Note that the exercise, Roll Call, is designed to demonstrate that character is most effectively and reliably created through a careful selection and execution of actions, not by magically inhabiting a character. Concludes that by the end of this sequence of exercises, students should have a better understanding of how character can be created…

Discusses the "mirror game," a classic acting exercise that gets young actors to understand that connecting to their scene partners is a crucial part of acting. Describes the learning opportunities offered by the mirror game, describes how to initiate it in class, and how to add challenges to the exercise. (SR)

Offer a strategy that can help make the work acting instructors do with their students as they prepare for college auditions as effective as possible. Looks at the process of finding an appropriate monologue. Established some ground rules for preparation and apply them to the monologue's development. Reviews suggestions to help students present…

Presents an exercise to guide student actors through the process of building a character by identifying the story and conflict, finding and playing actions that serve the story and define character, selecting and using props, choosing costume and make-up that will help reveal character, and choosing a physicality and voice consistent with the…

Explores character development through an exercise which reveals character through action, situation, and externals. Explains how student actors can develop the ability to reveal character through analysis of a scene situation and by choosing actions appropriate for the character and story being told. Notes that the exercises offered are focused…

Reviews the descriptions of acting classes appearing in the University of Miami's "Undergraduate Studies Bulletin." Advises instructor and students to remember: reading a play for production is not like reading a play for English class; effective script analysis requires written work and class discussion; and playwrights write plays to…

Notes that to successfully emphasize the action of a Shakespeare play, students must learn how to analyze and then to effectively read aloud the words. Considers reading for the story. Presents ideas and tools for analyzing the language and reading aloud. (SG)

Suggests that improvisation is an excellent catalyst for getting a scene jump-started or back on track. Presents two specific examples of how the author used improv in his own scene study classes. Notes the fundamental task teachers must master prior to improv work is how to isolate the essential dynamics of the scene. (RS)

Describes how, in his class on script analysis, the author has students watch videos of stage productions or films of a play that they have previously read. Includes a resource list of plays on video and where they can be obtained. (SR)

Discusses the artistry of those who write plays and films to introduce a series of sequential exercises to help student actors become more sensitive to the playwright's contribution. Outlines and explains the phases of "monologue makers": (1) tell stories; (2) make a play; and (3) get on your feet. (PA)

Asserts that directors and teachers should understand a script from the points of view of the audience, playwright, and characters. Explains how making notations in a script can help actors find, make and remember choices while acting. Explains a notation system for "scoring" a script. Concludes that teaching students how to score their parts…

Proposes that teaching students to find and play appropriate actions helps them tell the story of a play and create character better than if they focused on emotions. Discusses Stella Adler and Uta Hagen, two acting teachers who advocated this physical approach. Presents two exercises: "justify and connect," and "enter a room." (PM)

Offers an account of what makes a good acting teacher, based on the author's own observations and experiences as a student, actor, and teacher. Discusses knowledge, training, and experience; the importance of understanding and teaching craft; and of having a game plan for instruction. Offers a profile of the qualities, motivations, and activities…