This article contains a list of free, original practice scenes for young actors. These scenes sit across the comedy and drama genres, and would be perfect for teenage actors in drama classes. They carry some age guidelines and content warnings, but may be useful for groups beyond these classifications based on the skill level and maturity of your pupils. These scenes for young actors would be ideal for scene study, script analysis or even for use in a showcase.

One last thing: as with all of our free script resources on StageMilk (listed at the bottom of this article), this page will be updated periodically with fresh material. So keep checking in for new scripts on the regular!

Copyright-Free Scripts

Now, with the above gripe around finding free material out of the way, I’m going to step out of teacher role and into that of a playwright. The reason it’s hard to find copyright-free scripts is because writing is hard and it’s not worth nothin’. It takes a great deal of effort and consideration from a writer, only to see it used for free with little consideration as to their long-term wellbeing.

One of the reasons StageMilk is eager to provide this resource is to support drama teachers—to whom all of us in this industry owe our livelihoods and passions. But let us take this opportunity to say when it comes to written material for classes: pay it forward when you can. Buy the playwright’s work online if you can, talk to your HOD about investing in local material or patronising a nearby theatre company.

Practice Scenes for Young Actors

These scripts utilise StageMilk’s in-house formatting style, which is designed to make the scripts easy to read. Unlike a screenplay, which is decked out with all sorts of visual information, there is relatively little on the page for actors to draw from. Have your students pay close attention to the stage directions, but encourage them to imagine the world and the blocking of the scene beyond that.

The same can be said for character. With the information on the page as a starting point, what can students learn about these characters? How can they build them up and bring them to life? Most importantly, what do these characters want? Either as a preceding exercise, or something you utilise with one of these scripts when working in a class, we recommend exploring our article on script analysis with your pupils.

NB: While names and genders are specified in these scripts, we would greatly encourage yourself and your students to look past these and select material that they find themselves drawn to. Names and pronouns can be changed to reflect the best casting available. In fact, they most certainly should be!

A Deadly Dare

Age Range: 12 – 18
Genre: Comedy
Length: 2 mins
Synopsis: Two friends egg each other on to complete a dare.

Performance Notes: Find the stakes of this scene. Just because it’s comedy doesn’t mean that the feeling of whether or not Derren and Gus complete the dare shouldn’t feel like a life or death undertaking! Also, while it is mentioned above, this is a perfect comedy scene to gender swap to non-male-identifying characters. Have fun!

The Letter

Age Range: 12 – 15
Genre: Drama
Length: 2 mins
Synopsis: Sam confronts Ash over a discovery made during the school day.

Performance Notes: This is a tough encounter for both of these characters. Think on their ‘moment before’—the thing that has happened to them that has led them to this scene, this particular moment. Also consider the staging: how can you use the proximity and body language of these characters to suggest how they feel?

Final Cut

Age Range: 12 – 16
Genre: Drama
Length: 2 – 3 mins
Synopsis: Two friends clash over a creative project.

Performance Notes: Pay attention to the subtext in this scene. What’s this interaction really about? Is it about making movies? Or is it about growing up and growing apart? Final Cut is another great example of the ‘moment before’. How long have they been filming for? Are they tired, angry, frustrated? The more reality you can bring to the beginning of this moment, the more truthful it will feel when the characters begin to clash.

The Spontaneous Hand-Hold

Age Range: 14 – 17
Genre: Comedy
Length: 2 – 3 mins
Synopsis: Tonye commiserates with best friend Emily over a terrible first date.

Performance Notes: Take the time to work on rhythm and pace in this piece. Emily and Tonye are very close, and are expert communicators with one another, so pick a quick tone that allows for some meaningful pauses to occur. For Tonye’s retelling of the date, engage with the concept of imagery: try to paint the picture for Emily (and therefore the audience) about how the date was, as well as how these images make Tonye feel. Finally, spend some time on the ending. What does it mean? How do these characters really feel about one another? And does this modify the scene in any interesting or significant ways?

Take the Rap

Age Range: 15 – 17
Genre: Comedy/Drama
Length: 3 – 4 mins
Synopsis: Bella and Hunt wait outside the vice principal’s office for punishment. (Note: some coarse language.)

Performance Notes: Find some distinction between these characters—how they act and speak and carry themselves. However, beware that you don’t play into stereotypes for either character; this is a scene that relies on the actor successfully subverting that first image. The writer doesn’t give us a lot to go off for why these characters are there. Can you come up with something that fits and justifies the actions and behaviour of Bella? Spend some time fleshing out the shared history of these characters and what the larger context of the story might be.

Additional Resources

So there you have it: fresh scenes for young actors ready to be pulled apart and put on stage! If you’re looking for more material for students, there are a few other pages below that might be helpful. Please be aware that not all material will be suitable for younger ages.

• Practice Scripts for Actors is our largest resource for original material at StageMilk. It contains scenes formatted for both stage and film scripts, with a scene breakdown on each. This page also contains some A/B Scenes that are perfect for foundational acting classes.
• Practice Monologues for Actors is similar to the above page, but contains original monologues.
• Short Monologues for Actors are monologues that clock in under a minute, perfect for audition pieces.
• Scenes for Three Actors does exactly what it says on the box. These scenes are perfect for larger classes and drama school showcases.

The post Scenes for Young Actors appeared first on StageMilk.

This article contains a collection of original, copyright-free scenes for three actors. Each scene was developed in-house by staff at StageMilk. There is a mix of dramatic and comedic scenes of different lengths and styles.  These scenes may be used for acting classes, showcases or scene study between actors.

Just like our practice scenes for actors and practice monologues for actors articles, we tend to update update these pages regularly. So feel free to give this page a bookmark and check in for new original material. You never know what might jump off the page and capture your imagination.

Copyright-Free Scripts

Before we get into the good stuff, let’s talk briefly about copyright-free material. It’s fairly easy to find acting resources online you don’t need to pay for. That’s kinda how a lot of the internet works.

And while we’re offering this material up to you at no cost, it’s worth thinking about where your scenes and monologues come from: who writes them and how they pay their bills when so much of their output is available at the click of a button.

Have a think about where your scripts come from. If you can, find ways to pay it forward to the artists who write them. Did you use a great scene by a playwright for that audition you nailed? Consider buying the play online! Have a favourite book of monologues you swear by? Get it as a gift for an actor friend! (Oh, and before you spiral into guilt, let us assure you we paid the writer of these scenes.)

From the Writer:

Hello! My name is Alexander Lee-Rekers; I’m a professional playwright and screenwriter. I hereby give my permission for you to use the scenes on this page for personal practice, as well as showreels. showcases and auditions. All I ask is that you credit my work—especially if you post it on social media. (If you’re feeling brave, you can tag me via @alexnobodyfamous so I can see what you do with it!)

None of these scenes are to be recorded, filmed, staged, re-written, developed or adapted for professional purposes. Legal stuff aside: go for it! Make bold choices! Pull ’em apart and give ’em a go!

Scenes for Three Actors

These scenes utilise an in-house formatting style we use for our StageMilk Scene Club, which is closer to a playscript than a screenplay. There’s less visual information to go on, fewer stage directions. But use this as an opportunity to experiment with staging rather than feeling listless. How can you interpret it? What can your script analysis tell you about how the scene might unfold?

Last thing: in the context of a class, study or showcase, don’t let yourself be bound to the age or gender of characters as written on the page. Who do you sympathise with, who do you vibe with? Is there a particular theme or emotion you’re looking to capture? If so, consider modifying the name or pronoun to fit you best.

Ruby Year

Genre: Drama
Length: 3 mins
Synopsis: While prepping a fortieth wedding anniversary party for their parents, two siblings are surprised by the unexpected appearance of their estranged older brother.

Performance Notes: A lot goes unsaid in this piece about the history of each character—as well as their shared relationships. Delve into your character and find what distinguishes them: their voice, their mannerisms, the rhythm of their speech. While there is humour in this piece, don’t be afraid to sit in the drama as well; the situation may be somewhat absurd for those involved, but they are still real people dealing with events unfolding.

New Start Cleaners

Genre: Comedy
Length: 3 mins
Synopsis: Three friends have started a business doing crime scene clean-up. Covered in blood and viscera, they interrogate their reasons for choosing such distasteful work.

Performance Notes: While this piece sits firmly in the comedy genre, don’t be afraid to work on the circumstances of the scene so it feels totally real. Polly, in particular, is a character who threatens to become very over-the-top. Work to find out why she is this way, and what she sees in the other characters (whom she clearly feels affection for even if she can’t convey it.)

The Pitch

Genre: Drama
Length: 5 mins
Synopsis: A sales team visit a divisive client in order to make a sale.

Performance Notes: It’s very easy to look for the comedy in this scene and find it. The language is sharp, snappy—almost stylised. However, resist the temptation to send the scene up: play it with total sincerity and let the tragedy of the situation trickle through. As for the characters, ask yourself how they present to the others in the scene. Who is posturing, masking, performing and to what end? And where might the ‘performances’ begin and end?

Folk Night

Genre: Comedy
Length: 2 – 3 mins
Synopsis: Lucy is called into a strange mediation at work following her boss’s discovery about her personal life.

