Those of you who “REALLY” want to be actors should read this. You'll see that if you have a VISION, then you not only can see yourself succeeding, but you see the path to success. You see that you can change your behavior to make your creative success not only a Dream, but a tangible reality. Because we get caught up in living the dream, sometimes we forget the VISION, which is to change our behavior to ensure success. Training for success is like training for a marathon, or a sporting event. Also remember that your education should be your first priority. Without it, it can cause doors to close on you.

So, here is what I suggest:

Get out a sheet of paper and write down your VISION. Make it a wonderful Vision with a tangible outcome. Then take and write down a simple step by step plan to achieve your vision, never losing sight of the vision. “I will ask for this list when you come to class.”

Some suggestions:

1. Work on a new monologue EVERY WEEK to strengthen your acting muscles.

2. In class we will be working on scenes until we begin rehearsals for “How To Eat Like A Child.” Study them, memorize them until you have at least had them at performance level---you would be amazed at how that will strengthen your confidence.

3. Practice COLD READING every day. Use the newspaper, use scripts, download scripts off the internet, read to groups of children in your school, practice with friends, remember that the cold reading is like the SPRINT at the end of the MARATHON...you have to have RESOLVE and INTENTION and a VISION to WIN...

4. *Build your relationships on a daily basis. If you want to strengthen yourself, you have to develop the confidence that you can succeed and you have to overcome your natural tendency to become desperate...remember desperation will exhaust you.

5. Build a strong network of fellow actors like yourself in school or in class to provide support for you. It will BOOST your confidence and it will allow you the freedom to fail! You have a supportive family that will love you no matter what! 

*In a response to Tomas Narvaez (Student Actor), I wrote: 

What I mean by building up your relationships is; being around people who have the same interests as you do. Getting involved in different areas of the performing arts. Taking other classes, dance, mime, singing, just to name a few. Directors and producers look for actors who are well rounded in their field. When you get older you can at least say you have paid your dues, that you have worked hard to get where you are. That you deserve the best. Don't give up no matter what happens or how many times you fail. Experience and commitment will open many doors.

IMPROV TERMINOLOGY

Carlos Laboy, Drama Director

C. R. O. W. (Character, Relationship, Objective, Where/When) These are the essential components of any scene. When we Improvise we work to develop as much as possible each of these points.

The Given

The suggestion (s) that is (are) used to start the scene. The Given usually falls into one of the categories from C.R.O.W.

Blocking

The ultimate No-No in Improv. If you are offered an idea by another player that you reject, ignore, or condemn, you are Blocking. The scene dies at this point and all cooperation is lost.

Waffling

Unnecessary dialogue or action that is clearly a tactic for buying time while you think of something clever. It is also the act of talking about something rather than doing it.

Wimping

Example: Character A says, "Hey, look over there, what is that?" Character B says, "I don't know" Character B just Wimped. It is crucial in Improv to make an effort, give something. Chances are your partner(s) can use it and take the scene somewhere with it.

Offer

Any dialogue or action that one player presents to the other(s). The person receiving the offer must react in two ways, they can accept or deny with or without conditions.

Accepting

Basically saying yes to an offer. Specifically saying yes in a way that shows that your character will carry out the terms of the offer to-the-letter.

Denying

This is not blocking. It is a choice to work with the offer as the character in a way that creates dramatic conflict. Example: Character A offers, "That's one big elephant." Character B Blocks by saying, "That's not an elephant." An example of Denying the offer would be fore character B to say, "I've seen bigger." He accepts that it is an elephant, but denies the specific condition set up by character A. This leaves room for conflict.

Saying Yes

Above all, the most important thing to remember in Improv is to say yes. This means just the opposite of Blocking. You may have a great idea, but your partner gets to their idea first. The ideas may be completely different. You must go with your partner's idea.

Yes, And...

One way to enforce the concept of saying yes is to use the, "Yes, and…" structure. Basically you accept each offer with a "yes" followed by "and" The , "and" is a condition or qualifier. It moves the scene forward after accepting the offer.

