| manner_of_adverb_slips.pdf |
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PHYSICAL WARM UP
Take a ride on...
THE PRETTY FLOWER (AKA Spokane)
Okay, let's try it....
Dramatic Dying On Camera
Today's Assignment:
1) Film a 'selfie' in a selfie of you performing the following short monologue, making a choice for your "death" on camera moment.
2) Work with a partner (switching so you both play RILEY) to die in a scene with dialogue. Make a new choice for how you die.
1) Film a 'selfie' in a selfie of you performing the following short monologue, making a choice for your "death" on camera moment.
2) Work with a partner (switching so you both play RILEY) to die in a scene with dialogue. Make a new choice for how you die.
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Monologue
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PHYSICAL WARM UP
Take a ride on...
Trophy Mockumentary
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DON'T PLAN
Set up a camera. Play a character. Grab an item from your house. Treat that object like a trophy or important item. Say "yes and" to yourself and go into history. Edit or don't edit. It's up to you. WAYS TO SHARE - Upload your video and share a link in class - Send the video direct via email ([email protected]) - Send the video direct via text (310) 405-9142 |
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WEEKLY PUNCHLINE CONTEST
Try to write the funniest punchline for this classic improv game.
(Comedy writing is good for your mind.)
(Comedy writing is good for your mind.)
THIS SET UP:
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One hundred and eight five Mosquitos walk into a bar.
The bartender says, "We don't serve mosquitos here." And the bugs say _____________ |
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Previous Winners
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2020
3/26 Zac Gould 4/02 Jakob Wedel 4/09 Maitlyn Pezzo 4/16 Jakob Wedel 4/23 Aneliese Santana 4/30 Jakob Wedel 5/07 Meg Cowart 5/14 Meg Cowart 5/21 Travers 5/28 Jakob Wedel 6/11 Nicole Wedel 6/18 Zac Gould 7/2 Zac Gould 8/6 Ty Correia 8/13 Ty Correia 8/20 Max Ross 8/27 Ty Correia 9/03 Max Ross 9/10 Abigail Canelle 9/17 Nick Hunter 9/24 Jakob Wedel 10/1 Zac Gould 10/15 Jakob Wedel 10/29 Ty Correia 11/05 Jakob Wedel 11/19 Ty Correia 12/03 Zac Gould 12/17 Ty Correia |
2021
1/7 Jakob Wedel 1/14 Jakob Wedel 1/21 Ty Correia 1/28 Nick Hunter 2/4 Jakob Wedel 2/11 Nicole Wedel 2/18 Ty Correia 2/25 Nick Hunter 3/5 Ty Correia 3/12 Zac Gould 3/19 Ty Correia 4/1 Ty Correia 4/8 Nick Hunter 4/14 Ty Correia 4/21 Ty Correia 4/28 Jakob Wedel 6/26 |
WEEKLY PUNCHLINE CONTEST
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Try to write a punchline for the following set up.
(Comedy writing is good for your mind.) Birthday parties are just like surviving in the woods..... Previous Week's Winners: 01/09/2021 Sarah Eastep 01/23/2021 Natalie Green 01/30/2021 Nora Yates 02/06/2021 Makinley Paige Montez 02/13/2021 (Workshop) 02/20/2021 Alyssa Stein 02/27/2021 Sarah Eastep 03/06/2021 Nora Yates 03/13/2021 Nora Yates 03/20/2021 Alyssa Stein 03/27/2021 Makinley Paige Montez 04/03/2021 Judah Prehn 04/10/2021 Halle Jensen 04/17/2021 Makinley Paige Montez 04/24/2021 Makinley Paige Montez 05/01/2021 Makinley Paige Montez 05/08/2021 Makinley Paige Montez 05/15/2021 Makinley Paige Montez 05/22/2021 Makinley Paige Montez 05/29/2021 Makinley Paige Montez 06/05/2021 Makinley Paige Montez 06/12/2021 Makinley Paige Montez 06/19/2021 N/A 06/26/2021 Makinley Paige Montez 07/03/2021 |
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THE PRETTY FLOWER (AKA Spokane)
Okay, let's try it....
HW MOVIE WATCH
CHRISTOPHER GUEST
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For HW, please watch one of the following films and be prepared to discuss next week.
BEST IN SHOW A MIGHTY WIND WAITING FOR GUFFMAN |
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SCENE PREMISES
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TIGHTER PEAS IN A PODGet faster at agreeing and heightening your partners initiation.
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PHYSICAL WARM UP
Take a ride on...
HANDS TELL THE STORY
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Writing Together
Possible Scenarios To Start From:
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One character confesses something big
One character is afraid of the other(s) Love Triangle Scene Ends with a Death Something traumatic just happened 2 mins ago A debate about our next move |
Apology after big fight
Getting Revenge on your antagonist Friends who want to be "more" Siblings who lost parent(s) In a hospital with high stakes Detective-like characters figuring something out |
IMPROV TALENT SHOW
TALENT
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STYLEVery Dramatic
In fear Popular Teenagers Romantic Very Calm Grandparents Uptight and organized Angry Too much energy Sad Trying to be annoying You are YouTubers |
WHERE ARE YOU?
