Description
Problems You May Face As An Actor
o Multiple takes
o Frequent interruptions
o Lack of silent work areas
o Physical closeness of the crew
o Changes in the script at the last minute.
o Having to re-block a scene during shooting.
o No overall view of production, therefore a lack in the sense of a final product.
o Cameras, microphones, meeting marks, etc. causing Physical restrictions.
o Quite often an actor will feel just like a prop.
o Keep spontaneous feeling when working with a partner
On the set, actor must learn to be able to deal with the director, producer, client, etc.
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How to Over come problems faced as an actor
Conserving Your Energy:
You must conserve you energy between rehearsals or between scenes you are not in. When acting on TV you will often be doing tech rehearsals whilst the production team set up the lighting and test SFX etc. Between these times as an actor you must conserve your energy, don’t slop around but do relive tension by doing subtle exercise to do so, such as the Alexander Technique.
Don’t be a Controlling actor. Many actors whilst on set will try and fight the process the director is trying to go with. Meaning that all of their energy is being lost in tension by doing so. No director or producer wants to end up with a ‘bad product’ by wasting time or having to deal with tension on the set. If you are a new performer to the industry you are not going to change they way in which the director / producer works therefore just ‘go with the flow’ and deliver a organic performance as the character in the situation the director wants you to be in. The Best advice is: Just relax and go with the flow.
As an Actor, find your own unique way of ‘dropping out’ we all know tension is contagious, so develop your own cure. Plan for those long waiting hours and riffs on set, bring a book to read, some work you must do, or try knitting a scarf!? I don’t know, what ever works for you, do it. A Relaxed actor between scenes will perform mush more organically when they are called up to set.
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Concentrating on set as an actor Apparently you concentration span in minutes is your age plus one?! Not sure how true this is but if you are over the ripe old age of 90 there be no need to read on!
However acting on set or even at the theatre is almost like waiting in a queue at the theme park. Most of the time you will be waiting either on set or between scenes. Meaning when you are performing their can be a tendency with some actors to “switch off.”
Always stay in character even when the camera is not one you
Try focusing small units of space and small pieces of action… keep aware of what you have to do next making sure that in your mind you have your beginning, middle and end.
Allowing the lights and parts of the set to isolate areas of space for you, is another good way of concentrating on set as an actor. You must as an actor be aware of the microphones and cameras around you, if you are you can reduce the number of distractions by allowing those items outside the set (the characters world) to fade into shadow. As an Actor you need only see director.
Be prepared to deliver your lines knowing the sequence of events that arise within the scene. The more aware and the better you know your lines and the blocking of the scene the less likely you are as an actor to be thrown out of character
Practise with the scrip entering at any point and running through the lines with the appropriate blocking. Try learning and visualising the block in a crowed place
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Working with another actor on stage.
Be sure to work as intensively as you can with your fellow actor, running through the lines and blocking the scene as many times as you can before shooting.
Build up a charisma with your fellow actor when learning lines try throwing an object back and forth whilst reading lines. Try going through the subtext of what each character is feeling at this moment in time.
Study the other characters physical appearance knowing which movement leads to which line. Visualize that character over and over again in your head allowing for adaptations.
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