Welcome back to I Don't Need an Acting Class and our first episode of Season 8! In this first episode, we hear a coaching session between Milton and student Madior exploring the concept of "personalization" in acting.

The discussion centers around whether actors should draw from their own personal experiences or build relationships from the character's perspective. Using the example of a monologue where a character dismantles a house, Madior argues for using her own childhood home to tap into real emotional memories. However, Milton challenges this approach as potentially limiting, advocating instead for building relationships through imagination, which allows for endless creative expansion.

Milton warns against "effect-seeking" - trying to manufacture specific emotional responses rather than allowing feelings to emerge naturally through imaginative work. He emphasizes that while personal experiences remain part of an actor's toolkit, they should inform the work organically rather than being actively mined for emotional content.

Note: The Actor Lab, Milton's new acting school in New York City, begins classes September 15th.

theactorlab.nyc will be live next week.

In this bonus episode, Milton explores the fundamental challenges of theatrical performance. He begins by praising a student's vivid storytelling about a traumatic experience, noting how the clarity of images and emotional connection made it compelling theater. The rest of the episode centers on Arthur's struggle with a complex role as an 1858 French priest, emphasizing how plays demand deep character work rather than plot-driven performance, requiring actors to build and experience a character's entire past.

This complex process is contrasted with simpler television work, using a student's French TV audition as an example of how different mediums require different approaches. The episode concludes with practical advice about making smart choices as an actor - identifying what specifically needs to be made believable in each piece and often finding that a clear, strong relationship with one's scene partner can anchor an entire performance.

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Happy Thanksgiving everyone. We're so grateful for you. In honor of the holiday we're releasing some audio from 5 years ago, all about an exercise called The Imaginary Vacation. Interestingly, I found it in a folder called "Unusable." I have no idea why I deemed it as such at the time, but I certainly don't think it's unusable now!

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But we still have a lot going on. Check out out website: www.idontneedanactingclass.com for all the latest events. Happy Holidays to all of you and we can't wait to see you soon.

In this episode, Milton discusses the importance of understanding specific relationships to text and sequence of thoughts. The discussion highlights a common actor's problem of moving too quickly to performance without fully understanding the text's underlying thoughts and relationships. The episode concludes with practical examples of how to break down and connect with text by being more specific about your relationship to each thought.

This episode delves into the importance of conveying big ideas in acting. Milton emphasizes the need for actors to grasp the magnitude of concepts in great plays, avoiding monotonous delivery that reduces dialogue to a mere "grocery list." He advises performers to explore ideas deeply by asking "What does this mean?" and to get specific with examples to bring concepts to life. He also talks about the difference between artistic pursuits and conventional careers.

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Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠

You have to give yourself permission to fail. If you’re too afraid of being bad, you’ll block your creative energy. Like Venessa Redgrave, indulge yourself in all the worst, most cliche choices first. Get them out of your system, and once they are, then go back and really get to work. But most of that work is done at home. Between rehearsals. It’s about the creative, imaginative research. Talking out. Getting more specific— like “the tear in the curtain.” And you’ll know it’s a good choice because you love it. It excites and fuels you in the part.

WANT MORE? Become a subscriber on Spotify for bonus content!

⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠

Have a question for Milton? Send us a voice note below or email us at: ⁠questionsformilton@gmail.com⁠ Also, check out our website: ⁠www.idontneedanactingclass.com⁠