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The location of the scene is a very important element of performance.
Whether it's a soundstage on a lot or a location outside with a perimeter of production people... THE ACTOR MAKES US BELIEVE THIS PLACE IS REAL. |
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STEP ONE: IMPROV
STEP TWO: SCENEWORK
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SCENES
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TODAY'S BIG CHARACTER: YOUNG MAFIA BOSS |
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FAMILIAR WITH A STRANGER
One of the weirdest parts of professional acting is making INSTANT CHEMISTRY with a total stranger.
Most of your costars will be people who you just met. It mostly goes like this:
"Hi, nice to meet you."
"Nice to meet you too. Let's pretend we've known each other a long time."
"Sure. Let's act like this is a very intimate relationship."
Trust is important.
Most of your costars will be people who you just met. It mostly goes like this:
"Hi, nice to meet you."
"Nice to meet you too. Let's pretend we've known each other a long time."
"Sure. Let's act like this is a very intimate relationship."
Trust is important.
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WHERE ARE YOU?
The location of the scene is a very important element of performance.
Whether it's a soundstage on a lot or a location outside with a perimeter of production people...
THE ACTOR MAKES US BELIEVE THIS PLACE IS REAL.
Whether it's a soundstage on a lot or a location outside with a perimeter of production people...
THE ACTOR MAKES US BELIEVE THIS PLACE IS REAL.
STEP ONE: IMPROV
STEP TWO: SCENEWORK
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SCENES
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HW ASSIGNMENT:
THE ONE-PERSON SHOW
Storytelling from personal life experiences can be a compelling way for actor's to jump start their careers.
The critically acclaimed FLEABAG (Amazon Prime) started as a one-woman show in a small London theater. It was a talented actor/writer standing on stage and telling you why her dating life is a train-wreck. It was one woman expressing something personal and now, the show wins Emmy Awards every season.
I think some of you have great stories and the talent to make me want to watch you tell them.
Use the handout below to prepare to perform the telling of ONE STORY FROM YOUR LIFE.
(Exaggeration is okay but the foundation and meaning of the story must come from true events.)
We will discuss ways to expand both the writing and performing in class next week so all you have to do is be familiar with the story you want to share with us.
-Japheth
The critically acclaimed FLEABAG (Amazon Prime) started as a one-woman show in a small London theater. It was a talented actor/writer standing on stage and telling you why her dating life is a train-wreck. It was one woman expressing something personal and now, the show wins Emmy Awards every season.
I think some of you have great stories and the talent to make me want to watch you tell them.
Use the handout below to prepare to perform the telling of ONE STORY FROM YOUR LIFE.
(Exaggeration is okay but the foundation and meaning of the story must come from true events.)
We will discuss ways to expand both the writing and performing in class next week so all you have to do is be familiar with the story you want to share with us.
-Japheth
VIDEO EXAMPLES
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TODAY'S BIG CHARACTER: YOUNG MAFIA BOSS |
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The Language Of SMART
Actors playing characters who are very smart, use big words, or are specialists in a field have to possess a mastery of the script. It's similar to playing a character who speaks a foreign language. If the actor doesn't know what he/she is saying, it will be obvious to the audience members who speak that "language".
SCENE OPTIONS
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| smart_kid_cold_reads-1.pdf |
SPECIALIZED SCENES: LISTENING TO PHONE CALLS
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HITTING THE MARK (with your face)
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An actor must be able to clearly, but not disingenuously, convey a message with only their eyes focused on a mark. Endurance is key because multiple takes over a long shooting day will wear you down. Precision is also important. Hitting the mark without losing your emotional value is where art meets technique.
Using the file below, choose a situation for a4th wall eyeline moment. As you perform for twenty seconds, others will watch to see you mark accuracy.
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FAMILIAR WITH A STRANGER
One of the weirdest parts of professional acting is making INSTANT CHEMISTRY with a total stranger.
Most of your costars will be people who you just met. It mostly goes like this:
"Hi, nice to meet you."
"Nice to meet you too. Let's pretend we've known each other a long time."
"Sure. Let's act like this is a very intimate relationship."
Trust is important.
Most of your costars will be people who you just met. It mostly goes like this:
"Hi, nice to meet you."
"Nice to meet you too. Let's pretend we've known each other a long time."
"Sure. Let's act like this is a very intimate relationship."
Trust is important.
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ATTITUDE AUDITIONS - Avoid The Cliche
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Today I want you to focus on auditioning for characters who have "a chip on their shoulder." Many young dramatic lead roles require a tough edge. Often, it's this character's job to be an obstacle for other characters in the story.
This kind of audition requires hidden vulnerability and believable anger. Have fun and good luck. Japheth |
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Handling Betrayal in Public
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You must respect two truths in this scene today:
1) You character is hurt when discovering/confirming that someone you love has lied to you 2) You are in public and everyone can see/hear you
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Write A Monologue
Use the following document to create a short monologue for a classmate to perform.
| monologue writing assignment |
| best_worst_monos_by_Japheth.pdf |
HOMEWORKSET POSITIONS AND TERMSEvery actor should know who and what people are talking about at their job.
