Advice to the Players

2015-05-07T13:31:00.002-07:00

Hello fellow players! ( Not to be confused with play-ahs). I have had this blog for some time now, and want to visit the inspiration for the title.

As you likely know in his play Hamlet, Shakespeare has the main character give advice to an acting troupe he has hired to perform a play before his Mother and her husband, his Uncle the new King. And he gives advice to the players that is still sound for all performers.

Speak the speech, I pray you, as I pronounced it to
you, trippingly on the tongue:

Simple advice, which many directors have said to actors over many years, "just say the lines!". Respect the words the writer wrote and get them into the air. One of the first things I do with actors working on Shakespeare i make them just say the words aloud to let them exsist in sound.

but if you mouth it,
as many of your players do, I had as lief the
town-crier spoke my lines.

Wait, William just said to just say the lines! True, but don't just say them. Yes, let the words carry thier own weight, but bring yourself to them. Do not just recite them, speak them as though they were your own, or your characters. I think the key here is to bring the right amount of acting to bear. Maybe the role needs you to be giant, and over the top, if that is what the play points to. But chances are the author and director would like you genuine.

Nor do not saw the air
too much with your hand, thus, but use all gently;

Don't flap like a fish. Not everything you say needs a gesture to emphasize it, let the gestures be natural and organic.

for in the very torrent, tempest, and, as I may say,
the whirlwind of passion, you must acquire and beget
a temperance that may give it smoothness

Oh the greatest challenge of all. Making this thing, this acting thing seem seamless. To be submerged into your character and let the glimpse of that characters life be as natural as your own is.

Be not too tame neither, but let your own discretion
be your tutor: suit the action to the word, the
word to the action

Be active, even when relaxed or quiet. Will says be not too tame, but we may say be not too lame. Do not be so laid back and casual that you lose your audience. But do as the Bard suggests, suit the action to the word and word to the action. Again, as a writer, Shakespeare reminds us to respect the writing, embrace the words that you are building your show on. Are there times when a director, or you, might try to play against an emotion to highlight it? Of course! Delivering a horrible experience in a cold, controlled voice instead of tears and wails may be just what it needs to convery the horror as the author intended.

Good advice, and over 400 years old! And great for playing Shakespeare, but do not discount how well this works even with contemporary plays as well.

Need some coaching on a classic monologue? Contact me! jtactor@aol.com
Skype session available.

Hold the whine!

2015-04-23T12:29:00.001-07:00

Hello readers! I was thinking recently, as I make the rounds of auditions, that it might be worth while to revisit a key point for all of you also making auditions rounds.

Hold the whine.

There is always a reason not to audition. I am a strong believer in preaching my great mantra, "Life is about showing up". Showing up at an audition makes the chances of you being cast so much better than the odds of you being cast by not showing up, So showing up is terrific and I commend you on it.

Now, shut up.

No, bot fully, I want you to do your audition piece and be brilliant. I want you to introduce yourself, make good eye contact, be polite and professional. But I want you to shut up,,,,,,,shut up all your excuses. All your aches, pains, challenges, crippling issues and just do the audition.

You will be asked by the people you are auditioning for, "How are you today?" or some similar nicety. This is not an invitation for you to trot out all your fears, ills and excuses.'

"I am so sorry, I have a sore throat today...."
"I am really fighting allergies today..."
"I haven't totally memorized this piece..."
"This is the only key I could find this song in...."
" I am really nervous...."
"I didn't have a chance to practice this very much,,,"
"My dog ate my audition copy...."
"I was up late chain watching episodes of Daredevil..."

Shut. Up. I know the temptation to give out a qualifier is tremendous, but don't do it. Just present your work as strongly as you can and move on. Listen, we all have imperfect auditions, this blog entry was inspired by a recent audition I had where I caught myself explaining I was using a different key for some music and it was throwing me off. I stopped, and just sang it. It was not perfect, but the audition as a whole was much stronger when I dropped the excuse making.

If you truly feel something was a major wipe out, simply ask if you could start over or do it again. Most times you will be allowed to, but if it is a no, be gracious, thank them and leave.

Just dropping the excuses will improve your mainframe, and help you come across as a professional.

J.T. Turner, The Actors Sensei

Available for monologue coaching in person or via Skype

jtactor@aol.com

Comparison Shopping

2015-04-07T09:26:00.000-07:00

Hello there! After a long hiatus, I am back to the world of blogging! This time out, comparison shopping.

Oh you know, when you are in the market for something and compare and contrast several different items. This car has tinted windows, this one has anti-lock brakes, this one is roomier. We often do comparisions of every thing from milk, to coffee, to furniture or phones. Surely you have seen zombies at the grocery store? You know, standing there swaying as they gaze at labels of 2 different items, then slowly put one back and get another. Zombies.

Well what does that have to do with you and your career as an actor, dancer, musician, performer or speaker? Just this; one of the worst things you can do to yourself is the comparision game. Comparing your talents and career to someone else is a deadly, dibilitating, dangerous and ......some other d word, (for alliteration), habit.

It is also a common one, and not just for performers. So amd so always gets more roles than I do. XYZ has the gigs I should be getting. I want to sing like this one, wish I was as tall as that one, I could work more if only I had the traits of her, or his connections. This type of thinking just tends to depress us, and paralyze us into inactivity.

