit, so they took a bit of that technique and added to a bit of something else, and sort of bungled together a technique from toilet rolls and sticky-tape. It’s a nice idea, the so-called Linguini-effect (it’s become the mainstream approach to acting in many drama schools in non-technique schools)- throw enough technique at the actor and hope some of it sticks.but basically it sucks because the results are unpredictable, inconsistent and cannot be relied upon to produce results each time you work. A technique of acting must work all the time, every time.
For me, that is Practical Aesthetics, a simple, no-bullshit approach to acting. It works for me, it works for the actors that use it and it works for the students at ACS Studio. It can work for you too.
To You, The Best!Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
Glasgow Acting Coach spills the beans…
Hi
Some of you are asking about recommending acting coaches in other cities. Sorry guys, I’m afraid unless they’ve taught me, I’m unwilling to put my reputation on the line.
But since so many of you ask the questions, I’m going to talk to you about what qualities I think a good acting coach should have -
That way you can work to differentiate the frauds and charlatans from those dedicated to helping you achieve your acting goals.
- A good acting coach understands acting on an conscious level, that means they can abstract themselves for the process of acting in order to break it down and teach it.
- A good acting coach is well qualified, this means a mixture of experience and expertise, formal qualifications, are helpful, but you don’t need a talent to get them.
- A good acting coach is not upset by a difficult question that you ask, they want to help you at every stage of your journey, including during your confusion.
- A good acting coach is passionate, knowledgeable and wants to share it with you.
- A good acting coach talks sense and when you don’t understand, endeavours to help you.
- A good acting coach has time for you, after class, before class, by email.
- A good acting coach doesn’t lump all their students in together.
- A good acting coach never shouts at you for getting it wrong.
- A good acting coach never uses the verb ‘TO BULLY’ in order to teach you something.
- A good acting coach knows everyone’s name.
- A good acting coach can DO all the things they ask YOU to DO.
- A good acting coach only asks YOU to do THINGS that they are WILLING to DO.
- A good acting coach uses praise sparingly, but constructive criticism frequently.
- A good acting coach knows people in the business.
- A good acting coach is not just an actor trying to make a bit of extra cash.
- A good acting coach is not your friend, they are your mentor, your tutor, your drill sergeant and sometimes your worst nightmare, but they always respect you.
- A good acting coach never makes fun at your expense.
- A good acting coach is available when you need them.
- A good acting coach has planned your journey with you.
- A good acting coach wants to know what YOU want to achieve and plans the steps and helps you to get there.
- A good acting coach never wastes your time.
- A good acting coach has great stories but never uses them to big themselves up.
- A good acting coach is approachable.
- A good acting coach isn’t just in it for the money.
- A good acting coach doesn’t let their ego be the most important thing in the room.
- A good acting coach treats you like you’re the most important person.
- A good acting coach demonstrates all the good qualities of character that any good, respectable human being should be proud to embody.
- A good acting coach can REALLY kick ass.
- Okay, maybe not that last one.
Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
How Much Would You Invest In Your Acting Career?
Many actors don’t work as often as they’d like. But what do they do when they’re not working? Let’s face it, in the UK, the answer is – some kind of crappy part-time, temporary, casual, flexible job and little else.
But to those resting actors, here’s my advice. You should be investing in your acting career every day. You should be doing something to invest in your acting career every day.
Now here’s the thing, when I say invest, I mean time. How much time are you willing to invest in improving yourself? Many actors leave Drama School and never take any classes or try to improve their chances of getting work. But not in the USA, actors are always seeking the edge, the advantage and the actors that I know that do that, they get cast, they work, but when they are not working, they are still learning, acting, writing or training.
Imagine the athlete who never trained between competitions. We would laugh at them, because they would be ludicrously out of shape. But actors never give it a second thought…
Here’s my suggestion for ways that you can invest in your acting career on a daily basis. Below is a sample week; of course, it may not match your actual week, but stands as an example of The Actor’s Week.
Monday: Acting Classes
There are plenty of acting classes for professionals these days, you may need to travel to a city, but it’s worth it. Use this resting period as a way to learn a new approach or skill, improve your existing skills or simply keep the engine running.
Tuesday: Exercise
Love it or loathe it, we all NEED it, so whether you go for a swim, do Pilates or yoga, you need to stay fit and healthy in order to enjoy a long career as an actor. My tip is that three days per week of exercise is quite enough, but if you vary the type of exercise, you’re more likely to stick with it.
Wednesday: Be Among Your Peers
If you can be among actors as much as possible, it will help you to keep the motor running. It’s not just a chance to moan about not working or directors you can’t stand. London has the Actor’s Centre, Scotland will have one soon too, but it already has The Actor’s Kitchen (Edinburgh) and The Actor’s Bothy (Glasgow) as places to spend time with your peers and solidarity keeps you strong.
Thursday: 1-2-1 Acting Coaching
It’s difficult to prepare for auditions by yourself. Most drama schools don’t teach methodologies that can be applied to this situation, that’s why acting coaches can help the actor to stay on top form and prepare them for their auditions. Always look for an experienced and qualified acting coach, not someone who is looking to make a few quid outside of high school teaching hours or another out of work actor/director.
Friday: Check for Jobs
Your agent is busy, so you have to look for work too. So today you trawl the Internet, Casting Call Pro, Mandy, The Stage – well – anywhere, use this time to look at the jobs available and consider new directors or production companies in your city that you could send a CV and headshot.
Saturday: Watch a Film/Go to the Theatre
Support the industry, enjoy a good play or film, remind yourself why you act.
Sunday: Talking Out Loud
This is simple, costs nothing and is fun. Grab a stack of plays or poems and read aloud to yourself. Get used to different forms of language, rhythm, and how punctuation changes how something is spoken. Get used to speaking aloud, get used to enjoying it, no matter whether you’re faced with Shakespeare, Sheridan, Mamet, Duffy and Auden.
To You, The Best!Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009
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Recent Posts
- Tackling Talent: Part 2 with ACS Assistant Coach Ian Watt
- Tackling Talent: Part 1 – A Guest Blog from ACS Assistant Coach Karli Evans
- Know your Job
- Finding Fulfilment
- Do NOT Let the Director Near the Lighting Board
- A Few Good Resources
- The Wood for the Trees
- Lessons from Sandy…
- Making Excuses
- I don’t trust Acting Schools
- Advice to the Advancing Acting Student
- New Glasgow Acting Classes Begin Tonight!
- Gatekeepers: A Secret about the Acting Industry
- The Skills of the Actor
- The Craft of the Actor
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