So you've finally found YOUR acting coach and head to class armed with a few scripts, a notebook and a fabulously positive attitude. Immediately a thought strikes you! "How can I get the best out of this new experience?"

Perhaps this is your first class ever. Perhaps you've done lots of acting and want a brush-up. Perhaps your last class wasn't what you'd hoped. Perhaps you'd outgrown your last teacher. Wherever you're at in your acting training, here are some ways to be more ADEPT at it.

Ask Questions.

It always amazes me that students will be in class for months and never ask a question. Human beings are naturally curious. And when you're tearing down inhibitions and building up greater expression, you'll probably be uncomfortable . . . perhaps even a little scared. At the very least, the process will intrigue you. So I encourage you to ask questions to feel safe and clarify your process. And also remember that no question is ever too trivial or foolish to ask.

Do Your Homework.

When I began teaching again in 1998, my first acting class drove me crazy. My actors never memorized their lines! In my acting days, we would never dream of doing a scene in class without memorizing lines. Memorizing lines is not only about doing well in class. It's a metaphor for success. If you get really good at learning lines, preparing for all those scenes you have to do when you finally land that acting job becomes a snap.

Doing your homework doesn't only mean learning your lines. It means doing your technique homework for at least an hour a day. It also means reading tons of scripts and as much about acting and the acting process as you can. Because acting is about creating a living character from a written script, acting is also about interpreting literature. Actors need to do the work of analyzing a scene . . . breaking it down to beats, thoughts, intentions and adjustments . . . to make it come alive.

Acting is about creatively approximating life from text. So observing human nature often becomes an actor's most vital homework. Learning about life and literature is a prerequisite for getting the most out of your acting training.

Be Eclectic.

I encourage actors to study several kinds of acting techniques to broaden their expression. That's why, besides Method, I also teach improvisation and Grotowski work. Actors need inner AND outer training. Inner training to focus and channel emotion. And outer training to play moment-to-moment.

You might also want to study different acting styles to further broaden your expression. For example, one of my actors who has a very modern, intimate style almost blanched when I suggested Shakespeare. But I assured him that it would stretch him as an actor. I just encouraged him to do the meticulous preparation in creating the character that he always did. And pay more attention to the poetry of the lines. When he got past his Shakespeare fear, he did a pretty good job!

I'd also encourage you to try comedy if you like drama and vice versa. Comedy demands a greater responsibility to the line rhythm and the arc of the scene than drama. And drama demands a greater intensity of emotion than comedy. But whether you do Shakespeare, sitcom or soap opera, it's important to remember that the process of creating a real character is the same for any performance.

Persevere.

If you feel comfortable in a class and motivated by what's taught, stay with it. I can't tell you how many actors I've known who've make huge acting breakthroughs just by showing up every week and doing their work consistently. One particular actor comes to mind. We laugh about it now. But then, quite frankly, he was really terrible! But he just kept going. Eventually, he became so sophisticated in his choices and his use of Method sensory work that everyone was stunned by his acting prowess. Including me. And, when his big break came, he was ready.

Showing up in class also gives you a great work ethic. If you can't consistently show up for class and survive it in every way, you'll never survive out there. Trust me.

Be Teachable.

I've trained a lot of resistant actors. But one in particular sticks out like the proverbial sore thumb. He not only didn't want to do Method work but he also argued with me about every scene suggestion. I often wondered why he showed up every week. Eventually, he left. It was a relief not only to me but to the other members of the class.

You owe it to yourself to surrender to whatever training you choose to do. Acting is about surrendering. And being teachable also translates to being directable. Being teachable also means being able to work effectively with others. I've often wondered if that resistant actor ever took direction or ever worked well with other actors. Or, for that matter, ever got anything out of any acting training.

So, if you're especially resistant, you might want to ask yourself if it's coming from you or from the class situation. If you find yourself resistant, ask your coach for exercises to break through it. Or you may have to admit that your current class situation isn't working for you and it's time to move on. For both your sake and for the other members of the class.

So I invite you to use these five ADEPT steps to get the most out of your training. Ask questions, do your homework, be eclectic, persevere, and be teachable!

© Jill Place 2005