Inspirations© from Bernadette Jones - Director, Teacher, Acting Coach

January 2012 / "Be Yourself"

Just now getting the time to write about one of the discussions that came out of a class 'moment'. Don't you just love when your agent, a director or casting person tells you to "be yourself". And you think: "What is that? What do I do to become myself?"

It is ironic that we seem to have to ask ourselves this question. But perhaps not. After all, do we not go through life constantly asking "who are we ... truly". Isn't our life full of lessons and discoveries that lead us to "know thyself"? It is said the essence of who we are is established by the time we are 7 years of age. 

So what has all this to do with acting in any given moment when we are attempting to "be another character"?

My belief is that we limit ourselves to thinking that our "self" is our everyday, ordinary, non-confrontational, trying to be in balance - self. The fictional characters we play require us to play in a very different arena, one which requires us to be - EXTRAordinary, IN confrontation (often seeking it) and OUT of balance. The essence of a good story (drama), is seeing someone who is EXTRAORDINARY IN ORDINARY CIRCUMSTANCES or  someone who is ORDINARY IN EXTRAORDINARY CIRCUMSTANCES. We the audience watch to see how the character will over-come the situation - or not, with all the difficulites that will arise.

And so - the actor must start to realise that the "self" they use for an acting situation must have them go beyond their everyday "self", BUT still come from who they are, because we really can't come from any other place. We must realize that we are much more than what we present to the world in our everyday reality. We are also our dreams. We are also our ideals and politics that we feel passionate about, but most often feel powerless to implement. We are also the little girl or boy that thought they could change the world. When we act we can drawn from these very real parts of who we are.

For expample: our night-time dreams can be a source of emotionl depth that we may not have experienced in life. Have you ever woken up and been disturbed by a dream that you had and had that feeling (or memory) flash back during the day? That is something you can draw on.

Have you wished you could change the course of peoples lives? Well, you get to do that when you get to play powerful personalities - for good or evil. Ben Kingsley said that in "Sexy Beast" when he was playing that totally vile and evil character, he played him as if he were a needy child that craved love from everyone and when he didn't get it from someone, felt perfectly justified in punishing them severely for not giving it to him. This was a brilliant example of 'loving your character' and not 'judging your character'. Also, I might add a perfect example of Shurleff's Guidepost #2 that you must choose a POSITIVE Fighting For...when you are looking at character motivation, intention, objective (however you wish to name it).

And the little girl or boy that wanted to change the world? Well that is still a seed that can be nurtured and come to full growth, when working on a character that does just that in the fiction that you are in. So - dream, exceed your own expectations and live your 'SELF' to the fullest when tackling your acting challenges!

August 2011 / Make every audition a great improv NOT a bad performance.

When you focus on your audition for film/TV as an improvisation and NOT a final performance you will become more free and not worry about being 'right' or being 'wrong' - which puts you in second guessing mode, which will kill any good preparation done and instincts you have. Put this concept into action to 'get out of your own way'. This is something we hear often, but never know what to substitute. Try this.

Further to this, you must learn your lines, absolutely, but it is not just about the lines - if it is...you will falter.  Dorothy Gardner, the former head of CBC casting asked to observe a class had was teaching, when the work was done one of the actors asked her: What do you want to see at an audition? Ms Gardner said simply: We want to see you lift those words off the page.

Clearly when you 'own the role on your terms' and make it a 'great improv, not a bad performance' - when you feel free to use the page well and engage fully with the other characters, clearly feeling WHO they are to you (use a dynamic from your life that is similar to the dynamic you are in with them) and actively playing WHAT you need from them, AND that it is of great importance for you to get it - you will be living the part and certainly be "lifting the words off the page".

**for more clarification and ideas of how to approach a role for auditions, read 'thoughts' and 'notes' on this web site.

July 2011 / Your audition preparation = Packing a parachute. At the audition - you 'free-fall'!

When giving feedback in class, I have often used the following analogy with regard to preparation. Your preparation for an audition is like packing a parachute. All your inner active choices - relationship specifics/ what you are fighting for/what is your moment before etc etc, plus working out your eye-lines, action off the top and other 'blocking', what you will wear to suit the role and of course, memorization are the things you take time on and carefully tuck into your pack.

If you have done solid work in all these areas, you will have the confidence to let the homework support you at the audition. So much so, that you will simply 'pull the rip cord' when you are in from of the camera with the solid 'moment before' and will you let yourself be there in 'free-fall', knowing you will land safely and that you will have an exciting journey along the way.   

