EmpoweredActor.com

Leadership Lessons from the Goose (The How & Why of DragonukConnects)

2010-06-09T08:05:00.003-04:00

By Brian Dragonuk
Reprinted by Permission for EmpoweredActor.com
Thanks, Brian, for allowing me to reprint this here!
--Tom

Those of you that have been around for awhile know the story (a little bit)but I want everyone to understand this.

In July of 1999, I was faced with my full time job closing its doors for good. I had about 2 Months of Vacation/Sick leave, Personal Days ETC – Companies are not known for sending checks to people after they go bankruptso I started looking for a way to earn money while Taking the Time I was owed and Building a bank Account – Just in case it took awhile to find new Employment.

So at Age 47 I went to the Open call for “The Replacements”, Was Hired for 3 weeks – Stayed 3 Months, Used All the Time I had saved up & Banked 2 Full time Employment check each week While I Could. I spent 43 (working) days on that 1st set with between 300-400 Other “Extras” each day (I later learned 15,000 Different Actors worked 1 or more paid days on that set as Extras). While other “Veteran” Actors were quick to Brag about other jobs they had completed almost NONE would tell you “How they found that job”, “Where they learned their Skills” Etc. The Veteran Actors were So Afraid of competition that 1 even had a list of the “Scam Agents” and sent new people directly to them so they would get burned and quit the business.

Today, DragonukConnects is the Outgrowth of My Plan (Formed on that set) to Provide Free or Very Low Cost, High Quality Information to Everyone & Anyone that wants it – Every job /Audition notice, Training session, Networking Event that I can find information on – Is passed on to EVERYONE that wants it.

You have the Choice of Deleting that Information or taking advantage of it.

And Now the Goose

What follows is something I have seen many times in many forms. I have seen it mostly attributed to Robert McNeish, (former Assoc. Superintendent of Baltimore Public Schools) but it is also attributed to others as well. I Have Added “The DragonukConnects Connection” After each of his Points

Fact 1: As each goose flaps its wings it creates an "uplift" for the birds that follow. By flying in a "V" formation, the whole flock adds 71% greater flying range than if each bird flew alone.
Lesson: People who share a common direction and sense of community can get where they are going quicker and easier because they are traveling on the thrust of one another.
The DragonukConnects Connection – I have said from the very beginning we are Stronger as a Group – Helping each other Grow, Pushing those ahead of us Upward and Growing ourselves into the space they leave behind. IF WE DON'T HELP EACH OTHER – NO ONE ELSE WILL EITHER

Fact 2: When a goose falls out of formation, it suddenly feels the drag and resistance of flying alone. It quickly moves back into formation to takeadvantage of the lifting power of the bird immediately in front of it.
Lesson: If we have as much sense as a goose we stay in formation with those headed where we want to go. We are willing to accept their help and give our help to others.
The DragonukConnects Connection – I have said from the very beginning we are Stronger as a Group – Helping each other Grow, Pushing those ahead of us Upward and Growing ourselves into the space they leave behind. IF WE DON'T HELP EACH OTHER – NO ONE ELSE WILL EITHER

Fact 3: When the lead goose tires, it rotates back into the formation and another goose flies to the point position.
Lesson: It pays to take turns doing the hard tasks and sharing leadership. As with geese, people are interdependent on each other's skills, capabilities and unique arrangements of gifts, talents or resources.
DragonukConnects is set up as a Networking Community Where EACH of you can contribute and “Lead The Flock”, From the Invites You can send to other Actors so they can join the Group – To your being able and Asked to Post any Jobs/auditions, Training sessions, networking Events you are part of and sending me Information about things that Might be useful in the Resource section.

Fact 4: The geese flying in formation honk to encourage those up front to keep up their speed.
Lesson: We need to make sure honking is encouraging. In groups where there is encouragement the production is much greater. The power of encouragement (to stand by one’s heart or core values and encourage the heart and core of others) is the quality of honking we seek.
DragonukConnects has Always Tried to post every major Accomplishment any Actor or Crew Member has achieved. We post Complete Cast & Crew Lists for Every project we can, We encourage EVERYONE to Attend Premiers & Show Openings and Support Each other WHENEVER POSSIBLE

Fact 5: When a goose gets sick, wounded, or shot down, two geese drop out of formation and follow it down to help and protect it. They stay with it until it dies or is able to fly again. Then, they launch out with another
formation or catch up with the flock.
Lesson: If we have as much sense as geese, we will stand by each other in difficult times as well as when we are strong.

To me, this is 1 of the Most Important Functions of DragonukConnects. It was Established Far earlier then my own personal Battles with Leukemia, the 8 Months of Failed Chemo that led to the Hospitalization, More Chemo, Radiation, Stem Cell Transplant, Immune System Antibody Transplant, and Multiple Eye Surgeries to repair the Chemo damage that have happened over the last 5 years. Your Cards & Visits meant a lot to me and were a large part of my recovery.

I have seen it with others in the Groups as well -- before my Friend Gus passed – He spent Hours Talking About all the Cards & Letters he received from Actors he had never even met – Because of the Postings in the Newsletter.

But it is also FAR, FAR MORE then helping someone Sick or Dying – Its sticking together in the Financial downturns as well. The Success or Failure of DragonukConnects in the Long run Rests with you and the Things you do today. We are 4,000 Members Strong and growing about 250 per Month.

If you are in College – Make sure the Faculty & Staff know about DragonukConnects (The other Students as well). Try to Encourage the Faculty to join as a Basic (FREE) Member (Resource Provider Sub-Group) So EVERYONE knows about the Classes and Projects being done there (Shows, Auditions, Student film Castings). Make sure someone is distributing the possible Jobs and Internships to the rest of the students today & for years to come. All are easy posts that can be made in 3 Minutes or less – IF the College/University Joins and Posts Them. It’s FREE Why not do it.

If you are Part of a Theatre Group – Make sure the Staff knows about DragonukConnects (The other Actors As Well) Try to Encourage the Theatre to join as a Basic (FREE) Member (Theatre Sub-Group) So EVERYONE knows about the, Auditions, Production Crew Job Openings, Admin & Mgt Job Openings, Interns Needed, Ushers Needed, Classes Given, and Every Shows full run. All are easy posts that can be made in 3 Minutes or less – IF the Theatre Joins and Posts Them. It’s FREE Why not do it?

If you are a full time or Part time Employee or Freelance with a Production Company - Make sure they Know about DragonukConnects (The other Crew Members as well). Try to Encourage the Production Company to join as a Basic (FREE) Member (Production Company/Crew Sub-Group) So EVERYONE knows about the, full or part time Job Openings they have, Freelance Opportunities that come up, Interns Needed And Even More Importantly the Resources they have that OTHERS might need/hire them as a sub-contractor.

You are EACH on the front line EVERYTIME you work, Attend a Networking Meeting or Training Class – Your Help in letting others Know about DragonukConnects and the FREE Services offered thru it – Will be a large
part of the Continued Growth in Auditions & Jobs postings carried by DragonukConnects – Something that Benefits us all.

...Or Will You Be Crushed?

2010-05-05T01:32:00.005-04:00

Yeah, it's 2 something in the morning, but I had to
write.

When the inspiration comes, you must respond.
(Remember that.)

I was feeding the horses -- it's not really important
WHY I was feeding the horses after midnight -- and I
saw a meteor showers.

It's a beautiful clear night, and the West Virginia sky
is ... amazing.

I saw the meteor streak silently across the sky (yet my
head added a sound effect of sorts, heh) and I thought...

- - Okay, bear with me here - -

... I thought, What early man must have thought,
gazing at the sky. The wonder...the Awe...the Fear

And so, standing there in the dark field in nothing but my
shorts and sneakers, my body feeling very alive in the
chilly air, I was inspired to write.

Because when you see such a sight as a shooting star,
if you just breathe and are silent, you will feel the
wonder and fear at the same time... shades of delight
tinged with the deep understanding that you are so
very very small

yet here you are

Do you know what that is, when you look in the summer sky?

