I don't have a process. I just
feel it. My book on performing would be very brief. I'm just an actor - all I really do is I memorize someone
else's words and tart around." - Olivia Colman winner 2016 Golden Globe; 3 Time BAFTA
winner
There is a lttle bit more to it than that... however, not much. British actors are often held up to be the pillars
of Performing Superiority. While this is often true, there are no genetic dissimilarities between the
Brits and their American counterparts. So, then, what's the difference? Training is one. British
Schools of Dilemma differ from their American operating classes counterparts in a few essential
ways.
All you need to learn is in the script. British acting students examine the text closely for
clues on persona and motivation. Also, they are been trained in their operating classes to review
classical text messages which allow them to be functional between stage and screen - film & theatre -and
bring their people to exciting life. The emphasis is on history and the celebrities part in sharing with that
story.
It seems if you ask me, this tendency towards more natural - even hyper-natural - acting/mumbling, has
resulted in a severe lack of essential technique. There's a very fine balance between the
natural delivery which can derive from improvisation/looser attachment to the script and a
morass of emotion with no framework. This can result in a loss of the through-line of the storyplot.
The script is the skeleton of the storyplot - any report. It gives you everything you need to learn. And
what it generally does not tell you, you can simply extrapolate predicated on what you have. The emotion comes
from understanding the written text (the story & the type) and living that second.
At HSFT our Houston operating classes, eschew Method operating. My director at RADA called it the
"American Freudian Muddle-Through". While these various "Methods" work for most Houston actors -
and by all means, seek them out - they do not work with all. In fact, an over-analyzation of
feelings - what comes obviously for many people - can bog down a performance with the end
final result being either something so simple it's got nothing at all bubbling under the surface or
something outrageous that is cringe-worthy at best. The thing even worse than over-thinking for
an acting professional is over-emoting.
Personally, i think Method behaving lessons can be quite dangerous - especially to young actors.
There's an element of breaking one right down to build one less difficult. Some break down and leave the
art completely. I got one particular as were some of my co-students in artwork college. I didn't have to be
broken down. Children are massively creative, have no boundaries and are often fearless. This
can be smashed if not brought along logically, delicately and with the utmost care to keep carefully the fun
in behaving and in performing classes.
We have lost a few of the greats (O'Toole, Rickman, Harrison) and we are getting rid of them calendar year by
year. I feel we have to do whatever we can to market a host starting within our Houston
acting classes where other greats will emerge - and not only from over the pond. Houston
performing classes are pass on all over metropolis and we want to centralize that both geographically
and philosophically.
Another difference is that the British develop up with theater within their life. The theater is not
relegated to a certain course or thought to be an "artsy" or "girly" or worse, a "boring" distraction. It
is something they are exposed to as children and continue to seek out throughout their lives.
There is absolutely no distinction on the list of British isles between "screen" actors and "theatre" actors.
In the US and in Houston there is not always overlap between stars heading between mediums
and your art can easily suffer with the. Again, in Britain, they overlap seamlessly and feed one
into the other. Both mediums are made the better for studying both with the essential
basis in the traditional operating course. Working Houston stars should be encouraged to
keep training with acting classes in both mediums. Also, starting acting students will benefit
from acting classes in both film & theatre.
The past difference, I think, is a culture of self-deprecation. The British isles see through the
nonsense. While they could be highly campy - from Benny Hill to the Spice Girls - there is an
underpinning sense of fun. British isles actors don't often emerge from Theatre school certain of their
skills and their career trajectory. They simply want to work. There exists very little ego involved. There's
a fine brand between self-belief and ego/self-entitlement. Most people get into the business to act,
never to be come famous or have possible show.
We will also stress professionalism and reliability and etiquette inside our Houston behaving classes. You cannot
perform or make movies in a vacuum. An entire staff and ensemble is included. We will stress kindness,
mutual respect, cooperation and a team-spirit. Models and levels where fear permeates never
result in the best kind of art work. There's a symbiotic romantic relationship between stars and crew which
is something that should be trained into houston professional actors right from the start. Kids acting classes will
especially promote learning to be respectful, kind and team-players.