November 2009 / following a discussion in classes:

The concept of actors comparing their careers with others has come up often lately in classes here in Toronto. And my thoughts on this subject are simple - you cannot compare your career path with anyone else's. It is a waste of your time and energy.

Think of how useless it is to compare your life path with another person's. We all have our own unique path in this life - and we will make decisions as we go along that will take us to the next thing and the next.

Being in indecision is a painful place to be - all decisions are good, because they take us to the next place. Don't remain motionless in the fear of making the wrong one. We are constantly learning and adjusting as we go through life.

Being an actor is not easy, and there is no right way to succeed, nor is there the right time to start. So - please don't waste your time. Do what you have to do to learn each day how to be the best actor you can be - if you MUST be an actor.


ESSAY #1 - "The Importance of Acting in the 21st Century"
by Bernadette Jones

In the 21st century we find ourselves interacting with machines far more frequently than with our fellow citizens on the planet or even with family. When an actor truly reveals himself/herself in a role, the audience identifies with their experiences and often times are moved to feel emotions they have not felt in a very long time, or perhaps have never dared feel, let alone express. I think this is the gift that very fine actors today can give our emotionally stunted world.

In theatre or film, when an actor breathes life into a role, the audience believes the stories they are in. And telling our stories is important. The stories and the telling of them to an audience, is a very old, shared human experience that is essential. It holds a mirror up and allows us to see where our society is going and where it has been. These stories reveal our society's successes and failures, make comment, or simply entertain.

For these reasons, I think actors and what they do is important work. I have been fortunate to be involved with actors for close to thirty years, struggling with them to find how to make great performances happen. It takes a great deal of work to create what appears to be an effortless performance. But most of all it takes passion - a passion for expressing ideas, and a passion for telling stories.
My passion in life has been to seek ways of tapping into what makes a great performance, which then makes for great storytelling that sometimes can change the world.
Bernadette Jones/Teacher, Director, Acting Coach

"Great acting isn't safe. It should be shattering." Richard Harris

ESSAY #2 - "KNOW THE FACTS - KEEP THE PASSION ALIVE"
by Bernadette Jones

FACT: Every year the statistics come out regarding the percentage of actors who make a living solely at acting. That number is always 2%. It is always hard to believe that the percentage is so low. Actors need to know the facts and still try to make it happen.

FACT: There is no guarantee for actors, at least no guarantee of monetary success, which of course is not your only goal. But there is no formula: (A + B + C) = Successful Acting Career.

FACT: The dilemma about 'what it takes' to achieve the career you want is always going to be there. Your passion for acting must sustain you, but being pro-active, and finding ways of increasing the odds for success should also be considered. For example: it might be you need to work toward going to a larger market like LA or (in Canada) a less populated market like Vancouver vs Toronto if you have not established yourself to your satisfaction. Or if you are from less actor-populated centre in Canada and have built a substantial resume, perhaps it is time to move to Toronto. Be realistic and flexible. It is also a good idea to make plans for assessing your career in 3 / 5 / 10 year segments.

FACT: You will likely need to find ways to constantly feed your development and interest – classes, script reading, student and indie films, watching people on the street and taking notes, staying connected to your community and participating...anything and everything.

FACT: Most actors will likely need to find a way to sustain him/herself with regard to the practicalities of life – money for rent and basic living. So, an actor needs to find something else that they love to do in order to earn enough to sustain them. Try and find work in the other areas of interest in your life.

But always remember: "We get up everyday for our dreams, not reality."

FACT: A painting is never finished - the artist eventually stops applying paint and just walks away. A film is never completed, the editor/director says ‘that’s enough’ – done.

You as an artist/actor will never have a perfect performance. Some would go so far as to exclaim: ‘Perfection is death when applied to creative endeavours.’ I tend to agree. A performance is never perfected, the play and performance simply - end. Or in case of film acting, the director calls, “Cut! Let’s move on.” And you move onto the next shot. Sometimes never even getting the feedback that it was a job well done.

You, as an individual will continue to develop throughout your life. And you will also continue to develop as a performer. Isn’t that part of the appeal? Never being in a static state, instead, always inventing and finding new ways of expressing yourself?

Keep yourself nourished and keep growing – that is the healthy thing to do when we think of living as an artist. Know in your heart that it is you who knows when you have done the work and executed it to the best of your ability – and when you do, congratulate yourself and say, “Job well done!”