No, I'm not being metaphorical now. I'm talking about
when you look into the clear sky (those of you who can
actually see the stars from wherever you are) on a
summer night

and you notice that...that, SMUDGE across the sky.

Know what I'm talking about?

Hey, if you happen to be reading this just moments after
I posted it, go outside and check it out. This is not an
acting exercise (I'll get to that in a sec); I just want
you to go outside, and wait until your eyes adjust.

Listen. Whatever sounds are around you, listen.

I hear an amazingly loud chorus of bugs, an unimaginable
variety of insects singing their little buggy hearts out.

Now look up. Look across the sky...

Do you see the "smudge"?

It cuts right across the dome of the night sky, pretty
much in the middle, pretty much from horizon to horizon.

Raise your hand if you know what that is.

Good, good, some of you do.

At first you might think it's a stream of light, wispy
clouds...or maybe smoke. But it's not...it's...

stars.

But not just ANY ol' stars.

That band of stars that make up the wispy smudge across
the sky are the gazillions of stars that make up our
Milky Way Galaxy.

Our solar system is positioned on an outer arm of the
multi-armed spiral galaxy...and when you look up on a
clear summer night, YOU ARE LOOKING INTO THE GALAXY'S
CENTER

like when you're on the Ferris Wheel, and you look up
(or down, or over) at the center spindle . . .

Cool, huh?

And then a meteor -- God knows how incredibly small,
most of them -- goes streaking across the sky appearing
larger than a jumbo jet and faster than anything

And you feel so small

yet inspired

because you understand that though you are nothing

you have the power to change humanity

if you respond to the call within

because THAT is why the dream was implanted

So will you step up to that challenge and Trust

or will you allow it to crush you, and wither away

?

I happened to be in my office this morning, pecking
away at this post, and the phone rang.

It was an actor -- well, an actor's mom, a complete
stranger -- who had an acting question for me.

It was a delightful conversation; enjoyable because
she is involved in her daughter's quest, and because,
frankly, I love connecting with you, you Empowered
Actor blog readers.

My challenge is--well, one of my challenges is--to
keep it real, to stay connected in a meaningful way.

Heh...That's the actor's challenge anyway, right?
To keep that connection going.

Anyway, she had nice things to say about the blog,
and about my Audition Success ebook, which apparently
her daughter bought some time ago, along with the audio
book, at The Actor's Expo.

It's scary stepping up to the calling in your life,
so it's nice when you have the support of family.
I know some of you don't.

It's scary for me, I'll tell you...and thrilling, and
SATISFYING

And I love it.

You must follow your passion. Why do anything else?
Yes, the road will be rough, so let your passion and
faith and smarts carry you through. If you knew
all the seemingly insurmountable hurdles coming up,
you wouldn't do it. That's why the dream was
implanted. So let's see what you do with it.

When the inspiration comes, you must act on it.

Here's to Your Empowerment

...now make an appointment with yourself to look into
the night sky over these next few nights, and see what
you can see...

Love you, friends.

Later,

--Tom

Copyright © 2010 Tom Brooks and
The Empowered Actor Initiative All Rights Reserved

How to Take the (Bad) Edge Off the Audition - Part 3

2010-04-15T14:04:00.000-04:00

Okay!Okay! Ready for this? We're going to take your bad
nervous energy, and transform it into that GOOD nervous
energy you need for a great audition.

Step 3: Use Your Model Experience

Take the great audition you thought of in Step 1, and
use it as a model for this upcoming audition.

Here's what you do -- then I'll tell you why this
process works.

First... imagine that great audition in Step 1.
Remember, it doesn't matter if you are making it up, or
whether you saw an actor in a movie have a great
audition, or if you saw another actor in real life have
a great audition.

The point is, now you're going to imagine that it was
YOU who had that great audition.

This should be fun, because you're using your acting
power, your imagination, to envision that it was you
who had that experience.

Really see yourself in that great audition. Make it
like you are really THERE. Take some time with this
and FEEL it.

Next... Pretend that the audition you have coming up,
the one triggering fear, has ALREADY HAPPENED. Take
those same feelings from the great audition into the
upcoming audition. SEE yourself there, as if it's a
memory. SEE yourself meeting the casting directors...
the smiling faces. SEE yourself doing really well.
FEEL yourself doing really well.

Have fun with this! You need to get into it so much
that you're actually feeling good and smiling about the
great job you did.

Do this 3 times a day for at least 3 days (more, if you
need to) until the fear of the upcoming audition is
gone, until you are feeling confident about the
audition coming up.

If the fear and self-doubt creep back in over the days
before the upcoming audition, Stop. Think about what
you are imagining that causes the feelings of fear.

Then ask yourself, 'Is what I'm imagining something
I can control?' If it is within your control, then
take care of it.

On the other hand, if the problem is something BEYOND
your control, then forget about it! Do this by going
back to Step 3, and focus on what you CAN control.

Why the Process Works

To understand how and why this process works so well,
let's recap what you've done:

Step 1: Think of a great audition
Step 2: Identify the specific fears you have about
this upcoming audition
Step 3: Use your model audition experience to
transfer your feelings of success to this upcoming
audition... as if it's already happened

By taking these specific steps, you are overriding the
fear images by flooding your head with POSITIVE images
connected with positive FEELINGS. This is not mere
"positive thinking"...you are actually reprogramming
your thought patterns.

The reason Step 3 is so important and powerful is
because when you fantasize with strong images and
feelings, your subconscious thinks the experience
is REAL. (In case you didn't know it, your subconscious
mind does not know the difference between fantasy
and reality.)

Your subconscious is that part of your brain that
controls your heart beat, your breathing...those
things you don't have to THINK about doing. The
subconscious is also where your fears reside, and a
lot of times, they are only there because you
BELIEVE there is something to be afraid of -- even
when there is NOTHING to be afraid of. (In other
words: What you believe to be true IS true...EVEN
IF IT ISN'T.)
So when you IMAGINE with strong images and FEELINGS,
your subconscious THINKS IT'S TRUE. This means that
your subconscious replaces the belief that 'I AM
GOING TO MESS UP' with 'I AM GOING TO DO GREAT.'

It's as if you have already had that experience of the
great audition! Since the fear is gone, you FEEL better
about it before you even do it.

The fact is that actors who have less fear are cast
more often. And even when you don't get the role,
you still know you did a great audition -- the best
one you possibly could, so you feel better about it,
and it helps keep your chin up for next time.

When you use this process, email your success story to me
...I'd love to know how it went!

Here's to Your Empowerment!

--Tom

Copyright © 2006, 2007, 2010 Tom Brooks and
The Empowered Actor Initiative All Rights Reserved

How to Take the (Bad) Edge Off the Audition - Part 2

2010-04-08T16:28:00.001-04:00

You're right: Step 1 is deceptively simple. In fact,
it's so simple, many actors looking for a way to get
past the nerves probably dismissed or overlooked it.
How could getting a clear picture of a winning
audition in your head possibly work? Well, in Step 3
(next time), I will indeed tell you why this works.

In any case, by now you should have a firm vision in
your head of a winning actor in a winning audition.

This can be from

Your own audition experience
Seeing another actor audition well
Seeing a movie that depicts actors auditioning well
A fabricated memory you have pieced together
from any or all of the above.

As long as you have that 'great audition' firmly in
your head, you're ready to move on.

Step 2: Identify the Fear Factor

Think about why are you nervous about this particular
audition coming up.

Really pin-point WHY it is that your anxiety level is
high in this particular audition situation.

Don't allow your answer to be 'Because it's an
audition!' You must be VERY SPECIFIC about this
audition.

Is it because it's one of your first auditions, and you
don't know what to expect?

If that's so, you can always find out about the
audition ahead of time. For instance, you can find out
if the audition will be in a theater on the stage, or a
rehearsal room, or in a church...You can find out if
other actors will be watching when you audition.

Getting answers about how the audition will run can make
you feel a whole lot better, since it will take away
some of the unknown elements. (Seems simple, but many
actors operate from the mindset that they are supposed
to be ignorant, that the process is supposed to be hard.)