Your team will use the handout below to familiarize yourselves with the terms, then... We will play a game to test your knowledge!!!
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STUDENT TESTIMONIAL:
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ACTING IS STORYTELLING
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Actors can take a lot of the hard work out of memorizing lines by simply knowing the story that the character is telling.
As you rehearse today, please try a method that I call "Subtext Summarizing". This is the technique of trying to say the lines in your own words. This connection to your own thoughts will make the written words more accessible. 
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FLIPPING THE SWITCH
The 'magic trick' of acting is transformation. When an actor changes from themselves into the character, the crew/audience is amazed. Sometimes, you have to make another transformation within the scene.
Today, work on surprising the viewer by hitting a big flip within the role.
Today, work on surprising the viewer by hitting a big flip within the role.
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Advanced Scene Study
Work with a partner to perform these dramatic scenes to the best of your abilities.
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SINGLE-CAM / PROCEDURAL AUDITIONSFocus on the difference between introspection vs communication.
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YOUR COMEDY STYLE
SitComs like to test actors with "test scenes" that are designed to be a showcase of the actor's abilities. There is no role (at least not fully written) yet.
Your job is to hit the "test" benchmarks and make yourself stand out.
Make it your own while showing your comedy skills.
HAVE FUN!
Your job is to hit the "test" benchmarks and make yourself stand out.
Make it your own while showing your comedy skills.
HAVE FUN!
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Hi Status / Lo Status
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Comedy Test Scenes
When the sides are vague, you get to make them specific.
When they ask you to do fun voices, show them something unique.
Instead of showing who the character is, you are showing them you (exaggerated).
Have FUN!
When they ask you to do fun voices, show them something unique.
Instead of showing who the character is, you are showing them you (exaggerated).
Have FUN!
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TED TALK SLIDES
DISCOVERY MOMENTS
Let's focus on different ways to make a big discovery today.
Your character is learning something that is a big deal for them. Practice ways to raise the stake without over-acting the moment.
Your character is learning something that is a big deal for them. Practice ways to raise the stake without over-acting the moment.
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Confession Scenes
Today, our scenes will explore what it's like to be uncharacteristically vulnerable.
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The Shape of the Scene
Try to maintain who this character is while preparing to perform in two distinct ways:
1) First, prepare the scene where your character wins the fight.
2) Then, one where your character loses the fight.
Use all of your actor's tools (subtext, pace, discoveries, etc.) to change the outcome of the scene.
1) First, prepare the scene where your character wins the fight.
2) Then, one where your character loses the fight.
Use all of your actor's tools (subtext, pace, discoveries, etc.) to change the outcome of the scene.
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HOLIDAY COMEDY SCENES
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* THE HAROLD *
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Circumstances: Trapped
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The roles here are both HIGH and LOW status within the HORROR genre.
Look for DISCOVERIES, EYELINES, and TONE. |
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The Art of Acting While Acting
Choose whether or not you want to be character who is the 'good' actor (Evan) or the one who's the 'bad' actor (Heather).
Both have their challenges and can be fun to do.
Both have their challenges and can be fun to do.
| ‘actor_type_audition.pdf.pdf |
UNDERSTANDING THE DIRECTOR: WES ANDERSON
Actors need to know how to research what the creative executives are looking for.
Every job has a different set of priorities.
Let's try some Wes Anderson acting today...
Every job has a different set of priorities.
Let's try some Wes Anderson acting today...
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ALL THAT SHADE
Today I want you to focus on auditioning for characters who have "a chip on their shoulder." Many dramatic lead roles require a tough edge. Often, it's this character's job to be an obstacle for other characters in the story.
This kind of audition requires hidden vulnerability and believable anger.
Have fun and good luck.
Japheth
This kind of audition requires hidden vulnerability and believable anger.
Have fun and good luck.
Japheth
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COMMERCIAL AUDITIONS
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Working A 'Room'
Questions:
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Between The Lines
Today I want to talk about how PARAENTHESES in a script can inform you about SUBTEXT.
| Handout_with_scripts.pdf |
Audition Scene:
| are_we_poor.pdf |
Smoothing Out Your "YES AND..."
Discovering Your PainWhen you are auditioning for a character who is experiencing extreme pain, it is up to the actor to determine HOW TO SHOW THE PAIN.
Techniques I recommend: -breath work -muscle tension -waves of discovery -affect delivery/pace -shifts and settles with body In today's scenes, your character will discover pain and then feel it at a level ten!
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Collaborative and Competitive
Your co-star is both your teammate and your competition. Support them AND let them push you to work harder.
Today, your classmates will anonymously critique your performance based on the following criteria:
Today, your classmates will anonymously critique your performance based on the following criteria:
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THE 2 STEPS OF HORROR
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Every horror movie has two distinct parts:
1) The part where everything is normal. Either a "normal family" or "beautiful young adults" spend the first twenty minutes of the movie showing their relationship and making creepy discoveries. 2) The crazy, life-threatening part. Characters start dying and/or witnessing horrible things. This is basically playing two genres. To be good at both, actors need to downplay PART 1 and go big in PART 2. |
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Example Audition:
| "Melty" |
The Art of The Interview
| HANDOUT |
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Use the tips in the handout above while your classmates interview you.
