We have found 20,141 posts across 4 actor forums:
From Stage Fright to Stage Ready: Managing Performance Anxiety as an Actor by Laura Hammer • last post Jun 2nd
Performance anxiety affects the vast majority of working actors — and the ones who manage it best are not the ones who have eliminated their nerves, but the ones who have learned to redirect nervous energy into their performance rather than fight it. The physical symptoms of anxiety are not so different from the physical state of genuine emotional aliveness on stage or camera, which means the goal is redirection, not suppression. Before you walk into an audition room or onto a set, give your body a way to discharge the adrenaline that has built up — shake out your arms and legs, run vocal warm-ups, use your breath deliberately. A slow inhale followed by a longer exhale triggers your body's natural relaxation response. Shifting your focus outward — onto your scene partner, your character's immediate objective, the specific details of the environment — is one of the most reliable tools available, because anxiety lives in self-monitoring and dissolves in genuine attention to something outside yourself.
The deepest antidote to performance anxiety is preparation thorough enough that your body trusts itself. When you know your material — not just the words but the physical blocking, the emotional logic, the character's specific desires in every beat — there is far less room for doubt to take hold. Rehearse under conditions that approximate real pressure, because your nervous system adapts to what it is repeatedly exposed to. Pair rigorous preparation with positive visualization, picturing the room and the moment in specific sensory detail, and you train your mind to treat the performance as familiar territory rather than a threat.
Long-term management requires the same discipline you bring to your craft. Avoid high caffeine and sugar on audition and shoot days, eat a balanced meal beforehand, and prioritize sleep the night before significant performances — creative presence and emotional responsiveness are directly tied to rest.
Which performance context is hardest for you to manage — the last-minute audition, the live stage, or the on-camera set?
Booking Even One Line On TV/Film Is Much Harder Than You Think by Aaron Marcus • last post Jun 2nd
Booking Even One Line On TV/Film Is Much Harder Than You Think
https://youtu.be/Jp51Y4Xp6EQ
Has anyone outside the industry ever made you feel like a role you worked hard to book was no big deal? Or, made you feel bad because you haven’t even booked a small role.
Drop it in the comments below
The Prince of Egypt by Jessica Dardarian • last post Jun 1st
Hello, everyone!
I hope everyone is doing well!
I just finished my run as Hotep in The Prince of Egypt and it was such a great experience to be a part of this epic story!
Take a look when you can!
The show officially begins at the 5:45 mark!
Thanks and enjoy!
https://youtu.be/-1s25XDY7W0?si=xCWm6s5ZKzJespG4
I would love some roles! by Seth Lackas • last post Jun 1st
If anyone has any projects that they are working on and would like to connect, please let me know! I'm excited to give my acting skills a try!
Shows like Euphoria really motivate me to want to act because I love how the characters are able to captivate the moment so well that it leaves the audience in sadness, but also surprised, but also wondering what's next; they're on the edge of their seats! And THAT is what I'm looking for.
Something raw, something REAL, but also something natural!
Hit the inbox and let's talk!
Hey, I’m starting my acting journey and building my list of roles and experience. I’m focused on learning, improving, and taking on new acting opportunities. Open to indie films, student projects, and collaborations by Somkene Udalor • last post Jun 1st
I want to start acting and get my first real opportunities and roles
Is this acting technique cheating? by Doug Kayne • last post Jun 1st
Have you ever channeled an other actor's portrayal of a completely different character while creating your own character?
For example, I did a lot of childrens' theater (which is a great test of whether your performance is entertaining or not, as kids will let you know immediately if you are or not). Many times, I would use other actors/characters to help formulate my character onstage. For example:
- When performing in Alice Thru The Looking Glass as the White Rabbit, my baseline for the character was C-3PO, as portrayed by Anthony Daniels.
- When I was cast as the Lion in Dorothy and the Wizard of Oz, I purposely chose not to do an impression (or even an homage) to Bert Lahr, instead opting to go with a portrayal similar to that of Barney Fife (with a bit of Macho Man Randy Savage and Hulk Hogan thrown in when he found his courage).
- When I was in Treasure Island, the director gave me a wide berth when it came to ad-libbing (I asked how much ad-libbing I could do, and she actually told me, "I'll let you know if it's too much," which is potentially dangerous for an improvisor like myself). Thus, it kind of made sense that my performance of Ben Gunn (whose sanity was a bit questionable as is) was kind of reminiscent of Robin Williams' performance as the Genie in Aladdin.
In my opinion, it's a valid part of the process (plus,not one co-performer, director, or audience member ever clocked that I was doing it, as I did put a bit of my own spin on the performances), but is it a bit of cheating to borrow someone else's process and character work to base my own performance on, rather than starting from ground zero myself when letting the character dictate the mannerisms, voice, etc.?