Or... Maybe you're so nervous because you just want to
do a good job. Are you're afraid you'll screw it up?
Whatever you're nervous about, there is SOMETHING, or
someTHINGS that you keep picturing in your head. Make
sure you know what those are, especially those pictures
or scenes that keep coming up again and again.

That kind of nervousness is the kind that can get in
your way at the audition, so we will work on getting
rid of it so that you can do your very best.

The more you trust yourself, and the better prepared you are, the better you'll do.

Here's what I want you to do...

Get a 3x5 card, or your journal, and write your top
three fears - those things that you keep imagining
that are really making you nervous.

Do not write long descriptions -- just list 'bullet
points.' Something like this:

afraid of my hands shaking
worried that I'll forget my words
scared that everyone else will be better than me

Don't write more detail than that.

Now... Put this card away until the next Empowered
Actor article. Don't keep looking at it -- just
remember where you put it, so we can work with it
next time.

And between now and then, don't mull over the fears
in your mind. Just NOTICE when you start slipping
into the Fear Factor mode. Don't beat yourself up
about your imaginings -- just think about something
else, something more pleasant that has to do with
acting that you like so much.

Until next time, Here's to Your Empowerment!

--Tom

Copyright © 2006, 2007, 2010 Tom Brooks and
The Empowered Actor Initiative All Rights Reserved

Actor Control: How to Take the (Bad) Edge Off the Audition - Part 1

2010-04-01T15:47:00.001-04:00

Heart pounding, you walk up to do your audition.
Although you were just introduced to several people,
you don't remember any of their names. You're not
even sure which one is the director.

As you get into place and begin to speak, you realize
for one horrifying second that you have completely
forgotten your monologue. No idea! Then, amazingly,
the words tumble out of your mouth just when they're
needed, and they seem pretty much like the right ones.

Then it's over in a flash. Your smile feels forced as
you say Thank You, and wonder if it's obvious that you
are bolting for the door...

    Now let's take another scenario, something
    that happened to Empowered Actress
    Sharon Carpenter-Rose.

Sharon had a film audition late in the day. In fact,
she was one of the last to audition over a multi-day
period. Confident and ready, she walked into the
room, was introduced to the crew, and was told she
could begin when she was ready. Sharon sized up the
space, decided she didn't need the chair that was
available, and moved it to the back where it wouldn't
be in her way.

With that, the director and camera man looked at each
other. One of them remarked, amazed, 'You're the first
actor to move that chair during this whole audition!'

They were delighted with Sharon. Here was an actress
at ease with herself enough to take a brief moment to
actually arrange the space the way SHE wanted it.

Sharon was not at the MERCY of the audition.

She OWNED the audition.

The truth is: You have a lot of control over the
outcome of an audition.

Understand that it's okay to be nervous. You WANT the
nervous energy to give you that edge you need. You
don't want to be so relaxed that you seem as if you
don't care. And, of course, you don't want such a high
degree of nervousness that it runs away with you.

Here's How to Take the (Bad) Edge Off that Audition

Step 1: Think of A Great Audition

Think of an audition that was a breeze, where you KNEW
you did a great job, even if you didn't get the role.

Never had a really good audition experience? Don't
worry. You can think of a great audition you've SEEN.
Hopefully, you've observed that some actors handle the
audition process better than others.

Some actors are nervous wrecks. Others look like they
aren't really bothered by it.

Picture yourself as one of the confident ones, those
actors that make you think, 'They make it look so EASY.'

Take your memory, and pretend you are THAT person
during that audition.

How did it feel, to be so at ease and playful? Do you
think they were REALLY not nervous? Or did they just
handle it differently?

If you haven't had any really good audition experiences
and haven't seen any, then take what you've seen on
American Idol, or rent a movie that depicts actors
auditioning. There are those who handle it well, and
those who let their nerves ruin it for them.

Bottom line: MAKE UP a memory if you don't have one of
your own. You need to be able to see YOU in a winning
audition situation.

In the next blog issue, I'll delve into Step 2, and
the NUMBER ONE thing that threatens to get in the way
of a great audition.

Until then, Here's to Your Empowerment!

--Tom

Copyright © 2006, 2007, 2010 Tom Brooks and
The Empowered Actor Initiative All Rights Reserved

How to Achieve Honesty in Your Acting

2010-03-25T20:50:00.003-04:00

How is it that you can be quite a good actor, and
still be dishonest in performance?

Happens all the time.

Dishonesty in acting can take several forms, so let me
illustrate. Then, I'll give you simple and specific steps
to abolish dishonest acting for good, and forever
enhance the skills you have.

Examples of Generalizing (Dishonesty) in Performance

PERIODIC DISHONESTY
The most subtle and frequent form of dishonesty
affects the professional actor, as well as the better-
than-average community theatre actor. This form of
dishonesty is generalizing: playing at a feeling or
emotion instead of BEING AND DOING it.

Since this is the Very Good Actor we are talking
about in this example, this kind of dishonesty is
not likely to affect the entire performance, but
will crop up in spots. In other words, many moments
will be quite good, quite well executed; other
moments leave a bit to be desired, but because he's
so good, we tend as audience members to forgive.

ROLE GONE STALE

The biggest form of dishonesty for the professional
performer engaged in a long run is stale acting; the
life has drained from the performance except for
brief and fleeting instances of "brilliance" that are
elusive and difficult to repeat.

MEDIOCRITY

The most prevalent and not-so-subtle form of
dishonesty can be seen largely on non-professional
stages where mostly untrained actors appear, but
certainly rears its ugly head on the professional
stage as well.

This form of dishonesty occurs when the actor has
either never reached a level of honesty in
performance, or has attained that level in the past,
but has become lazy.

The Remedy for All Forms of Dishonest Acting

You understand, or at least have heard, that HONESTY
and VULNERABILITY are attractive qualities in
performance. I will go as far as to say both are
crucial to actors.

This is true whether you are performing on stage or
in front of the camera.

This is true whether you are performing in a
production or presenting yourself at an audition.

It is true whether you are presenting yourself at a
job interview.

The ability to engage honesty instantly-- once
accepted and EXPERIENCED -- is very powerful.

Difficult to attain?

That depends on how brave you are in terms of
1) Looking objectively at yourself, and
2) Allowing yourself to be "naked" in front of the
world.

How terrifying would it be if you had to stand in
front of 400 people and reveal the
- Ugliest side of yourself?
- Worst thing you've ever done?
- Most thoughtless thing you've ever done?

Okay, relax. That's not going to happen.

** BUT **

            and this is the key

      If you can IMAGINE
      with great detail
      looking into someone's eyes,
      and revealing all that "junk"
      and have them still love you,
      and accept you without judgment...

...then you have the ability to perform with
vulnerability and honesty.

            Read that again, slowly.

Now understand...

I did not say you WILL reveal ANYTHING, but when you
IMAGINE looking into someone's eyes, allowing them
inside to see aaallll of yourself -- your most intimate
thoughts and darkest secrets... well, that can be a
scary thing, a really terrifying thing to even think
those things while looking into a person's eyes.

   PLEASE NOTE: If you try this exercise
  of looking into another person's eyes
  and mentally revealing yourself, instruct
  your partner to look into your eyes while
  thinking, over and over, "I love you, and
  it's all okay."

This is a powerful exercise.

Doubt me?

Try it sometime. Less than 30 seconds of it and you
will be shaken.

Unless, of course, you cannot lower the shield.

Aaaahhhhh, there's the rub.

If that's you, if you cannot drop your guard, I
cannot help you with this simple article. If your
curiosity is roused, however, then you can take the
simple steps below to improve your acting.
Today. Now.

(If you are intrigued and want to talk about this
process with me, send me an email and I'll set up a
free phone session with you and we can discuss.)

Here's how. Take these ideas and run with them. Use
this powerful and mind-blowing technique while

Creating a role
Rehearsing
Cold reading
Preparing to audition
Auditioning and interviewing with the casting director
In performance

How to Attain Instant Honesty/Vulnerability

STEP ONE
Think, "I love you" while looking into your fellow
actor's eyes.

The content and context of the scene DOES NOT
MATTER. Even if your intention is TO HUMILIATE, TO
INSULT, TO FIRE RAGE AT... this will work. The sex
of the other person does not matter.