Be yourself. Avoid the common ways to put your foot in your mouth. |
SITUATIONS:
-Agent/Manager -Casting Director Banter -Producer Sessions -Fans and Press |
Theatrical Dialogue
These sides are from a Tony Award winning play. The speed and natural style may be new for tv/film actors.
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DUMMY SIDES
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Sometimes, casting doesn't have the official script for the part you are auditioning . In these cases, they will send you scenes from previous episode for the show (or a similar show). These are known as "dummy sides".
Actors should know that they have more opportunities to "go off the page" a little. Your goal shouldn't be to deliver all the lines perfectly. Your goal should be to show them that you could be on this show (once they finally have a script for your character.) |
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SUBTEXT DIALOGUE:
SUBTEXT CHOICES:
MAKE IT FUNNY
SCENES
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The Voice Over
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RALLY THE TROOPS
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HIGH INTENSITY MAKE BELIEVE
Use the following audition scenes to practice creating this intense situation in your house while on zoom.
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NEW FACETIME SCENES
Today's scene is a drama that is meant to be played on a video call.
The goal for performance should be to make the DIALOGUE and BEATS feel as realistic and natural as possible.
Because we have all had plenty of experience listening to conversations on FaceTime and Zoom,
the bar for "believability" is extremely high in a scene like this.
THE AUDIENCE SHOULD FORGET THAT THEY ARE WATCHING A SCENE
Good Luck,
Japheth
The goal for performance should be to make the DIALOGUE and BEATS feel as realistic and natural as possible.
Because we have all had plenty of experience listening to conversations on FaceTime and Zoom,
the bar for "believability" is extremely high in a scene like this.
THE AUDIENCE SHOULD FORGET THAT THEY ARE WATCHING A SCENE
Good Luck,
Japheth
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LOOSE COMEDY
| Improv The Script |
Prepared but LOOSE
Today we will prepare a scene where your character is under the influence (on alcohol or some other drug).
Your goal is to be able to DELIVER MULTIPLE TAKES that all feel consistent but also random and loose.
Your goal is to be able to DELIVER MULTIPLE TAKES that all feel consistent but also random and loose.
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| SAM and DANIELLE |
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The STORY in your EYELINE SHIFT
When watching your audition tape (or Zoom callback), casting will have no choice but to look at your eyes.
Most of us know how to play to the reader, and how to place things on our 4th wall...
but today, I want you to think about the story being told during the transfer from one eyeline to another.
EACH ACTOR WILL PERFORM ONE DRAMA THEN ONE DRAMA SCENE:
Most of us know how to play to the reader, and how to place things on our 4th wall...
but today, I want you to think about the story being told during the transfer from one eyeline to another.
EACH ACTOR WILL PERFORM ONE DRAMA THEN ONE DRAMA SCENE:
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Natural Monologuin'
Lets discuss the things that make dialogue feel natural.
I want to know what techniques YOU think work when trying to make dialogue feel like real life.
How much do you overlap? Do you use 'handles'? Do you change words? How much do you focus on diction/articulation? Etc...
I want to know what techniques YOU think work when trying to make dialogue feel like real life.
How much do you overlap? Do you use 'handles'? Do you change words? How much do you focus on diction/articulation? Etc...
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| secret_life_of_bees-1.pdf |
CHEMISTRY READSTV/FILM ACTING is the only art form where instant intimacy is required in order to sell the relationship.
INTIMACY doesn't mean romantic connection (although it could). Even hating someone requires knowing them on a personal level. As a though experiment, imagine (or remember) two people with NO chemistry. What's wrong with their interaction? Some of it will be physical. The body language is weird, etc. Some it the timing. They have no conversational rhythm. It's just awkward. Our job in class today, and EVERY TIME we work with scene partners on camera, is to remove all the signals from the list above. You will almost always be working with strangers. Making the audience believe that you actually have a relationship is your job. |
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Comedy Pressure
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Practice putting you comedy characters under pressure.
Think about a ticking clock in every comedy scene you perform. |
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COMEDY MIS-DIRECTIONS
Today we will use the following scenes to explore different ways to hit the COMEDY 180s.
| comedy_tools_simpler-1.pdf |
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ADAPTING A CLASSIC
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TED TALK SLIDES
HW: RAGE SCENES
EXTREME ANGER can feel fake or forced. It's hard to raise the stakes that high and be truthful.
For HW, have a clip prepared to share with your favorite RAGE/ANGER moment on camera.
We will watch and discuss. Then, you will be assigned a SCRIPTED scene to perform in this style.
For HW, have a clip prepared to share with your favorite RAGE/ANGER moment on camera.
We will watch and discuss. Then, you will be assigned a SCRIPTED scene to perform in this style.
SCENES
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MULTI-CAM TEST SCENE
Choose one of the scripts below. Use the last page of the sides to fill in the blanks you find throughout. Make it your own while showing your comedy skills.
HAVE FUN!
HAVE FUN!
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UNFINISHED SIDES: Create A Monologue
Use the file below to create an audition piece for a classmate to perform.