Now, I don't do this all the time. There have been quite a few roles where I wholly generated the character myself. But, I do wonder how "pure" the process is otherwise.
On a side note, I was literally reading today that Tom Holland based his performance of Peter Parker/Spider-Man on Michael J. Fox. In thinking back, I can now see how some of his actions were colored by this choice.
What say you?
Is this how you break it to Hollywood as an actor? by Kaylon Langford • last post Jun 1st
Is it true to Break into Hollywood as an actor, I would have to become a screenwriter.
Your Complimentary Access Awaits by Tracey Collis • last post May 31st
Actors — this is a room worth being in.
On 17 June at 6pm BST, we’re going Live From The Cockpit with award-winning writer-directors Barnaby & Preston Thompson for a live 90-minute masterclass and Q&A on script analysis, actor choices, and what writer-directors are really looking for.
Barnaby Thompson is a producer/director and founder of Fragile Films, with credits across more than 30 films, including Wayne’s World, Spice World, St Trinian’s and An Ideal Husband. Preston Thompson is the writer behind Vanished, starring Kaley Cuoco and Sam Claflin, directed by Barnaby Thompson.
Live only. No replay. Complimentary access.
Register via this link to receive reminder on the day - NO SPAM!
https://preview.mailerlite.io/forms/2253688/188634212129048440/share
#ActorsLife #ActingTips #ScriptAnalysis #ActorsOfInstagram #ActingClass #AuditionTips #WorkingActor #TheActorsCopilot
Tracey Collis
Actors, I’m back… and I have a question for you. by Ashley Smith • last post May 29th
After a whirlwind few weeks at Cannes, a lot of travel, and a head cold that decided to follow me home, I’m finally getting caught up with all of you. If you’ve been waiting for a reply from me in your inbox or DMs, thank you for your patience. I’m working my way through everything now and should be fully caught up by next week.
One of the things I missed most while I was away was hearing the incredible stories that always pop up in this lounge. So let’s jump back in with a fun one.
If you’ve been acting long enough, you’ve probably received a piece of direction that made absolutely no sense at first.
I’ve heard actors talk about getting notes like: “I need less confidence but more certainty.” or "Be more purple."
The creative process can be wonderfully strange, and directors, acting coaches, and casting professionals often use unusual language to help actors unlock something unexpected in a performance.
What’s the weirdest piece of feedback or direction you’ve ever received?
Did it help? Did it completely confuse you? Did it become one of those notes you’ll never forget?
And for the directors in the room, what’s the strangest note you’ve ever given that somehow got exactly the result you were looking for?
Why Agents and Managers are Vying for the Top Spot of Being the Dumbest People in Hollywood. by Philip Lee • last post May 28th
I’ve never had an agent or manager in my life. When I first tried to get one, I was harshly dismissed because I didn’t come with a referral from someone within the film industry—and not just anyone, but someone they knew personally. I’ve known people who worked for established industry figures who still couldn’t introduce me to these pompous asshats because those were the “rules.” From that point on, agents, contacts, and managers all fell straight into the category of parasites to me.
As anyone on the creative side, especially actors, well knows, SAG is not responsible for getting you jobs. They can easily stop you from getting paid work on a non-union project, but they won’t take an ounce of responsibility if a union worker says something stupid in public to poison anticipation for an upcoming film—their excuse is that they aren’t responsible for an actor’s conduct when they aren’t on the clock. If you think that through for a minute, it makes no sense at all. It makes even less sense when you realize a production has to pay 23% of an actor’s salary into a health plan that the performer may not even be eligible to use. One might call that fraud, but if you grease enough politicians' hands, they can legalize just about anything as a labor clause.
So that leaves your manager or agent to supposedly make finding a job a little easier, because according to the Hollywood gospel, “you need one” to get anywhere. Is that truly the case? I mean, if a casting director is already interested in your client, handling the paperwork doesn’t take much effort. Sending a client out for an audition to compete with hundreds of other performers doesn’t take much effort either. Yet, they still expect to suck a percentage right off your skin the second you land the gig.
God forbid they try to be proactive. They boast about their "connections," but they don’t seem to do anything except shake hands or climb into bed with whoever they can influence to use their signed talent. I knew one manager who constantly bragged about his client winning a participation Oscar for 22 minutes of screen time in a Best Picture winner. He acted like he wrote the damn screenplay himself. Meanwhile, when you looked at that client’s IMDb page, you saw he hadn't booked an actual acting job in eight years.
This same manager represents a wonderfully talented woman who had a past role on a highly popular show and is currently in her peak earning age. She has a great voice and has been putting numerous songs on YouTube for the last four or five years. She would be absolutely perfect for a screenplay I have that incorporates all of her specific charm and talents—a project with a highly reasonable budget designed to grab the teen-to-young-adult audience back to theaters, something major studios have failed to do for a decade.
