Acting

Jason Raymaker a challenging topic for the actor and, I would say, also for the director. And I mention the director because most of the time, it would be the director that would want the actor to cry at some point or another in the scene.

I will just share my take on it, and what I personally consider the 'ideal' situation - and for that I will quote my acting professor form way back at the Esper Studio: we do not create emotion, something creates emotion within me. Which means that, as an actor, I need to craft a meaningful point of view about specific lines/objects and/or specific moments in the scene that, when they make contact with me, will hopefully trigger some kind of emotion.

I would also say that the fact that you 'never quite got to' that point most likely means you chose to stay honest with what was happening in the moment. And, again, for me that is THE most important thing - truthful in the moment :)

I agree with Sebastian Tudores Jason Raymaker as I shared in a post, I had a scene where the director wanted me to cry but I couldn't do it rehearsal. It wasn't until the first performance that I let the tears flow. Crying on cue is misnomer when it comes to acting. There are no tricks unless makeup wants to put eyedrops or something. If a director wants me to cry on cue, then I would ask him to chop some onions.

The emotion is created within me, because I am connected to the scene and the other actors, and living truthfully in imaginary circumstances. Acting is being. If you were unable to cry it is either as Sebastian suggested, you weren't feeling that in the moment, or you were focusing on crying and not being authentic. Like Sebastian said, any emotion just like in life, is a byproduct of the truthfulness of the moment. That is the technique so to speak. "Living truthfully in imaginary circumstances."

David Veal - thanks for this post. I think the more tech abilities increase so do the opportunities for bad actors (not actual actors) to engage in unethical/criminal behavior. your advice is on point and appreciated :)

That day when the students at the playhouse scene study class I was in joined into the conversation with the teacher, and I, and my scene partner, about the way I saw and presented the Dad in Dreamer Examines His Pillow. I realized I had something to say, and that I could say it within the role. That the opinions of the actor, my opinions, mattered. It was a very cool discussion. The teacher suggested he might look at that character a bit differently. To my mind, every actor finds this out. These moments change your previous understanding of acting. It's the moment you really start working on the craft... your craft. You become something filmmakers are hoping for. Yourself.

David - very good points. Bravo!

So what role changed your perception Rutger Oosterhoff ?

I love it David Veal Yes, every actor brings their own experiences and perceptions to each role they play, and they may interpret that role differently from how a previous actor did. Great insight. Thank you.

I do not know if there is a role that really changed my perception about acting, Suzanne, but talking about method acting, I guess Daniel-Day Lewis as Bill the Butcher.

I have a friend who did tours on the Queen Mary in Long Beach, CA. These are really good suggestions. I'm looking into teaching scene study locally in the small town I'm in.

That sounds like an interesting side gig. What exactly was he talking about, do you know?

Appreciate the kind words. Feel free to share my site howtoactandmodel with your students.If they sign up to be on my free email list (on the bottom of the site) I will be sending them helpful videos weekly. They can also check out my YouTube channel, where I have 500+ helpful videos.

https://www.youtube.com/c/aaronmarcusactingandmodelingquicktips

Thank you again for sharing and for your kind words.

Hello Alex, how are you doing? My name is Abraham Lith, a screenwriter and script editor based in Asheville.

I work with filmmakers, screenwriters, and producers to fix what usually holds a script back: uneven pacing, flat dialogue, weak character arcs, on-the-nose exposition, and scenes that don’t quite land so the story connects with real weight on screen.

If you have a script in progress, I’d be glad to take a look and help tighten it where it matters most.​

Warm regards,

Abraham, Lith.

Hi Abraham,

thanks for reaching out — appreciate it.

At this stage I’m primarily looking to connect with producers and development partners, but I’ll keep your offer in mind as the project progresses.

Best,

Alex

Thanks, Alex. Looking forward to making your project a huge success.

Hi Ana Rodrigues were you trying to comment on Timothy Miller's post? Do you think you can delete this as a post and rewrite it as a comment on his? Or if you are wanting to start a new conversation, can you rewrite this in the form of a question? Reach out to me or any of the moderators if you need help navigating. Thank you

Ana, this is a great distinction, emotional depth rooted in context and internal conflict is what truly makes performances resonate beyond surface-level emotion. For actors exploring this, Stage 32’s labs and coaching can help deepen that work, and we’re always here to support and guide you!

Hi Suzanne,

Thank you for letting me know, I appreciate it! I’ll adjust my post accordingly.

Ana Rodrigues, this is such a strong distinction, and I love how clearly you’ve articulated it. I think this is especially important for actors because it shifts the focus away from “how big can I play this emotion” to “what is driving this emotion beneath the surface.” When you’re working on a role, what helps you most in uncovering that deeper layer, backstory work, script analysis, or something more instinctive?

For me, it’s a combination of both analysis and instinct.

I usually begin with the script and the character’s backstory to understand their emotional foundation — what shaped them, what they fear, and what they’re trying to protect beneath the surface.

Once that framework is clear, instinct takes over in performance. That’s when the emotional truth starts to feel lived rather than simply interpreted.

The only casting websites I know of, require a monthly subscription to submit. Actors access, castingnetworks, backstage. They cast all over the US. Are you NU or SAG AFTRA?

thanks you so much for your help

Excuse me, I just saw your last question. And perhaps it's because I'm French, but I don't know the meaning of these abbreviations "NU", "SAG" and "AFTRA".

Hi Delphine Herrmann well since you're French then I am going to say you are Non Union. SAG AFTRA is the union for actors in the US. If you are Non Union, meaning not a SAG AFTRA member, then you can't work union roles. You would only be able to submit to NU which is how it is distinguished on those sites. You would need to sort by non union only.

Robert, this is a great recommendation—continuing to study both the history and technique of the craft can really deepen an actor’s understanding and versatility. For members looking to grow, combining resources like these with practical application through Stage 32 labs and opportunities can be incredibly valuable, and we’re always here to support and guide you!

Since graduate school, I've studied acting with Word Baker at Cincinnati Playhouse in the Park, Stuart Culpepper at Atlanta's Peachtree Walk Theater Company, Gene Frankel & Leonard Melfi and Rodger Hendricks Simon in NYC. For anyone interested, I now coach privately at a reasonable rate.

Theater history was one of the most boring classes I ever took. I don't think you need to study Kabuki theater to be a good actor. I do agree that diction in theater and learning standard stage speech is important.

Thank you very much for sharing your journey. It is truly fascinating. I hope you find your way back to the stage and also get the opportunity to work with children. Good luck Elizabeth Thomas

If you have a few kids, you find out that some/most can be readily coaxed to act as they consider it play. Add professional guidance to that and innate talent and voila.

Yeah, I see my students trying to act while playing, so they already have the seeds of acting within them David Taylor

This a great question Meriem Bouziani I have wondered how they get really young children to act. Though imagine to them it's make believe.

I think it is like David Taylor said: they mimic what they have seen. I also think it is about feeling comfortable and happy in the acting environment.

I remember a scene from Maleficent, where Angelina Jolie wore the black dress and crown. They said many children cried and refused to act with her because the costume looked so scary. Only her daughter did it, because she knew her and felt comfortable around her, even though the dress looked frightening Suzanne Bronson