Milton Katselas - Acting Class: Take a Seat

Copyright 2012 Milton Katselas & Phoenix Books, Inc.

Hardcover edition published copyright 2008 Milton Katselas & Phoenix Books, Inc.

All rights reserved. Written permission must be secured from the publisher to use or reproduce any part of this book, except brief quotations in critical reviews and articles.

The opinions expressed in this book are those of the author of this book and do not necessarily reflect the views of the publisher or its affiliates.

ISBN-13: 978-1-60747-795-2

Library of Congress Cataloging-In-Publication Data Available

Book Design by Sonia Fiore

Cover Design by Mark Porro

Cover photograph by Joan Lauren

Printed in the United States of America

Phoenix Books, Inc.

11201 N Tatum Blvd

Suite 300

Phoenix, AZ 85028

This book is dedicated to all the actors Ive met, and those Ive yet to meet.... and for Mary and Tasso.

Special thanks to Allen Barton for his support and dedicated work in editing this book.

Table of Contents

As I sit to write this preface, I think back to the first version of this book, which has been used in my classes for years. It has existed for over three decades in the form sitting before me on my desk, a three-ring binder with a soft leather cover. I liked this format because it had a workman-like feel, which allowed me to make revisions, additions, and to riff on new thoughts about acting and actors as theyve occurred to me over time. It is for this reason that until now I never published the bookit allowed me room to move, to change, to respond, to meditate on my own lessons learned as a director and teacher, and in turn to pass that illumination on to students.

Actors who have come to my school, The Beverly Hills Playhouse, have received this book at the beginning of their journey with me. Its written in a very direct style, often using transcribed critiques with real students to illustrate concepts. Most of the narrative articles were written based on talks I have given, many improvised on the spot, to groups of living, breathing actors sitting in front of meoften full of hope, frustration, desire, fear, sadness, joyboth sulking and enthusiastic, or more likely, all these colors all at once, varying face by face as I look upon them.

Up until now, the best way for actors to understand my approach is to sit in one of my classes, feel the energy of the room, do a scene, get a critiqueand through that experience see if this helps them understand and change and improve. This book is an effort to bring that experience alive to any reader, actor or non-actor alike, Los Angeles-based, New York-based, or anywhere in the world.

The class is headquartered on Robertson Boulevard in Beverly Hillsas you walk down a shaded courtyard toward the theatre, youll notice a large tree stretching above you to the sky between buildings. You see that students enjoy relaxing in the courtyard, and on breaks during class it is full of actors talking energetically about their next scene, or the play theyre doing, or the film theyre shooting, or what theyre doing to move their career forward. Notice the bust of Tennessee Williamsthe great American writer I admire, and had the good fortune to work with as a director. Hes always looking at the courtyard with a bemused expression that cracks me up and reminds me of his unique humorhumor that is often missed by actors performing his work. The entrance door is black, and above it the word Theatre is handwritten in white paint from when this building was first built in the 1930s.

A small hallway leads to the theatre space, where the seats are upholstered in a burgundy fabric, arranged in a gentle arc before the elevated black stage. The class feels enthusiastic, and I like the energy of all those studentsit is infectious, and performing for a full house puts a little pressure on the actors performing tonightI want them to feel supported, safe even, but also challenged.

As I enter, the students like to applaud, but frankly Im not into all that stuff, I dont really believe it. But it helps mark the beginning of class and Im not one to squelch enthusiasm, even if its somewhat made up. I can tell whos making it up and whos genuine as I cross to sit in my chair. The lights dim, the noise subsides, the stage manager announces the first scene to be performed. The curtain opens. So go on, take a seat.

Genius is not a possession of the limited few, but exists to some degree in everyone.

Robert Henri, American painter and author

MILTON: Actually, hold on a second. Before you begin the scene...we have some new people here tonight, and I wanted to greet them with a little talk. (To actors on stage:) Sorrygood training for film. Youre all ready to shoot the big scene and then just before they call action! something comes up.... The lights arent right, a costume is being questioned, and you have to wait. Or the director gets a call from his ex-wife or something. I personally would not take that call.

Laughter from class.

So, I was thinking today about all of you. What led you here, to Los Angeles, to this class. I think you come with a dream. Sometimes these dreams are real, or they are fancies, glimmers of thought, a flickering image of something desired. I want the class to help focus, define, and realize these dreamsto lead each of you to your own personal way, your own personal definition and expression. To be an artist is the most important contribution a human being can make. Dont ever minimize the genius that lies within you. Every effort must be made to free the creative spirit in you, and so make a life and an artist who is relevant.

So what is an acting class about, anyway? For me, the study of acting is really the study of life. This seemingly obvious truth can get hidden by the fact that acting study has aspects of technical work and exercise work, and this can sometimes, mistakenly in my opinion, make a class too academic. But Stella Adler corroborated something I had been doing for 15 years as a teacher when she told me, Im not teaching acting, darling. Im teaching actors to be people. It is the fusing of your skill as an artist and your knowledge of life as a person that will help you truly communicate through your work.

Remember that all you express as an artist comes from you. Cary Grant once spoke here in class, and said in his delicious accent, All you have is you, you know. Then the great director Martin Ritt came, and in his gruff voice said, All youve got to mine is the gold within yourself. Here were two quite opposite artists, both emphasizing the same point: Its about you. Your life, your experiences, your memories, your body are going to affect the character youre playingand you need to light up those elements to provide that personal touch. Dare to make it your personal Hamlet, your unique Romeo, your own Cyranoand not just for these classic roles, but for the new, original roles that are coming your way, waiting for you to mark them with your personal branding iron.

I dont mean to scare away any of the new students here tonight, but part of my job as a teacher is to make clear that middle-class thinking and habits inhibit creativity. The artist is afraid to express himself from fear of being criticized or condemned. Starting as a child, the words dont, watch out, dont do that, be quiet, be careful, be still