The Importance of Acting Classes

As the old saying goes, "Practice makes perfect." Most people know that "perfect" doesn't really exist, but in the acting world, practice indeed makes "really, really good." There are many ways to stay in great acting shape with technique, vocal quality, scene work, acting strategies, and monologue experience. The single greatest acting exercise short of being in a show or film is blessedly audition-free and locally available through recreation centers and schools: the acting class.

The acting class is guaranteed to broaden your pliable horizons as an actor. A good teacher will begin with the basics, the roots of acting with both pantomime and "content-less" scenes. Pantomime is generally called upon to break the ice in the class because it is absolutely absurd to perform if one has no experience with it. However, the insanity does have reason behind it. Pantomime provides a gateway into more complicated scene work while teaching the very basics of acting. In pantomime, the actor must perform an entire scene without any props, but rather must pretend to use them. For example, in a staged setting, an actor would have a real glass of water to drink from and gesture with. In pantomime, the actor's hand is empty, but he must give the invisible object weight and form to give the illusion that he is, indeed, holding a cup. Often times, the pantomimed scene will also be performed silently, reminiscent of Charlie Chaplin and other silent film actors, putting enormous emphasis on gesture and facial expression. This teaches the student actor the importance of "being big" on stage-that is, overemphasizing gestures and facial reactions so that the audience in the back of the theater can perceive the play as well as those in the front.

Content-less scenes are the next step after pantomime. They are the first step into brief character creation, portrayal, and realizing how many different ways scenes can be played. The scene itself is a general dialogue without any previous history or knowledge of the characters or the setting. For example, a content-less scene could sound like this one provided by director Peter Anthony in his Acting I class:

1. Hello.

2. Hi.

1. Do you know what time it is?

2. No, should I?

1. Don't you have a watch?

2. No.

1. Well?

2. Well what?

1. What did you do last night?

2. Nothing.

There are infinite ways to take this scene; thousands of settings and limitless character backgrounds allow an essential blank canvas for the actor's imagination to create upon. After performance, the instructor will inquire as to the setting, the characters' history together, and what influenced the reactions to the text within the scene. Being able to set up a character's brief biography will not only enhance the student actor's imagination, but it allows him to begin to grasp the concept of "slipping into another's shoes." In essence, if a young woman had been abused in her past, she would react differently to an unknown man touching her shoulder, versus the woman who is married or just single. All reaction in a scene depends on who the character is and how they would move through a situation. Acting depends on being able to put on that character and move as they would move, react as they would react with their personal histories taken into account.

With the concept of biography grasped, the next step in the syllabus is monologue and scene work. There are so many plays in the vast expanse that is human literature, so it is impossible to say what type of texts your specific instructor will provide or ask to be performed. It is a fairly solid assumption, however, that in any acting class you will at least hear of the great William Shakespeare, if not work with an excerpt from one of his texts. It is also a general expectation in an acting class that you will not move through many monologues and scenes, but will choose one or three and stick with them, molding and perfecting them throughout the duration. As far as monologues go, this is highly beneficial to you because when your next audition rolls around, you have a polished piece to audition with.

Scene work is implemented into acting classes because working with small scenes is a good taste of being in a full-scale show. Though some acting classes are geared towards putting on a certain show-by which you may have to audition to get into the class-most general classes will stick to smaller scene work. Working closely with others, weaving stories into your given texts, delving into working relationships and creating new ones through characters and actors is most enjoyable work. Monologues hone your personal acting skills, but through scene work, you have the opportunity to collaborate.

It is important to note that acting classes are nothing but for the actor's benefit. Literally, you will only get out of the class what you put in to it. Pantomime feels idiotic the first time you do it, but there is reason behind the insanity. Monologues are uncomfortable and difficult, but within the trusting, safe atmosphere of the class, it is easier to perform. You can sit in your room and construct monologues and scenes by yourself, teach yourself from a book without any outside influence or suggestion, but it is through the careful instruction of a seasoned teacher and the combined imaginations of those you will find in a class, you will find yourself far more enriched than you could have ever been by yourself.

Acting classes to enroll in can usually be found through local recreation departments, local theaters, or theater programs through high schools and universities.