The Most Practical Damn Little Acting and Directing Book by Lee Wilson

THE MOST PRACTICAL DAMN LITTLE ACTING AND DIRECTING BOOK

Notes from the Rehearsal Room

__________


By Lee Wilson

The Most Practical Damn Little Acting and Directing Book: Notes from the Rehearsal Room
Copyright © 2022 by Lee Wilson

All rights reserved. No part of this book may be reproduced or transmitted
in any form or by any means without written permission from the author.

ISBN 978-1-7782644-0-5

Printed in Canada by Wilson Entertainment and Lee Wilson

Author Biography
LEE WILSON – actor/artistic director/director/dramaturge/professor/writer

Lee is an Assistant Professor in Acting at The University of Windsor, School of Dramatic Art, Windsor, Ontario, Canada. Mr. Wilson holds Canadian, British, and Irish citizenship.

He is the founding artistic director of Resurgence Theatre Company in Newmarket, Ontario, Canada where he directed critically acclaimed productions of Hamlet, Twelfth Night and Romeo and Juliet. He was nominated by his peers for the Christopher Plummer Fellowship Award for his outstanding contribution to the classics and Shakespeare performance in Canada. This award is administered by the Globe Theatre in England (Globe Centre in Canada) and recognized Lee as one of the most exciting young directors of Shakespeare in his native home of Canada.

Having directed in numerous theatres across Canada, his Canadian work includes being one of a handful of directors who participated in the Inaugural Michael Langham Workshop for Classical Directors at the Stratford Festival in Stratford, Ontario, Canada. As part of this program, he was the resident director to Des McAnuff on The Who's Tommy and The Tempest film and stage production starring Christopher Plummer. Other credits at Stratford include assistant director to Antoni Cimolino on As You Like It and to Leon Rubin on Measure for Measure. He was the apprentice artistic director/artistic associate at the Grand Theatre in London, Ontario, Canada (2008/2009 season). In 2008, Lee was invited to The Old Vic in London, England to participate in a directing and writing workshop with the Peter Hall Company. He was an Intern Director at the Shaw Festival during the 2005/2006 season in Niagara-on-the-Lake, Ontario, Canada; and the Resident Director in the Birmingham Conservatory for Classical Theatre Training at the Stratford Shakespeare Festival in 2004/2005. In 2003/2004, he was awarded the Urjo Kareda Residency Grant to study directing/artistic direction with Richard Rose at the Tarragon Theatre in Toronto, Canada. Lee started off his professional career as a member of the Inaugural Soulpepper Training Company studying acting, design, and directing with his mentor Robin Phillips.

In Ireland, he directed the world premiere of A Fear and Loathing Actor in Dublin by Mark McCauley which premiered at Theatre@36 in Dublin and went on to the Edinburgh Fringe Festival. In addition, he directed the world premieres of Running with Dinosaurs by Nadine Flynn (The New Theatre); The Eurydice Project by Joanna Crawley (The Project Arts Centre Main Space); Fray by Margaret Perry and Pork by Nadine Flynn (Smock Alley) and The Sea Brothers by Padraig Colum/Joanna Crawley (O’Reilly Theatre). In addition, his critically acclaimed production of East of Berlin by Canada’s Hannah Moscovitch played to sold out houses at The Project Arts Centre in 2014/15. Lee was the Associate Director to Joe Dowling on Arthur Miller’s A View from the Bridge at The Gate Theatre, Dublin for the Dublin Theatre Festival in 2015. He has taught acting and directing at numerous schools in Canada, Ireland, and the United States, and continues to coach professional actors by appointment. Lee is an associate member of ADA (Association of Drama Adjudicators) in Ireland and holds an MFA in Directing from The Lir, Irelands National Academy of Dramatic Art, Trinity College, Dublin; and a BFA in Acting from Toronto Metropolitan University, Toronto, Canada.