Performance Notes: Look to strike the balance between “mundane” and “absurd” in this piece. Some characters are over the top, some things they say are utterly ridiculous. And yet, there has to be no doubt in their minds that they are reasonable, intelligent people. The comedy of this scene comes from the sincerity of Cliff and Derek, and the indignation of Lucy as she is ambushed. Find the truth and the humour will follow!

Bottle Talk

Genre: Drama
Length: 2 -3 mins
Synopsis: Two friends farewell the third of their trio, who is leaving behind their small town for new opportunities.

Performance Notes: This one is all about the chemistry between its characters. Spend time on their shared backstory, building out that rapport, that will make them seem like they’ve known each other for three lifetimes—not three minutes. Furthermore, think about what’s ahead. Ren seems to have it all figured out, the whole world ahead of them! What’s it like for Sarah and Albert, who don’t have the same path in front. How is this scene a turning point in not just Ren’s life, but everybody’s?

Ajax

Genre: Drama
Length: 3 mins
Synopsis: Nat and Tina negotiate a hostage situation with Nat’s imposing husband Gus.

Performance Notes: Gus is awful. A real garbage fire of a human being. For the actor portraying them, there’s a challenge to be had in making him feel human—”sympathetic” is probably a step too far. Play with rhythm, pacing and silence in this scene: what is being said in the silence, how does the status of each character inform their performances? Finally, think on the reveal of Ajax: how can this be downplayed for the audience for maximum impact?

Conclusion

So there you have it: fresh, original scripts for three actors! As you browse through the selection and start reading, take care to note any recurring advice in the performance notes. Be wary of given circumstances and character relationships. Look to distinguishing your character from the others by anchoring them with a strong objective, as well as actions that suit their character’s personality and motivations.

Above all, play close attention to the world of the script. The more you can build this out, informed by script analysis, the more successful you will be in realising the scene as a complete, standalone work. These scripts aren’t excerpts, but that’s not to say they don’t suggest a larger narrative, or arc for the characters with subtext to match. Approach these scenes with the same rigour you would a Shakespeare play or a ten-part series. Your acting will be stronger for it.

Good luck!

The post Scenes for Three Actors appeared first on StageMilk.

In-yer-face theatre is a style of theatre associated with young/emerging playwrights and shocking, provocative material. While in-yer-face theatre began as a movement in British theatre in the 1990s, it is often used as a stylistic descriptor of contemporary work that explores topics as diverse as sex, violence, addiction, mental health, class struggle and even war. It is, arguably, a genre unto itself.

In this article, we explore a brief history of in-yer-face theatre, review a few of its key players and their notable works. We’ll also talk about the evolution of the style into a genre, and examine where it sits today.

A Brief History of In-yer-face Theatre

The phrase “in-yer-face theatre” emerged in the 1990s, and while it is often attributed to a critic named Aleks Sierz (who wrote the definitive book on the movement), he himself denies having coined the term.

The term was used to describe the prevalence of new, angry writing by young playwrights—particularly those in the London/British theatre scenes. These plays would typically deal with unlikeable characters, and would usually tackle ‘shocking’ material such as violence, sexual violence, drug addiction, racial hatred, misogyny and mental health.

Funnily enough, in-yer-face theatre constitutes less of a rigid stylistic movement, and more of a cultural trend in 1990s Britain that saw the prevalence of similar works being produced at once. Some critics point to cultural events such as the AIDS epidemic or the aftermath of the Thatcher Era to explain the emergence of such anger in the art being made.

However, despite the near ubiquity of in-yer-face theatre, the ‘movement’ burned brightly but briefly. Audiences and playwrights alike began to tire of on-stage brutality. Many established stage writers, such as Martin Crimp, Martin McDonagh and the American playwright Tracy Letts owe their careers to explosive starts in in-yer-face theatre. However, the anger of their younger work is largely missing from their recent, more ‘mature’ work.

Notable Figures

The three main figures in in-yer-face theatre, according to Aleks Sierz, are Sarah Kane, Mark Ravenhill and Anthony Neilson. However, other writers have been associated with the movement, including: Jez Butterworth, Martin Crimp, Stephen Daldry, Denis Kelly, Tracy Letts, Martin McDonagh and Phyllis Nagy.

Notable Works

By no means an exhaustive list, but this should get you started with a few of the heavy hitters:

• The Pitchfork Disney (1991) by Phillip Ridley
• Killer Joe (1993) by Tracy Letts
• Mojo (1995) by Jez Butterworth
• Blasted (1995) by Sarah Kane
• Shopping and Fucking (1996) by Mark Ravenhill
• The Beauty Queen of Leenane (1996) by Martin McDonagh
• Attempts on Her Life (1997) by Martin Crimp
• Closer (1997) by Patrick Marber
• Cleansed (1998) by Sarah Kane
• 4:48 Psychosis (1999) by Sarah Kane

The Legacy of In-yer-face Theatre

It might seem strange to attribute so much time and effort to in-yer-face theatre, given that the movement—in contrast to the rest of the history of drama—is a flash in the pan. So what is its legacy? Or, to be more frank: why should we care?

In-yer-face theatre was always defined as a genre that belonged to youth. It was the young, angry playwrights who were pissed off with the world, politics, their parents, and the theatre scene itself. When they had their chance to speak, why wouldn’t they do so with vitriol and curse words? For this reason, in-yer-face theare finds a steady stream of admirers in young, impressionable theatre artists. You tend to encounter Sarah Kane in drama school, right around the time you wish Shakespeare, Moliere and Miller would just fuck right off.

This is why it’s easy to get wrapped up in the movement. The plays of in-yer-face theatre, even though they’re over a quarter century old, still feel fresh and brimming with energy. While the style might have gone out of vogue, there’s always joy to be found in the work of young, brilliant writers with anger on their minds (many of whom went on to enjoy amazing and varied careers). Plus, now that the critical hype/hate has died down, we’re able to more accurately appraise plays that may not have been given a proper go by audiences weary of all the eye-gouging.

Conclusion

In-yer-face theatre gets a lot of criticism for being flashy, over-the-top and provocative for its own sake. Despite this, it shouldn’t be dismissed. Give the genre a go, and see what beauty you can find in its calculated ugliness. You may be shocked, but you won’t be disappointed!

The post What is In-yer-face Theatre? appeared first on StageMilk.

Updated 6th December, 2022.

This article contains a list of the best places to stream and watch theatre online. It includes a list of dedicated theatre streaming sites, as well as the online portals of prominent theatre companies from around the world that have begun to film and broadcast productions in a post-COVID world. This article also covers some offerings on established, non-theatre streaming services such as Disney+ and Netflix, as well as free sites like YouTube—and what kind of theatrical gems you might discover there.

Why Should I Watch More Theatre?

This is an entirely valid question, especially for actors who consider themselves more screen- than stage-focused in their careers. In addressing it, we’re going to offer up three distinct answers. First of all: watching more theatre will make you a more literate, rounded and informed artist. You’ll understand more about the history of your craft, you’ll get more of the references in the text. When you take the time to know the theatrical canon, you’ll begin to understand that the history of drama (film, tv and theatre all included) is not a linear timeline, but a web. Artists and artworks reference one another, influence one another. It’s all connected. At the very least, you’ll find yourself more able to communicate with writers and directors—whose works are always tied to what has inspired them.

Secondly, theatre is an actors’ medium. It’s not like film or tv, where your most brilliant performance is still at the whims of a director, or editor who might cut you out of the story altogether. The stage belongs to actors; in studying the work of your professional peers, you’ll have the chance to learn from them about shaping character and performance. There’s no help from the camera, no montage trickery: what you see is what you get. And that can be extremely exciting.

This leads us to our third answer: there is no reason you shouldn’t pursue any opportunities to act on stage. If you’re unfamiliar, familiarise yourself. And if you’re not a fan, go find out what works for you! If you’re a business-minded actor, think of it this way: why deny yourself an entire possible stream of revenue/career clout, because you “don’t work on stage”? You should immerse yourself in theatre because, as an actor, it is your business. Has been for millennia.

Dedicated Theatre Streaming Services

Dedicated services that stream theatre online are relatively few. Those that do exist lack the buying power of a company such as Netflix or Amazon, so don’t expect to see the biggest names or companies represented. Rights issues also complicate things, as a playwright (or estate) generally wants to see multiple productions of a show, rather than one bottled online for a fraction of the profits. However, some services do exist, and offer an impressive array of shows.

Digital Theatre+ is an education-focused company that boasts thousands of productions and online resources, servicing over 2900 learning institutions around the world. The best news is: if you are a member of our very own StageMilk Scene Club, you automatically have a subscription to this service!

Similar services include BroadwayHD, Dramox, Digital Theatre (not to be confused with the above-mentioned “+”) and Marquee TV, a newer service that also advertises ballet and dance. Here in Australia, we’re lucky enough to have Australian Theatre Live: they tend to offer more contemporary work, which stands in contrast to other services’ heavy reliance on classics and license-free material.

Specific Theatre Company Portals

During the pandemic, many prominent theatre companies began streaming their own shows on dedicated company portals. While you are tied to one company, and the selection is often less extensive, this is where some of the best theatre online can be found.

