BOOKS AND BISCUITS: THE MONO BOX WAY

Hello you. Yes, you - squatting in that awkward corner of Samuel French (somewhere between Bartlett and Chekhov). I see you. You’re spending another gloomy afternoon scouring page after page for that monologue. You know the one - it’s profound without being showy; not overdone; funny and tragic in equal parts; fits your casting and age bracket perfectly – in short, it’s the one that will make every audition panel, agent and casting director in the land instantly fall in love with you. Yeah, that one. How’s the search going? Thought so. Being an actor is notoriously hard. We’re often broke, unemployed or modelling ironically warm polar bear costumes for a well-know American clothing brand (ne

THE ART OF NOT ACTING

As a Theatre Directing student I spend a lot of time with actors. Witnessing actors attempting to master their craft and improve upon their acting is a regular occurrence for me. But what if the desire to “act” actually clouds the actor’s judgement? What if the best thing an actor could do was to forget about “acting” all together? On Sunday 30th November I had the pleasure of shadowing theatre and film director Angus Wilkinson on the second day of his weekend long workshop “Acting techniques for Film.” Angus started the session with the “letter” exercise, were each actor had to repeat a sequence of eight movements (look up, walk to letter, pick up letter, sit down, read letter, stand up, pu