What did I get from this clown? Crickets.
When I followed up and merely pointed out his complete lack of interest, he wrote back that same day claiming I insulted him. Hey, the truth hurts. But in reality, the only person he’s hurting is his client. It’s no skin off my nose if you choose to squander a massive opportunity to build a project from the ground up. I just hope there’s enough bacteria left on her skin to keep you fed.
So, for all of you struggling actors out there: if you happen to catch the eye of a creator who thinks you’d be great for a project they're preparing, we have no problem going through your agent to log the deal. But when it comes time to find the financing for it, I would hope your rep uses those years of hand-shaking to actually help bring the money to the table to secure his percentage off your sweat and tears. Otherwise, that audition line goes straight around the block.
I hope you brought some bottled water.
Do you agree with Morgan Freeman? by Jason Raymaker • last post May 28th
Morgan Freeman is without a doubt one of the most respected and well known actors in the industry. He say something in this interview that has intrigued me for awhile now.
"If it happens right away it's gonna stop right away". I am wondering. Have you seen actors where it has happened right away and there careers had longevity or is it always a long progression?
https://www.youtube.com/watch?v=RIno3CaFjPg
Defining Success on Your Own Terms by Suzanne Bronson • last post May 28th
How do you handle the quiet periods?
Hi fellow actors! We all know this industry is a rollercoaster of pilot seasons, dry spells, sudden bookings, and ghosted auditions. Lately, I've been focusing on finding joy in the craft outside of just booking the job—whether that’s reading scripts, practicing monologues, or taking classes.
It’s easy to get caught up in the grind, so I wanted to check in with the community on how you keep your creative cup full when you aren't actively on a set.
What does a "successful" week look like to you when you don't have work or auditions lined up?
How do you stay motivated and keep your skills sharp during the slow seasons?
Let us know in the comments below.
Longline of my script #what happened to us # by Successful Writes • last post May 28th
After moving into a better life with her husband, a young woman allows pride, new influences, and material desires to slowly destroy the love that once held their marriage together — leading to a heartbreaking tragedy.
Self tape tips by Tracey Collis • last post May 28th
Read the blog now at: https://t.co/HtJkeOM80S
They Are Lying to Actors by Aaron Marcus • last post May 27th
They Are Lying to Actors
https://youtu.be/KI_NuxkFdXE
Have you ever had an industry professional lie to you? If so (no names, please!), what happened and how did you handle it?
Share your story in the comments below and on my Channel.
Let's use this space to learn from each other. I read and respond to every comment!
Hello filmakers by Successful Writes • last post May 27th
Hello creatives!
I’m looking to connect with filmmakers, producers, screenwriters, and actors interested in African and emotional drama stories.
Always open to learning and networking.
Be Heard Without Overexerting: Voice Projection Tips for Your Next Audition by Laura Hammer • last post May 26th
The casting room is not a theater — and your voice should not treat it like one. One of the most common mistakes actors make in auditions is confusing volume with presence. The goal is never to be the loudest person in the room. The goal is to be the clearest, most grounded, and most connected. When your breath is rooted in your diaphragm and your sound is placed forward — vibrating around your lips and cheekbones rather than pushed from your throat — your voice carries naturally across even a small room without any strain. That kind of sound does not just fill a space. It commands it.
The preparation that happens before you walk through the door matters just as much as what happens inside the room. A warm voice is a free voice — and five to ten minutes of lip trills, tongue twisters, and easy vocal slides loosens the tension that nerves create in your jaw, neck, and lips. A warmed-up actor does not have to push to be heard, because their instrument is already responsive and ready. Crisp articulation — especially on ending consonants — means every word lands clearly without adding unnecessary volume. The casting directors hear you. And more importantly, they hear the character.
Calibrating your voice to the room is a skill that separates working actors from actors who are still learning the craft. An intimate casting office rewards intimacy. A well-supported conversational tone with genuine emotional intention will feel more powerful and more present than actual shouting — and it will never break the reality of the scene you are trying to live in. Your voice is your instrument. The audition room is where you play it.
What does your vocal warm-up routine look like before an audition — and is there a preparation step that changed how confident you feel in the room?
Actress by Ismael Camargo • last post May 26th
Who is the best actress to play Aphrodite Right now?
Actress wanted to play Aphrodite. by Ismael Camargo • last post May 26th
This is great for impersonators and a Pretty Woman
Hello everyone by Successful Writes • last post May 26th
I'm a Nigerian screenwriter and actor working on a feature film project. I'm excited to connect with filmmakers and learn more about the industry.