Let’s start off with a juggernaut. National Theatre At Home is a subscription service that showcases some of the greatest work happening on stage in London (not to mention the world). As the National has been professionally filming their work for the past few years—screening it ‘live’ in specialty cinemas internationally—they have a healthy backlog of incredible shows for subscribers, and add to their library each month.

Just down the Thames, Shakespeare’s Globe has The Globe Player. It’s a resource of brilliant productions (provided you don’t mind Shakespeare). Across the pond, you can get some incredible work from The Lincoln Center in New York, as well as some audio plays via L.A. Theatre Works.

The above examples include some of the best current online offerings. Many other theatres offered more during COVID lockdowns, but have discontinued their services (as streaming and hosting can be costly infrastructure investments to one’s web presence).

Our recommendation is to keep an eye on your favourite theatre companies and see if they offer any one-off streamed performances of their upcoming seasons. Some of the best shows streamed in the past few years, from world-class companies such as Schaubühne or Complicité, were available for just a few hours before disappearing altogether!

Streaming Theatre Online for Young People

Funnily enough, a lot of the best theatre streaming services are currently run by youth-oriented theatre companies. This is because a great majority of established theatre companies for young people already offer online services, to deploy to educational institutions such as colleges and schools.

Our top recommendation is the Australian Theatre for Young People‘s platform ATYP On Demand, which streams past productions for ages 10-26 as well as other educational material. The Children’s Theatre of Cincinnati offer up a portal called TCT Everywhere, as does the Windmill Theatre’s Windmill at Home (also based in Australia).

You may not find the edgiest, most adult or cutting-edge material on these platforms. However, if you’re looking for insight into the theatre-making process, a lot of these companies couple their streamed shows with supporting educational resources.

Traditional Streaming Services

Chances are, if you’re reading this article, you’ve already had a look at what’s on offer via the streaming giants. That said, there are a few gems available you won’t want to miss. Disney+ is the obvious service to mention, with its catalog of licensed musical productions such as Hamilton and Newsies. However, take a look at what’s available in your country on Amazon’s Prime Video.  Depending on your location, it lists an impressive array of filmed productions, including some licensed directly from the National Theatre (At Home).

When it comes to traditional streaming services, our recommendation is to look at the wealth of media about theatre than shows themselves. On Netflix alone, we would recommend the film tick, tick…BOOM!, the story of Rent composer Jonathan Larson; and Best Worst Thing That Ever Could Have Happened: a documentary about the disastrous debut of Stephen Sondheim’s Merrily We Roll Along. 

Watch Theatre on YouTube

This option requires a bit of a disclaimer. Don’t get us wrong: there is incredible theatre available to stream on YouTube! It’s also a great way of accessing material unavailable on other services due to geo-blocking (such as David Byrne’s incredible American Utopia, which is otherwise exclusive to HBOMax.)

But YouTube is a minefield when it comes to licensing and copyright issue. And while you might find a production available for free you’d have to pay for elsewhere, our recommendation would be to support the artists rather than stream it for free. At the very least, pay it forward, if you can, by supporting their work elsewhere.

Want to know the very best theatre to watch on YouTube? Amateur, student and independent productions! Sure, some of them are hilariously bad … but who among us isn’t guilty of the same at some stage of their career? YouTube is also a great place to find recordings of particular monologues or scenes. If you’re prepping for an audition and want to hear Biff carry a pen down a flight of stairs, search “Death of a Salesman Biff Monologue” and see what your colleagues around the world are doing!

Keep Discovering Theatre Online

While COVID uncertainty and lockdowns are part of our lives, theatres are sure to keep offering what they can to wider, online audiences. For this reason, we can only hope that the options in this post are soon outstripped by new and exciting ways to experience theatre from all over the world. So keep looking! Keep your ear to the ground for one-off streamed performances, or digital seasons from your local theatre-makers.

Just be sure, whatever you find and wherever you find it, you share it with the rest of us!

The post Where to Stream Theatre Online appeared first on StageMilk.

Updated 14th Nov, 2023.

Copyright-Free Scripts

Finding truly copyright-free material can be difficult, and the reason for this is fairly simple: writing is tough. It requires a lot of time, a lot of training and very few writers are willing to give their hard work away for free! Practice scenes for use in an educational context, showcase, for a showreel or an audition are still technically covered by copyright laws—you should really be paying for them, or at least seeking the permission to use them. However, as the scenes are generally not being used for direct financial gain, there is a bit of legal wiggle room when it comes to using this material.

In the future, have a think about where your scripts come from, and find ways to support and respect the artists who write them. Did you use a great scene by a playwright for that audition you nailed? Consider buying some of their work online! Do you have a favourite book of monologues or scenes you swear by for auditions? Get it as a gift for an actor friend! Our best advice is to pay it forward when you can.

From The Writer:

Hello! My name is Alexander Lee-Rekers; I’m a professional playwright and screenwriter. I hereby give my permission for you to use the scenes on this page for personal practice, as well as showreels and auditions. All I ask is that you credit my work—especially if you post it on social media. (If you’re feeling brave, you can tag me via @alexnobodyfamous so I can see what you do with it.)  Other than that: have fun, make bold choices and give ’em a go!

Practice Screen Scripts for Actors

These scripts utilise a conventional screenplay format. The thing to remember about scripts written for screen is that you often get far more visual information than their stage counterparts: action, time/scene jumps and even the types of shots to be used when filming. While all of these details are helpful when you’re analysing the script, don’t let them bog you down when it comes to practicing or shooting them. A scene set during a long car ride can probably be shot at a kitchen table without any major rewrites.

There is also no need to film multiple angles, at least when you’re developing a self-tape. You might feel the pull to cut to other angles for the complete cinematic effect, but this isn’t necessary when it’s about showcasing your work as an actor.

NB: You may notice that very few of the scripts provided on this page talk about the age or gender of the characters. This is a deliberate choice by us to get you thinking beyond how you might normally cast yourself. Naturally, it’s different in the context of a professional casting. But when you’ve got the power to pick your own role, an age or gender swap/total disregard can be a terrific challenge!

Auld Lang Syne

Genre: Comedy
Length: 2 – 3 mins
Synopsis: Two best friends debate whether or not they should kiss at midnight on New Year’s Eve.

Performance Notes: Keep this script short and light, and let the banter between the characters carry the comedy without turning them into caricatures. It’s also worth thinking over the given circumstances in a piece like this, as factors such as fatigue and level of intoxication might be important modifiers to performance. As an extension to your work in this scene, consider doing a biography of the characters and their past relationship.

The Fan

Genre: Drama
Length: 3 mins
Synopsis: An washed-up rock star, working in retail, is accosted by a pushy fan.

Performance Notes: While we’ve put this script into the “drama” genre, there’s actually quite a bit of room to move between something comedic … and something quite menacing. Consider the differences between the characters in terms of physicality and even age; ask yourself how your particular character feels about being seen and heard as the scene plays out. Finally, the ambiguity around the true identity of “Jessie” is worth playing with. Try this scene a few different ways: is The Fan correct? Are they mistaken? Does Jessie actually enjoy being recognised?

“Just A Chat, Nothing More”

Genre: Thriller
Length: 3 – 4 mins
Synopsis: A distgruntled spouse is given one last chance by their hired hitman.

Performance Notes: The thriller genre is all about information. Who has it, who wants it, who knows what (and who knows who knows what)! Don’t give yourself away as either of these characters: play with pauses, silence and body language. “Just A Chat…” is also a great scene to explore status and power. Try this scene with varying levels of status for each character; look at where, in the scene, that status shifts and why.

White Room

Genre: Comedy
Length: 4 – 5 mins
Synopsis: A couple are confused by a strange, white room in an art gallery.

Performance Notes: On the page, this scene reads short and sharp. Don’t be afraid to slow it down, and let the comedy come from the awkward pauses of each character trying their best to comprehend the situation. While this could play out with minimal staging, you might want to experiment with physicalising this scene: choreograph the blocking, and work out eye-lines to suggest the other (silent) characters that Kris and Gerry encounter.

Risk Management

Genre: Comedy/drama
Length: 3 -4 mins
Synopsis: Two shady characters debate what to do with a mysterious package left by a third associate.

Performance Notes: This is a scene that reads as quite ‘theatrical’, which is a way of saying that there is little in the way of dynamic or even physical action. Like White Room, above, resist rocketing through the banter-y dialogue of Pike and Scratch. Find the edge and the menace, and work hard with your scene partner on establishing strong given circumstances. The audience never needs to know what’s actually in the package, but your idea of its contents should be crystal clear.

Cuff-Links

Genre: Drama
Length: 3 mins
Synopsis: A cleaner is confronted by a wealthy employer over some missing cuff-links.

Performance Notes: For a piece so driven by the wants and personalities of these characters (as well as the power dynamic they share), there’s not a lot on the page to go on when bringing Deeley and The Cleaner to life. Take your time making some strong choices in this department: think about how different personalities might affect the dynamic of the scene. It’s also worth discussing the meaning of the ending: what is the significance of that final line?

Speed Trap

Genre: Comedy/Drama
Length: 2 mins
Synopsis: A low-level political operator is stopped for a traffic violation.

