As a professional actor, one of the most challenging tasks is memorizing lines fast. Fear not, in this blog, we have compiled 20 clever memorization techniques. These tips will help you become a master at memorizing lines in no time. From rewriting your lines to utilizing the power of repetition, chunk memorization, and timing techniques, …
Eight vocal warm ups we use before rehearsal and before a show, lip trills to vocal fry, each one explained so you can do it in the car. Ten minutes, no equipment, and a note on what to do when you’re sick and still have to perform.
Confidence, teamwork, poise, conversation, empathy, memory, less stress and the ability to hear what a person is really saying. Eight things an acting class builds in people who never plan to act, from a studio that has trained doctors, lawyers and sales teams alongside working actors for twenty years.
What the Arizona ESA is, who qualifies, how much it pays, how to apply, how ClassWallet works, what you can spend it on, and how families use it for acting classes at Dearing Acting Studio. Written by an ESA family that is also an ESA vendor.
My son booked nine commercials by the time he was ten. Here is how he prepares for an audition, in his words, what I’d tell his parents (which means me), and how a kid becomes an actor in the first place. No promises, one small test to run tonight.
Three words on the wall of the studio and what they mean in practice: act with passion, keep love at the center, and commit to a never-ending pursuit of mastery. Why the 10,000 hours number was never the point, and what is.
What the first night of an acting class is really like: the phone goes in a box, you’re on your feet in minutes, nobody gets the same note, and the parking lot is the hardest part. For the person who has been meaning to do this for years.
Five rules for a rehearsal that gets somewhere, and a one hour template you can set a timer to: warm up, speed memorize, run it at half speed, pick the problem, work it, run it for real. From twenty years of watching partners waste three hours.
One of our teachers stopped me at the door with a question about the improv curriculum, and the conversation that followed was the lesson. Why every improv scene needs a want, why life already works this way, and how a want creates subtext.
A scripted character doesn’t know what’s coming; the character is improvising. An exercise from our masterclass that takes two actors from a cold read of a great play, through improvising as the playwright, and back to the script with the spontaneity intact.
Not the paycheck, not the review, not the reel. An actor’s purpose is to get better, and to choose every piece of work by whether it will. Three words I’ve used for twenty years, and the night a French accent caught me short.
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