You only need a few lines to connect the existing dialogue together.
You can type your words into an email at [email protected]
...or private chat and I will transcribe into the script for you.
You only need a few lines to connect the existing dialogue together.
You can type your words into an email at [email protected]
...or private chat and I will transcribe into the script for you.
| fill_in_blank_monologue_-_new.pdf |
HW: Writer's Completion
For HW, choose a scene from the four options in this PDF and finish the scene's dialogue before next class. Have fun and create a scene you would want to see/act in.
| writers_completion.pdf |
SHOWING YOUR COMEDIC RANGE
These sides require the actor to play both high AND low status in the same read.
*(Do not learn all these pages. Specific scenes will be assigned in class)
*(Do not learn all these pages. Specific scenes will be assigned in class)
| Zaria and Z SIDES |
SKETCH CHARACTER MONOLOGUES
Sketch characters are usually ONE COMEDIC IDEA expressed through a personality.
The actor has TWO IMPORTANT JOBS in these kinds of performances/auditions:
1) Show the creators that you get the joke. Display your comedy skills to casting.
2) Be creative off the page. The creative minds who work on sketch comedy are always looking for ways to heighten and expand what the character is doing. Take some smart risks with the material.
Choose a monologue form the options below.
The actor has TWO IMPORTANT JOBS in these kinds of performances/auditions:
1) Show the creators that you get the joke. Display your comedy skills to casting.
2) Be creative off the page. The creative minds who work on sketch comedy are always looking for ways to heighten and expand what the character is doing. Take some smart risks with the material.
Choose a monologue form the options below.
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Bio-Pic Day
Today we will explore what it is like to wear a character for a while and then perform the big
monologue. Imagine that you are a cast to play this character and you have a few weeks to
prepare. He would do all the research and backstory and then spend some amount of hours
living as that person. You would walk like them, talk like them, think like them for a while.
You will be assigned a famous REAL LIFE person who you are playing at YOUR AGE.
You must show the producers/director that you can become this famous person,
while also bringing yourself to the performance.
STEP ONE: Receive your assigned role
STEP TWO: Spend some time researching.
STEP THREE: Perform an assigned monologue as that person.
Good luck!
monologue. Imagine that you are a cast to play this character and you have a few weeks to
prepare. He would do all the research and backstory and then spend some amount of hours
living as that person. You would walk like them, talk like them, think like them for a while.
You will be assigned a famous REAL LIFE person who you are playing at YOUR AGE.
You must show the producers/director that you can become this famous person,
while also bringing yourself to the performance.
STEP ONE: Receive your assigned role
STEP TWO: Spend some time researching.
STEP THREE: Perform an assigned monologue as that person.
Good luck!
PUBLICITY HW
An important part of being an actor is ALL THE WORK BESIDES THE ACTING.
Your job requires you to speak about the process, the project and your collaborators.
For HW, think about the character you are playing in this project (No Place Like Dome/UnderMind) and complete the character breakdown questionnaire here...
Your job requires you to speak about the process, the project and your collaborators.
For HW, think about the character you are playing in this project (No Place Like Dome/UnderMind) and complete the character breakdown questionnaire here...
| CHARACTER ANALYSIS |
You will also be pretending to be tv hosts who are interviewing the other cast about their project/characters.
PLEASE CREATE A SEPARATE LIST OF QUESTIONS to ask other actors about their home-filming experience. Ask them what challenged them, how they connected to the character, what was their favorite scene to film, etc... Maybe you can ask the cast to do a fun "challenge" which will test their chemistry? Be creative as the interviewer.
PLEASE CREATE A SEPARATE LIST OF QUESTIONS to ask other actors about their home-filming experience. Ask them what challenged them, how they connected to the character, what was their favorite scene to film, etc... Maybe you can ask the cast to do a fun "challenge" which will test their chemistry? Be creative as the interviewer.
CREEPY BEATS
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Sometimes the entire audition is about ONE moment. Everything depends on whether or not the actor hits the specific beat that the CD's and Producers are looking for. Today, these samples all have a creepy, spine-chilling "bum-bum-buuuum" moment in them. But they also have an element of a real young person who is a victim of the SuperNatural.
Use your skills (stillness, eyeline choices, tone of voice, pace and pauses) to get the affect that they expect in this scene while also finding the balance of being a real kid. |
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Taking The Character Further
We (writers/producers/directors) are paying attention to ALL of the characters and aspect of the story. You (the actor) are responsible for your character. It is nice to have actors who have given thought to what else this character might do or say within the world of the story.
STEP 1: Choose a monologue from the list here....
STEP 1: Choose a monologue from the list here....
...and be ready to COLD READ your choice to the class.
STEP 2: Use the handout below to write a SUPPLEMENTARY MONOLOGUE.
STEP 2: Use the handout below to write a SUPPLEMENTARY MONOLOGUE.
| ASSIGNMENT |
HOMEWORK
Monologue Choices:
There are EIGHT monologues in the PDF below. You may choose any gender or age.
| MONOLOGUES |
AUDITION TECHNIQUE
You will be assigned a short audition scene from below and given a short time to rehearse in class.
