Writing about the working craft
Long-form reference pieces on auditioning, representation, technique, and the working life.
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The close-up: what changes when the camera gets in
The close-up is where screen acting stops forgiving anything. The frame is the face, the cut will live or die on three seconds of eye behavi…
Meisner's repetition exercise, explained by a working actor
Meisner's repetition exercise is the most misunderstood drill in modern acting training. On paper it looks like two people repeating a singl…
Your first Meisner class: what to expect and what not to
Walking into a Meisner class for the first time is disorienting on purpose. You will not read a scene. You will not monologue. You will sit …
Why Meisner-trained actors sound different in auditions
Casting directors often describe Meisner-trained actors with the same shorthand: present, simple, not working. Why do these actors sound dif…
Meisner for screen: translating the training to the camera
Meisner was built in a studio for stage work, and some of its tools need translation before they land well on camera. The core principles tr…
Michael Chekhov's psychological gesture: the tool most actors miss
The psychological gesture is Michael Chekhov's signature tool: a single, stylised, physical movement that stores the psychological core of a…
Chekhov's atmosphere exercise: building the room before you walk in
Atmosphere is Chekhov’s name for the emotional charge of a room, a place, or a moment. His atmosphere exercise trains actors to drop into a …
Chekhov's imaginary body: how to build a character you can actually see
The imaginary body is another of Chekhov's core tools: you construct an internal image of what your character's body is like (heavier, light…
Chekhov for screen: which tools travel and which do not
Chekhov's technique was built for stage and film at a time when screen acting was still closer to theatre. Some of his tools travel cleanly …
Choosing a monologue that will book the audition
Most monologue problems are actually material problems. The wrong monologue will not land no matter how well you perform it, and the right o…
The two-minute monologue: structure, pacing, and the final beat
A two-minute monologue is a very specific unit of performance. It has to arrive fast, hold its shape through a middle, and end on a beat tha…
Classical vs contemporary monologues: when each is the right call
Whether to bring a classical monologue or a contemporary one depends entirely on the room. Drama school auditions and certain theatre meetin…