Fall 1999 p. 7

"Things That Work" - Toronto Conference
"Coaching Untrained Actors"

August 1, 1999
Facilitator: Richard Lee - Purdue University
Scribe: Deena Burke - Cornish College of the Arts

Team Members:
Marcia Cook--University of the South;
Naomi Frenkel--"The Working Voice";
Jay Miller--York University;
Tyne Turner--Utah Shakespeare Festival;
Kate Ufema--University of Minnesota;
William Weiss--University of Ottawa

The session began by acknowledging that there are differences between the community actor (who may or may not dream of a professional career), the professional actor who lacks “formal” training or who is inexperienced in a particular form, and the student in the midst of theater training. We agreed that different techniques need to be employed depending on the individual circumstance. The coach necessarily must be sensitive to the particular case and adjust the coaching techniques accordingly. Finally, it became abundantly clear through the course of the discussion that the one universally agreed upon idea was, in all circumstances, that we be encouraging; whatever else one does, encourage the actor!

Installation of vocal health in all situations. Get to the actor early to help them understand how to care for their instrument. Help them learn to maintain it in this unfamiliar territory. Help them learn how not to overdo. Vocal coaches need to be the advocate for the actor with the director. Communicate with the director about the vocal limitations or inexperience of the actor. Offer the director useful suggestions about how best to work with and around these limitations.

Advice for actors with experience or training but not in this medium:
Encourage what they do well. Look for the actor’s strength and support and ncourage these qualities (speak to their strengths). Be careful not to “over coach”. Do offer varied possibilities and options but take care not to throw out more than they can handle. Feeling overwhelmed often causes actors to checkout. If they are a “star” (often film or T.V., but can also apply to theatre actors, singers, etc.) do treat them like one. Pamper them (offer tea, extra attention), stroke their egos so that they will be more likely to come to you. We concluded that often “ego” is actually a reflection of fear and insecurity. Offering support is often a good remedy. Avoid a last minute “band aid” or “fix it”. Get in there as early as possible. Although this idea was a bit controversial to some in our group, it was suggested that if you are working on a classical text and the actor is unfamiliar with this form, get them to listen to many
recordings of “great” actors speaking the text.

Non musical actors in musicals. Speak to their strength! Get the actor to do a speech from a play in which they feel confident. After they have presented this for you (and you have naturally applauded and encouraged this work) ask them to set this same piece to music (it may be a tune they know or one they make up on the spot). They might alternate singing with speaking until they begin to feel the connection between the two and can take the strength and confidence of their acting into the sung text. Eventually, you might work with their songs from the show in the same manner.

Working outside (how to fill the space). If possible, work with the actor in the actual performing space. If this is not possible work with them outside. Have them bounce the sound off whatever structures are available in the space (back walls, pillars, the booth, and even the seats). Explore “arcing” the sound: moving the text up and out. Use sounds at first to get the feel and then use the text. If possible, do some physical activity outside (hiking, playing soccer, climbing, jogging, etc). When the actor is quite warm and breathing deeply, begin working with their text. One coach takes her students hiking in a canyon and after they are warm, they begin sending their text out, over, and down into the canyon.

Working in a short amount of time (primarily in regards to classical text). Get them to be heard and understood. It was agreed that part of being understood is not just “diction”. If you must, tell them which words to stress. Often, hearing it and feeling it in their mouths allows them to better understand the text. Discourage them from pronoun stress, and stressing negatives (can not, do not, must not). Time permitting, teach them basic scansion and other pertinent aspects of text work. Actors will generally do homework if it’s offered. We should therefore feel free to give it to them.

Dealing With Too Much Ego.
Reiterating that so often resistance and what we term “ego” to be a reflection of the actor’s fear and insecurity, the group suggested the coach be sensitive to this and thereby build a stronger, more trusting relationship. Out of this trust, defenses may recede and good work may occur. Use humor. Use bribes (bring a favorite treat—Doritos were one suggestion) and only offer them after the actor attempts what you’re asking for. Honor, support and encourage the actor as an artist and a human being. Make them “right.” Find out who they are, read their resume, know their history, discover who their teachers are, directors they’ve worked with, who you know in common. Seek a common denominator and vocabulary to help you connect and feel safe with you in the work. Use a vocabulary they recognize to help them feel on familiar ground. Work to develop their trust. Make it clear that the coach is not out to dictate the outcome or ruin the actor’s performance.

If the resistance is too great or the actor refuses to work with you. Keeping in mind that the resistance is usually fear, give it a shot anyway. Try to remember how amazing it is if you can get past it. Communicate with the director. Sometimes a suggestion from director to actor to work with you helps enormously. Communicate with the stage manager. They are often very helpful facilitators between director, actor and coach. If all else fails, cut your losses and spend time with those who will accept your help and what you have to offer (this is not failure, but a simple reality).

How do we instill discipline in the “uninitiated?” We agreed it is not our job to be parents or tell people how to live. Set the example (if you want them to drink water don’t bring a huge cup of coffee to the session and nothing else). Encourage by example, especially in a college setting, but be certain there are consequences for undisciplined and unprofessional behavior. Set up expectations clearly and ahead of time. If they are not doing what needs to be done outside the session, then structure your sessions to accomplish the “homework” within the session. Encourage, but don’t over-coddle. Let them know it’s coming along but it’s not yet where it needs to be.

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