Tips for Finding Your Ideal Acting Class

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For an actor, training is a necessity. Olympic athletes don’t graduate from training and neither do you. So where do you start? And what’s the right class for you? Here are some tips to help you jump into the ideal class.

What’s the right technique?
Acting teachers are often guilty of desperately clinging to the validity of the technique they teach. When you stake your honor and your mortgage payments on one technique, you’re probably not going to be super objective about it. You may even talk smack about another technique in order to build yours up. But make no mistake. There is no one correct way to act. No technique can guarantee that you’ll book work or be a brilliant actor. If a teacher tells you that their way is the only way, walk away lickety-split.

You should probably check out any and all methods and approaches and discover which one resonates with you. More than likely you’ll take little bits of goodness from a number of different techniques. Learn them all, take what you like, and leave the rest.

Which teacher is the right teacher?
If a teacher says they can make you a star, you’re being lied to. If a teacher says they can make you a brilliant actor, you’re being lied to. No teacher can turn you into Meryl Streep any more than a basketball coach can turn you into Kobe Bryant. Like a trainer at a gym, a good teacher introduces you to exercises and a practice that allows you to discover your pre-existing talent and then express it in all its brilliant glory. You have the raw material and a good teacher helps you mine it and shape it. Yes, some teachers have access to agents, casting directors, etc, but when it comes down to it, any claim other than, “I can show you how to discover and express your own voice in unique ways,” is over-promising.

When you’re in class, your teacher should be a teacher, not an actor. Yes, it is remarkably helpful if the person with whom you are studying is, or has been, a working actor. That practical, on-the-ground knowledge is invaluable. But when teachers are teaching they need to remove their acting hat. It cannot be about them: their ego, their skill, their career, whatever. You don’t pay a teacher to indulge. Teachers are there to train you. Nothing else. Anything that a teacher does in class should be in the interest of training you to be a better actor.

And while we’re on the subject, great actors don’t necessarily make great teachers. Michael Jordan is not Phil Jackson. Jerry Rice is not Vince Lombardi. Wayne Gretzky is not Scotty Bowman.

Assume any good teacher will push you. You’re wasting your money if your teacher isn’t pushing you to be better. This doesn’t mean that you should ever feel physically unsafe or be humiliated in class. But you need to be pushed. The type of profound progress needed to succeed as an actor is rarely achieved in one’s comfort zone. A teacher should take you to a place of discomfort and do it with nothing but deep care, respect, and your progress in mind.

Avoid guru-ism. Understand that your goal is not to please the teacher. Your goal is to grow as an actor and a human being. It’s not about the teacher, it’s about you. Don’t turn your teacher into mommy or daddy, give up your power (as actors are known to do), or try to make them proud of you. All of that tired, old stuff keeps you powerless and does nothing to further your craft or your career. And if you find a teacher who encourages such behavior, be wary.

Find the class that’s right for you! Don’t just sign up for any old class. There are flavor-of-the-month classes and in-vogue teachers that some agents and fellow actors believe look good on your resumé. Check them all out but make sure you really look around and find a teacher who genuinely gets you and meets you fully in the work, wherever that is.

So…don’t hesitate! Sure, take some time finding a class that resonates with you. But start training as soon as possible. It’s imperative that you keep your skills sharp, stay engaged in the work, and keep growing as an actor and a person. If you’re not onstage or on set, you’ve got to be in class. 

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The views expressed in this article are solely that of the individual(s) providing them,
and do not necessarily reflect the opinions of Backstage or its staff.

Author Headshot
Risa Bramon Garcia
For the past 40 years, Risa has worked as a director, producer, casting director, and teacher. Having directed two features—including “200 Cigarettes”—she has also directed for TV and dozens of plays in New York and Los Angeles. Her casting résumé includes more than 80 feature films and shows, and includes “Desperately Seeking Susan,” “Fatal Attraction,” “JFK,” “The Joy Luck Club,” “The Affair,” “Masters of Sex,” and the original “Roseanne.” She is a founding partner of The BGB Studio, known for revolutionary acting training.
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Steve Braun
Steve Braun is an acting coach, teacher, and communication consultant, drawing on years of acting, Buddhist practice, and martial arts training to help his clients discover and express their unique emotional truth. When he pursued an acting career, he starred in movies, was a series regular many times, and guest starred on numerous TV shows. He is a founding partner of The BGB Studio, known for revolutionary acting training.
See full bio and articles here!