Before any words come out of your mouth -- for just a
moment -- take the chance and LOOK IN THEIR EYES and
think, "I love you."

How About the Audition?

If you're doing a monologue or a song selection for an
audition, you have a focal point, an imaginary person
you are talking or singing to, right? Then look in
THAT person's eyes.

Not talking to anyone? CHANGE IT so that you are
talking to someone. (It must be a SPECIFIC person you
are talking to, not "just someone.")

STEP TWO
Inhale while formulating your response.

Acting is reacting, right? Even if you are doing a
monologue or song, SOMETHING HAS PROMPTED YOU TO
RESPOND, and you'd better know what that something is.

If you don't know VERY SPECIFICALLY what prompts you
to begin speaking/singing THOSE PARTICULAR WORDS that
you are to speak/sing, then you have already lost the
audience before you have begun; you have already lost
the role at the audition.

The reason you inhale while formulating your thought --
your very specific thought that is ultimately expressed
as a specific, active and powerful INTENTION -- is that
it draws focus in a very subtle and dynamic way. It
automatically and subliminally creates expectation.

This is not a dramatic and sharp inhalation, by the
way. Just breathe in

and

suspend the breath, for at least an instant, at the
top of the inhalation. Don't hold, cut off or stop
your breath... just suspend the movement of air
through your airway. This is controlled by your
diaphragm, not your throat.

STEP THREE
Give; focus on the other person.

Remember, even at an audition, IT'S NOT ABOUT YOU.
It's what you (as your character) WANT in that moment
FROM THE OTHER PERSON. To get what you want, you
must GIVE to the other person, real or imaginary. This
is expressed as a specific, active and powerful
INTENTION.

It's that feeling of throwing the ball to someone,
and not pulling your throwing arm back right away,
but rather suspending your energy even after the
ball has left your hand.

Picture throwing a ball and leaving your arm in space
for a few seconds before going back to neutral. Not
JUST holding your arm out there, but suspending and
extending your energy in the direction of your pitch.

STEP FOUR
Repeat constantly.

If you even ATTEMPT these steps, your awareness will
be raised to a higher degree, and your acting, your
character development, your performance level, will
begin to improve.

Hope this is helpful.

Here's to Your Empowerment!

--Tom

Copyright © 2006, 2007, 2010 Tom Brooks and
The Empowered Actor Initiative All Rights Reserved

Actors Above the Fray

2010-03-11T19:23:00.000-05:00

The college or university setting can often seem like

a Rumor Breeding Ground. There is every opportunity

to dish, to eavesdrop, to jab, to tear down...

Although it can get your blood going when you hear that

so-and-so did something, or did NOT do something, blah,

blah, blah... challenge yourself to stand above. Notice

that even though there are some in your class who are

above or below you in certain skill areas...

...classmates who don't seem to 'deserve' to be there

...those who don't seem to work as hard as you

...some very talented people who treat you like dirt

...and though you might even encounter acting, voice,

and dance professors who treat some students unfairly...

Stand above the fray, and recognize the tremendous

variety of resources around you. And you can learn

from every one of them.

Unless there is an issue for which you need to stand up,

best to act as an observer, and focus on what's important.

You'll have your own built-in daily reality show that be

very comical most of the time, if you're able to detach

and survey the behavior.

I was somehow always able to turn a deaf ear to the

drama that was forever unfolding off stage. I certainly

would have gained nothing by being involved, and

would have lost focus on studying the thing I loved

best: Acting.

I transferred to Wright State University's Professional

Actor Training Program after my freshman year at

Hofstra University. The WSU faculty went back and

forth on whether to accept me as a 1st or 2nd year

student, but I was accepted as a freshman.

No big reaction on the Gossip Meter there...just

another transfer student, right?

But I happened to audition for Private Lives within

a few days of classes starting. Only I didn't realize

that although freshmen could audition, they could

not be cast in the 1st quarter production. Knowing

that would not have changed my audition, anyway.

It was a long night of call-backs for this 2-male, 2-

female cast show. I remember hanging around the

call board until near midnight, awaiting director

Bruce Matley's decision. It was the next morning

when the cast list was posted and I got the role of

Victor. And, uh, subsequently became a sophomore.

Well, gee, the Gossip Meter took a spike... Here was

this TRANSFER student who was just a freshman

YESTERDAY and now, not only did he get a role in the

first show of the year, he's now a SOPHOMORE.

I avoided plugging in to the gossip. The Theater

History class with Professor Bob Hetherington was

a large class, a mix of freshmen and sophomore

students. Although I knew there was a little bit of

Who Does He Think He Is kind of energy, it wasn't

really that bad, and I'll tell you why.

I didn't play. I could have been a snot. I could have

been a Poor Me whiner with a Why Doesn't Everybody

Like Me kind of attitude. I could have contributed to

that energy any number of ways -- but I chose not to.

I just...did my work. I was there to learn how to be

a better actor all around.

The week of opening, one of my new friends, Brad, was

sitting beside me in Theater History. He scrawled a note

on my paper (we usually traded silly cartoons and

comments back and forth)...It was in reference to

Private Lives. He wrote, "You'd better be good." I

laughed, but that half-joking note made me realize just

how unaware I was at the degree to which both the

freshmen and sophomore classes were watching me.

Still, I had too much to think about, with exams

coming up, and the play opening and all.

Then, the Big Night, the Toughest Audience: Preview.

The whole of the Acting Student body would be attending.

The show went well -- I think. I truly don't remember

anything specific, except being delighted that the

audience was responding so well, thinking, opening

night will never be this good...they're theatre

people...so of course they're supportive.

Well, the next day, I slept in. Well, over-slept is more

accurate...don't even remember turning off the alarm.

But I woke up with the sinking feeling that I was late for

my Theater History exam.

I bolted out of bed, ran down the path from my

apartment, ran down the hall, paused for a minute

before going in the door--didn't want to be breathing

TOO hard, right?

The room was set up sort of arena style, the five or six

long rows of seats curved to focus on the professor's area

...with the door to one side of that. No way to really

sneak into class. Face red, I opened the door as quietly

as I could.

They all looked up from their exams.

Then they began to spontaneously applaud.

For a moment, I was confused. Then I got it: They

approved. I passed the test. (Or as Sally Field might

say, "They liked me! They really liked me!")

But to me, it was more than that. I had stayed above

the fray; I didn't play any game I didn't want to. I had

a single-minded focus during my time at WSU. (Well...

most of the time.)

I don't remember what I got on my exam. I did well

enough, but it doesn't really matter, does it?

Here's to Your Empowerment!

--Tom

The Actor's Opportunity to Be Naked

2010-03-04T10:39:00.000-05:00

In your work as an actor, there is a great analogy I

want to share it with you.

You are like a good, quality piece of wood; a fine

piece of oak, walnut, or mahogany. Over time, this

piece of wood has been covered by layer after

layer of paint...

Infants are truly in the moment. They are simply

present, moment to moment. They cry one minute,

and happily play the next, depending on the dominant

focus.

As we grow, we learn to behave differently

depending on the circumstance... and the

application of the first layers of paint begins.

Now, in our daily lives, we have so many layers

we operate through. In a couple of places, and

for a few select people, we might occasionally

allow some of the original grain to show through.

For some, it can become difficult to keep up with

what layers needs to be shown to what people. It's

easy to lose track of the original grain. Some

forget who they are.

For the really fine actor, it is essential to get in touch

with the original grain -- as close as possible, anyway.

This does not mean constantly reliving a painful past,

or even wearing your heart on your sleeve. Rather,

understand you are a product of all that you have

experienced; all you have been through has shaped

your being. And there is no blame there for the bad

stuff, for it is you who decides how to move forward

each day.

As an actor, you need to understand how to build instant

rapport, for instance, when you are in a cold reading

situation with another actor you've never met. According

to the script, the characters are supposed to have been in

a relationship for 17 years. So how do you do it? How do

you establish in very few seconds a magnetic relationship

-- especially when your acting partner is a stranger?