As I am writing this, I realize that we all do this and not just in the performing arena. Thanks to the wonders of social media, we often have the perception that people are busier or more successful that we are. Listen, I do not tend to be harsh here, you know I am a fan of the positive, and trust me I am being positive in saying, drop the comparision. You are you, that is your product, that is your goods, that is what you have to share with the world. Yes, get training, hone yourself to be the best you that you can be, learn all the time and grow, but forget the comparison. Watch other performers, be inspired or encouraged by them to try something new, but don't wallow in the lowlands of 'I wish...".

And let me startle you with the true thought that there is someone who envys you, and the skills and life you have. Crazy, huh? But true.

There is a popular idea in the world of exercise that the only person you have to beat is you, from yesterday. By all means, compare yourself with yourself, and how you did yesterday. But also cut yourself some slack, and be gentle with yourself.

Be your biggest fan.

"When the student is ready.........."

2013-01-22T10:18:00.002-08:00

OK, I try to give out great advice here. And will try to continue to do that, but I am freely admitting that this particular post is self serving. Truth be told, it’s little more than a commercial for you and I to do some business together. But it is not just a pursuit of dollars that leads me to this blog entry, it is a genuine desire for mutual benefit. For perhaps you need a mentor, and I love having students. So, lets chat.

Most actors and performers hate auditions. They are nerve wracking, and can be just terrifying. In this blog I have often given advice on how to deal with nerves, and with strategies to use to make the audition experience better. And, pardon my blushes, but I give awesome advice. But for many people, a further step is usually a good one; taking on a coach.

A good acting coach has a tremendous advantage over simple blog entry's and books. They can see you! And I mean that literally and figuratively. I write great advice for many, many people, almost universal in nature. But you are you, (and ain’t that cool?). Unique, special, quirky, individual, you. Which means while my general advice is good for you, individual advice is even more powerful. I can see that you do that funny thing with your hands, that you tend to crack your ankle when you start the audition piece, that the audition piece itself is wrong for you.

And you get feedback. You may think a piece you are doing is ideal, but it may be off, you may actually be presenting something that you are not meaning to present. And perhaps a few simple ideas, tweaks if you will, can make all the difference.

And after all, you cannot get outside yourself to judge how you are doing.

Even watching yourself on a video of your audition is often biased for good or bad, as it is you looking at you. Allowing a coach to work with you gives you the opportunity to get feedback of how your actual audition will look to another person.

So, here is what I offer:

1) Audition prep- Getting you comfortable with the audition process, how to work past nerves, tricks to transport tension. Also the preparation of audition pieces that will work for you.

2) Emergency Audition prep - You have an upcoming audition, and want to find the perfect piece for it, and prep it to give you a comfort level going in.

3) Acting Coaching - Do you have a role that is giving you trouble? Looking for some extra work outside of the all too rushed rehearsal process? Without interfering with your directors vision, I can work with you to develop options for your character. (Also, I specialize in Shakespeare and accents in this

arena).

4) Public Speaking - I can help with not only structure to make an interesting piece, but work with you to help you find your own voice in the speech. Also, great tips on how to handle nervousness and the best ways to practice.

5) Sermon coaching - No matter if you are a seasoned minister, or have just been asked to give your first sermon at church, I have had great success coaching people to be dynamic in the pulpit.

6) The Actors Memory- A great seminar or webinar to help actors memorize pieces and roles better, and faster.

Yes, you will have to pay me to help you, but in return you will get some great mentoring. As you may have noticed, I am sometimes called The Actors Sensei, and while it is a fun title, I do take it to heart. I try not just to throw information at you, I try to be a teacher who genuinely is trying to have a impact on your life. We can work in person, or via Skype. Or, if you have a theater group you work with, we can arrange some seminars or webinars.

So, that's my poorly disguised commercial. I hope we can work together, I would love to help you.

Contact: jtactor@aol.com

Hope to see you soon.

J.T. Turner
The Actors Sensei
jtactor@aol.com

Some advice from Emma Thompson

2012-12-01T08:55:00.000-08:00

I have always loved the work of Emma Thompson, especially her work in the Shakespeare films she has been in. I read an interview with her and saw that her philosophy about acting is very similar to my own. So here for your use is some advice from an amazing actress.

Don’t strive for the award. Just do your best and enjoy what you do.
The theater is the best place to learn your craft.
Sing. Take voice lessons. Work on your voice. Acting is all about the voice.
Observe people. You never know when you might have to play a character who could be inspired by someone you’ve met.
Don’t give up. Any actor has to experience rejection. Just keep going to auditions.

J.T. TURNER

The Actors Sensei

Acting Coach, Public Speaking Consultant

I Have Good Intentions.

2012-11-11T12:01:00.001-08:00

As I move forward in my arc of time, which is a nice way of saying I am getting old, I will occasionally wander into a room in my home, pause, and then try to remember why I went into that room. "What did I come in here for?"

And that moment is a good jumping off point for our discussion in today's blog entry. That question, or a variation of it, is really an important one for an actor. I will often chide an actor or group of actors I am directing, saying that an actor needs to know why they are coming onstage. And the answer needs to be much more than, "Well, the director told me to enter here". At any given moment on the stage, a director should be able to stop you and ask why you are on the stage. Why is your character there, right there, now? What is the purpose of your being there? Are you there to get something out of another character? ( Hint: The answer is almost always, yes you are). Or perhaps you are there for your own purpose, only to have that purpose interrupted and changed by the introduction of another character, with reasons of their won.