For a long time, I helped run Mercury Studio room here in Houston which offered a variety of Houston
behaving classes and performing lessons from a variety of instructors. It was my first job out of college or university.
feel it. My book on performing would be very brief. I'm just an actor - all I really do is I memorize someone
else's words and tart around." - Olivia Colman winner 2016 Golden Globe; 3 Time BAFTA
winner
There is a lttle bit more to it than that... however, not much. British actors are often held up to be the pillars
of Performing Superiority. While this is often true, there are no genetic dissimilarities between the
Brits and their American counterparts. So, then, what's the difference? Training is one. British
Schools of Dilemma differ from their American operating classes counterparts in a few essential
ways.
All you need to learn is in the script. British acting students examine the text closely for
clues on persona and motivation. Also, they are been trained in their operating classes to review
classical text messages which allow them to be functional between stage and screen - film & theatre -and
bring their people to exciting life. The emphasis is on history and the celebrities part in sharing with that
story.
It seems if you ask me, this tendency towards more natural - even hyper-natural - acting/mumbling, has
resulted in a severe lack of essential technique. There's a very fine balance between the
natural delivery which can derive from improvisation/looser attachment to the script and a
morass of emotion with no framework. This can result in a loss of the through-line of the storyplot.
The script is the skeleton of the storyplot - any report. It gives you everything you need to learn. And
what it generally does not tell you, you can simply extrapolate predicated on what you have. The emotion comes
from understanding the written text (the story & the type) and living that second.
At HSFT our Houston operating classes, eschew Method operating. My director at RADA called it the
"American Freudian Muddle-Through". While these various "Methods" work for most Houston actors -
and by all means, seek them out - they do not work with all. In fact, an over-analyzation of
feelings - what comes obviously for many people - can bog down a performance with the end
final result being either something so simple it's got nothing at all bubbling under the surface or
something outrageous that is cringe-worthy at best. The thing even worse than over-thinking for
an acting professional is over-emoting.
Personally, i think Method behaving lessons can be quite dangerous - especially to young actors.
There's an element of breaking one right down to build one less difficult. Some break down and leave the
art completely. I got one particular as were some of my co-students in artwork college. I didn't have to be
broken down. Children are massively creative, have no boundaries and are often fearless. This
can be smashed if not brought along logically, delicately and with the utmost care to keep carefully the fun
in behaving and in performing classes.
We have lost a few of the greats (O'Toole, Rickman, Harrison) and we are getting rid of them calendar year by
year. I feel we have to do whatever we can to market a host starting within our Houston
acting classes where other greats will emerge - and not only from over the pond. Houston
performing classes are pass on all over metropolis and we want to centralize that both geographically
and philosophically.
Another difference is that the British develop up with theater within their life. The theater is not
relegated to a certain course or thought to be an "artsy" or "girly" or worse, a "boring" distraction. It
is something they are exposed to as children and continue to seek out throughout their lives.
There is absolutely no distinction on the list of British isles between "screen" actors and "theatre" actors.
In the US and in Houston there is not always overlap between stars heading between mediums
and your art can easily suffer with the. Again, in Britain, they overlap seamlessly and feed one
into the other. Both mediums are made the better for studying both with the essential
basis in the traditional operating course. Working Houston stars should be encouraged to
keep training with acting classes in both mediums. Also, starting acting students will benefit
from acting classes in both film & theatre.
The past difference, I think, is a culture of self-deprecation. The British isles see through the
nonsense. While they could be highly campy - from Benny Hill to the Spice Girls - there is an
underpinning sense of fun. British isles actors don't often emerge from Theatre school certain of their
skills and their career trajectory. They simply want to work. There exists very little ego involved. There's
a fine brand between self-belief and ego/self-entitlement. Most people get into the business to act,
never to be come famous or have possible show.
We will also stress professionalism and reliability and etiquette inside our Houston behaving classes. You cannot
perform or make movies in a vacuum. An entire staff and ensemble is included. We will stress kindness,
mutual respect, cooperation and a team-spirit. Models and levels where fear permeates never
result in the best kind of art work. There's a symbiotic romantic relationship between stars and crew which
is something that should be trained into houston professional actors right from the start. Kids acting classes will
especially promote learning to be respectful, kind and team-players.
For a long time, I helped run Mercury Studio room here in Houston which offered a variety of Houston
behaving classes and performing lessons from a variety of instructors. It was my first job out of college or university.