Please do your best to be off book.
Please do your best to be off book.
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IMPROV TITLES
SECRET TRAITS
Ensemble Scenes
When filming COVERAGE on set, actors must stay in the scene even when they are not talking. In MULTI-CAM shows, it is obvious when one of the actors is taking a "break" from acting.
In today's class, try to keep your performance level high thorught the scene below.
Good luck. Have fun!
In today's class, try to keep your performance level high thorught the scene below.
Good luck. Have fun!
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Dramatic Dying On Camera
Prepare to perform this short monologue with at least TWO choices for your "death" on camera.
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Aaron Sorkin's Rhythm
The fast-paced pitter-patter of Sorkin dialogue is legendary. Try your hand at one of the most difficult dialogue scenes ever put on film.
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Taking The Character Further
We (writers/producers/directors) are paying attention to ALL of the characters and aspect of the story. You (the actor) are responsible for your character. It is nice to have actors who have given thought to what else this character might do or say within the world of the story.
STEP 1: Choose a monologue from the list here....
STEP 1: Choose a monologue from the list here....
...and be ready to COLD READ your choice to the class.
STEP 2: Use the handout below to write a SUPPLEMENTARY MONOLOGUE.
STEP 2: Use the handout below to write a SUPPLEMENTARY MONOLOGUE.
| ASSIGNMENT |
Ensemble Scenes
When filming COVERAGE on set, actors must stay in the scene even when they are not talking. In MULTI-CAM shows, it is obvious when one of the actors is taking a "break" from acting.
In today's class, try to keep your performance level high thorught the scene below.
Good luck. Have fun!
In today's class, try to keep your performance level high thorught the scene below.
Good luck. Have fun!
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DIALOGUE IN THE UNKNOWN
As actors, one of the most difficult and essential tasks is to make discoveries in our work.
After repeating the scene in the audition process and rehearsals, most of the surprise is gone.
In this exercise, you will be assigned a scene that has your partner's lines removed. You can only read/memorize what you are going to say. In the performance, actors should try to slow down. Have your dialogue loaded but be sensitive to the unfolding story.
Let your subtext be fueled by the fact that you're LISTENING TO THESE LINES FOR THE FIRST TIME.
After repeating the scene in the audition process and rehearsals, most of the surprise is gone.
In this exercise, you will be assigned a scene that has your partner's lines removed. You can only read/memorize what you are going to say. In the performance, actors should try to slow down. Have your dialogue loaded but be sensitive to the unfolding story.
Let your subtext be fueled by the fact that you're LISTENING TO THESE LINES FOR THE FIRST TIME.
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EYELINE ENDURANCE (Guessing Game)
An actor must be able to clearly, but not disingenuously, convey a message with only their eyes focused on a mark. Endurance is key because multiple takes over a long shooting day will wear you down.
Using the file below, choose a SECRET situation for your 4th wall eyeline moment.
As you perform for twenty seconds, others will type their guesses into the chat.
It is hard but fun!
Using the file below, choose a SECRET situation for your 4th wall eyeline moment.
As you perform for twenty seconds, others will type their guesses into the chat.
It is hard but fun!
| focus_lesson__subtle_looks_at_mark_-1.pdf |
DIALOGUE IN THE UNKNOWN
As actors, one of the most difficult and essential tasks is to make discoveries in our work.
After repeating the scene in the audition process and rehearsals, most of the surprise is gone.
In this exercise, you will be assigned a scene that has your partner's lines removed. You can only read/memorize what you are going to say. In the performance, actors should try to slow down. Have your dialogue loaded but be sensitive to the unfolding story.
Let your subtext be fueled by the fact that you're LISTENING TO THESE LINES FOR THE FIRST TIME.
After repeating the scene in the audition process and rehearsals, most of the surprise is gone.
In this exercise, you will be assigned a scene that has your partner's lines removed. You can only read/memorize what you are going to say. In the performance, actors should try to slow down. Have your dialogue loaded but be sensitive to the unfolding story.
Let your subtext be fueled by the fact that you're LISTENING TO THESE LINES FOR THE FIRST TIME.
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Being The Director
Today, you will each direct a fellow classmate's performance of an assigned monologue.
Use the handout below to help develop your note-giving technique.
Learn what it feels like to want something from a performer. Pay attention to how collaborative the process is.
Hopeful the lessons learned here will translate to better cohesion in your next real life Actor-Director Relationship.
Use the handout below to help develop your note-giving technique.
Learn what it feels like to want something from a performer. Pay attention to how collaborative the process is.
Hopeful the lessons learned here will translate to better cohesion in your next real life Actor-Director Relationship.
HI-STATUS STRENGTH AUDITIONS
In tis class, I want to focus on big pivotal moments where characters finally put their foot down. These characters aren't "mean" people, they have been pushed to the point where their honesty seems harsh. Whether this is comedy or drama, think of the history that led up to this big "monologue" moment. Let that imagined history influence your performance.
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RE-BOOTING A CLASSIC STORY
Have you noticed that almost all big movies lately are sequels or remakes or reboots of other stories?