We call this idea of having a reason for being in a given space at a certain time intention.It should be an easy skill to have as a performer, as our entire lives are filled with intentions. Small ones; I need a glass of water, I want to update my Facebook. And large ones; I hope to find love, I want to earn a law degree. Knowing what your characters intention is at any given point in the play can make the character stronger and clearer, and make your work better.

Which, after all, should be your intention.

J.T. TURNER
The Actors Sensei
Acting and Speech Coach for All Ages

Go towards the Light

2012-09-05T10:22:00.002-07:00

I realize that those of you who know me as a preacher may mistake the title of the post. But this is about finding actual light, not the spiritual kind.

In film, hours and hours are spent adjusting lights for specific moments, and then striking them for new lighting. A film actor is given a very specific spot to stand, their `mark` so that they get in the proper light. But on the stage, we preset lights and then leave them. Oh yes, we now have some high tech lights that move and adjust, but those are limited, as is follow spot use. For the most part, stage lights are there to light the scene, you as a thinking actor are responsible for finding your own light.

Finding your light is simply a matter of practice. Most stage lights shine downward at an angle. You can actually feel the light falling on your face. Take some time and have a stage light turned on, and practice walking in and out of it to feel the difference. Hold you hand up and look at your palm. Work it in and out of the light and see how it falls, what the intensity is. Try not to stand directly under the light, or in too hot a spot, so you are not washed out by the glare of the light.

While there are times you may want to be partially or fully in shadow for an effect, those times should be planned. Outside of an effect, be a good, light seeking, actor. You must be seen for the audience to watch your facial work.

J.T. Turner, The Actors Sensei

Walking into the room

2012-07-08T13:50:00.002-07:00

Last post we chatted about how to create a protective bubble around yourself, how to focus, and use some specific work to help you be ready for that audition.Let's extend that talk to the next step, walking into the audition room.

Grandma was right, first impressions make all the difference. I can tell you from my work in the business world and teaching communication skills that it takes about 10 seconds to decide wether or not you like someone. So when your name is called and you walk into the room, be ready to present yourself in the best possible light. No, it will not guarantee you the role, but it may give you an edge, and given your druthers, wouldn't you rather people like you more often than not?

So, we don't want to enter looking down, distracted, and not prepared. Walk in with confidence, make eye contact and say 'hello" right away. In a good clear voice, don't just nod. And recall an earlier teaching post, when you make eye contact, look in just one eye. Left eye, right eye, doesn't matter, it will help you keep focused and make you look stronger. Along with the eye contact SMILE! The Quakers say the face you give is the one you get back. No matter if you are auditioning for the role of a serial killer, you can be yourself for a minute before you slip into the dark character. Smiling releases endorphin's into your bloodstream, and puts you in a better place to do the audition. Plus if the audition person or panel smiles back, it puts them in a more receptive frame of mind. But don't worry if they don't, do your half on the dance. Eye contact and smile.

There may be chit chat. "How are you? Did you find parking? Isn't it hot out today? I see you did King Lear last week, how was it?". Be ready for chit chat. How? Pretend! Before the audition I anticipate and answer, out loud, what they might ask me. Sure you may get a curve ball question, ( Is that your natural hair color?), but mostly you know what they may ask. So practice responses. (This also helps you focus pre-audition, say in the car ride or walk over to it).

Eventually they will ask you to read. Take 5 seconds, take a step back, close your eyes and recall the answers to the audition questions, Where, Who, What and, Whence.Now open your eyes, take a step forward and start. They may ask you to read again, with a different twist to the reading. Do not question or second guess it, just do it. Many times it is a test to see how you take direction.When done, always thank them for the audition, for listening to you.

J.T. Turner
The Actors Sensei
Owner, The Actors Company

The Audition Bubble

2012-06-28T07:52:00.000-07:00

Focus is a quality that can be a godsend to an actor.Consider an athlete a sporting event. Somehow, even with hundreds of people yelling and screaming, even with TV cameras on, fellow players moving and chatting, personal thoughts and doubts in their minds, they somehow can make all those things move into the background and focus on doing what they need to do.

Sound familiar? It should, as the same thing, the same focus occurs with actors as well. Despite all the distractions of audience, lights, sets, fellow actors and personal thoughts, a good actor pushes that back in their mind, focuses and lives in the moment. This skill, this wonderful skill, is never as important as it is at an audition.

If you audition a lot, and I hope you do, you know how it goes. You enter the room, and there are 10 other actors who look perfect for the part you are auditioning for. That inner recording starts to play in your mind, "Why are you here? They will get the part over you. There is so and so, he ALWAYS gets cast. You don't know anyone in this theater company, you don't stand a chance." Ah, yes the ever helpful inner monologue.

What I would like you to remember is that those thoughts occur to everyone. But the brain, while an amazing thing, can only do so much at once, and so can be trained to focus better. You can give the brain something to focus on, and that will help push those negative thoughts back. They will try and rise again, but just keep pushing them back. How?

First try a visualization. Picture a magic bubble, like Glinda's bubble in Wizard of Oz, that surrounds you.