You need to be able to shuffle off your own protective layers;

become (or appear to become) vulnerable by allowing yourself

to stand figuratively naked before the other actor (and

therefore the audience) in order to allow them in; in order to

allow them to be drawn in.

THAT'S WHERE YOU BEGIN WITH CHARACTER DEVELOPMENT: SELF

...Not putting on the voice, or creating the physicality first,

but with Self. Truth. When you are OPEN to possibilities, the

inspiration for voice and movement will come organically.

This process of becoming vulnerable and invoking honesty

doesn't always happen in a linear fashion, nor does it need to.

(Just a note here. The more experience you get with this

process of opening up, the easier it becomes. You probably

already do at least some of this intuitively anyway -- although

it's easy to get in your own way and close the door, so to speak.)

It's Not All About You

For a variety of reasons, and in a variety of situations (audition

vs. rehearsal vs. performance), you might not "feel" connected,

open, or even creative.

Oh, well. Tough.

You can't wait around to start feeling stuff. So that, of course,

is when you use your imagination, technique, etc., to give

what the other actor needs. (Ironically, the process of

attaining instant honesty and vulnerability is about giving,

giving of self in a very uninhibited way.)

Soon you will be able to engage the honesty, the much

sought-after vulnerability, within seconds. This process

is very helpful with classical theatre, especially when

acting Shakespeare. The thing that distances audiences

from Shakespeare is often the actor...the actor who

PUTS ON the character, and SHOWS US, instead of BEING

and RESPONDING truthfully to the material and to fellow

actors. It can be easy to forget that Shakespeare's

characters are flesh and blood, so we start to perform

with some sort of preconceived notion of what a

Shakespearean performance should be.

Truly, that approach will distance ANY audience from

any play, classical or contemporary; but as actors we

can *generally* connect more easily with contemporary

roles. But more on acting Shakespeare in a future article.

No matter the play, no matter the playwright, start with

Self first.

THAT's how to BEGIN to make the words your own; for

you must fully own them to have them come from the

core of your being if you are going to serve the production,

your fellow actors, and the audience.

I hope this has been helpful.

Here's to Your Empowerment!

--Tom

The Magic of Breath

2010-02-25T12:11:00.001-05:00

One of the mistakes actors make on stage is
ineffective use of breath.

The biggest mistake is failing to realize the sheer
power of a single properly executed breath!

I'll reveal to you 4 ways to use breath so you can

Connect Emotionally with the Material
Manufacture Emotion When You Don't Feel Like It
Mesmerize the Casting Directors at the Audition
Avoid the #1 Way to Kill a Good Moment
(at the Audition and in Performance!)

It is the actor's responsibility to bring truth to a role
by being truthful in character development.

Whether you are doing scene work with a partner, in
rehearsal or performance of a role, or even working a
monologue with an imaginary partner, use of breath is
an important factor in terms of your ability to impact
an audience.

1 & 2: How to Connect Emotionally with the Material
(and How to Manufacture Emotion When You Don't Feel Like It)

There are various tools you can use to bring emotional
reality to a scene. As you work with your partner, you
are striving to be relaxed enough to remain available...
available, not only to your own instinctive impulses, but
to whatever your partner is giving you to work with.

I can best illustrate the power of breath with the example
of a dramatic scene, but it'll work just as well in comedic
scenes, and even less heightened moments in general.

Let's take the example of a romantic couple, one of whom
is greatly disappointed in the other.

I'll refer to the scene from Shakespeare's Richard II between
the deposed King Richard and his Queen in Act V, scene i.

Their love is deep, and the text supports the fact that she is

greatly disappointed, yet still very much in love with her

husband. He was once at the top, and has made a series of

foolish choices that have allowed all that he has gained to

fall into another's hands.

Sadness mixed with resentment, anger and love. What a
great recipe for incredible dynamics!

Okay, so...We have our actress looking into the eyes of

our shamed and beaten King...er, former king.

Visiting him in the unkingly environment of his cell, she

is ashamed/angry/resentful/sorrowful, etc., and will

wound him with her words. In fact, she might even

vent her feelings through some harsh contact with her

hands as she lets her emotions flow.

THERE!

Right there, in that moment!

You missed it?

Let's back up.

The queen comes in... sees her drooping king. Her

breath catches in her throat as the conflict of

emotions rises. She comes to him, uttering some

harsh words -- the harshest still held in reserve as

she attempts to remain composed.

Staring at the floor, his gaze moves to her face

revealing damp and weary eyes. Damn it, why is

he so soft, she asks herself -- and with her next line

allows the intention and emotion to blend in the

physical act of striking him in the chest with her

clenched fist...or a harsh slap on his arm... or

whatever other way she can wound him, depending

on their physical proximity.

DARN! You missed it again?

It was in that moment before the strike -- in fact, in the
several moments before the strike -- that the queen held
her breath for moments at a time

SO THAT SHE COULD CONTAIN HER EMOTION.

** Freeze Frame! **

Okay, before we continue, I must digress to point out
that I used a LOT of descriptions of emotions a moment
ago -- JUST LIKE MOST DIRECTORS WILL.

Did you catch them? "disappointed" "in love" "sadness"
"resentment" "anger" "shame" "sorrow"

Aren't those words that a director might use in
describing what he wants from you?

But I also buried hints of some INTENTIONS that are
actually useful to you as an actor:

- TO VISIT (boring - never use something so weak)

- TO WOUND (okay that's better!)

- TO STRIKE (I'm suggesting this be literal, but you
can also strike with your words, right?)

I also implied some others:

- TO CONTAIN (tears, anger, other emotions)

- TO HOLD UP (composure, image)

- TO HIDE (resentment, shame, other emotions)

So, during the playing of all those intentions, THAT's
where breath and breathing come in.

If you are open enough emotionally, or at least AWARE
OF YOUR OWN EMOTIONS, you have observed how your
breath behaves when YOU are emotional.

When you are lying, you tend to hold your breath, or
breath shallowly.

When you are fighting back tears, you take short,
shallow breaths.

When you are riding emotion, just before it crests and
spills over, you take a series of short inhalations, then
attempt to hold everything together... then BAM! Here
come the tears, the yelling, the screaming...

And, of course, you can technically reproduce all of this
without feeling any emotion at all.

Who cares?

The audience doesn't care whether you are really
emotionally engaged, as long as they can't tell the
difference. If you can fabricate and replicate all
the sounds and other physical signs of emotion,
they'll believe you.

And often, the very act of replicating will trigger
genuine emotion, so that you begin to feel exactly
what you are demonstrating. And some nights, you
won't even have to try. Other nights, you just might
not feel like doing the scene, but you'll be able to
ACT IT -- and no one will know the difference.

Okay, there: I've taken care of the first two things I
promised you. You know that you can connect
emotionally with the script by controlling and/or
tapping into your breathing, and you also know how
to manufacture emotion, even when you are not
truly "in the moment."

3. How to Mesmerize the Casting Directors at the Audition

Ah, that secret moment of power at the audition: the
moment in which you can HOLD THEM or DROP THEM--the
casting directors, that is.) It's that moment at the beginning
of your monologue, the moment right before you speak the
first word.

Here's what you do:

As far as your character goes, you know what just happened
that prompts you (as the character) to speak. So, you breathe
in as you focus on your character's INTENTION -- THEN you
begin to speak.

It's that magic inhalation that draws them in.

Understand: I'm not talking about a huge audible
sucking in of air. Although you can certainly do that
for a comedic effect. Usually, however, the use of
The Magic Breath will be noticed only on a powerful
subliminal level.

As long as you are focused on that opening intention,
breathe in with that intention firmly held in your mind

(used with or without movement), suspend (don't hold)
your breath at the top of the inhalation -- embrace the
intention, and let the words flow with the breath.

**AND NOW**

4. The #1 Way to Kill A Good Moment

Ready?

Here it comes...

*SIGH*

You'll see it so often, especially in auditions. And it's
a guaranteed way to lose everyone's interest. (Not a
good idea at auditions, by the way.)

You get on stage, nerves jumping, mouth dry...

