Six Sensational Suggestions!

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

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

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

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

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

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

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

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

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


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

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


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

JT

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

Some inspiration

Someone is watching

 

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


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


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


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

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


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

                                    THE ACTOR'S SENSEI

Memorizing by hand

We spend many blog posts here at Advice to the Players talking about memory. A good memory can help an actor immensely. Whether it be a monologue for an audition or memorizing lines for a performance, memory plays a major role in a successful acting career.

Today I want to mention a technique used by some actors to help them memorize. They simply hand write out the lines they are trying to memorize. Not a sophisticated method, in fact it is very low tech and simple, but many actors swear by this method.There seems to be a great connection between the physical act of writing out a part and memorizing it. Perhaps it is because we need extra concentration as we write, or because it requires multiple paths of your brain being used (sight, tactile).

No special equipment is needed, and your penmanship doesn't seem to make any difference. So try writing out the piece you are working on by hand. No typing please, handwriting seems to work best in the process. It also slows you down to concentrate on the work, and perhaps you will discover something in the line as you write it that you have not considered before.

J.T. TURNER
The Actors Sensei
Coaching in acting and speech for all ages, all media.

TODAY: TEN TIMELY TIPS

Hello loyal readers! Today at Advice to the Players, some fast tips for actors of all ages. Hope you will enjoy them. Several of these have been used as blog posts all their own, just check the site.

• Act! All you can! Professional lessons are great, but, and I say this as an acting teacher, actual onstage time is better. Get all you can, especially in your early days.
• Be a professional, even as an amateur. Show up on time, and ready to work. Script in hand if needed, pencil at the ready.
• The script is your foundation. Learn your lines, then play with the underlying text.The sooner you can get them into memory, the sooner you can free up your brain to explore what you are saying.
• BREATH! At least 15-20 minutes a day of proper breathing, especially on show days especially just before a show, will do wonders for you.
• Save the drama for on stage. Avoid getting into backstage and offstage drama.
• Try not to bad mouth fellow actors. It is a small business in many ways, and your words will come back to haunt you.
• Remember to listen on stage. Focus, be an active listener, not just an actor waiting for a cue.
• Try not to take rejection from a role as a personal comment/.You just don't fit into one persons vision. Move ahead to the next audition.
• Show up. Life is filled with success, if you show up.
• Be nice. To fellow actors, stagehands, techies, staff, audience everyone. It makes you a better actor and a better person.

Remember to become a follower here, or on our Facbook link, http://www.facebook.com/JTTurner#!/group.php?gid=220821066628



J.T. Turner
The Actors Sensei
Acting and Speech Lessons for all Ages
jtturneractor@gmail.com

Advice to the Players Goes to the Movies!

Yes I go to the movies and you should too. All performers should make it a habit to attend works within the arts, movies, plays, concerts  art shows and more. Often, as a professional actor, I am challenged with getting to shows, as often I am in one myself and don't get a chance to see friends at work. But this year, as a part of my goals, I am going to see more art. Plays and musicals, but movies as well.

As a member of the Screen Actors Guild, I am fortunate to get to see films that are nominated for the SAG awards held in late January. One of the perks of being a Union member is I see films that are up for awards. These are sent to me in a few ways, "screeners" which is an actual DVD of the movie, often long before it is out on DVD, downloads on iTunes, which is new this year but seems to be a trend, and something called "Movie Cash" which is a voucher to go see a movie in a theater for free. All this great access to amazing acting on film reminds me of my work, and inspires me in my work.

Watching other actors act, seeing the choices they make, looking at how they approach a role is a great lesson for actors. And it makes good fodder for future use. Watching Natalie Portman's amazing performance in Black Swan is riveting, and could be an object lesson for what madness looks like. Could you use that sometime, perhaps as Ophelia or as Queen Margaret? Can Colin Firth's take on King George VI's stammering, his insecurity, his internal struggle feed your portrayal of Willie Loman or Claudius?

When cast in a role, I often watch films that are set in the same time frame, or by the same author, or in the same country or with the same accents. I don't copy other performances, I let my own talents use them as a springboard to where my character may go. I draw this personal way of attacking a role from the great actor Antony Sher, who will watch films, TV shows, make sketches, read books and do research to flesh out his characters. (His book, Year of the King, is one I re-read each year).