Conditioned Accept

You accept the offer with specific conditions. In competitive performance games these conditions might be there to stump the other player (s) but for the most part they help to move the scene forward. You may accept an offer that requires that you drop you pants but you add the condition of, "Isn't it a good thing I'm wearing long underwear." Condition Denial You Deny the offer with conditions. In other words, when the player above said he or she had seen bigger elephants, they could add a condition, "On safari once at a Winn Dixie in the frozen foods section." That is a denial of Character A's perception of the size of the elephant, but it gives Character A a place to go in terms of his or her reaction to it. If B had merely said, "That's not an elephant." Character A would have had no place to go.

Tag Line

All scenes end, but when? Many players lose sight of the structure of a scene and get lost in a muddy conclusion, with the audience not really sure if it's over. The Tag-Line is an obvious line with a good punch that tells the audience that the scene is over. The best Tag-Lines are ones where the audience almost beats you to it.

Narrative Structure

While C.R.O.W. helps the player know what is missing, Narrative Structure reminds the player where to go. Any story has a structure, even impromptu stories. We, as readers or audiences, expect to see or hear an introduction, exposition, inciting incident, conflict, rising action, climax and falling action. That is basic Narrative Structure. (Not always in that order, and sometimes components blend together.) In Improv, a player needs to be aware of structure as if they were bases in a game. If a player knows what base they are on and what base they need to get to, then it is that area between bases where the creativity and spontaneity of Improv come into play. How will they get to the next base? That's what the audience wants to know, but they and the player are always more comfortable knowing that the player knows what bases to cover.

Reincorporation

In comedy there is the rule of Threes: It's funny once, funnier twice, and even funnier if it is anticipated a third time, but switched or avoided at the last minute. In a sense this is similar to Reincorporation in Improv. If, during a scene, a character sets up the physical environment with doors, windows, etc., each player is obligated to keep that environment consistent. If the door opens in once, it should always open in. This alone will sometimes generate a response form the audience. If a player, after several times through the door, changes how it opens, other players must be aware and respond. "How did you do that?" "Do what?" "Switch the door around like that." The player might then realize that they made a mistake but the other players have used it, accepted it, and are making it part of the scene. This is based on the fact that they are using Reincorporation. This term also applies to building on ideas form previous scenes and even Reincorporating characters form other games into the present game. This is a performance condition of the term and should be separate form class room and workshop environments.

Gags

Gags can work in performance, but should be avoided. Even in performance, a gag should not interrupt the flow of the Narrative. A Gag is any Physical act or unique sound that is intended to get laughs. We also call this Schtick.

Endowment

Improv relies on the player and his/her imagination and that of the audience. There is rarely any furniture or props. With this in mind it is crucial that all players are able to endow the imaginary kitten in their hand with the qualities of a kitten: it's weight, it's feel, it's movement, etc… The strongest endowment choices are specific choices.

Characterization... A note  to young actors.

Characterization is most important. Always remember that motivation is the key to bring your character alive. Your character must have a strong want or need that will enable you to take risks to get what you desire. You must not interfere with your characters' pursuit of his/her goals. In order to develop a character with a mind and a distinctive sense of self, you must know all there is to know about her/him. You must know:

• Where the character lives and why.

• What does he or she do for a living?

• Is the character educated? Age, religious beliefs, political leanings, and social behavior are all parts of a person.

These items may not be revealed in the final work, but a strong character study enables you to create a round and dimensional character. Think of all the influences and experiences in your own life that brought you to where you are today. Every one affected you, and affects you still.  While I believe that a piece of us resides in every character we develop, we are not effective if we play ourselves. Don't be afraid of giving your character a flaw, or even two. After all, nobody is perfect. A good play says something to us about humanity. Family, love, death: these are things we all deal with and with which we identify. Like I always say; "If you don't belive, neither will your audience."