You walk in place... You say, "Hi, I'm Hurley Blankenship
and I'll be performing Bartholomew from Fezziwig's Palace
and the Third Tree from the Left from Last House on the
Right."

Then, in nervousness, you *SIGH* ...A quick rush of air as
you try to expel the tension.

And you succeed! Unfortunately, you also just let all the
energy out of the room...AND you just lost the interest
of the casting director as well.

Actors will do it in performance, too, to show exasperation,
fatigue, impatience...

*SIGH*

I implore you: Don't. It's a killer. Unless you are conscious
and creative with it, it's a killer. You might as well hold a
sign over your head that says, "AMATEUR"

So what do you do? THE OPPOSITE! Breathe IN.

It will

Focus You
Put Your Nervousness to Constructive Use
Captivate Your Audience!

So take a DEEP BREATH, and...

Here's to Your Empowerment!

--Tom
Copyright © 2010 Tom Brooks and The Empowered Actor Initiative
You have permission to reprint this article in its entirety, as long as you include the copyright line, and link back to www.EmpoweredActor.com

Actor Movement & Believability: A Practical Path to Freedom

2010-02-18T20:36:00.000-05:00

Do you frequently wonder what to do with your hands
on stage?

Do you ever feel naked or unnatural on the set unless
you are moving?

Does walking and turning on stage suddenly become
cumbersome?

Do you ever feel stiffness across your chest when the

last thing you want to be is wooden?

You've moved your body around for years without even

thinking about it, yet at some point in every actor's life,

body awareness can get in the way.

Here are 3 things you can do to forever free your body

(and mind!) from stilted movement on stage and in front

of the camera. Here, you'll find solutions to the issues of

Too Much Movement
Fear of Movement
Stiff, Unnatural Movement

On camera, dishonesty (or over-acting) is less forgivable

than on stage. Whether your voice or body betrays your

lack of skill first will depend on whether you move or

speak first. In a future article, I'll tackle the voice as the
window to the character's soul--for until you are relaxed
and in control physically, your voice and speech will
continue reflect body tension. For now, I'll provide a
practical solution to achieve natural stage movement.

These examples contain the keys that will unlock the
freedom you need for honest and natural acting for the
whole spectrum--from broad character work to down-to-
earth roles. If your character is one who is supposed to
have the upper hand in the scene or monologue, be
aware that too much movement is probably dissipating
your energy -- and power. Movement does necessarily
not equate to stage presence.

If you're in front of the camera, you'll be told over and
over again to "do less," "be still" or "pull it back."

The first key is to pay attention to how you feel.

Forget for a moment about what the character is
supposed to be feeling... How do YOU feel?

Do you feel awkward, stilted or stiff when you are
moving? Are you often told you are doing too much?

Close your eyes now -- well, after you finish reading
this exercise -- and picture yourself performing the
material you're working on. (If you are not in a class
or in a production, and if there are no auditions
coming up for you, then file this piece away for
later!) If you have an entire role before you, then
just pick one scene or moment that feels awkward or
unnatural. Once you ground that one, bringing the
rest of the character into alignment will be easier.

So... picture yourself in that particular awkward moment
of the play, or in that scene in class, monologue or song.
Close your eyes and WATCH yourself go from start to finish.
(Really, I'm serious about this. Do it.)

If there are "blind" spots -- places where you are UNABLE
to see yourself -- those are areas that are particularly
disconnected somewhere between your head and heart/guts.
Your movement and speech are affected. (If you cannot see
yourself mentally at all, keep working through this article --
we'll get you grounded yet.)

When you watch yourself in this mental movie, some of the
stilted movement will often make itself known -- things you
didn't know you were doing, like rhythmically moving that
leg, or pinning your left arm to your side.

Just noticing these things will help, but it's time to take
concrete action.

The following exercises are ones that will help ground you.

Problem: TOO MUCH MOVEMENT
Solution: Change the environment of the piece so that you
can minimize everything. If it's a stage piece, forget about
projection. Speak in your own "quiet conversation" voice...
much too quiet for the stage. If the setting of the script is
large and open, change it to an intimate setting -- just for
the purposes of this process. Don't move at all unless
absolutely necessary; every move must mean something specific.

Now, I'm not suggesting that you "freeze." Think low-key. Think
film noir. Play it like this a few times, and notice the movements
that seem to WANT to come out of you. When you have the piece
grounded like this, then get back to whatever environmental
requirements are called for the in the script -- and work the middle
ground between where you usually operate, and your latest
discoveries. Remember: This is a PROCESS, so you need to allow
time to adjust.

Problem: AFRAID TO MOVE
Solution: Secretly select a piece of music, preferably calm and
flowing (even if that kind of music goes against the grain of the
scripted material you are working on) and, in private, dance.

Slow, flowing, outstretched arms, whether you have formal dance
training or not. If you do, great. Then you'll understand this and
have no problem with it. At any rate, you've certainly SEEN dance.
The point is to MOVE... Okay, I know this is wacky, but you're alone,
right? Shades drawn, doors locked...   Once you break any barrier of
inhibition, then put the scripted words to it, and, now... sing it.
Like an opera kind of thing. Make the flow of words match
the music and the movement. Remember, even if it's supposed
to be a "choppy" rapid-fire piece, change it to a smooth flowing
one. Do this a few times in succession until it becomes easier.

Now... change gears. Drop the dance as such. Begin speaking the
piece again, but find the middle ground in terms of pace and tone,
and allow some purposeful movement. (Movement for movement's
sake is just as bad as refraining from movement due to fear.)

In the end--in performance--your movements don't necessarily need
to be flowing. The reason for doing this exercise was to break the
inhibition to move. Short jerky movements are fine--as long as
they are a deliberate choice to fit your characterization. And
anyway, now that you've danced it, you've subconsciously given
yourself permission to move, which will make your movement
naturally better at rehearsal, in performance, and at the audition.

Problem: STIFF, UNNATURAL MOVEMENT
Solution: Whatever the content of the piece, sit down at the
breakfast table with it. Preferably after you've just gotten out
of bed, and before you've even had your coffee. (I know, I know
...don't look at me like that.) Run the piece then, as you're
spreading butter on your waffles or shoveling eggs into your
mouth...or just leafing through the paper. You'll be groggy,
your movements purposeful, since they have nothing to do
with the play. You'll utter the lines between sniffs as the
contents of your sinuses shift -- okay, sorry, you're eating,
that was gross -- and the clearing of your throat, rubbing
your eyes, etc. If you have anyone who wants to look at
you that early (unless you arise at the crack of noon), it
would be great to have them run the lines with you.

Still unclear on the purpose? Okay, then run the lines as
you unload and load the dishwasher. Or hey, forget the
dishwasher and do them by hand. The cool thing is, the
content of the scripted piece will begin to inform your
movement. You will begin to respond naturally, which is
what you want in the first place.

Eventually, get the piece back in context of the whole so
that movement is related in the reality of the drama.

The entire purpose of these and similar exercises is to
give yourself permission to move, and move with
purpose.

And Now: The Bottom Line:

If you've just read all of these exercises and thought,
"Hm, yeah, neat -- I'll never do any of that," fine.

There's an easier way. You can forget about the hands,
the feet and the rest of your body... as long as you are
firmly focused on choosing specific, active and powerful
intentions for your character. FOCUS ON WHAT YOUR
CHARACTER IS FOCUSED ON. These intentions (always
expressed as concise action verbs) should carry you
through, moment to moment, throughout the song,
the monologue, the scene, the role.

If your intentions are specific, active and powerful
enough, all else will follow.

Still have a movement issue? Email me, and we'll set
up a time to talk.

Here's to Your Empowerment!

--Tom

Copyright © 2010 Tom Brooks and The Empowered Actor Initiative

You have permission to reprint this article in its entirety, as long as you include the copyright line, and link back to www.EmpoweredActor.com

The Actor, the Journeyman

2010-02-11T11:55:00.002-05:00

Wanderlust...What a great way to describe the
pull the actor feels for the stage, the drive to
get in front of the camera.

When you get down to WHY you are compelled
to come back to the stage, to get back in front of
the camera yet again, it must be wanderlust.