Thinking creatively about how our industries tell stories is part of your job as an actor.
Your homework is to use the following handout and be prepared to give a five minute presentation in our next class. This presentation will be more like a pitch meeting than a book report.
If you are confused, please conact me using the button at the bottom of this page.
Have fun and good luck,
Japheth
Thinking creatively about how our industries tell stories is part of your job as an actor.
Your homework is to use the following handout and be prepared to give a five minute presentation in our next class. This presentation will be more like a pitch meeting than a book report.
If you are confused, please conact me using the button at the bottom of this page.
Have fun and good luck,
Japheth
(PARENTHETICALS)
Script formatting that every actor needs to know.
Please click on the PDF below:
Please click on the PDF below:
| parentheticals_handout_with_scripts.pdf |
VO IMPROV HW
For HW this week, I would like each student to film one minute of footage where they improvise a voice for an inanimate object. (You may use more than one object/voice.)
Try not to plan.... at all. There is a beautiful quality to the things your brain will come up with once the camera is rolling. I know your instinct will be to think of what you're going to say ahead of time. Fight it. That desire to be prepare is born of insecurity.
Let your mind be free and playful.
**Below is an example of me, just pointing my phone at the first thing I saw in my house and speaking from the object's POV.
Is it genius art? No. But it is totally spontaneous and has the playful improv quality I'm encouraging you all to explore.
Looking forward to your weird footage,
Japheth
Try not to plan.... at all. There is a beautiful quality to the things your brain will come up with once the camera is rolling. I know your instinct will be to think of what you're going to say ahead of time. Fight it. That desire to be prepare is born of insecurity.
Let your mind be free and playful.
**Below is an example of me, just pointing my phone at the first thing I saw in my house and speaking from the object's POV.
Is it genius art? No. But it is totally spontaneous and has the playful improv quality I'm encouraging you all to explore.
Looking forward to your weird footage,
Japheth
THE ONE-PERSON SHOW
Storytelling from personal life experiences can be a compelling way for actor's to jump start their careers.
The critically acclaimed FLEABAG (Amazon Prime) started as a one-woman show in a small London theater. It was a talented actor/writer standing on stage and telling you why her dating life is a train-wreck. It was one woman expressing something personal and now, the show wins Emmy Awards every season.
I think some of you have great stories and the talent to make me want to watch you tell them.
Use the handout below to prepare to perform the telling of ONE STORY FROM YOUR LIFE.
(Exaggeration is okay but the foundation and meaning of the story must come from true events.)
We will discuss ways to expand both the writing and performing in class next week so all you have to do is be familiar with the story you want to share with us.
-Japheth
The critically acclaimed FLEABAG (Amazon Prime) started as a one-woman show in a small London theater. It was a talented actor/writer standing on stage and telling you why her dating life is a train-wreck. It was one woman expressing something personal and now, the show wins Emmy Awards every season.
I think some of you have great stories and the talent to make me want to watch you tell them.
Use the handout below to prepare to perform the telling of ONE STORY FROM YOUR LIFE.
(Exaggeration is okay but the foundation and meaning of the story must come from true events.)
We will discuss ways to expand both the writing and performing in class next week so all you have to do is be familiar with the story you want to share with us.
-Japheth
THE GENERAL AUDITION
General auditions are a showcase of the actor's abilities. There is no role (at least not fully written) yet.
Your job is to hit the "test" benchmarks and make yourself stand out.
Your job is to hit the "test" benchmarks and make yourself stand out.
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Dramatic Improv Scenarios
This week, we will explore auditioning when there is no script available.
This means there are no lines to memorize, but only a given scenario/situation for the actor to think about ahead of time.
Knowing that Casting Director's will probably only give you one chance (maybe two with re-direction), means that the actor has to prepare to think quickly in the moment.
Explore the possible paths the story may go so you are not caught flat-footed in the back-and-forth.
REMEMBER YOUR IMPROV SKILLS. Even though these are dramatic auditions, the same rules apply:
-Listen to your scene partners
-React with emotions
-Agree on what is true
-Make assumptions about the backstory
USE THE FILE BELOW to choose one of the six available scenarios. There are some prompts within each selection to help you prepare and brainstorm. Again, you do not have lines or know what will be said in the audition so you job is to be ready for anything.
Good Luck,
Japheth
As usual, if you're confused, I can be contacted using the button at the bottom of this page.
This means there are no lines to memorize, but only a given scenario/situation for the actor to think about ahead of time.
Knowing that Casting Director's will probably only give you one chance (maybe two with re-direction), means that the actor has to prepare to think quickly in the moment.
Explore the possible paths the story may go so you are not caught flat-footed in the back-and-forth.
REMEMBER YOUR IMPROV SKILLS. Even though these are dramatic auditions, the same rules apply:
-Listen to your scene partners
-React with emotions
-Agree on what is true
-Make assumptions about the backstory
USE THE FILE BELOW to choose one of the six available scenarios. There are some prompts within each selection to help you prepare and brainstorm. Again, you do not have lines or know what will be said in the audition so you job is to be ready for anything.