Table of Contents
Biography 3
Table of Contents 4
Introduction 5
Chapter 1 The Craft
Chapter 2 Approaching the Script and Rehearsal
Chapter 3 Thought
Chapter 4 Words
Chapter 5 Working with the Text
Chapter 6 Character
Chapter 7 The Voice
Chapter 8 Camera Acting
Chapter 9 Musical Theatre
Chapter 10 Performance
Chapter 11 Directing
Chapter 12 Directing Shakespeare
Chapter 13 Staging
Chapter 14 Design
Chapter 15 Playwrights
Chapter 16 Auditioning

Introduction
This eBook started because of Ukraine. I felt compelled to do something and needed to fundraise to help a family from Izium escape the war. This is dedicated to all those escaping war. This is my way of raising money to help this family financially, while at the same time, giving theatre artists something of value craft-wise. I have been extremely lucky with my access to great artists over my career. I have sought to pick their brain over twenty-five years whenever I was given the opportunity.

I began my journey as an actor at a very young age. When I was ten years old, I asked my father if I could take acting classes. I knew I wanted to be an actor and I knew even then it was a craft you needed to practice. Practice is the key. Acting and directing are two careers that demand constantly doing. It is often hard for “want to be” actors and directors to get those “golden nuggets” about the craft unless you are lucky enough to get into those rehearsal rooms with the great artists. It is rare to find a book on acting and directing that gives practical notes that can impact your work immediately as an artist. I know because I have read hundreds. Advice and guidance from those who are at the top of their profession and working every day. Notes and tips that are short, direct, easy to interpret, and that can be implemented immediately into your craft. These are the things I sought to see and hear in the work. The following simple observations come from my twenty-three years working in the theatre and listening and watching those artists that, unfortunately, are no longer with us. They are ideas I have developed, tested, and did not want to die with these brilliant artists. I must give tribute to those who in our personal conversations and work together took my work to the next level as an actor and director: John Barton, Brian Bedford, Peter Donaldson, Martha Henry, William Hutt, Sir John Hurt, Michael Langham, Richard Monette, Neil Munro, William Needles, John Neville, Christopher Newton, Robin Phillips, Jennifer Phipps, Christopher Plummer, Douglas Rain, Suzie Turnbull, Ian Watson, Brian Way, and David William. Please note, many of the opinions here are my own. If you disagree, that is fine! Take from this what is helpful to you. This e-book’s structure will be notes, ideas, and directions that are short and direct. If I feel something needs more explanation, the structure might change. The notes are not in any special order either. The reason for this is certain nuggets will be helpful to you depending on where you are in your process or in the rehearsal period. A great director knows exactly when to give a certain note, so it is helpful to the actor. The actor must be ready for the note. The chapter titles will help you zone in on something when you might be ready for the note. The theatre is notorious for passing down lessons; so many of these you might have heard before or a version of. I have tried to lay them down exactly as I discovered, heard, saw, or interpreted them. They made sense to me and have had a huge impact on my work. My goal here being to leave the actor and director a “gold nugget” that elevates the work. Sometimes I will address notes specifically for the actor or director, but most, if not all notes, are beneficial for both professions to understand. This book is my humble way of attempting to fill the gap and contribute practical notes for those who revere the art and craft of acting and directing. This short eBook is a glimpse into what I have learned and what helped me immediately in my work as an actor, director, designer, dramaturg, and teacher.


Lee Wilson April 2022
Chapter 1
The Craft
You must love what you do as an actor. Most actors are in love with their vocation, but it does not come as a gift. Your career must be earned. – Robin Phillips 2010

It is necessary for you to have complete and utter confidence in yourself as an artist. The desire to continue working on your craft will bring this. It has been proved many times before that absolute confidence, with an equal amount of humility towards the work, will ultimately lead to success. – Sir John Hurt 2014

Everything that tends to stimulate the imagination of the audience is legitimate. The audience knows it’s illusion. The more real and believable you are, the more illusion you can get away with. – William Hutt 2004

You can be true to the craft if you can balance both the old and the new school of acting. Do not dismiss the lessons passed on from the older and more experienced generation. – Robin Phillips 1999

You must always be broader on the stage. To act as one really would in a room, or a restaurant, would be ineffective and colourless to an audience. – John Barton 2008

If nothing else the theatre is crucial because it creates listeners. Human beings are better people when they listen to each other. – Robin Phillips 2010

Self-consciousness is the death of all acting. – Lee Wilson

The actor should give some thought into training the body. It is necessary that the actor achieves flexibility and strength. Many roles require stamina and are physically demanding. – Christopher Plummer 2010

Remember anyone who has a capacity for the truth and who is willing to work hard can act. – Douglas Rain 2005