Why? Why do we actors do what we do?

To connect. To make a difference.

That's why you act, right?

To connect, and hopefully -- in at least some small
way -- to enrich the lives of those you connect with

a n d

to enrich YourSelf

I'm not talking about the applause. Well, sure, that's
part of it, but that is not what is ultimately driving
you to perform. The applause is icing on the cake.

The reward is the connection, and the connection
can only come once you have done the work, and
the work is the Journey.

"An infant who has only his physical needs
met will soon succumb to a host of infirmities.
The emotional and psychological connection
to other humans is essential for development."*

That is a quote from Evan Balkan's book, Vanished!, a
book about "true and harrowing accounts of adventurers
who never came home."

It struck me as I was reading this book this morning
that actors are like travelers, adventurers, journeymen.

Mr. Balkan so eloquently describes the wanderlust that
strikes him, compels him to journey from the familiar
environs and comfortable routines of home.

"...I love nothing more than being [at home],
with the people I love. But to get back out, to
see the world...that remains essential."**

Essential, he says, because the reward of the journey
is a more complete self.

With a more complete self, you have more of
yourself to give to others, for it is giving in life
that is essential to your well-being.

The better actor, then, is one who more fully delves
into the journey and emerges from the experience
as a higher more evolved self.

This not only greatly benefits the audience, but you
also profit tremendously as well. You are more highly
evolved spiritually, perhaps; emotionally; even
physically in some cases, after the curtain comes
down, after the run is over.

The mediocre actor is one who is not willing to
take that journey.

The mediocre actor settles, and the process of acting
becomes routine. The aim for this actor is to memorize
the lines, say them in just the right way, hit all right marks,
and get the applause.

Empty.

It's not enough to do a play for the sake of doing. Not enough
to do the film just to be in a film.(If you continually feel
empty when each show closes, and you find yourself hurrying
on to the next audition, then it is time to realize you have no
real goal as far as your career is concerned. I'll address this
another time.)

The degree to which you grow and expand your capacity
to live and give is in direct proportion to the degree to
which you are willing to embark on the journey, to invest
in the experience; to invest in your Self.

The only reason to audition for the next
role, to take on the next project, is to
stretch your own boundaries,
to step outside your
comfort zone; to
grow.

As I tell my students and coaching clients, there are plenty
of mediocre actors. To go the distance onstage and in front
of the camera, you must be willing to go the distance within.

There is risk in the journey.

Without the risk, the journey is meaningless.

The willingness to step outside the familiar is inherently
more fulfilling.

"The purpose of our lives is to give
birth to the best which is within us."**

That's why you are an actor.

That's why you are continuously pulled back into it.

That is what separates you from the mediocre: the
determination to endure the pain of growth.

It is not by accident that you are reading this, for you
understand that the relative pain is well worth the gain.
The rewards of empowerment come after the trials.

EMPOWERMENT IS THE THRILL OF HAVING SURVIVED.
It is the thrill that propels you forward to the next step.

By the way, the trials are usually never as bad as we
anticipated, having come through them.

Although, if we knew exactly the effort
needed to achieve what it is we
most desire, we would
probably never
begin the
journey.

That's why the Dream is implanted, to overcome the fear.
It is only too sad that most people allow the Dream to become obscure.

"Without a vision the people parish."

And Vision must be followed by Action

May you be empowered to take the small steps
necessary each day to get that much closer to your
ultimate achievements. May you update your passport
with every role! May you be willing to go beyond your
previous expedition.

I hope I can help, even in some small way.

Thank you for reading -- Here's to Your Empowerment!

--Tom

Copyright © 2010 Tom Brooks and The Empowered Actor Initiative
_________________________
*"Vanished! Explorers Forever Lost" by Evan Balkan,
Menasha Ridge Press, p. xiii
**ibid, p.xii

NOTE:
I get no remuneration by mentioning this book. I reference it
because of its inherent inspirational quality.

Stay Tuned for EmpoweredActor Re-Launch!

2009-07-21T16:43:00.006-04:00

reparations are underway for the re-launch of EmpoweredActor.com

This video is an ad-in-the-works -- you'll be able to get your free stuff when the site is live.

Practical & Powerful Tools for Your Success

Professional Union & Non-Union Actors
Community Theatre Actors
Adult Beginners
Film-Trained Actors Transitioning to the Stage
BFA & MFA Musical Theatre & Actor Training Programs

A Tribute to My Dad

2009-06-23T15:09:00.002-04:00

I'm a little late for Father's Day... was traveling and completely unwired -- except for my dying cell phone. I first published this as an Actor's Break article a couple of years ago, but wanted to share it with you.

Enjoy.

--Tom

Eight years ago this month, my Dad died. Sometime in the night, sitting in his chair in the family room, TV on, in his sleep, he died of congestive heart failure.

I didn't cry a lot for him. I cried for my Mom. She loved him so much.

I was at first puzzled why I didn't cry much. But then I read something and I understood.

When someone dies, we cry mainly because of regret. Regret over what we should have said, what we should NOT have said, what we did, the time we never spent... Regret.

Although I do, of course, have some regrets related to my Dad, I am grateful to say I am very much okay with his death.

And here's why...

He died peacefully and did not suffer. The remote was next to his hand on the easy chair. No evidence of any pain in those last moments.
Because he did not suffer, the suffering of his family was minimalized. (My Mom might think otherwise, but I know my Dad agrees.)
(And this is the biggest reason) He and I were okay with each other -- but that's not how it always was. He learned to say "I love you," and I do believe that was due in some large part to me.

When I was in high school and college, he would actually avoid saying it. I remember whenever I would call home from college, when it came time to say good-bye, I would say, "Love you, Dad," and he would say, "okay," or "here's your mother," or just anything. And it seemed it always caught him off guard.

But I'd say it anyway.

I knew it was hard for him, knowing the way he grew up. I decided I would continue saying it.

I wrote a letter to him from college once, a sort of coming-to-terms letter. I told him I knew that
he loved me, that he didn't have to say it -- it was okay.

Finally, one day, at the end of a conversation, I said, "I love you, Dad." He said, "I love you too,
Tom."

He always said it after that. We were able to relate on a better level after that.

I love my Dad very much.

And I realize something.

I founded The Empowered Actor Initiative, and have been working so hard on this business in large part as a tribute to my Dad.

The reason is... he knew so much, such a wealth of knowledge. He could have written volumes... He talked about it a lot, about writing. But he never did it.

I think he would really have enjoyed the power of the Internet. I certainly am. Once this company gets rolling I am going to be able to communicate with so many actors.

My Dad didn't have an avenue for sharing his knowledge, except through his job, and family.
A shame. He could have shared it with the world.

So that's my quest: to share my knowledge, to find every avenue possible with every actor who wants it.

It is a whole new thing for me, communicating via the internet. I have eBooks and CDs I've
created for actors, then instantly want to make them better.

I've had many disappointments with how long it seems to take to develop something meaningful... trouble with servers, fulfillment of materials... all part of a learning curve for me, how to communicate with YOU effectively.

Dad, I know you are by my side, cheering me on.

I love you,

--Tom

As You Go Forth

2009-04-30T12:47:00.006-04:00

This article is one I wrote originally for the Alabama Shakespeare Festival's graduating MFA class this spring, and wanted to share it with you as well. Enjoy!

Dear Graduates:

The World has no idea what's in store for it.

You are each unique in the theatre world. You must embrace the realization that there is only one of YOU, and you will contribute in your own unique way.

No one has your vision. No one can know your path. No one can choose your path -- except for you.

The world will be changed immeasurably by each one of you.

Too often, actors take that powerful realization for granted, as they become lost in the sea of daily activities, striving to achieve the Dream.

You are on to new endeavors, new relationships, new challenges -- some foreseen, others that will threaten to knock you off course.

You will never be lost if you remember 1 thing... 1 thing that so many actors forget, whether they are off to regional theatre excellence, Broadway, Hollywood or television, or start a theatre of their own.

As you go forth, remember:

You Have the Power, the Gift and the Ability
to Design Your Life

No matter how clearly you have thought about how you would like your life to be, sit down quietly by yourself Within the next 7 days, and write in concrete terms the results you want, what you intend to have accomplished, one year from today.

