I don't have a process. I just
feel it. My publication on acting would be very short. I'm just an professional - all I really do is I memorize someone
else's words and tart around." - Olivia Colman success 2016 Golden Earth; 3 Time BAFTA
There is a bit more to it than that... however, not much. British celebrities are often organized to be the pillars
of Performing Brilliance. While this is often true, there are no hereditary dissimilarities between the
Brits and their American counterparts. So, then, what is the difference? Training is one. British
Schools of Crisis differ from their American acting academic institutions counterparts in a few essential
Everything you need to learn is in the script. Uk acting students review the text seriously for
clues on character and motivation. They are also trained in their operating classes to review
classical texts which permit them to be functional between level and display screen - film & theater -and
bring their people to vivid life. The emphasis is on tale and the stars part in revealing that
It seems if you ask me, this craze towards more natural - even hyper-natural - acting/mumbling, has
led to a severe insufficient essential technique. There's a very fine balance between your
natural delivery which can derive from improvisation/looser connection to the script and a
morass of feeling with no structure. This can result in a loss of the through-line of the story.
The script is the skeleton of the storyplot - any report. It gives you everything you need to know. And
what it generally does not let you know, you can simply extrapolate predicated on what you have. The emotion comes
from understanding the written text (the storyplot & the type) and living that minute.
At HSFT our theatre Houston performing classes, eschew Method performing. My director at RADA called it the
"American Freudian Muddle-Through". While these various "Methods" work for many actors -
and you should, seek them out - they don't work for all. In fact, an over-analyzation of
emotions - what comes obviously for many individuals - can bog down a performance with the finish
final result being either something so subtle it's got little or nothing bubbling beneath the surface or
something over the top that is cringe-worthy at best. The only thing worse than over-thinking for
an acting professional is over-emoting.
I personally think Method operating lessons can be very dangerous - especially to young actors.
There's an element of breaking one right down to build one backup. Some break down and leave the
art completely. I was one particular as were some of my co-students in skill institution. I didn't have to be
divided. Children are massively creative, haven't any boundaries and tend to be fearless. This
can be smashed if not brought along logically, delicately and with the utmost care to keep the fun
in acting and in operating classes.
We've lost some of the greats (O'Toole, Rickman, Harrison) and we are burning off them 12 months by
year. I feel we have to do what we can to promote a host starting here in our Houston
acting classes where other greats will emerge - and not merely from over the pond. Houston
behaving classes are disperse all over the town and we want to centralize that both geographically
and philosophically.
Another difference would be that the British develop up with theatre as part of their life. The theater is not
relegated to a certain course or thought to be an "artsy" or "girly" or worse, a "boring" distraction. It
is something they face as children and continue steadily to look for throughout their lives.
There is absolutely no distinction among the list of British isles between "screen" celebrities and "theatre" actors.
In america and in Houston there is not always overlap between celebrities heading between mediums
and your fine art can easily undergo to the. Again, in Britain, they overlap seamlessly and feed one
in to the other. Both mediums are made the more robust for studying both with the fundamental
groundwork in the traditional acting course. Working Houston celebrities should be inspired to
keep training with behaving classes in both mediums. Also, starting operating students will benefit
from behaving classes in both film & theatre.
The very last difference, I think, is a culture of self-deprecation. The British isles look out of the
nonsense. While they could be highly campy - from Benny Hill to the Spice Young ladies - there can be an
underpinning sense of fun. English actors don't often emerge from Play school sure of their
skills and their profession trajectory. They only want to work. You can find very little ego engaged. There's
a fine lines between self-belief and ego/self-entitlement. A lot of people get into the business to act,
not to be come famous or have possible show.
We will also stress professionalism and etiquette inside our Houston behaving classes. You are unable to
perform or make films in vacuum pressure. An entire team and cast is engaged. We will stress kindness,
mutual respect, co-operation and a team-spirit. Packages and phases where fear permeates never
bring about the best kind of skill. Which symbiotic relationship between stars and crew which
is something that needs to be trained into stars right from the start. Kids performing classes will
especially promote learning to be respectful, kind and team-players.
For years, I helped run Mercury Studio here in Houston which offered a variety of Houston
performing classes and acting lessons from a variety of instructors. It was my first job out of university.