Fear on the stage or in front of the camera only instills 'nothing happening' syndrome. You must learn to control your fear by exercises and by concentrating on your fellow actor. – Lee Wilson

Great acting comes from constantly challenging yourself with many different parts. Playing one part over a long period of time can release bad acting syndrome. Bad habits creep in more easily the longer you play a part. Be aware of them and keep an eye and ear out when you approach your next role after finishing the long run. – Lee Wilson

The work, whether for film or for the theatre, is never complete until it meets an audience. – Lee Wilson

All great actors and directors have a sense of humour, sense of rhythm, great imagination, an ability to find complete honesty, a physical awareness, the ability to listen, to play, and an incredible amount of courage. – Robin Phillips 2006

The greatest assets an actor has are never-failing confidence, immense curiosity, and bottomless imagination. – William Hutt 2004

We have a moral obligation to make tomorrow a better day in the theatre. The audience deserves this no matter how much they are paying. – Robin Phillips 2010

When you are working on a script six days a week, ten hours a day, for several weeks or months; no one in the whole wide world knows the story you are telling better than you. Especially any friend, family member, fellow artist, or critic. You must trust the very people who have given birth and nurtured this very fragile baby in absolute confidence with. Do not let them down ever. – Lee Wilson

Our main job in the theatre and film is to engage the heart. This is not only for the audience but for us as well. If we are moved, then someone in the audience surely will be as well. – Robin Phillips 2010

You cannot reveal your heart to an audience if you are constantly in your head. Your hope for humanity reveals the heart. – Peter Donaldson 2010

If you don't feel you've something to say that nobody else on this earth has to say, you won't be very good. This is what you should always remind yourself of when stepping into the rehearsal hall. – Robin Phillips 1999

If you want to be a good actor or have any success; it is essential to watch everything. You must see as much theatre and film as possible. – Lee Wilson

You should strive to be in a repertory company that allows you to perform many varied parts in many different plays. You must do both comedy and tragedy. The repertory companies usually have the most versatile actors - many of our greatest actors came from rep. You will have no better education in the theatre than by working with the best night after night and in many different parts and plays. – Lee Wilson

Never be ashamed of borrowing or stealing from those that you admire. The great artists have been stealing from their predecessors for hundreds of years. This is how you grow at your craft. You will always find a way to get it inside of your skin and make it your own anyway. – Lee Wilson

The lead role is not the one with all the lines. The actor without the lines is just as important depending on what is done with it. (exp. think of Dame Judi Dench in Shakespeare in Love - she wins the Oscar with very few lines in the film.). Every moment she is on camera she steals the show. Huge lesson! – Robin Phillips 2000

You must recognize that age and experience is everything when it comes to acting and directing. – Lee Wilson

These art forms are true apprenticeships, and you must strive to work with the seasoned professionals of whose work you admire. Seek them out as often as possible. This means take jobs for not only money but for experience and an education. – Lee Wilson

The amateur theatre and the public or private education system is the perfect place to start your acting and directing training. After all, where else can you strut your stuff in real plays, on a real stage, with costumes, props, and be received by a large audience? You must recognize though, if you are a serious student, that a certain time will come when you outgrow your colleagues and classmates. For you must pursue working with professionals when you feel you are ready. Your hobby must now become a well-focused plan to hone your craft as much as possible. – Lee Wilson


Chapter 2
Approaching the Script and Rehearsal

Your knowledge or judgement of a play and character before you start rehearsals is the most dangerous obstacle to clarity and success of the play. It is your job to mine the text for everything. Let the text guide you to your decisions. – Robin Phillips 1999

Try to enter the world of the play first. How does the world look in your imagination? What stays with you? What intrigues you? The world informs everything. – Bernard Hopkins 2004

It is way too easy to take on an attitude with a part in the beginning. Try to read only for sense during the first read-through of a script. Do not push the acting. You need to understand that you have the whole rehearsal period to find it. – Robin Phillips 1999

Awareness is ninety-nine percent of the battle. You need to be open to all possibilities. This means not shooting anything down before trying it. This is the directors biggest fear with actors. – Lee Wilson

Acting is, simply, the sharing of a thought with an audience. You are thinking for the audience to hear and see. – Robin Phillips 1999

Do not play emotion or state. This is the weakest place to start as an actor. It is the surest way to false acting. Our job is to make it look honest and effortless. Play the thoughts and it will come! – William Hutt 2005