Performance Notes: Focus on character in this piece, especially if you’re looking to accentuate the comic elements of the scene. Power dynamics between John and Officer Hudson are worth exploring with your scene partner, along with the uncomfortable silences that are par-for-the-course with this kind of interaction. What remains unsaid? And what’s happening in those moments between lines, where so much of the action takes place?

Pictures of my Dog

Genre: Comedy
Length: 2-3 mins
Synopsis: Two friends discuss an odd encounter on a dating app.

Performance Notes: Any comedic scene like this lives or dies on how real its characters feel; the more work you do on fleshing out Ben and Vera, the more you get to push the strangeness of the story Ben relays. This scene is also a great opportunity to work on creating lasting images in the mind of your audience: how, as Ben, can you tell the details of your date to Vera in a way that will help the audience ‘see’ the action unfold in their minds. How does Ben remember it? Which details stick out with them, and why?

Shot Clock

Genre: Drama
Length: 3 mins
Synopsis: A man bails out his brother after an unfortunate run of luck.

Performance Notes: This is a relatively straightforward scene—on the page, at least. Pay attention to the relationship between the brothers, and think about the history of their interactions. Where does this bail-out sit in the timeline of bail-outs? How fed up is Kyle with his brother. Then there’s offence Ed takes in Kyle talking to his partner. Just how much does he have to worry about? Is Kyle trustworthy and honest? For that matter, is Ed? Establish the truths of this scene with your scene partner, but don’t be afraid to experiment with different circumstances to see what works best for you.

Lagoon Poolside

Genre: Drama
Length: 5 mins
Synopsis: A gossip columnist meets with an aspiring actress about a soon-to-break scandal.

Performance Notes: Actor-playing-Yasmin beware. You have some big decisions to make in regards to this character. What is her objective? Can she really be trusted? Spend plenty of time on character backstory for this piece, and solidify the events as they unfolded with the awful Trip. This piece suggests a classic Hollywood period setting; experiment with accents if you like, but don’t let the accent or the setting overwhelm the other work that needs doing. Don’t lose the nuance.

Practice Theatre Scripts for Actors

Scripts written for stage usually have less visual information than a screenplay. Usually, this is because it’s harder to control what happens during each production of a play—such as a director’s individual artistic choices, or how much budget a production will have. Pay attention to stage directions, but know that you’ll probably have to work more with the dialogue (and, therefore, the subtext) to really get to the meaning of the scene.

Just because information isn’t directly given to you, doesn’t mean it’s not important, or there to be discovered. To the best of your abilities, mine the scene for subtext and analyse the text to build a picture of the story world.

Alchemy

Genre: Drama
Length: 3 mins
Synopsis: On his first payday at a new job, Teddy makes a potentially dangerous request of his new boss Marcus.

Performance Notes: This is a script that really benefits from some close textual analysis. Analyse every sentence, every word, every punctuation mark for meaning. What can you learn about Teddy and Marcus from the way they speak—and the way they communicate with one another? Spend some time thinking about the oft-mentioned, never-seen Errol. Who is this person? The more you can make that character seem real and affecting to the people on stage, the more you’ll build out this mysterious little world…

The Cushion

Genre: Drama
Length: 4 -5 mins
Synopsis: Two friends discuss the details and aftermath of a shocking accident.

Performance Notes: More than any other script on this page, The Cushion is closer to a short play than it is a standalone scene. With this in mind, try to focus on the given circumstances, as well as the character biographies of all involved (especially the pivotal character of Jeffrey, who never once appears in the scene). Finally, try to resist racing towards the ‘twist’ in the scene; while it’s an important dramatic turning point, we care about the characters for who they are—rather than what they’ve done.

Trick Or Treat

Genre: Drama/Black comedy
Length: 3 – 4 mins
Synopsis: Two people at the start of a friendship/relationship/something share a beer, a cigarette, and a story about why one of their families hates Halloween.

Performance Notes: It’s not hard to pick up on the new-ness of these two characters’ relationship (the nature of which is yours to determine). Think about how you can explore the excitement of getting to know a new person, as well as the pain of sharing less positive aspects of one’s self and family history. As for Sloan’s story, this can be as funny or as devastating as you think it should be. We suggest a mix of the two.

Loch Ness Monster

Genre: Comedy/Drama
Length: 3 – 4 mins
Synopsis: A bickering newlywed couple confront their fears about each other and the future in a dingy motel room.

Performance Notes: There are a lot of emotions running high in this scene; resist the temptation to go completely over the top. The reason we like these characters is because they feel so human. Spend time working on their relationship and making this feel like a union that works—even though they express doubt as to why they’re together, you’ll need to have a firm reason in your head when you act the scene. And if you want to act this one out physically: please be careful when throwing a suitcase at your scene partner.

Some Fiction

Genre: Drama
Length: 5 – 6 mins
Synopsis: A novelist meets with their estranged parent, who was distraught to learn they’ve become a character in their child’s books.

Performance Notes: Take your time with this scene. As much is left unsaid, much is to be made of the pauses and hesitations that come from two people who aren’t gifted communicators. There’s plenty of room in the characters of August and Mason to play with their personality types, as well as the relationship they shared/share. As so much of this scene is centred around memory, it’s up to you to determine what really happened between them in the past. Was it as bad as Mason said it was? Or are they looking at history through a more critical lens? More importantly, what kind of people are they now?

Captain Oliver

Genre: Drama
Length: 4-5 mins
Synopsis: A recently separated couple discuss visitation rights.

Performance Notes: This scene almost tips over into comedy—in fact, there’s a strong argument for letting it play out as a deadpan, absurdist piece. However, the success of this story (and its ‘twist’) will come from how real these characters feel, and how carefully you can shed light on their shared history. What can you glean from their interactions, however short and distant?

Hutch & Bev

Genre: Comedy
Length: 4-5 mins
Synopsis: While fishing, Hutch accidentally reels a mermaid into the boat.

Performance Notes: This is, quite clearly, a scene that requires some stretching of the imagination. However, don’t lose focus of what makes a scene like this work: honest and truthful communication between these characters. Often, in theatre, we encounter fantastic settings or situations that couldn’t possibly be replicated on stage. The lack of a mermaid’s tail or boat shouldn’t sway you from attempting Hutch & Bev—rather, ask yourself how you can make the scene work with the resources you have.

A Mind for Strategy

Genre: Comedy/Drama
Length: 2 mins
Synopsis: Two co-workers discuss their professional qualities ahead of an important company merger.

Performance Notes: Of our theatre scenes on offer, this is easily one of the most ‘cinematic’: it lends itself well to quick rhythm and and precise delivery a la Aaron Sorkin or David Mamet. How can you bring an audience into this world? How can you make it right for the stage and not the screen (allowing it to fill a slightly heightened space)? As always, with comedy, work with making these characters feel real and justified—especially in the context of the ridiculous Eddie, who still needs to be a fleshed-out and sympathetic figure.

Distilled

Genre: Drama/Comedy
Length: 2-3 mins
Synopsis: A mother and son talk after a brush with the law.

Performance Notes: This scene suggests a rich and complex backstory between these two characters, as well as a larger world than what exists on these few pages. Sadly, this is not the case: the story of Sally and Ryan begins and ends in this scene and does not spill into some larger story. For actors, it is your job to make this scene feel like a snippet from their larger stories and arcs. What has come before? What do you think comes next? And how does this scene represent an important turning point in their relationship?

Sad In Photos

Genre: Comedy
Length: 3 mins
Synopsis: A couple on holiday discuss how they appear on camera.

Performance Notes: There’s lots to be done in the shared biography of these characters. Are they newlyweds? Are they trying to rekindle their romance? Are they truly in love, or grating on each other? Take the time to establish these facts with your scene partner, so that the resulting performance doesn’t feel to ‘surface’. As with other comedic scenes on this page, take time to play with rhythm. It’s fair to say that this scene has a slightly heightened style to it—but this should never come at the expense of truthful characterisation.

A/B Scripts for Actors

Y0u might not be familiar with A/B scenes outside of a drama class. However, when studying acting, they’re the kind of thing you become very used to working on and pulling apart within seconds. A/B scenes are short, context-less dialogues between two people—usually named “A” and “B”. They offer actors the chance to infuse text with new interpretations and meanings: use these to explore finding an objective and plotting strong actions, unencumbered by a larger story or context. Our recommendation is to be playful. Experiment with different scenarios, given circumstances and ‘moments before’ to find exciting new ways the scene might play out!

One More Thing

Genre: N/A
Length: 1 min
Synopsis: A doesn’t want B to worry about something, but they won’t get specific.

It Happened

Genre: N/A
Length: 1 min
Synopsis: A catches B up on a big development.

Do It

Genre: N/A
Length: 1 min
Synopsis: A wants B to do something. B knows they have to, but hesitates.

Turbulence

Genre: N/A
Length: 1 – 2 mins
Synopsis: A is going on a trip. B is nervous about it.

Catch Me Up

Genre: N/A
Length: 1 – 2 mins
Synopsis: A and B run into each other after a time apart.

Lost

Genre: N/A
Length: 1 min
Synopsis: A is searching for something. Be is not being helpful.

Remember

Genre: N/A
Length: 1 min
Synopsis: A wishes B to remember.

Leaving

Genre: N/A
Length: 1 min
Synopsis: A and B talk before leaving the house.