Let that be your bubble of protection, focus, concentration. Picture it holding and protecting you from the negative. (If a bubble isn't manly enough for you, go with Iron Mans suit of armor encasing you. Hey it's your brain, whatever works). Oh and by all means, let this protection also let you move away from friends who want to "chat" at the audition. Find a quiet space of your own, and focus.

Now, since your mind can only handle so many thoughts at once, I want you to introduce specific thoughts to push all the negative thoughts away. Keeping your mind busy will keep you focused, so, do this:

1) Read the audition piece out loud. Softly, to yourself, but vocalize.

Now answer the following-

WHERE Does the scene take place?
WHO Are you talking to?
WHAT Do you want from the person listening in the scene?
WHENCE Where was your character before the scene started? (This is sometimes called the 'pre-beat", what was going on just before you speak. I just use Whence because I needed another W!).

Focusing on reading the piece and answering thes 4 critical questions will keep you focused.

Next post, we will talk about the next thing, walking into the audition room.

J.T. TURNER
The Actors Sensei
Private and group lessons available.

Stage directions

2012-06-25T11:44:00.001-07:00

I know I know, for many actors and performers this particular entry will be a bit basic. But for many of my readers who are just starting out into the world of acting it is an important one.

The stage is a place where we create worlds. Those worlds are usually created in the eye of a director. To create those worlds, a director needs to communicate his visual concept to you. And in order to do that, they use blocking.

Blocking is a term we use in theater to tell us where and how an actor should move on stage during a play. It also can incorporate any "business" they need to do, (ironing a shirt, raking leaves, pouring coffee, training an elephant). It can include starting points in a scene, and movements or actions as the scene goes on. In a straight play, drama or comedy, blocking is important, but it takes on even greater importance in a musical, where choreography, dancing and movement, is placed in a scene.For example, in a musical, the orchestra may wait for an actor to move to a certain place to start up the music that will accompany them.( By the way, the word blocking comes from a time when stages literally had squares drawn on them like a chessboard. each was numbered, so a director could tell you to move from one block to another)

In terms of directions, we use simple codes or abbreviations in our scripts to note what action we are to follow.

Stage Directions

SL-Stage Left- The actors left when facing the audience.

SR-Stage Right- The actors right when facing the audience.

DSL- Down Stage Left- moving left toward the audience.

DSR- Down Stage Right- moving right toward the audience.

USL- Up Stage Left- moving left away from the audience.

USR- Up Stage Right- moving right away from the audience.

C- Center- the middle of the stage

RC- Right of Center

LC- Left of Center

(Downstage and Upstage come from ancient theater, which was often performed on the side of a hill, so that the audience on a flat piece of ground could easily see all the actors. So Upstage is literally up the hill, away from the audience, and Downstage is down the hill toward the audience).

So we can form simple notations by using these codes. If I am standing in the upper right corner of the stage (the actor looking at the audience), and the director tells me to move to the edge of the stage on the left hand side, I simple write XDSL. This tells me to cross down stage left. if I am then told to move to a position just to the right of the middle of the stage, I could write X R of C, which tells me to cross right of center.

Keep in mind these are simple directions I can jot in the script to get the framework of movement, this allows for the actor and director to now play with the underlying themes.....you know, that acting thing!

J.T. TURNER
THE ACTORS SENSEI
Coaching and Classes for all ages

Brave Heart

2012-06-18T11:18:00.004-07:00

I wanted to post a bit about the concept of bravery. I was struck by this recently due to a number of incidents of bravery that presented themselves in my life.

I am rather renown, at least in my own mind, for saying that life is all about showing up. And I encourage performers of all types to get out there and do just that, show up. At auditions, classes, gigs, show up. Be present, use the amazing talent you have been gifted with. I have never said it was easy, no, quite the contrary it is an enormous leap of faith to go expose your inner self to the often cold heartless outer world. But as artists we are called to do just that.

Back to bravery. Especially for auditions, can any other word truly describe what we do when we audition? When we throw down our talent as best we can against ridiculous odds? (To quote Han Solo, "Never tell me the odds"). If we focus on those odds, we would never go try out for anything. But we don't. We bravely go and focus on our work, and placing in before the Universe.

This came into my thoughts a lot recently. After 15 great auditions without any results, I found myself again auditioning. This time was the right one, the magic one. But I never would have made it to this one without the 15 rejections before. (And I know many of your reading this have higher numbers, more rejections, hundreds of them). But those don't matter, what matters was me showing up. Eventually, the world took notice of my work.

Also this week I watched a group of amateur singers take the stage to sing at an outdoor concert. Some were amazing, some were just OK, but that doesn't matter. What mattered was that they showed up. They bravely threw their gift into the great wide space. Really, that is such a mind boggling thing.

Best of all is an 8 year old girl who has never been involved in any kind of theater, insisting that her Mom sign her up for a summer theater workshop. Her Mom was nervous and afraid. but the girl, the brave girl, said, 'It is what I have to do". I know that feeling. I hope you do to, that it is what you HAVE to do.

So this post is a simple one in terms of theme. It is me cheering you on, telling you that I acknowledge how hard it is to go to the altar of the world and place your offering upon it. That that act, is an amazing act of bravery. It is a brave thing to do, you are brave to do it.

Be brave. Stay brave

J.T. TURNER, The Actors Sensei
Available for private Coaching in acting, audition prep, public speaking and sermon work.

Six Sensational Suggestions!

