RESPIRO E MOVIMENTO®

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ACTORS

10 Ways To Stop Stage Fright

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  1. Prepare, prepare and then prepare some more. Prepare until you know your role backwards, sideways and standing on your head then keep preparing until you are sick of it. I’ll always remember preparing for a show at college and I told the tutor I was sick of looking at the script as it was coming up to show time. She said “Good, that means we’re getting somewhere. Go to scene 8…” If you are not thoroughly prepared, your brain monkeys are much more likely to come into play, telling you it could all go wrong and setting off the fight or flight response.
  2. Avoid caffeine, nicotine and any other stimulating substances.
  3. Relax. Arrive in plenty of time for your performance to give you time to do some stretching, deep breathing and visualization exercises. This will trigger the same part of the brain that releases the hormones to kick off the protective mechanisms, to now release hormones that trigger relaxation.
  4. Don’t entertain any negative thoughts that come into your head… They are not serving you. Focus on the positives and what could go RIGHT.
  5. Focus on your performance, not your audience.
  6. Take enough time before the scene to focus and get into your flow. If you are fully immersed in your scene, you won’t be thinking about the audience.
  7. Accept that nerves will never completely go away, nor should they. They energize your performance and make it come to life when you don’t let them control you.
  8. If a mistake happens, it’s not the end of the world. Recover and move on… Do not allow yourself to dwell on it.
  9. Hypnosis is a great way to combat stage fright!
  10. Practice improvisation until you are confident that you’d be able to recover seamlessly from any mistakes without the audience even suspecting a thing!

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9 Things You Should Be Doing to Become a Better Screen Actor

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  1. Watch amazing film actors.
  2. Watch how they almost do nothing on screen. Most of the great film actors are ever actually acting. They’re just being. Doing. Existing.
  3. On stage we try so hard to be seen and heard. In film, you don’t have to do any of that. You don’t have to try, because the camera picks up everything. All you have to do is experience.
  4. To practice this transition, film yourself acting, perhaps a piece you worked on stage. Then watch yourself (sucks I know). Notice how much bigger (probably) your expressions are. Much too big for film. Maybe your voice sounds stagey or unrelaxed. Notice these things, then look back at your film idols and compare. What did they do that worked? What did you do that didn’t? That’s typically step 1 for transitioning from stage to film.
  5. Usually the answer is relaxation. It is much easier to go from stage to film, because it is easier to tone things down than it is to learn to crank them up.
  6. As for facial expressions. On stage, you can often get away with forcing certain expression. You can get away with emoting. You shouldn’t force expressions on stage, but we all have done it and do it often, because we gotta reach that back row. Now on film, the back row is the camera. Any forced expression, and I mean any, even something you think is small- will read super false on film. Because the camera picks up every tiny detail. So don’t try to make facial expressions on film. They will always read as false. Believable, real expression will come naturally from being in the circumstances and playing your objectives.
  7. Stage- speak loudly.
  8. Film- think loudly.
  9. Thinking will translate to your facial expressions. All in the eyes. Watch humans in real life. Nobody forces facial expressions in real, human moments. They happen because thinking and feeling happens. Film is much closer to real life than stage.

Dealing With Rejection In Acting

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First: Focus on the feeling

In order to eliminate something, the first step is always awareness. You may think you’re aware of what rejection feels like, but pay close attention because if you’ve been pained by rejection as an actor, I guarantee you’re missing one VERY important piece of the rejection puzzle. Let’s take a deep dive into it and identify it. The feeling.

Second: Deconstructing rejection

The 5 “Traditional” Stages Of  Rejection:

Stage 1: You get the audition.

Stage 2: You start getting excited about the possibility of getting the role and you get attached to the idea of booking it.

Stage 3: You don’t get the role.

Stage 4: You fall into a ditch…A sort of “ditch of emotional despair”. (The punch in the stomach – the THUD we spoke of earlier). And, once you’re down in that deep, dark ditch, it’s hard to get out of it.  Eventually, you kind of crawl your way out (hopefully).  But it is really hard and it feels awful.

Stage 5: This paradigm of rejection becomes even worse because then you have the dread of falling in the ditch again the next time you audition. 

Third: The rejection mistake you don’t know you’re making

You’ve coupled experiencing the EXCITEMENT about the idea of booking the role with the ATTACHMENT to that very idea. 

Fourth: Excitement minus attachment equals freedom

Stage 1: You get the audition.

Stage 2: You start getting excited about the possibility of getting the role. You imagine what it feels like to have booked it. You picture yourself shooting it. You hear the director yell action and you begin to play the scene. You revel in the infinite possibilities of what your acting career could look and feel like when you book this role.

Stage 3: You don’t get the role

Stage 4: Since attachment to the outcome wasn’t a part of your paradigm, there is no ditch to fall into.

Stage 5: There is no Stage 5.  It doesn’t exist. 

Fifth: Rewind. Redo. Rewrite.

If you rewind and rewrite the way you “do” rejection by going back to that excitement feeling but never creating attachment to it, if you don’t get the role it’s not even a blip on your radar. 

Sixth: Rejoice despite rejection

You can still experience the excitement. You can still experience the imagination of the possibilities of what could happen — and you should. 

Photograph by Marnee Pearce.

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