Embarrassed

Genre: N/A
Length: 1 min
Synopsis: A is embarrassed by something. B would like them to drop it.

Seat

Genre: N/A
Length: 1 min
Synopsis: A is sitting in B’s seat. How dare they.

Showreel/Demo Reel Scripts for Actors

Depending on the kind of material you’re looking for, any of the above scenes could make for some great showreel/demo reel content. We would recommend one of the shorter scenes—or something that you could start in the middle or cut off at a point that still makes sense. Ideally, clips for your reel should be running to 1:30 max. When filming any of these scenes, be sure to credit the author. If you’re looking for specialised, copyright-free scripts that suit you perfectly: why not track down a writer and commission something? A short showreel piece is usually a quick job for a professional writer in the industry. They’ll talk over content, character, length—anything you want to tailor it to your particular brand. And after you pay for it: the piece is yours forever.

Finally, your other reliable option for copyright-free showreel/demo reel scripts is to write them yourself. It might be a daunting thought to write your own material, but no other process is quite so rewarding for an actor. Just be ready for a challenge…

Additional Free Script Resources

This is one of many pages on StageMilk offering free, original scripts. Take a look at our other offerings below:

• Practice Monologues for Actors
• Short Monologues for Actors
• Scenes for Three Actors
• Scenes for Young Actors
• Scenes for Four Actors (Coming soon!)

The post Practice Scripts for Actors appeared first on StageMilk.

Toi Whakaari: New Zealand Drama School

When researching where to study in New Zealand, Toi Whakaari will most likely pop up time and time again. While everyone will gain something different from differing drama schools, Toi Whakaari is often referred to as New Zealand’s most prestigious. They offer a three-year intensive course in acting all about developing you into what they call “A responsive actor”. As an actor in training at Toi Whakaari, you will work across screen and live performance in class, studio and full productions. You will work solo, in an ensemble and in collaboration with other training artists across other disciplines in the Kura.

“Toi Whakaari’s actor training is built around the concept of Tūrangawaewae – developing your unique place to stand as an actor and artist.”

First Year: Tūranga / Second Year: Raranga / Third Year: Waewae. For more information surrounding Tūrangawaewae, check out their website.

Toi Whakaari, is a bi-cultural drama school, what this means is Toi Whakaari acknowledges Te Tiriti o Waitangi: The Treaty of Waitangi as the foundation document of the country. To honour the Treaty, the School instils an awareness of the culture of Aotearoa in its diversity and history while initiating awareness of the school’s responsibility for sharing and furthering Māori culture. Through the lens of a Treaty Partnership, the school will continue to explore and celebrate the theatre, dance, film and performing arts of other cultures and races of Aotearoa. The diverse origins of immigrants over the last 50 years enriches the intake of students and expands the studies and productions within the school. 

Course Length: 3 Years
Location: Wellington/Te Whanganui-a-Tara

NASDA: Ara, Institute of Canterbury

One school, you may not come across as easily, is NASDA at Ara, Institute of Canterbury. While this isn’t strictly an acting course per se, we thought it deserved a mention, particularly if you are interested in Music Theatre. NASDA offers a three year Bachelor of Performing Arts in Music Theatre. Your first year here is all about foundation and learning the key theatre disciplines you need to branch into any arm of the performing arts. In your second year, however, you begin to define your own pathway, choosing whether to specialise in MT or more broadly into the performing arts. Finally, the third year at NASDA is mostly practical, assessments are made up mostly of performances in practice that allow you to refine what you’ve learned into your process.

Course Length: 3 Years
Location: Christchurch/Ōtautahi

Victoria University of Wellington

Victoria University of Wellington has a learn by doing approach. In this three year BA you will have a holistic training ranging from acting all the way to production design. This school is ranked in the top 1% worldwide.  

“Learn how to express yourself through telling stories. You’ll be encouraged to experiment and build your self-reliance and resourcefulness—and the emphasis on teamwork, collaboration and leadership will build your communication and people skills.”

Their staff work in the industry both domestically and internationally as directors, playwrights, and designers. They also believe that research and teaching go hand in hand, so students will often collaborate with their mentors on projects. Whatever path you choose to take we think this school will develop you as a well rounded, holistic performing artist.

Course Length: 3 Years
Location: Wellington/Te Whanganui-a-Tara

The University of Auckland

The University of Auckland’s Bachelor of Arts in Drama, like many theatre studies, is based on text, and what can be given and received from it. Their BA program offers everything a regular BA would however as you go through your training you can choose exactly what path you take. This can take you into acting, writing or directing. Should you choose to focus on Acting, your studies will culminate in a full-scale production at the end of the course.

They also offer a postgraduate course in Drama which focuses more on the theory and academic research of Drama and can lead you down a number of study paths such devising, dramaturgy all the way to theatre on screen. Check out their website to see the full range of studies on offer.

Course Length: 3 Years
Location: Auckland/Tāmaki Makaurau

The University of Waikato

The University of Waikato’s Theatre Studies course takes place at the Gallagher Academy of Performing Arts. They have a hands-on approach to actor training with an undercurrent of critical theory. They’re armed with a number of different theatres and performance spaces which you would spend the predominant time of your training in.

One of the central themes of their training is their focus on the performing arts as the living, breathing, evolving creature that it is.

Course Length: 3 Years
Location: Hamilton/Kirikiriroa

The University of Otago

The University of Otago operates relatively similar to any other acting course, however, there are certain things that make it just a little bit different. You will study acting and theatre studies, and devising; from Shakespeare to DADA. However, the difference is at Otago your course load is somewhat hands-off. “How can that be a good thing?” I hear you ask. Well, what Otago lacks in hours on the floor it makes up for in a thriving extra-curricular theatre community within the university. So really your own acting training is in your hands. Of course, you aren’t credited for what you do outside of class but that doesn’t matter because you are learning, learning, learning through application, failure, and success. But don’t just take my word for it, take it from someone who went through the course: Alumni, Andrew William Coshan:

“But at Otago university, you have far more time off between classes. There is a thriving extra-curricular theatre world attached to the uni. You don’t get credit for any of it, but there is so much to do and to be in and to audition for. So you can be lazy and do none of that and still get your degree, or you can immerse yourself in it and you’ll come out a far better and more experienced actor. It gives you room to do more if you’re hungry and rewards you for that in skills and experience rather than university credits.” – Andre William Coshan (A View from the Bridge MTC, Hamlet ASC, Merrily We Roll Along TPC)

I think Andrew puts it pretty nicely, don’t you?

Location: Otago/Ōtākou
Course Length: 3 Years

Conclusion

So hopefully this list will help you to narrow down where you might like to train. Again, as Andrew put it so eloquently, when it comes to Performing Arts training you really only get out what you put in, and the place you’ll get the most out of is the one that’s right for you. For more information on any of these courses check out their websites!

The post Top Drama Schools New Zealand appeared first on StageMilk.

Great Comedic Scenes for Actors

Crazy Rich Asians

Ken Jeong is a master, not only is he an actual doctor (he seriously is – google it!) he is also a doctor of comedy, a comedy doctor as some would say. What I love about this clip is how he mixes really understated one liners like ‘There are a lot of children starving in America’ and a lot more heightened, over the top reactions and reenactments. Interestingly everything he does here feels very grounded and authentic, a trait which can be lost by actors attempting to do too much in comedic scenes – a master class.

Airplane 2

Okay this is in here as a straight up challenge. If you can learn and do a tape of this scene, at the pace Shatner does it here and keep a straight face for the entire time – you are a comedy god. A god of comedy. This 3 minutes is sheer word-play gold from top to toe, honestly. Made even more funny but Shatner referencing his own work as the Captain of the Enterprise in Star Trek this scene has it all. So funny, so great. Outstanding – enjoy!

Death at a Funeral

The American version of a 2007 British film of the same name, Death at a Funeral is a fantastically funny, very bleak comedy about a family dealing with the ramifications of the patriarchs passing. Here Chris Rock and Kevin Hart play out a very funny scene about the wrong body being in the coffin. Lots of great little discoveries here and real moment to moment reactions and comedic choices. Great stuff!

Bridesmaids

Should Melissa McCarthy be president of comedy for life? Yes. In this humble writers opinion – absolutely! We have a classic antagonist vs straight man scene here with McCarthy playing the wildly funny Megan to Kristin Wig’s mostly normal Annie. A great scene for an actor looking to explore their range, play with some big confident choices and have a whole bunch of fun working on a character. Worth a watch!

The World’s End

Edgar Wright alongside Taika Waititi is one of the most brilliant minds in comedy today, and this is one of many scenes between Simon Pegg and Nick Frost that beautifully encapsulates his style. Hot Fuzz, Shawn of the Dead and Baby Driver all have similar scenes to this, but I picked this one because I think the back and forth, the wordplay and the intention and beat changes in this scene are really excellent. A great opportunity for actors to explore ruthless pursuit of objective in a comedic scene.

When Harry Met Sally

Okay this is a classic, and it has to be on this list – 1989 Meg Ryan proving to Billy Crystal that he may not be as smart, clever, suave and knowledgeable as he thinks he is, is an incredible scene to watch. Also she goes for some big choices here that really come off, and her confidence in what she’s doing means the last line of ‘I’ll have what she’s having’ really lands with a plomb. Great stuff.