2012-03-29T09:54:00.002-07:00

Oh spring seems to be pushing it's way into our lives here in the Northeast. So perhaps a blog about some growth?

I often write in Advice To The Players about nurturing your creative side. Actor, singer, dancer, speaker, performer, whatever your creative call, we all need to stay in our creative zone as much as we can. With that in mind, how about some reminders on how to nurture the creative muse in you? Did you say, "Yes, please"? Good answer!

SIX SENSATIONAL SUGGESTIONS
(Oh JT, you are so alliterative!).

1) Keep a journal. Even spending just a few minutes a day jotting down thoughts and feelings can cause you to give birth to new ideas.

2) Read more. Studies tell us that high creative achievers read a lot. And try to have variety in what you read, lots of different genres.

3) Walk. Walking, even just a short fast walk, breaks your thinking patterns up, oxygenates your blood and keeps your thinking fresh.

4)Learn new things. Take classes, start a language course, learn a new game or instrument. The brain is a machine that thrives on being challenged.

5) Interact with people. Creative people are often portrayed as lonely brooding artists, but the opposite is true. Being a social creature introduces new thoughts, ideas and feelings into you life, and helps you stay creative and inspired.

6) Make something. Write a play or a new song, carve, sculpt, paint, sketch, plant, take pictures. Make a new thing to help your creativity sizzle.

And now, because I am so generous, a bonus item:

BREATHE! As stated in past blogs, make sure you take some good, deep cleansing breaths throughout the day. It does wonders for your brain.

Great ideas, but only great if employed! Use them!

JT

The Actors Sensei
Group lessons, and private coaching for all ages.

Improv tips

2012-02-01T09:27:00.000-08:00

Today on Advice To The Players, some handy tips for those times when you are doing Improv. Improv, or improvisation is a great activity for an actor, often it is a show in itself, but also lets us play, explore and keep the brain fertile for those times onstage when things go wrong and we HAVE to Improv .

So let us say you are working on a show, or have decided to take an Improv class, or at a regular theater class you are doing some Improv games. Here are some things to keep in mind:

Stay Open To The Work- Take the suggestion or offers given by another player and run with it. Don't cut the energy off, instead use it and pass it on. If a person pretends to splash water on you, act like you got splashed and try to add more to the scene to see where it will go.
Don't Take All the Stage- It is working on Improv scenes, let others have their moments to shine, don't always hog the spotlight. Support and help!
Be Outrageously Bad- Take risks, this is playtime, be bold and crazy as you can be. You are putting yourself out there, embrace the jump!
Get Physical- This is about using your whole body. you are not confined to a character, so play with being bigger and broader than you usually are.
Practice- Improv is a ton of unplanned fun, and spontaneous. That said, the more you do it, the easier it will become for you to do.

Oh and be sure and not take it all too seriously. The idea is to gow and have fun, and even if the Improv scene turns very dramatic and leads to tears, relax and shrug it off when done. learn and grow, don't scar yourself for life!

J.T. Turner
The Actors Sensei

12 for 12

2012-01-04T07:18:00.002-08:00

I thought I would round off the end of the year, and the beginning of the New Year, by presenting you with 12 tips for 2012. After all, the turning of the year, is the time when all of us reflect and seek advice, so that we can grow in the coming year. So here is some miracle grow from me:

Especially when working on a long scene or speech, don't make flowery, quirky, or show off detours. Follow the through line of what you are saying.

At the end of the day, it doesn't matter if your emotions are real or not. What matters is whether or not the audience believes that what they are seeing is real.

Have passion. When performing starts to be a chore, or is difficult to the point where you don't enjoy it anymore, do something else.

Before entering a scene, take an extra step away from the entrance before you come on. This will give you an extra jolt of energy for your entrance.

Steal from the best. Watch other performances, especially the great actors. Take what will work for you.

Always try to be grateful and excited about being able to rehearse or perform.

Always do your homework.

Always check your fly.

When working on the scene, if you find yourself lost, confused, or feeling uncomfortable, that's the best time to focus on the other actors in the scene. What are they doing, what are they saying and how would that impact your character?

Not all scenes are about you, not all plays are about you. Share the stage.

Pauses are important, but must be earned.

Become a child and find your sense of wonder. Be child like, not childish.

OK, one more bonus thought, lets call it Lucky 13 , or an extra brain wave to grow on. What you do is sacred. Ancient, life altering, mystical and sacred. Treat it as such.

2012 will see blogs about using a warriors spirit onstage, about dressing room protocol, and of course tons of tips on acting, singing, speaking and performance of all types.My very humble thanks to each and every one of you that has read and used this blog this year.I hope your 2012 is magnificent!

See you in the light.

J. T. Turner
The Actors Sensei

Advice to the Players presents...Advice! To the Players!

2011-12-27T18:11:00.000-08:00

During a recent gig in North Shore Music Theaters' A Christmas Carol, I had the honor to work with an awesome cast and crew which included Melissa Daroff. She is a great Stage Manager, and I thought it would be a good idea to get some input on what good behavior for a performer would look like from a Stage Managers perspective. So here is the guest blog:

So when JT suggested that I write something for his blog, I said “Sure I’d love to, but you’ve got to give me a topic. I can’t blog without a topic!” JT thought you might want to hear about the traits I think make for good actor habits. So here’s my list (I am a stage manager after all):

1) Promptness- Don’t be late. Out of respect for your fellow company members, your director, stage manager, yourself and anyone you ever have, or ever will, work with: make it a point to be early.

