I Don't Need an Acting Class

Latest Episodes:

Diving Into The Time Period Feb 15, 2022

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When breaking down a script, a profoundly important question to consider is: how does the time period in which this play takes place affect my character? It’s not just something you want to understand intellectually; it has to affect you experientially. The time frame is an enormous part of the given circumstances and we must take the time to consider how it influences our characters’ behavior. In this episode, Milton applies this concept to Bernie Dodd in The Country Girl, and how the 1950’s attitude towards the arts affects his mentality and gives him something to play against. “A play exists in a world,” Milton says. “And we need to figure out how my character does or does not fit into this world.” Have a question for Milton? Email him at questionsformilton@gmail.com

Interpreting the Play Feb 08, 2022

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This week’s episode is an excerpt from Milton’s current script analysis class which gives us insight into how we might begin to approach a play, or any piece of text. Using one of his favorite examples, Clifford Odet’s The Country Girl, Milton introduces some fundamental principals of script analysis: the playwright writes out of his social circumstances; the playwright has something to say that is a reflection of the times in which he’s living; It’s our job to figure out: what is that reflection? What is that big idea that the playwright is trying to impart? What does he want us to consider? “Our job is to interpret the play, not play the part,” says Milton, “And you have to really think of it that way.” Have a question for Milton? Email him at questionsformilton@gmail.com

No, But What's Really Going On? Feb 01, 2022

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This week’s episode begins with an analysis of Aunjanue Ellis’ performance in the film King Richard and why it’s an example of great acting. Her interior life is so complete and rich that we, as an audience, are able to see (and more importantly, feel) the character’s struggle without any dialogue to reveal plot or exposition. How do we bring this level of depth to our work? One way is to talk out. Talk out your character’s past, talk out their unconscious struggle. This makes our work go beyond a kind of surface performance that is just clear or believable. “It turns the dial,” says Milton. “It gives us more to play and it brings the dialogue to life.” Have a question for Milton? Email him at questionsformilton@gmail.com

Pt. 2: So Much More Than Ourselves Jan 25, 2022

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This week, Milton continues the conversation of expanding the characters we play far beyond ourselves. While it’s true that our choices must feed us as actors, our choices must also feed our characters (who don’t know they are living out our choices— they’re just living their lives— and will respond to our choices differently than we will.) In this episode Milton uses the example of Willy Loman in Death of a Salesman, and how even though he may instinctively understand different aspects Willy’s circumstances because of his own life experience, he also instinctively doesn’t start with himself and explores the choices that feed both him and Willy. Have a question for Milton? Email him at questionsformilton@gmail.com

Pt. 1: So Much More Than Ourselves Jan 18, 2022

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Welcome back to the podcast and Happy New Year! Milton begins Season 4 of I Don’t Need an Acting Class responding to the misconception that as actors, “all we have is ourselves”— a statement that sounds logical but couldn’t be further from the truth. Only using ourselves as actors can limit us and lock us into choices that come out of our feelings, judgements and perspectives on our characters. In the end, your work is a result of multiple factors: you and your choices, your knowledge of the play, and the research you’ve done to understand the circumstances, the world of the play, time period, your character, the big idea of the play and how your character fits into that. But throughout this process, you must be able to discern what is you and what is the character. Have a question for Milton? Email him at questionsformilton@gmail.com

*Coming Soon* Dec 09, 2021

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Milton will be teaching a six-week sᴄʀɪᴘᴛ ᴀɴᴀʟʏsɪs ᴡᴏʀᴋsʜᴏᴘ beginning on Wednesday, January 12th, 2022. I know many of you have expressed interest in taking his class since the beginning of the podcast— and this is your chance! 😄 Class is limited to 20 students— first come, first serve. $500 for the six weeks, BUT— the first 5 people to register before the new year can take advantage of this workshop for the promo rate of $400. Email Walker at questionsformilton@gmail.com if interested!

Thank You for a Great Season Nov 30, 2021

Show notes

It's the end of Season 3! Thank you all so much for being a part of this podclass. We're gonna take a short break and will be back in 2022 with a season of script analysis! In the meantime, feel free to email Milton with any questions, confusions or comments at: questionsformilton@gmail.com Order the book and stay tuned for the latest news at idontneedanactingclass.com

The Idea as a Tool Nov 23, 2021

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We have so many tools and techniques as actors that we can easily forget what the missing link is. Or what might help us when we find ourselves stuck. So it’s helpful to step back and ask ourselves: what are the things that I know? What are the acting tools that I have? One of those tools that is often forgotten is the idea. The idea of the play/film, or looking at our character *as an idea*. Often it can be the element that frees us up and helps us make strong choices. Brought to you by weaudition.com and anchor.fm I Don’t an Acting Class- the book is out now! Order at idontneedanactingclass.com

Permission to Rehearse Nov 16, 2021

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So many actors feel the need to deliver a performance in rehearsal. And yet, rehearsal is not a performance, nor should we expect what we do in rehearsal to be “the final performance”, but a work in progress, a building of the elements that will eventually lead to performance. Rehearsal is an opportunity to try new things, dig deeper, make sure that we have a specific relationship with everything we talk about. That means giving ourselves permission to *be* in rehearsal. It means *slowing down* to make sure every moment is clear and filled. As an outstanding example of this, we hear veteran actor Ben Daniels in rehearsal for The Normal Heart at the National Theatre. Brought to you by weaudition.com and anchor.fm I Don’t an Acting Class- the book is out now! Order at idontneedanactingclass.com

When Your Choices Stop Feeding You Nov 09, 2021

Show notes

There comes a point, especially when doing a long run that your choices dry up and no longer have the emotional effect on you they once did. But part of being an actor is never allowing our relationship to anything dissipate. Therefore, we don’t ever want to try and recreate what we did last time, or “bring in our homework.” Instead, we have to keep finding new things that activate our talent, making sure our choices keep feeding us. Your creative process must be an endless pursuit where you’re always looking for something else to keep it interesting for you, and to keep you alive on stage. Brought to you by weaudition.com and anchor.fm I Don’t an Acting Class- the book is out now! Order at idontneedanactingclass.com

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