The Hangover

Again another classic comedic film, there are a bunch of points you could cut from in this movie but I like the interplay here a lot. Especially given the end of the scene and how his friends completely disprove his thesis statement of ‘They are a lot more mature once you get to know them’ and immediately they break that by yelling something very immature. I will note the exact phase they yell is pretty bloody off colour and if you wanted to do this scene I would recommend changing it to something still immature but less genuinely offensive. Just a thought.

Hunt for the Wilderpeople

Taika Waititi is truely, genuinely and honestly brilliant. I love this moment that he steals the show in Hunt for the Wilderpeople, to give hands down, the worst eulogy ever delivered by anyone, ever. Not only is the content a disaster but his extremely confident approach to it adds massively to the moment. A real crackup of a piece and a great one for your reel!

Conclusion

There you have it folks, a few great scenes from the last few years to get those comedy muscles moving! Whether you want something to work on, or just want to sit back and have a few laughs hopefully these scenes have got you inspired to work on your acting! If your keen to work on your acting every month, join our scene club by hitting the link below!

The post Best Comedic Scenes for Actors appeared first on StageMilk.

Please note that StageMilk is not endorsed by any of these companies. We do use combinations of this equipment for our own videos and self-tapes but are in no way financially supported by any of these companies. We have also paid for all of our equipment in full and received no subsidy to put these products in this list. We just like them. 

So here’s how to achieve a really professional looking self-tape set up in your own home. For this article, we’ll be working with US dollars, but all these products are available internationally. If a professional set up is a tad out of your budget, check out our $250 self tape set up article.

I like to think of a self-tape set up in 5 parts.  

Part 1: Camera
Part 2: Tripod
Part 3: Audio
Part 4: Lights
Part 5: Backdrop 

Part 1: Camera

Let’s begin with Part 1, Camera. You’ve got a few options here, and I always recommend doing plenty of research before you go spending over hundreds of dollars on a camera. A camera is a solid investment, so you want to make sure you’re getting something that you will make good use of, and will last you a long time. You might want to invest in a camera that looks super slick for self-tapes, but also could be something you make a short film with, in which case spending over $1000 would be totally worth it. But if it’s just for self-tapes, a good smartphone will do just fine, or a camera under $1000. 

Let’s go through the main specs you should aim for when buying a camera: 

• Must record at 1080p or more. (this is referring to the resolution of the video) 
• Must have an audio input jack (for your Microphone, which we’ll talk about in Part 2) 
• Preferably small and lightweight – just for ease of use. 
• Preferable if it uses a simple SD card to record on to – some cameras need SSD’s, or micro-sd’s which will mean you need to grab an adapter to put into your computer etc. 
• Be either a DSLR, or a Mirrorless Camera: Mirrorless cameras have the advantage of usually being lighter, more compact, faster and better for video; but that comes at the cost of access to fewer lenses and accessories. DSLRs have the advantage in lens selection and an optical viewfinder that works better in low light, but they are more complex and bulkier. DSLR’s are more often used for photography, and Mirrorless cameras for video (but they can also be used for photography). When we’re shooting self-tapes we use a Canon DSLR – as the file sizes are smaller and easier to work with, and we prefer the natural colour profile. However when we’re shooting our YouTube content, we use a Panasonic GH5 – which is more expensive, and can shoot higher resolution and at a higher bit-rate. 

Let’s get into some recommendations. We’ll start with the most expensive of the bunch: 

Panasonic GH5
Price: around $1300 (body only)

• Great for short films, docos and even low budget feature films as it shoots 4K footage 
• Compact and lightweight
• Lots of capabilities in terms of filmmaking
• However the GH5 does produce highly compressed files, which are harder to edit, depending on your computer and software. 
• Panasonic lenses will cost you anywhere from $200 – $1000 – depending on the quality. A Lumix G Vario 14-42mm f/3.5-5.6 will do you just fine for self-tapes, which comes in at $250 USD. 

Panasonic Lumix G7
Price: around $650 (kit lens included)

• This is one of Panasonic’s predecessors to the GH5, so it’s also a great little camera, at a better price point. 
• You can definitely shoot self-tapes on this camera, and maybe even still some low budget short films etc.  
• Again, additional lenses will cost you anywhere from $200 – $1000. 

Canon 80D
Price: around $750 (body only)

This is a DSLR by Canon – but the 80D is maximised for video usage. 

• It has a flip out view screen – which is very handy
• It only shoots 1080p – not 4K like the previous Panasonic’s. This means you probably wouldn’t be making short films with this camera. 
• You could however, definitely use this camera for photography. 
• Lenses will cost you anywhere from $200 – $1000 (you can stick with Canon lenses, or shop around for more affordable lenses which also fit the EF-S mount e.g. Sigma) 

*** We recommend the Canon EF-S 18-55mm f/3.5-5.6 which will set you back around $200-250.

Canon 3000D/Rebel T6
Price: around $350 (with 18-55mm Kit Lens)

• Designed for first-time DSLR owners on a budget, this camera is a great bargain
• It also offers Full HD 1080p Video Recording, so you can use this camera for self-tapes, and also some hobby photography! 
• This is a great deal – this camera and lens duo will get you some great self-tapes at a really affordable price point.

FUJIFILM X-T100 Mirrorless Digital Camera with 15-45mm Lens
Price: around $450

• It records 4K and 1080p – great for self tapes, and also short films if you pick up a nicer lens to go with it. 

Most of the time you’ll be able to buy any of these camera bodies, and a lens in a package deal. The lens will often be a “kit lens” – which means it is a relatively affordable zoom lens, something like 12-40mm, or 18-55mm, or 18-135mm. Zoom lenses are very handy for self-tapes, as it makes your set up more adaptable – ie. you can have the camera far away and zoomed in, or up nice and close and zoomed out – which suits small rooms, or large rooms and anything in between. 

Part 2: Tripod

As long as it has 3 legs, is taller than you, and can fit whatever camera or phone you’re using, any tripod will do. However I wouldn’t recommend spending less than $50 on a tripod –  you can find some super cheap tripods out there, but it might only work for 6 months, and then fall apart. It needs to be taller than you, when fully extended, so that when you’re shooting self-tapes you have enough height to shoot standing up. You don’t want to have the camera lower down, and have to point it upwards – that’s going to be unflattering and distracting to watch. You also want your tripod to have some flexibility – the more money you spend, the better quality parts, such as a nice Fluid Video Head, which will make for very smooth pans and tilts. 

Let’s jump into some recommendations:

The Manfrotto 290 Xtra Aluminium Tripod with 128RC Micro Fluid Video Head
Price: which will cost you around $180

Manfrotto are a great, reliable brand – literally any of their tripods we can recommend, so have a shop around, find one that suits you and your price range. 

Slik SPRINT VIDEO Travel Tripod with Fluid-Effect 2-Way Panhead
Price: will set you back around $90

Slik is a more affordable manufacturer of tripods, their products are reliable and they have a large range – so again, do some research, and find which product suits your budget and requirements.

Part 3: Audio

Let’s move on to Audio Equipment. Have you ever filmed a self-tape in an apartment, next to a busy road, with an iPhone? You’ve probably noticed – it doesn’t sound great. We highly recommend picking up some audio gear to enhance the production quality of your self-tapes. You’ll notice a huge difference, and it will also work in your favour. Just like having a great quality camera is going to make you look good, great quality audio is going to make sound good too. 

You’ve got 2 main options here. You can either pick up a Lavalier Mic, or a Directional Shotgun Mic. A lavalier is a small portable mic, which you can clip onto your shirt, or hide underneath your clothing. A directional shotgun mic will sit either on top of your camera, or on a stand nearby. 

RODE VideoMic PRO Directional On Camera Microphone
Price: $230

This little microphone runs off batteries, and sits right on top of your camera set up via a “hot shoe” mount. All the cameras we mentioned above have hot shoe mounts on them and a microphone jack. This means your audio is going to record into the camera, and match up with your video footage. So you don’t have to go and sync it up later. 

Another option is to grab a microphone that can be mounted on a seperate stand, much closer to you (but not in frame) to get even better audio (like this kit). You’ll then just need an extra long cord to connect it to your camera. If you’ve got the budget, I definitely recommend this option – the closer the mic is to your mouth, the better quality audio!

Sennheiser AVX Lavalier
Price: $700

We use this mic for our YouTube content – it’s fantastic! However this is a little overkill for self-tapes. If you’re looking to invest in a great lavalier microphone for short films, docos and other filmmaking needs, Sennheiser make great mics. But for simple self-tape purposes, something like the: 

RODE SmartLav+
Price: $70

This microphone records into your camera, or a smart phone. We recommend using a smartphone however, otherwise you’ll be restricted movement wise with a long cord connecting your mic, to the camera. You will have to hide this microphone on your person, by using some sports tape and sticking it to your chest, just below your neckline. You’ll then connect the audio jack into your smartphone. This mic requires an app – RODE have a free version, and a paid version (which is only $10 or so) – it’s called RODE Rec LE. As we’re writing this however, the app has been removed from the App store whilst it’s undergoing some updates, it should be back shortly! In the meantime, we’re using the RODE Reporter app instead. 