2) Good organization- Sure stage managers are known for their organization and good note taking, but an actor needs to stay organized as well. I’m sure you find you progress faster, have more fun, and feel more comfortable if you aren’t constantly trying to decipher last week’s notes or figure out where you left your script and score.

3) A good work ethic- Acting in many ways is just like any other job. You get what you make of it and others will respect you for trying your hardest and doing the best job you can.

4) Ask good questions- Confused? That’s OK, just ask a good, well thought out question. There is such thing as a stupid question and it’s usually the one you ask when you are exasperated, frustrated or feeling impertinent and need somewhere to take out that crankiness. It is never a stupid question if you are truly confused or don’t understand direction, critique, instructions, etc. Think about what is unclear and formulate a concise way to ask your question.

5) A sense of humor and a sunny outlook- It’s not rocket science and we’re not saving babies, but all the same theater can be stressful. Check your cruddy day at the door and revel instead in this kooky world we work in. Always be ready to roll with the punches and put on a happy face when things are getting zany. It’s LIVE and that’s why we love it!!

6) Don’t be a baby/ Don’t be a hero- It’s both sides of the coin. Don’t volunteer to carry the heavy props when you are recovering from a back injury, but also don’t say you couldn’t possibly help carry the table because you got a paper cut last week.

7) Be prepared- Know your lines. Remember your blocking. Bring a sweater. (And a snack). Do your homework. Don’t leave your dance shoes at home. It’s not just those Boy Scouts who need to be ready for any situation!

8) Eat your humble pie- When you are wrong, be willing to admit it. “I’m sorry,” and all of its variants go a long way in a business of hearts on sleeves and high tensions. Whether it’s being late for rehearsal, missing an entrance or accidentally elbowing your dresser in the jaw. Saying, “I’m sorry,” (and actually meaning it) is sometimes all you need to solve a sticky situation.

9) Learn from every moment- What is theater if not your classroom? Find in every situation something you can take away and use again in the future. Whether it’s a first time (first Shakespeare, first outdoor amphitheatre, first tour, first musical, etc.), or emulating the good habits of a fellow actor, or trusting in yourself that you can do something you’ve set out to do, or sometimes even learning from a negative (I don’t want to do that again), there is always something to be learned. You can take it with you.

10) Love it- Theater is a job a lot of people love to hate. But if it is to be your life you’ve got to love working in the theater. Maybe not every second of every day in every gig, but when you wake up in the morning you’ve got to want to go to rehearsal and when you get home at night after a show, physically and emotionally exhausted, you’ve got to want to get up in the morning and do it all again.

To sum up all of these habits, it all falls to one word- Respect. Respect your talent, your fellow actors, crew, staff and artists. Respect the show and respect the stage. Respect yourself and most of all respect the Theater, and it will respect you in return.

Thanks for reading.

Melissa

Melissa Daroff is an AEA Stage Manager and also a Theater Educator (amongst other things). She has worked regionally in New England and Dallas, TX and is always excited to be asked to blog. Especially when given a topic to write about.

It isn't a surprise than many of the items on Melissa's list are ones i have touted here at Advice To the Players.It must be true! :)-JT

J.T. Turner
The Actors Sensei.

Here's One For The Ladies!

2011-12-12T15:36:00.000-08:00

All right, this is for my female readers, a very interesting article about the phenomena called "Vocal Fry". Many thanks to author Erin Gloria Ryan for permission to share.

http://jezebel.com/5867224/american-women-suffering-from-rampant-growling-speech-impediment

Don't just sit there, audition!

J.T. Turner
The Actors Sensei
Acting and Speech lessons for all ages.

More on audition pieces please!

2011-11-30T11:15:00.000-08:00

I am always so delighted when people tell me they not only read this blog, but that they employ the advice we give here. (And by "we" I mean me, "we" just sounds like there is more to this blog). And better yet I love when people ask questions! So after a recent post about auditioning and monologue selection, a young actress wrote to ask for even more info on monologue preparation. I am so happy to oblige. So here are a few more ideas for you to test, adapt, and make your own.Now this is for prepared audition pieces that you have time to put work into, cold readings fall into another category.

Having selected an audition piece, (and please see prior blogs about selection), what sort of work might you do to build a character about the piece? As mentioned before, always, always, always...how often? Always! Always, start by speaking the words aloud. Put the words into the air, let them travel from you to the Universe. Things will often change when you take the simple step of invoking the words. Then, try this with the piece:

Make 3 lists for the piece, Facts, Assumptions and Guesses. Facts are the things you clearly know about the character, usually things the author indicates or other characters do. (John is a tall, middle aged man with a quirky smile). Assumptions are things that seem to be indicated, like the way John speaks indicates he is white, or he has a funny sense of humor based on his lines. Guesses are where your imagination fills in the blanks, perhaps a backstory about why the character is the way they are, or perhaps the character reminds you of a person you know or a celebrity you could borrow some pieces from to flesh the character out. Guesses should NEVER conflict with things the author has told you, or that the script states.

Now try to apply the 4 W's to the monologue piece. they are:

Where- physically where does this speech take place?

When- Time period, time of day, season?

Who- is the character talking too?