Bernadette Jones/Teacher, Director, Acting Coach

Essay #3 -"IS THIS TEACHER FOR YOU?" An essay for actors who study and teachers of acting as a reminder of our obligation. By Bernadette Jones

As a protégé of MICHAEL SHURTLEFF, one of the most important lessons I learned from him was not about acting, but about teaching. Michael always spoke true, and from his heart. His comments in class were backed up with by his wealth of experience; but he always had something positive to say first in any feedback to actors presenting their work, and then would offer his insight on 'how they could make it better next time'. Michael's love of actors and appreciation for what it takes to bring truth to a performance, should remind us to remember that actors deserve our respect as well as our appreciation for the gifts they offer in performance.

I dedicate this article to the memory of MICHAEL SHURTLEFF. Although actors are still inspired by him when they read his book 'AUDITION', many who knew him as I did, miss him very much. Michael was the finest acting teacher I had the priveledge of working with and our relationship spanned over twenty years.

Acting professionals who have been students of mine, and have shared their stories and experiences with me, has prompted me to write this essay. This is an essay to help you determine if you will be nurtured or destroyed in your journey to become the actor you want to be.

I also feel that if you are part of the teaching community that you must always be developing and examining yourself as well and of course, acting in good faith with those that come to you to have their dream nurtured.

HOW TO RECOGNIZE "IF AN ACTING TEACHER IS FOR YOU "

In the introduction to A Practical Handbook For The Actor, David Mamet wrote, "Most acting training is based on shame and guilt. ... Most acting teachers, unfortunately, are frauds, and they rely on your complicity to survive. This not only deprives you of positive training but stifles your greatest gift as an artist: your sense of truth." I have always felt that all acting students should read that introduction and the book too, is excellent.

People, who feel they must become actors, are people who want to express themselves. You cannot achieve that in a vacuum. You need to study, explore and experience - usually in groups. How do you know if you are working with a teacher that will work for you? You must know yourself, and trust yourself. And never underestimate your instincts or your common sense. Here are some guidelines to help you determine who is who.

SIGNS OF A GOOD TEACHER:

A good acting teacher supports you, but does not dominate you. A good teacher will want you to find your way with their guidance, not with demands or a dictatorial manner.

A good acting teacher allows you to make mistakes, to 'fall on your face' without recrimination or the sense of failure.

A good teacher does not require absolute loyalty to them, or their methods. They often suggest you study other ways of getting what you need (i.e. voice or body work) and even suggest you seek out other teachers or methods.

A good teacher does not 'play favourites'. They strive always to be objective in their praise or criticism. And all praise or criticism should be constructive: Why was the work good? How can the work be better?

A good acting teacher does not have their own ego served by the success or lack of success of the actors they teach. Just as in your acting work, if you serve the work first and foremost, the ego gets served as a result. If your approach to your work is to serve your ego first, the work will suffer.

A good acting teacher will challenge you intellectually, encourage the emotional growth needed for the work and allow you to realize the fullness of your self-expression.

A good teacher will tell you the reality of the acting business. They will not however, put themselves in a place of absolute judgment and sole authority on your career or the business. No one has the right to take away anyone's dream. Who would have thought that Danny De Vito would have a chance to 'be a star'?

SIGNS OF A BAD TEACHER:

If a teacher makes your feel stupid, small, intimidated, frightened, or simply like a loser; this is a teacher whose own ego is being served above your needs. Only a person with a great deal of insecurity treats someone in this way.

To be enmeshed with someone is to loose yourself. You no longer feel you can think independently. If this is the case, and you feel enmeshed with a teacher, you need to reexamine you choice.

It is not a healthy atmosphere to develop as an actor, if you are made to feel guilty at the thought of leaving the group or the teacher. If you feel that your leaving would be a betrayal - then you are definitely not in a class that will allow you to be open and free (a necessity for developing as an actor).

It is a form of emotional abuse, if you are bullied into exposing a personal trauma and then left feeling emotionally raw and confused, or if you feel constantly in a position where the teacher uses 'power over' as a primary tactic in the work. Do not allow yourself to be intimidated. You can have personal boundaries in acting classes - physical and emotional.

If someone tells you, "You will be a big star, if you follow what I tell you." You can be sure that they are frauds. No one can promise you that. These people usually have overpriced workshops and 'long term plans' for you (you spending more money!). They may even be attached to a 'talent agency' which they tell you can guarantee you will get work. There are never guarantees.


Bernadette Jones (www.berndettejones.com) is a director, actor, acting teacher and coach. She is also a member of ACTRA, EQUITY as well as TAAS www.torontoactingstudios.com, which is an association of independent studios in Toronto, offering a wide variety of ethical, accountable, accessible and high-quality training.

More helpful information for actors wanting to continue their skills training, is also available at: AMIS (The Acting Modeling Information Service). Hotline number 416-977-3832 and website www.amisontario.com.