The audio you’ll grab some this mic is GREAT quality, and will do you wonders. It sounds great, and means your voice becomes front and centre – as the microphone is so close to your mouth. It does mean however that you’ll need to sync this audio up with the footage on your camera later on when you edit. So it does slow down your workflow slightly. Consider adding the RODE  invisiLav to prevent any scratchy shirt noise. If you really want to get high tech, the new RODE Wireless GO presents a wireless studio quality lav mic system to sync straight into your camera!

Part 4: Lights

There are infinite options when it comes to lights for self-tapes, and it all depends on your budget and what kind of studio or room you’re working in. Whilst it may be tempting to use a big window or natural light as your main source of light, I’d encourage you to invest in some LED lights instead. The problem with using a window means you can only self-tape during the day, and you don’t want to be restricted by daylight hours. You should also always turn off the ceiling lights – they’re often either a fluorescent white, which is unflattering, or a warm yellow tungsten colour – which often won’t match the LED lights you’re about to order. 

Let’s say you’re keen to invest in some quality lights that you might want to use for short films and perhaps photography, as well as your self-tapes. In that case we recommend: 

APUTURE AMARAN HR672 LED Video light
Price: these will set you back around $400 each.

You can buy these with colour temperature adjustment capabilities, and we highly recommend doing that. They also come with little remotes, which you can sync up and use to adjust the brightness, turn on and off etc. You can buy these in a 2x or 3x light kit from Amazon or B&H for around $1200 including stands.  We love these lights because they’re lightweight, easy to store, you can adjust brightness as well as colour temperature and they’re affordable. They don’t however come with softboxes – which you might want to invest in to give yourself a more cinematic, softer and more diffused light source. These soft-boxes can set you back around $50 each. Aputure are a reliable brand which manufacture some awesome portable LED light options – check out their full range, you might find another product better suited to your needs and budget.

If this is out of your budget, you can look at a cheaper softbox kit, which is also dimmable, and temperature adjustable.

Price: Three of these will cost you around $200 or less (they often come in kits of 2x or 3x with stands)

Again – having these adjustment capabilities will add an extra few dollars to your purchase, but they’ll make your life much, much easier – especially if you’re not a pro filmmaker and don’t have all the tricks up your sleeve to manipulate your lighting set up. 

There are many cheaper variations of these soft-box lighting kits, we recommend you do your research, watch some YouTube reviews and make sure you’re getting good value for money. 

Things to note when you’re purchasing: 

• Colour temperature: you can buy lights that have globes set at a specific temperature – e.g. 3200K, or 5600K, which is warmer, and cooler respectively. 5600K is the same colour as daylight – it is cooler in tone, and bluer in colour. 3200K is more like a warm bedside table lamp, it is warm and yellow in colour. You could use either of these, as long as all 3x of your lights are the same temperature. Or, you could save yourself the hassle and buy lights that are colour temperature adjustable, or bi-colour. Which means you can pick and choose which colour light best suits your skin, your backdrop and your set up. 
• Stands: if you’re buying a kit of 2 or 3, your lights will come with stands. If not, you’ll need to order them separately. Make sure that the screw at the top of the stand, will match the screw at the bottom of your light. Again, do a little bit of research here. Stands will cost you anywhere from $20 each, to $200 each – depending on the make and quality. 

Quick tip: Make sure the colour temperature on your lights, matches the white balance in your camera. We often see self-tapes which have an odd colour quality to them – and this often means that their camera white balance is set to say, 3200K, whilst the lights they’re using are set to something different, say 5600K. Pick a temperature, and make sure that it all matches. Go into your camera’s white balance settings and match it with the colour temperature of your lights. 

Part 5: Backdrop 

Let’s move on to your backdrops, and you’ve got a few different options here.

1. Paint a wall: this is nice and simple – if you own the house or studio you’re in, you can paint a wall! Grab a small tin of MATTE paint, and go to town on a wall in your self-tape room! This is permanent solution, and means you don’t need to do any ironing, setting up, or packing down. You can choose which colour you’d like, we recommend a nice deep blue, or a grey. White tends to wash people out, and so generally avoid using white.
2. Pop Out Backdrop: If your self-tape set up is in your lounge room, or bedroom, and it needs to be mobile and able to be packed down after each self-tape session, then we recommend you get yourself a pop out muslin backdrop – make sure it’s of good quality, and not made of 100% synthetic material. If it’s synthetic, it will likely crease when you fold it away, and you can’t iron synthetic material, as it will melt. Also make sure it’s at least 2×3 metres. Any smaller, and you’ll struggle to film within it. We recommend either a Fovitec or a Neewer – Double sided Pop Out Muslin Backdrop which will cost you $55. They have a few different colour combos which you can choose from. To hang, you can either use hooks on the wall, or backdrop stands and clamps. The beauty of these is they fold away nice and small, don’t require any ironing if you get the right material, and you can even take them in your suitcase when travelling!
3. Permanent Backdrop: Your other option is a more permanent backdrop set-up which includes either a paper roll, or some other fabric, a cross beam, and 2x stands. Again, make sure you aim for good quality paper, or material that isn’t synthetic, as you’ll need it to be crease free. If it is paper – you don’t need to iron it, if it gets too creased you can just cut off that section and roll out more from the roll. Paper rolls can cost anywhere between $60 and $250. Alternatively you can grab a fabric backdrop, or even use a bedsheet, which you can hang from your backdrop stands. Sheets will require ironing before use, or you can invest in a “wrinkle resistant” fabric.
4. One final option is using a blind! I’ve seen some great backdrop set-ups using rollout blinds! You can head to your nearest hardware store, arts and crafts store, or homewares store, and pick up some household blinds. You can find these at a variety of price points, colours and lengths. The benefit of using a blind is it’s easy to roll up and down, you can mount it on the wall, or use a backdrop stand, and it never needs ironing! 

What colour backdrop should I get? 

We recommend bright blue, navy blue, grey or a deep green. Grey and blue works for pretty much ALL skin types, and it stands out. White on the other hand might makes people look a little pale and washed out, and it’s rather uninteresting. 

Conclusion

So we’ve now covered all 5 elements which will make up your professional self-tape set-up. As always, do your own research before you start spending hundreds of dollars on equipment and make sure you’re getting the right products to suit your needs. If this is out of your budget range, you can check out our $250 self-tape set up for actor’s guide, or you could even use a combination of the two. 

The post Professional Self Tape Set Up for Actors appeared first on StageMilk.

1. Do Some Research

First, make a list of every single acting class and acting school in your city – it might have 55 classes (if you live in Los Angeles) or it might only have 3. Either way, it’s good to know what’s on offer and have something to compare to. Here’s some links to our resources on acting classes around the world:

Best Short Acting Courses and Classes Around the World
Acting Classes in LA
Acting Classes in Vancouver
Acting Classes in Sydney

Next, ask some mates! Ask some of your acting friends what classes they go to, or what classes they would recommend. I always trust the word of 2 close friends, over a review on Facebook. Ask them why they enjoyed it, what the structure of the class was, what they learnt and how much it is.

Also ask drama school graduates. It’s a great step to ask people who have studied under a particular teacher. Most actors love talking about acting, so pick their brains about what they got out of the training they’ve done, and what they would recommend in hindsight.

Next, it’s time to audit some classes! This is where you get to sit in on an acting class (usually free of charge) and watch how the class runs. This isn’t always a possibility with some acting classes, but if it is definitely do it. Watch how the teacher works with the students. Are you excited by what they’re working on and what they’re learning? I remember auditing a Larry Moss masterclass and I was on fire in my seat. You want to work with teachers that inspire you!

2. Don’t pay too much

I hate seeing actors spend a small fortune trying to find the “secret” to good acting. There are many great and insightful teachers out there, and most of the good ones don’t charge a fortune. This is usually because they believe in helping actors, and that doesn’t require a huge price tag. These are the kinds of teachers who really LOVE to teach, who get a kick from helping actors and love working with them.

Weekly classes can set you back anywhere between $20 and $100. Something around the $50 mark is great. You want to be able to afford to show up every week, and not break the bank to do so.

Masterclasses on the other hand can be a little dearer. These are more intensive training courses, that are usually only 1-4 days long. Depending on the teacher and the location, you might be spending anywhere from $200 – $4000 to do a masterclass. Some reputable masterclasses might be worth saving up for, but sometimes it’s more important to be in acting class consistently, as opposed to doing a one off “break through style” course every 2 years.

If you really can’t afford weekly classes or masterclasses, or you don’t live near a major city and can’t make it work – you might be better suited to training online! We wanted to make sure that ALL actors, no matter their budget or where they live, should be able to work on their acting. So we made a little online scene club to do just that! Check that out here if you’re interested.

3. How to get the most out of acting class

We’ve already talked about the importance of constantly training, learning and working on your craft. Ask any working actor, A list, or otherwise, and they’ll all tell you they never left the classroom! So now that you’ve found a great class that’s affordable, nearby and you like the teacher – how do you get the most out of your acting class?