What-do you want from this speech? What does your character say these words for? There must always be a reason for the character to talk, what is the reason for in this monologue?

Sometimes, we can get to the next question, HOW? Meaning how will your character go about getting what they want, but that often is work that we save for full blown roles rather than auditions. But occasionally, the HOW is accessible in the audition piece, and fun to play with.

Try the above, you may just enjoy the process!

J.T. Turner, The Actors Sensei

Acting and speech lessons for all ages

Some inspiration

2011-10-28T06:55:00.000-07:00

Someone is watching

2011-10-16T08:03:00.000-07:00

A few years ago, I was in a production of a musical in Boston. I was in the green room during a moment when I wasn't on stage and the actor next to me said, 'Oh X, (not her real name), must have people in the audience tonight". "How do you know?" I asked. "Oh she always cranks it up when she has friends out front".

I was a bit stunned at that, and it got me thinking about performance. Of course, when we know that family or friends are out front, we all tend to be a bit more excited and want to do our best. But as an actor, or singer or speaker, isn't the proper way to behave giving your best ALWAYS? I think we have all seen actors that react to having someone special in the audience, a bit more fire, passion, a twinkle to the eye. But isn't the real challenge for us to keep that level of performance at each and every show? Of course there will be variation, of course some shows will turn out better than others, but that should be in hindsight, not a decision made before you go on!

Because the truth is that someone is always watching you. Someone always wants you to take them on a journey, to move them, to entertain them. When I teach young actors, I always remind them that they must treat each moment onstage as though someone is watching them, hanging on their every word, rooting for them. And that is good advice for all ages, to treat each show as though someone special is out there watching.

When I was on tour with a show years ago, I had a rough show. I was tired, my timing was off, and i just felt less than 100%. When the show was over and I was leaving, a parent wheeled a child up to me in a wheelchair, a child who obviously had a lot of physical challenges.From his wheelchair, the child told me, "You are my favorite actor". I was floored. I wanted to go back and redo the show, because I felt I had been under par. Yet my work had still touched this child.

I never have forgotten that moment. I often replay it in my mind, to keep me going when I am feeling tired or off in some way. Going into the lights of a stage is a tremendous responsibility, and we don't know how many lives we can touch and change by our work.

So treat each performance as though someone special is watching. Because, someone is.

THE ACTOR'S SENSEI

Magic!

2011-09-30T13:59:00.000-07:00

J.T. Turner, Jordan Ahnquist, and Peter A. Carey in Lyric Stage Company's Big River

I was backstage recently in the Green Room of a theater in Boston. In this particular show, I have a late entrance (an hour after the show starts to be exact). As I was getting geared up to go on, I was excited, happy and anxious to get out there.I turned to my fellow actor that makes the late entrance with me and I said, "Who knows what's waiting out there!" He looked at me like I was crazy, and indeed I am.

And it made me think a bit about that unique moment, the moment before you throw yourself bravely before a crowd of hundreds of strangers, and show them your work. Will they be a great warm audience, or a cold distant one? Will all my lines go perfect, or will I stumble and forget? Will my fellow actors hit their marks, or miss things? Will stuff fall over, sound cues go awry, props be missing? Do I have my pants on?

So now you have 2 choices. To fret, worry and almost be paralyzed with fear, or to channel that excitement into POSITIVE excitement. You control how you think and approach any situation, and here is a prime example as you await a chance to go on the stage, or preform before people. You can let the shadows take over, and panic to the point of hyperventilating, or you can corral your emotions into excitement.As I often say to students, we all have butterflies, the trick is to get them to fly in formation.

You are about to leap into the unknown. Don't be scared, timid and preoccupied by it, let your inner self be positive, confident and strong. Treat it as you would the feelings of a special birthday, or Christmas morning, or any other big event that had you tingling.You have a chance that not everyone gets, to share your talent publicly, in a special, living moment in time. What a fantastic opportunity for you.

Make magic.

THE ACTORS SENSEI
Acting and Speech Lessons for All Ages

I

Blood!

2011-08-08T14:48:00.000-07:00

OK, maybe you won't all need to know about working with stage blood. But many of my followers do Renn Faires, Murder Mystery's and the like, so here is a good article on the topic of fake blood. Also some good advice on acting with it!

http://www.backstage.com/bso/news-and-features-features/tips-for-working-with-fake-blood-1005304082.story

J.T. Turner
The Actors Sensei

I need a new monologue.......

2011-07-20T08:43:00.000-07:00

This is a phrase many actors utter frequently, perhaps second only to, "I need a new head-shot". Finding good monologues is a key component in the business of getting work as an actor. Many auditions will have something for you to read, but will still often start with a request for a monologue.

This simple small acting scene is very important, and a good one will often help you get a role. A bad one will pretty well assure you have more free time, :). So here are some suggestions regarding monologues;

* Match the monologue to the time period that the play you are auditioning for is set in.

* Pick something with a beginning, middle and end, don't start mid-emotion and expect the listeners to get it. Also try and pick a piece that has some growth in it. Having a monologue that is all one level is boring and flat.

*Whenever possible, memorize! The casting agent/director will like you more with good eye contact, and reading from a page limits you.

* Be still, and only move or gesture with a purpose. Practice gestures and movement right into the monologue. Random movement is annoying and distracting.

