Working on scripts where characters re-tell a story or memory can be incredibly challenging. Often these longer passages are full of emotional turmoil - our characters rant, rave, list complaints or recount an event from the past. Working on these passages require two essential steps. We need to personalize each moment in the memory/story and we need to activate the story so that it can affect change the present moment.

Placing our focus on making ourselves cry can be a harmful and ineffective approach to our work as actors.

This is just a little unpack of how we navigate dramatic scenes where are characters are in heightened conflict and in huge distrust / betrayal of our scene partners. This is specifically about working on dialogue where our character is attacking, blaming, or sharing a list of grievances with life or their partner. THE TENDENCY: Letting this list of negatives weigh you down. Finding despair for the entirety of the scene. Getting swallowed by the negative energy and being unab

Imagination and Connection are two of the actors best tools. We must engage both of these muscles to achieve a believable performance.

Rather than diving head first into the ‘how can I get improve’ rabbit hole, what if… we just stayed here for a moment longer and sat with it

Everything we say and do in life is a direct reaction to what someone else has said or done. So as actors, our text is never about us, it is always and forever about our scene partners. The best performances don't feel like we are watching acting at all. It always feels like we are simply watching two people respond in the moment to one another. So if we are looking to deepen our acting process, let's start by making your scene work about the other person. KNOWING WHAT I WAN

Make Bold choices. Risk Big. Commit fully. Don’t play it safe. How do we make deeply grounded and connected choices that dare to risk?

We are living breathing agents of creativity. We are channels for imagination to roam free and uninhibited. And it is our very belief in the imaginary that allows audiences to believe in the stories we tell. And yet, it seems that our most imaginative selves stay locked away after age 10. We choose more practical ways to approach the world because we've been afraid to be seen as silly, or juvenile, or naïve. But the truth is, our most powerful tool as actors lies in our abili