Then write the results you want 3 years from today. Then 5 years.

Go at least 5 years out, but then also -- and this is very important -- look back at your life as if you are reading a eulogy someone has written for you. What will they say about you? What amazing things have you contributed to the world of art? What difference have you made to life on this planet?

This is not a frivolous exercise. Psychologists and others studying such things have found there is true power in the written word, and the effect it has on the outcome of one's desires. This is not mere 'goal setting.' This is deliberate creation.

One thing is certain: If you don't chart your course, believe me... there are so many others out there who will be glad to chart it for you, not necessarily with your best interest at heart.

Performing this exercise within 7 days will help solidify who you will bring into your life, and for what purpose. So when unforeseen circumstances DO attempt to knock you off course, your declared Purpose will help keep you on track.

There was a recent study of two twin boys who grew up together in identical circumstances. One became a bum, living in the streets of Chicago. The other is very wealthy, and strives to assist people with financial difficulties by creating financial education programs.

When asked why he lives his life on the streets, surviving day to day, the one man said it is because his parents were alcoholics.

When asked why it is that he is so successful, the other man claims it is because his parents were alcoholics.

Take what is given to you, be thankful for what you have, and use it to your advantage, so that you can serve those around you with your gifts.

Here's to Your Empowerment!

--Tom
Copyright (c) 2007 Tom Brooks and The Empowered Actor Initiative All Rights Reserved.

If You Could See What I See...

2009-03-30T22:35:00.006-04:00

Don't you agree that sometimes, all it takes is a new perspective on things?

Think of how you approached acting when you first started out. You're a bit better now, right? What if, going into those first roles, you knew everything you know now?

What about how you approach your auditions? If I could download my perspective and my experience into your head, then you would have a very specific reference for tackling the audition from a vantage point of greater clarity.

It's not that I'm any smarter than you. It's that my perspective is different; it's broader. It's as if you are at ground level, and I am on a tower, able to see farther, able to see more because of my perspective. (I'm not trying to say I'm "higher" than you...just trying to find the right analogy to let you know that I can help you see things differently in a way that will heighten the impact of your audition.)

Here are the things I see OVER AND OVER AGAIN at auditions. You don't need any more training to take care of these -- just a greater understanding. It's very simple.

UNDERSTAND THIS...

There are VERY FINE actors out there who simply don't audition well. They just lack SIMPLE UNDERSTANDING that, if applied, can literally MAKE ALL THE DIFFERENCE.

Here are...

** 5 Ways to Stand Out at Auditions **

By making the following subtle changes to the way you audition, you DRAMATICALLY increase your chances of being cast.

ACT AS IF... Aside from completely knowing your audition pieces, the way to LOOK confident is to BE confident. Plug into your acting capabilities in order to get above the nervousness: You are playing a character who is very much like you who is not at all fearful of the audition; in fact, she loves it! Rehearse as this "character" who is prepping for the audition... then go in as that "character." You'll be surprised at how this approach can result in greater confidence.
As you come into the audition area, SIZE UP THE SPACE so you'll know where to stand, where to place the chair, or whether you'll have to put the chair, etc. You should have already made decisions about whether your glasses should be on or off; your hair should be out of your face, etc.
SAVE YOUR NAME. Get your music to the accompanist (if necessary), then do whatever you have to do to set up the space (efficiently and without apology,) THEN get in place, STOP, LOOK at the casting personnel while smiling, and speak your intro: "Hi, I'm First Name, Last Name, and I'm going to do Character Name from Name of Play, and Other Character Name from Other Play, and I'll be singing That Song from That Musical." Say your name clearly, especially if your name is even moderately difficult or "different."
AVOID THE EXHALE. Many times, actors expel an enormous breath just before they begin in an unconscious attempt to dump some anxiety. Instead, practice INHALING. This sets an air of expectation and compels the casting director to look at you. Make sure it is the CHARACTER inhaling in preparation to speak, not YOU as the actor. (By the way, I'm not talking about a big dramatic intake of breath. In fact, it might be more subliminal rather than visible to the casting folk.)
SAVE THE LAST MOMENT. When you finish the last word and/or action of the last piece, PAUSE... Let the moment resonate. If you have 2 monologues and a song, you'll want to do this at the end of every piece. SO DISAPPOINTING when actors finish the last word and/or action, then skip right to the next piece. Failure to take the moment is a way of apologizing for your work. It indicates lack of confidence.

Do these things make sense?

Take care of THESE 5 THINGS and you will improve your odds so much.

Want more? Contact me, and I'll gladly email you my eBook, How to Get the Call-Back Before You Even Begin to Speak the 1st Word of Your 1st Piece.

Here's to You Empowerment!

--Tom

Uh...Where's Tom?

2009-03-14T10:34:00.009-04:00

For those of you looking for the old EmpoweredActor.com, well, it's in transition once again. I had to shut down the site, since I was shelling out bucks every month just to keep it going, without even breaking even. (Effective marketing is still the bane of my existence. If I had the money, I would experiment with any number of techniques to get the word out. But, alas... this is it for now.) (Yes, you'll see one ancient post from Nov '08 below...was intending this blog for something else, but anyway...)

I have snagged a terrific bloke to host my site for free. He's a great guy who did my original artwork and logo, and is creative as hell, and has awesome ideas for the site.

SO... Sit tight. The Empowered Actor Education Audio Series will be available again in a month or two, purchasable only via PayPal -- I've ditched the merchant fees from the Big Cards. What a pain.

Anyway, if you want a free copy of my Audition Success: 5 Critical Steps eBook, just email me, and I will oblige -- through the end of March, anyway. (It's usually $19.95)

In the meantime, feel free to post your questions on

How to effectively audition
Advanced character development techniques
The key elements of the successful musical theatre audition
What to do with your hands (uh, on stage, that is)
To Sit, or Not to Sit -- How to deal with the question of movement in the audition
...or whatever else you'd like to ask or discuss

BTW, if you already have a copy of one of my audio CDs or eBooks, how is it working for you?

The Actor's Thanksgiving

2008-11-26T18:23:00.000-05:00

As actors, we tend to overlook the best in
ourselves. Too critical of our skills, we often
diminish what is of true value within.

The art of Acting, the very act of the process
in its most pure form, is BEING; existing in a
state of ACTION BASED ON INTENTION.

Remember, you are not acting to be someone
else, or to get away from yourself. You are, or
should be, bringing all of yourself into the roles
you create, whether for the audition or the
production.

It's true that you CAN feel and behave like
another person, and in so doing, you are--or
seem to be--getting away from who you think
of as You. BUT THIS IS ONLY A BY-PRODUCT
of the best acting, of true acting.

Remember, the best acting is when the words,
the intentions, and the resulting action and
emotions all come FROM YOU -- not fabricated
or pretended, but come from YOU REVEALED.

It can be intimidating to be that vulnerable, to be
that emotionally naked on stage or in front of the
camera. This true vulnerability is where the risk
factor, the "edge," comes in; the element of danger
(to ego); the ability to reveal a secret.

It is in this state of vulnerability that you are most
magnetic on stage; it is the glint in your eye in the
close-up.

So this Thanksgiving, remember who you are. In
your life right now, you might feel centered, you
might feel lost, or somewhere in between. Either
way keep up the search.

The search is ongoing. It is the search for truth.
Truth in your relationships, truth in your life,
truth in your acting work.

The only way to move forward in a constructive
manner is to be brave enough -- and humble enough
-- to look within and give thanks for the gifts you have
been given. Know that you can move forward driven
by the strength of the goodness and gifts you have;
you can move forward in spite of the weaknesses
or faults.

The weaknesses within can best be dealt with when
you are brave enough to touch them, hold them, to
see them for what they are: not as insurmountable
obstacles, but as fuel for progress toward being
more of the person you want to become.

Along with your loved ones, celebrate yourSelf over
the holiday. You are unique, you are here for a reason.
It is time to move forward.

Here's to a bright, safe and Happy Thanksgiving,

--Tom

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