*Only have a Shakespearean or classical piece for a Shakespearean or classical show.

* Never pick a piece where crying is needed. If it comes naturally in the moment great. But trying to fake cry is hard, and comes off as fake.

*Never use props. they are distracting and take the focus away from you.

* Make sure you understand what you are saying. You may want to read the entire play if it helps, but at least be sure you know why a character is saying what they are saying. Also what is the setting and most of all, WHAT DO THEY WANT?

*An actor should typically be ready at almost all times with one contemporary serious piece, one contemporary comic, and one classic or Shakespearean piece. A monologue should run about a minute and a half, as often you are given three minutes for an audition, and are asked for one serious and one comic piece.

* Change your monologues from time to time to keep them fresh.

Break a leg!

J.T. Turner
The Actors Sensei

I lost my voice!

2011-06-22T08:14:00.000-07:00

(From Speakeasy Stage Company's The Drowsy Chaperone, with Sarah Drake)

Recently I had a fantastic run in a musical called The Drowsy Chaperone. But as fate would have it, I suddenly found myself with hardly any voice after the first weekend of shows. I had about a day to recover, and it reminded me just how important vocal care is.

Ok first, I am not a Doctor, nor have I played one on TV. Any vocal issues should get you to a Ears-Nose and Throat doctor right away just to be safe. Sometimes a lost voice can be caused by infection, or vocal cord injury. Don't be foolish and try and bull your way through any pain.

But sometimes its just overuse and phlegm build up, or the side effect of a cold. But what to do if you lose the voice and need to be onstage pronto? Still see that doctor, but try the following formula:

1) Go on vocal rest as much as possible. no talking, especially no whispering.

2) Start your return with breathing, deep, deep breathing, right from your belly. Then gently, gently add some sound. Moaning, sighing on the exhale is a good start.

3) Steam! Use a small steam machine, take a ridiculously long hot shower, but get some moisture into your passages.

4) Water, and lots of it. Lubrication is critical to a lost voice. Room temperature is preferred, and sip as often as possible.

5) Hum. Nice gentle humming, placed in the front of your mouth around the teeth. No forcing, no trying scales, no singing Sondheim, just gentle humming to feel your resonators and get stuff gently back to work.

There are many remedys that you can buy over the counter that people recommend to help get your voice back. Throat Coat tea is great, Thayers Slippery Elm is good, Fishermans Friend for nasal passages, as well as some sprays. But those should be used after the above process, or in conjunction with it, not just by themselves. And make sure you try them out and see how they work for you, different throats react differently.

Oh, did I mention seeing a doctor? :)

J.T. Turner
The Actor's Sensei

Give me a status!

2011-06-03T08:11:00.000-07:00

On stage, as in life, everyone has a status. Status is our position relative to other people.A place in the pecking order or hierarchy if you will. If an actor knows his status on stage at any given moment, it can go a long way to help with character development.

Now some status' are easily seen. The King is of high status talking to a peasant. Ahh, but what if the King is in hiding and desperately needs food? Now there is a shift of power, and the peasant suddenly has more status than the King. The Football star has high status, but if he is failing Geometry suddenly his geeky tutor may take on great status.

Status is fluid, and in many plays, the status of a character shifts during the show. Someone of low status at the start of the show may take power or get power and suddenly the status rises, causing the status of those around them to fall. Having that knowledge of where you rank to the other characters around you, makes a huge impact on delivery and attitude when delivering lines.

When working in a script, jot down where you are in relation to others on stage with you in a scene, and mark where you see and change in status.

J.T. Turner
The Actors Sensei
Private and group lessons for all ages in Acting and Speech

jtturneractor@gmail.com

The Leap

2011-05-14T09:58:00.000-07:00

We recently discussed the structure of various acting Unions.Now the bigger and more philosophical question, when do I join? That is a very personal question. Here in the Boston area I often advise younger performers against making the leap too soon. Union sounds great and can be, but keep in mind you are making your chances of working much smaller. If for you acting is an occasional fun hobby, that gives you joy and a sense of accomplishment, you may wish to stay non-Union.If it is however the driving force of your life, if you can handle the rejection that will come from tougher competition, if you are ready to deal not just with the "show" but with the "business" concept of show business, then you may wish to take the plunge. But each of you will have a different spin on what preforming is in your life, and how much of your life do you wish to dedicate to it.

I can tell you that within the past few years 2 non-Union performers asked me for advice on joining. One I told flat out not to do it. I just felt it was too much of a leap for them. They ignored me, went Union, and in three years has worked 2 Union shows. He is frustrated, since when you are in the Union you can ONLY work Union jobs. My other friend asked and I said to do it, as long as you think you can handle the business. She is flourishing as a professional actress.

So it comes down to some harsh questions. Will there be enough work to keep me satisfied as an actor? Keeping in mind that there will certainly be less work, especially away from places with lots of Equity theaters or the chance to film. You will now be more expensive to use, which will make you less appealing to a budget conscious producer. Using film work as an example, I recently had a day of work as a background performer on a major film. There were perhaps 25 of us that were Union, and 300 that were not. So chances of working was great fro Non-Union. Having said that, I got paid three times as much money, and had better food. But keep in mind I paid a fee to go Union, and pay dues regularly. But for me, since I do work often, the decision made sense.

As Aesop would say, "Look before you Leap".

J.T. Turner, The Actors Sensei