So fire up that DVD player, get some popcorn, and feast! Oh and sometimes go to the movies, in a movie theater. It is different experiencing work in a communal setting, a ritual in itself.

See you at the flickers. :)

                     THE ACTORS SENSEI

Pinky!

No, no not a post about your last finger. Even I am not that crazy.......well not today anyway. No, rather this is a personal post about an odd actory thing I often do when learning lines, and that is using my secret weapon.......the Pinky.





Yes, that pink colored rubber ball that many of us had as children. Ok maybe for some of you it is a toy your folks used, but still just refer to the photo. So I actual use this simple device when trying to learn lines, especially Shakespeare. But it helps with all lines from any genre. it can also be used for lyrics.


Now work with me here. When learning lines, I simply bounce the ball along with saying the lines aloud. This works great for Shakespearean verse since it is written in specific beats. a typical line of verse has 5 soft and 5 hard beats, alternating...da-DUM-da-DUM-da-DUM-da-DUM-da-DUM. That is a typical line, so I may bounce the ball down on the hard beats.


But this works for any lines. It has to do with distracting your mind, and slipping your lines into your brain in a structured way. It really helps if you have a word that is hard or that you have trouble remembering. Then I FIERCELY bounce the ball while calling out the word several times. By over emphasizing, exaggerating, and making a strong memory path, the word gets into your brain more dynamically, and that helps you with recall.


If I am working on a scene with a partner, we bounce the ball to each other after each one is done with a line. If I am getting help from someone reading, I may just bounce it on the floor after my line, listening to the next cue.


I find it also helps if I am walking or pacing as I bounce the pinky, again, saying the lines aloud. You may recall an earlier blog about memorization, using an MP3 or the like, and that method is still great. But I alternate it with Pinky work, as it is a bit more physical, and fun. :)


(Oh and in a total nerd rush, I use a different ball for each show, and write the show on character on it. Then after, give it away. )

J.T. Turner
The Actors Sensei

Sing for your supper.

I wanted to use this entry in Advice to the Playersi to give some advice to those of you that sing. Singing in concerts, recitals or on-stage, there is an important concept that I want you to bear in mind.

You are acting.

The difference between a singer with great technical skill,, and one that really "sells the song", is often simply a question of mindset. Of course I want you to hit the right notes, of course I want you to hold a note for a specific amount of time, but I also want you to answer some critical questions before you sing.

1) Who is singing? Yes, yes it is you, but who really sings this song? Young, old, married, single, a witch or a Princess? The more specific the image of this person, the easier it is to convey the song to the audience.

2) Why are they singing? A classic definition of a musical, is that the emotions the characters have become to intense that they must burst into song. What is that underlying intensity? Madly in love with someone? Angry? Desperate, alone? I always tell my actors to be sure and know why you are going on-stage, beyond it being a part in a show. What is it that your character has to say here and now.

3) Who are you singing to? Not just the audience, be sure you have a very specific group and setting in mind. If you sing Happy Birthday to your best friend, it has a certain tone and color. If you sing it to a aging, frail parent, it will change the delivery, even though the notes are the same. And singing it to someone you really don't like, again a total change in the song.

Let us consider a song that most of you know. In Les Miserables, the musical, Jean Val Jean sings a great song entitled "Who Am I" If you listen to the Colm Wilkinson recording, you can hear the thought process and change he goes through. It starts off reflective, self questioning. The character, a convict who is hiding his true identity wonders who he has become in denying his actual self. Then at the end of the song, he admits to a court full of people who he actually is. Different sound, a sound of release, no more hiding the truth. And more open, as he is now not asking himself who he is, but telling others who he is. It is a great example of character, purpose and audience.

So whether you are a singer who acts or an actors who sings, remember to make acting a part of the equation.

J.T. Turner
The Actors Sensei

Baby ears

I have had the great fortune and honor to work with some excellent directors over the years. They have inspired me to be a better director, and to be a better actor as well. Paul Daigneault runs Speakeasy Stage Company here in Boston, specializing in premiering plays to the Boston area. With Speakeasy I have been in such works as Johnny Guitar, Chess, Floyd Collins, and A New Brain. Paul is an amazing director, very low key and organic, and one of the lessons I have taken from him is about delivery.