Good Luck,
Japheth
As usual, if you're confused, I can be contacted using the button at the bottom of this page.
| DRAMATIC IMPROV SCENARIOS |
The POWER of DIALOGUE
In this exercise, students will work with a partner to create a short dramatic scene for another pair of actors to perform.
The TEMPLATES below have pre-written lines of dialogue that must be in the final scene.
The rest is up to you and your partner! Use the "share content" function and assign one partner to edit the documents below.
(To be clear: as long as the provided lines remain the opening and closing dialogue, then the length of the scene is up to you.)
Have fun thinking about relationship, history, juicy lines of dialogue, unique on-camera blocking, etc.
After a brief writing period, partners will hand the finished script to a pair of actors who will perform the scene.
The TEMPLATES below have pre-written lines of dialogue that must be in the final scene.
The rest is up to you and your partner! Use the "share content" function and assign one partner to edit the documents below.
(To be clear: as long as the provided lines remain the opening and closing dialogue, then the length of the scene is up to you.)
Have fun thinking about relationship, history, juicy lines of dialogue, unique on-camera blocking, etc.
After a brief writing period, partners will hand the finished script to a pair of actors who will perform the scene.
Scenes For 04/23/20
Today I want you to focus on auditioning for characters who have "a chip on their shoulder." Many young dramatic lead roles require a tough edge. Often, it's this character's job to be an obstacle for other characters in the story.
This kind of audition requires hidden vulnerability and believable anger.
Have fun and good luck.
Japheth
This kind of audition requires hidden vulnerability and believable anger.
Have fun and good luck.
Japheth
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NEW FACETIME SCENE
Today's scene is a drama that is meant to be played on a video call.
The goal for performance should be to make the DIALOGUE and BEATS feel as realistic and natural as possible.
Because we have all had plenty of experience listening to conversations on FaceTime and Zoom,
the bar for "believability" is extremely high in a scene like this.
THE AUDIENCE SHOULD FORGET THAT THEY ARE WATCHING A SCENE
Good Luck,
Japheth
The goal for performance should be to make the DIALOGUE and BEATS feel as realistic and natural as possible.
Because we have all had plenty of experience listening to conversations on FaceTime and Zoom,
the bar for "believability" is extremely high in a scene like this.
THE AUDIENCE SHOULD FORGET THAT THEY ARE WATCHING A SCENE
Good Luck,
Japheth
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HW THIS WEEK:
Please film a 1-2 minute interview where someone else asks you the following question:
"What (besides acting/performing) is important to you?"
It could be like a red carpet setup or maybe you're a guest on someone's show.
Being good at answering publicity questions is an important part of the actor's professional life.
Having something that is bigger than your own fame/success makes you a celebrity that people will want to support.
Use the handout below to guide you in your answers.
Please have the tape ready to share next class.
As usual, contact me with any questions,
Japheth
"What (besides acting/performing) is important to you?"
It could be like a red carpet setup or maybe you're a guest on someone's show.
Being good at answering publicity questions is an important part of the actor's professional life.
Having something that is bigger than your own fame/success makes you a celebrity that people will want to support.
Use the handout below to guide you in your answers.
Please have the tape ready to share next class.
As usual, contact me with any questions,
Japheth
THIS WEEK'S SCENE BANK (04/15/20)
Today, I want you to focus on the CUT-OFFS in the dialogue and making them feel as natural as possible.
Writer's add hyphens and ellipses to indicate a character trialing off or being interrupted.
It is the actor's job (always) to make these moments feel as honest as they do in real life.
HINT: Life is messy and unpredictable, that's why we often don't speak in complete/perfect sentences.
Good Luck,
Japheth
Writer's add hyphens and ellipses to indicate a character trialing off or being interrupted.
It is the actor's job (always) to make these moments feel as honest as they do in real life.
HINT: Life is messy and unpredictable, that's why we often don't speak in complete/perfect sentences.
Good Luck,
Japheth
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SIDES FOR THIS WEEK
This week's theme is LOVE-ABLE NAIVE MULTI-CAM CHARACTERS.
When your character is the "dumb one" in a sitcom cast, the trick is not to be obnoxious. The actor must find ways to make the audience love them even thought he character often makes many mistakes (which lead to comedy.)
When your character is the "dumb one" in a sitcom cast, the trick is not to be obnoxious. The actor must find ways to make the audience love them even thought he character often makes many mistakes (which lead to comedy.)
Please be prepared to perform one of the sides below in our next class.
As always, contact me (use the button at the bottom of this page) if you're confused.
-Japheth
As always, contact me (use the button at the bottom of this page) if you're confused.
-Japheth
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TODAY'S SCENES
This week, please be prepared with any ONE of the scenes below.
When you are asked to self-tape or live audition with a scene where there is a physical stunt, it can feel fake or awkward.
Please focus on making the EMOTIONS more important than the violence.
Japheth Gordon
When you are asked to self-tape or live audition with a scene where there is a physical stunt, it can feel fake or awkward.
Please focus on making the EMOTIONS more important than the violence.
Japheth Gordon
| TAYLOR Sides |
| KYLE Sides |
| SAM Sides |
SUBTEXT DIALOGUE:
SUBTEXT CHOICES:
