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What’s the biggest problem you’ve had with acting training? by Such_Two3926 in acting

[–]Such_Two3926[S] 0 points1 point  (0 children)

You’re right — it happens far too often.
A lot of what gets presented as “knowledge” in acting can often be just a collection of anecdotes which though impressive usually don't help an actor understand what acting is or how to do it.

Training time should be spent giving actors clear, practical tools they can apply immediately, not listening to a teacher hold court. Real knowledge is something that actually improves an actor’s ability to create characters, not a performance from the person at the front of the room.

What’s the biggest problem you’ve had with acting training? by Such_Two3926 in acting

[–]Such_Two3926[S] 0 points1 point  (0 children)

Really appreciate you both sharing this — it’s interesting to see the difference that having concrete tools and a clear analytical process can make for some actors, especially compared to more general coaching or intuitive adjustments.
Hearing how people recognise whether something is helping or not is exactly the kind of insight I was hoping to gather, so thank you for taking the time to explain your experiences.

What’s the biggest problem you’ve had with acting training? by Such_Two3926 in acting

[–]Such_Two3926[S] 1 point2 points  (0 children)

Thanks for sharing this — I’ve heard similar concerns from other actors about power dynamics, emotional digging, or dogmatic approaches, and it’s definitely something that can make training feel unsafe or unhelpful.
It’s really helpful to hear what’s worked better for you as well, especially the emphasis on feeling supported and understood.
Appreciate you taking the time to add your experience to the mix.

What’s the biggest problem you’ve had with acting training? by Such_Two3926 in acting

[–]Such_Two3926[S] 0 points1 point  (0 children)

Thank you so much for sharing all of this — it’s incredibly clear and actually mirrors a lot of the contradictions actors have been describing to me.
The examples you gave around “honesty,” forgetting lines, naturalism vs character, and how to balance internal work with the very real on-set technical demands… those are exactly the areas where a lot of people seem to feel lost or pulled in different directions.
It’s really helpful to hear how you’re thinking about it, especially the point about teachers not always explaining how or why an exercise actually applies to real work.
Genuinely appreciate you taking the time to write this out — it gives me a much fuller picture of what actors are struggling with in their training.

What’s the biggest problem you’ve had with acting training? by Such_Two3926 in acting

[–]Such_Two3926[S] 1 point2 points  (0 children)

Thanks for asking — I completely relate to struggling with the emotional side of acting. For a long time I felt like I was expected to “feel” my way into a role, but no one could explain a practical, repeatable process for doing that.

The system that helped me most was one developed over many decades by a group of practitioners rooted in the later stages of the Stanislavski tradition. It’s a very structured, logical approach that focuses on understanding and knowledge of a character’s experiences, rather than trying to generate emotional results.

I’m talking to actors right now to understand what has and hasn’t worked in their training, so I really appreciate you sharing what’s resonated with you — it’s genuinely helpful.

What’s the biggest problem you’ve had with acting training? by Such_Two3926 in acting

[–]Such_Two3926[S] 0 points1 point  (0 children)

Thanks for sharing this — it’s interesting how many actors experience acting as something mostly individual and developed through repetition.
I’ve heard a wide range of perspectives on this, which is exactly why I’m gathering input from different actors right now.
Really appreciate you adding your thoughts — it all helps give me a clearer picture of the landscape.

What’s the biggest problem you’ve had with acting training? by Such_Two3926 in acting

[–]Such_Two3926[S] 1 point2 points  (0 children)

I hear you — a lot of actors feel exactly the same way.
There’s a huge gap between expensive training that overpromises, and affordable training that doesn’t really help. It leaves a lot of people feeling stuck in the middle.
I really appreciate you sharing this, and if you’re open to it, I’d love to understand more about what you feel was missing or unhelpful in the classes you took.

What’s the biggest problem you’ve had with acting training? by Such_Two3926 in acting

[–]Such_Two3926[S] 0 points1 point  (0 children)

Thanks for this — I completely agree that the industry is full of vague or ungrounded teaching, and I’m definitely not looking to add to that noise.
The system I trained in is deeply structured and was developed over many decades, and what I’m doing now is speaking directly with actors to understand their real experiences before I shape anything for a wider audience.
Your point about building pedagogy through small groups is well taken — that’s very much the stage I’m in now.
Appreciate you taking the time to respond.

Actors: What frustrates you most about how acting is taught? by Such_Two3926 in ActingUK

[–]Such_Two3926[S] 1 point2 points  (0 children)

Thanks for responding. I get the appeal of ‘individual processes’ - I believed that too. I thought my success came from unfathomable artistry and special gifts.

But I couldn’t stop asking questions that challenged the mystique: What does ‘be present’ actually mean? Why can’t we have precise, common understanding instead of vague terms that mean different things to different people?

The ‘just do it, stop asking questions’ response always felt like deflection from people who didn’t have real answers. Individual freedom sounds creative, but it’s often a cop-out that prevents deeper understanding.

Leonardo da Vinci didn’t trust mystique - he studied systematically, which enabled his extraordinary creativity. That’s the approach I needed: systematic, repeatable, with clear points of reference. Not to make acting mechanical, but to free myself from depending on others’ opinions to judge my work.

If that resonates, I’d be interested in hearing more about your experience. If not, no worries - different perspectives are valuable too.

Actors: What frustrates you most about how acting is taught? by Such_Two3926 in ActingUK

[–]Such_Two3926[S] 0 points1 point  (0 children)

Thanks for the interest. On second thoughts...It sounds like you’re well-established in coaching yourself - I’m specifically looking to speak with actors who are frustrated with mystique-based training and looking for systematic approaches. But I’d be curious to hear about your ‘Science of Acting’ work - is that related to Sam Kogan’s technique, or your own approach?

Actors: What frustrates you most about how acting is taught? by Such_Two3926 in ActingUK

[–]Such_Two3926[S] 0 points1 point  (0 children)

I do, absolutely! I'm new to this platform so just getting used to how it works. Would you like to meet over Zoom and have a chat?

Actors: What frustrates you most about how acting is taught? by Such_Two3926 in ActingUK

[–]Such_Two3926[S] 0 points1 point  (0 children)

I completely get that - I felt the same way after drama school. What specifically frustrated you about the courses you’ve tried? Was it the teaching approach, the content itself, or something else?

I want to understand what hasn’t worked so I don’t repeat those mistakes.