Go in with a set goal. Are you trying to clock up some more hours in front of a camera? Work on your voice? Work on your auditioning technique? Or brush up on your theatre skills? Try to be objective about what your career needs right now. It can be good to ask your manager or agent as well. When it comes to acting class, you only get out what you put in. If you show up half-baked, tired, grumpy or under-prepared – chances are, you’re not going to get much out of class. Make sure you give it all you’ve got – put in the extra hours outside of class too. A lot of actors like to pat themselves on the back for simply showing up to class and learning their lines. There’s SO much more work that can be done from home, and use your weekly acting class as a means of accountability. Try new techniques, try different methods, work with different people every week, and explore, explore, explore.

And finally – we always learn more, and absorb more information when we’re having FUN! Make sure that acting class is fun for you. As soon as it stops being fun, try something new, or find a different class.

For more on getting the most out of acting classes, read here.

4. Contact us for a local recommendation

If you’ve researched acting classes in your city and you’re still struggling to find a great acting class or teacher, get in touch with us. We are an international site that has contacts in all the major cities. We loving helping actors connect with great acting teachers. Send me an email: andrew@stagemilk.com

The post Acting Classes Near Me appeared first on StageMilk.

Updated 31 Jan 2023

Doubt (2008)

When I think of great film performances and great film scenes this is the first one that comes to mind. Let’s talk technically first off – watch the scene for the two actors image work, especially when Hoffman asks Streep “have you ever done anything wrong?” They are both so alive, and their personal history is so alive in every moment of the scene. Also look at the tactical changes they both go through and how they approach those tactics in terms of their delivery. They do both get loud at points, but more often than not they are both containing their emotion, only letting it out when it fully bubbles to the top. Michael Chekhov said “The actor should be a volcano, in a completely relaxed body” there is no better example of that than the actors working in this scene.

Moonlight (2016)

Listen, if you haven’t seen Moonlight yet, I honestly don’t know what you are doing with your life. This film is incredible, and to truly understand this scene you really need to have seen the whole film. However, the two actors working here are doing incredible work, similarly to Streep and Hoffman above, their history together is so alive, so palpable and so dangerous in this scene that it feels like anything could happen. From the first moment you don’t know if they are going to beat the crap out of each other or make out on the table. Technically, watch for when they look at each other and when they look away, how their objectives change through the scene – especially Andre Holland’s character, Kevin. We don’t have the clip for this one, but here is the trailer for Moonlight: 

Manchester by the Sea (2017)

Michelle Williams is one of the most consistently underrated actors of her generation, and here she is truly incredible. Casey Affleck does a good job here too, but the power of Williams’ performance is undeniable. It’s great writing for sure, but the emotional commitment to the given circumstances is so real and so powerful that it’s a thrill to watch. It really feels like the scene collapses for a moment in the middle, in the despair of it all and how the two of them pull it out at the end, the chaos and sadness of it, feels so real it hurts.

August Osage County (2013)

Sometimes you just need to watch a group of absolute professionals go to work. This ladies and gentlemen is the NBA of acting and I give you Kobe, LeBron and Jordan all hanging out for a nice plate of catfish. By that I mean, Streep, Roberts and an exceptional performance from Julianne Nicholson. Let’s also take a quick minute to thank the genius writer that is Tracy Letts, straight out of Steppenwolf in Chicago, this is an amazing script executed by our generations creme de la creme of acting talent. Sit down, strap in and enjoy the ride. Spectacular stuff. Watch for change in tactics, real-live serious active listening, investment in the stakes and reaction to changing circumstances.

Blue Jasmine (2013)

We cannot have one of these lists and not include Cate Blanchett. Picking a single scene from her extraordinary back catalog of incredible work is a difficult task, but I landed on this scene from Blue Jasmine for a number of reasons. I’ll get to Cate in a second, but when you first watch this scene take a look at the excellent performances from the two child actors here, they do an outstanding job across the table from one of this generations great actors. Blanchett is exceptional, her drunkenness is completely believable, the images and when she chooses to engage with them versus stay on talking to the boys is unpredictable and alive, plus watch when the emotional history hits her?! A joy to watch.

There Will Be Blood (2007)

Here’s Daniel Day-Lewis in one of his most iconic performances, plus a HUGE spoiler alert on this clip! But it is exceptional for the size and the scope of his choices in this scene that make complete sense for this moment. Also check out the physicality that Day-Lewis has taken on for Daniel Plainveiw, the stiff legs and injuries of the old oil man. His vocal choices are unique and powerful treading the edge of what seems naturalistic, but his commitment to it and the utterly grounded way in which he executes them make this one of the all time great performances and an exceptional scene to study for actors.

Heat (1995)

What, you thought we were going to do a list of the best scenes for actors and not include the iconic scene from Heat at the restaurant? You’ve gotta be kidding me. This is a classic and it is a classic for a reason. Pacino, the cop, and De Niro, the criminal, sit down for a nice chat at a restaurant. What follows is two men whose lives have become completely about chasing each other, finding common ground, then asserting the most clear of boundaries. Everything you could want is here acting-wise; given circumstances, stakes, objectives, actions – watch how nothing either of them says is done without purpose, watch what causes them both to engage in an image and where in the frame they place it. Awesome stuff.

Fences (2016)

Oofft this is a difficult scene to watch, and it’s difficult because of the power of the performances coming from Denzel Washington and the extraordinary Viola Davis, she got nominated for an Academy Award for this performance and in the first minute you can see why. The pain of this relationship, the crushing reality of the situation and the relentless pursuit of objective makes this scene an incredible resource for actors. Just watch her, watch what she does, how she approaches each line and each moment. Then on top of that add the emotional connection to the given circumstances of this scene. This is a stellar performance and one for the ages.

Call Me By Your Name (2017)

In the years since 2017 Timothée Chalamet has become a massive acting superstar and a big part of why that has happened, is captured here in his performance in Call Me By Your Name. He is, frankly, nothing short of sensational. Additionally, massive credit to the filmmaker here as well. The temptation to layer this moment with dialogue and a thick soundtrack full of strings and harps would be massive. Instead, here is what we get: two actors fully immersed in their given circumstances, an emotional life so real and palpable that everything else is extraneous. You can feel every inch of the heartbreak here. Take a look.

Brooklyn (2015)

First time I watched this, I watched it on a plane to the States and absolutely bawled my eyes out. It is a beautiful film and the highlight of it is the performance from Saoirse Ronan. Her first major american film, she is simply outstanding. Not only in the high stakes, dramatic moments but also in her ability to bring a hidden vulnerability to everything she does. Watch this little scene and see how much is happening under the surface of the performance. How alive she is in the moment and how naturally and realistically she responds to him. Its really beautiful and puts a smile on my face every time. Enjoy.

I, Tonya (2017)

Again a wonderfully made film centred around an exceptional performance from Margot Robbie. Especially when you consider that Robbie is an Australian, playing Tonya Harding the famous American figure skater, the depth of the character work here and the amazing emotional connection is really a joy to watch. This scene at the climax of the film when she gets sentenced following the attack on Nancy Kerrigan is absolutely heartbreaking to watch. Robbie embodies the shock, sadness and desperation of this moment. It’s a really powerful moment and worth a watch: 

Roma (2018)

In the market for a fantastic piece of immersive Mexican cinema, paired with an exceptionally powerful performance from Yalitza Aparicio? Well look no further – Roma is an incredible film. A massive, encompassing, extraordinarily beautiful movie and Yalitza’s performance as Cleo is a thing to behold. This is her first acting role and she is amazing in it. You should be able to find Roma on Netflix and it is a must watch if you can get your hands on it! Sadly, clips are few and far between online but the trailer gives you more than enough to go from: 

Breaking Bad (2011)

It is hard to discuss incredible television without bringing up Breaking Bad. The now iconic role of Walter White, performed by the now iconic Brian Cranston is largely considered one of the greatest protagonists (villains?) of contemporary TV. In this scene, Walter’s wife, Skyler, confronts him and tries to pursuade him to turn himself in. This scene gives the actor playing Skyler, Anna Gunn, so much to work for. Check it out:

 Promising Young Woman (2020)

Firstly, what a film. It’s so exciting to see Carey Mulligan, who is just a downright brilliant actor, getting to shine in a role and film like this. In this scene, Cassandra (Carey Mullligan) confronts Dean Walker (Connie Britton) about the sexual assault of a young woman, under her watch. Cassandra holds all the cards here; she is a woman with a plan. And we get to watch her slowly and carefully reveal the details of that plan.

Misery (1990)

This is a classic. And one of the best written villains in film history. Misery is based off of a 1987 Stephen King novel of the same name. The writing, the cinematography, and, of course, the brilliant performances, are all working in synchronicity to capture this moment of escalation: a switch from sweet to scary that catches everyone by surprise.

Angels in America (2003)

This incredible miniseries is based on the American masterpiece Angels in America: A Gay Fantasia on National Themes by Tony Kushner. Needless to say, if you haven’t read this play, or watched this minseries, and you are an actor working in theatre, then drop what you’re doing and get on it now! In this scene, we get to see Al Pacino shine as the moral corrupt Roy Cohn. It’s all about the writing here folks, and Al Pacino knows how to work it.

Conclusion

There you have it, folks, there are many more fantastic performances that we will add to this list as time goes by, but these clips will get you started. Watch all of these movies and thoroughly analyse what the actors are doing to make them effective. Combine their commonalities and try and bring them into your work! If you need somewhere to practice these new found skills why now check out our online Scene Club!

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