Since Speakeasy specializes in new works, often an audience is hearing a show for the very first time. Paul always reminds his actors to think of the audience as having "baby ears", hearing sounds for the first time. As a result, an actor needs to be loud and clear. Even though you have worked on a piece for weeks or months, and know it inside out, that does not transfer to the audience. They are listening for the first time to you and your delivery. I am not saying make things slow and ponderous, just loud and clear.

I am currently working on the Scottish Play, and for many people Shakespeare is a realm that begs for this posts advice. The language, though gorgeous, is unfamiliar, so to let people take it in properly it must be heard! Enunciate, stay crisp, don't mumble, nor make your delivery so intimate that people lose what you are saying.




I will have more to say about volume in future blogs, but for this week Sensei says.... "Baby ears".

J.T. Turner
The Actors Sensei

The Secret of Life

At the risk of being repetitive, I want to touch on a theme I feel is so critical for an actor, singer, dancer, speaker or anyone. It is in my estimation one of the great Secrets Of Life.

Showing up.

I have a dear friend who is an actress in L.A.. She and I share a great philosophy about auditions. If you audition, you have a small chance of being cast, sometimes one chance out of several thousand. But you still have a chance. If you don't audition, you have no chance, no chance at all. So just by the act of showing up you greatly increase your odds of getting work.

I just sent out a congratulations email to a student of mine who went to an audition. No, she didn't get cast yet, and may never get a role in the show she auditioned for. That is not her decision to control. But she could control going to the audition, which is a brave and courageous act all by itself. It takes a strong person to show up in a room, deliver a piece to people that are often strangers, and then leave a judgement up to them. Brave and bold.

And that really is a philosophy not just for performers but for life in general. The great secret is showing up. Auditioning is a prime example, but also going to rehearsals, taking classes, doing your work. And how often have you promised to see a show or a movie or a concert and instead blew it off for no good reason. Later there is regret especially if you have a friend involved in the show you decided to miss.

Recently I was called into an audition. I was excited that they had called me, rather than putting out a general announcement. As I arrived, I ran into another actor they had called. I was a bit sad that they had called someone besides me for the role, and worse, this other actor would be PERFECT in the part they were looking to fill. To add more bad news, he told me that 6 other actors had also been called in. He named names, and I knew them all, all great actors. Frankly I thought about leaving, but I went ahead and auditioned, because I always try to do that.

And I got the part! My point here is, had I not shown up, I never would have gotten the role, which turned out to be one of the great experiences of my life. Hence my often stated philosophy, "Life is about showing up".

So conquer your heart when it whispers to you that you may as well not go, that your not the right type, that your not good enough. Go.

Show up.

J.T. Turner
The Actors Sensei

The Power of Three

One of the challenges an actor, dancer, singer or speaker faces, especially in a long running show, is keeping thing interesting and fresh. With a short run, one or two weeks, usually the "newness' of the work stays in place. but what about when you are running for 4-6 weeks, or for months or even years? Or what about the performer on tour, who repeats and repeats a role, with just a new venue to deal with? Or a speaker, who has to deliver a popular speech 50 times in the course of a year?

Familiarity breeds contempt, the saying goes. It also breeds boredom, and makes us lose our edge. So what to do? My good friend and exceptional actor Peter Carey has a way to try and keep the work interesting, even over a long haul. Peter played John Adams in 1776 at the Lyric Stage Company, for a run of 6 weeks, ( I played Ben Franklin in that production). He then went on soon after and played the same role at Goodspeed Opera House for another 2 months.

J.T. Turner, Timothy John Smith and Peter Carey in 1776 at the Lyric Stage Company

To keep things fresh, Peter tries to find 3 new things each show. Now let me jump in and say these are not major changes to blocking, lines or songs, rather small adjustments to his performance that perhaps only he or a few other actors would even notice. For the audience, it is the same great show. From the actors perspective, little, interesting adjustments that keep a small jolt of newness in the work. It also may give a new meaning to a scene or a line that you hadn't discovered yet.

The next time you are feeling that your work needs some freshness, try and change 3 things. See what new possibilities may appear.

J.T. Turner
The Actors Sensei