You must continually heighten the text and stakes for yourself - great actors work diligently to make these stakes true and real. – Christopher Plummer 2010

Let your rehearsal process be all about exploration. Living on the edge is scary but it is the most exciting thing for an audience to witness. – Robin Phillips 2005

Acting is like a race. You know where it starts, where it's going, and where it stops. You have trained for months to get here (rehearsal), and performance is where you let it go. You must let it go. Letting it go is where the technique starts to disappear and becomes real and honest. The danger of not letting go is you show the audience your technique. You should never show your technique to an audience. – Lee Wilson

The why versus the how. Many a young actor and director make this error. It is always WHY and never HOW. If you ask HOW you do something, you are playing into showing your technique as an actor. The WHY is a clue to the stakes I mention above. For example:
- Why do you leave? NOT How do you leave?
- Why do you come? NOT How do you come?
The why helps motivate the line and brings truth to the situation. How is the wrong place to start and always results in a falseness for the audience. – Robin Phillips 1999

Simplicity is the key. Remind yourself to play the action. You must do something as the actor. – Peter Donaldson 2010

What is your need or want in the scene? What is your objective in the scene? This is a key to the stakes and what degree of heat you need to play to achieve those stakes. Did I just miss lunch, or have I not eaten in a week? The latter is probably going to be more heat to play because of the stakes. Your need or want will be larger. Your objective is about the other person/actor. What are you trying to do to them? Remember: objectives you find on the floor up on your feet; not sitting around a table talking. – David William 2009

What are you basically trying to achieve in the scenes? (exp. Do you want someone to leave? Do you want to tell them off? Do you want to get them to do something for you?) What can you do now to achieve what you want? These become your individual bold choices to reach your objective. These are basic questions that lead you to that objective talked about above. – Robin Phillips 1999

You must always be aware of your impulses in rehearsal. We are terrific at stopping ourselves because we get too much into our head. If you have an impulse take it as far as you can in the beginning stages of rehearsal. You can always bring it back if it is too much or does not ring true (pushing). And no choice is ever wrong. Ever. But there is closer and truer. – Martha Henry 2005

A note for those silent players in a scene: during other actor’s long speeches, the listeners (not speaking) mustn’t just sit there saying, “Oh hell, she’s got 50 lines, so I’ll just sit here and wait”. You must keep alive always. Active listening is crucial. Even better, you should play almost wanting to interrupt every line the speaker says. This is quite generous to your actor with the speech. It will give the speaker with the monologue a reason to keep talking and it keeps a good rhythm going. Lastly, it means the listener is in the moment, connected, and acting. – Robin Phillips 1999

It is not how fast you pick up your cue; it is all about the thought. Great directors know this.
It doesn’t matter whether you’re playing drama or comedy; don’t worry about crying or making people laugh. Play the motive and it will come if you trust it. Seeing an actor play motive keeps the audience on the edge of their seats. – Robin Phillips 2005

Just because you are moving does not mean that you are acting. Sometimes being planted, following the thought, and letting it land can be even more powerful and real. Movement does not work at all unless there is a reason to move. – Lee Wilson

It is often quite helpful, when talking about somebody or something, to point at them to help you get the right meaning or inflections on the word. Hamlet’s advice to the players, “suit the action to the word, the word to the action” is a useful thing to remember here. It is not only about marrying gesture with thought but hitting the right inflection. Something Shakespeare was obsessed with using iambic pentameter, of course. – Robin Phillips 1999

Many directors will tell you that listening is 80% of all acting. T.S. Eliot once wrote: "Every moment is a new and shocking revelation of all that we have been". This is a terrific acting note to actors on listening. – Bernard Hopkins 2004

Make your first focus the other actor. Do not worry about any other eyes. For film: make your focus the other actor and the camera. The camera is your crush you are actually playing to in order to get their attention. – Robin Phillips 1999

It is your job to mine the text for everything. – Michael Langham 2010

When you are young and/or are blessed with time, you should dare to fly high in rehearsal. Try to risk more and surprise yourself. We should always be trying to give imagination full play. – Robin Phillips 2004

Not committing to a choice will always reveal a vagueness. Therefore, committing to all your choices will reveal specificity. Specificity is a must in all acting. – Martha Henry 2005