A friend recently asked me about acting lessons for kids. It got me thinking: how do I teach young people about acting? Certainly the children and teens I work with do seem to learn a lot about the world of the theatre and acting, and to enjoy themselves very much. The families of the kids I work with regularly report a high level of satisfaction with what their children are getting out of our programs. And I absolutely love teaching kids about acting; it is something that leaves me feeling completely fulfilled at the end of the day. But how do I actually…do it?
I think for me it all begins with developing a sense of community among the actors. From the time I begin either working with a group in a workshop or the with the new cast of a play, I believe that the most important thing I can do for the actors is to instill in them the sense that - from the least little one at the end of the chorus number to the lead of the show - they are all important and an integral part of what happens in the production. I let them know that we are a team, and that there is no “I” in team!
No really, I have been known to say that. Repeatedly.
And of course, not everybody buys into this fine theory all at once, but I find that with repeated patient reminders and a complete lack of tolerance for any infractions, as well as modeling the very behaviors I am asking of them, the cast soon learns that I am serious about the necessity of their treating each other with respect and care regardless of who is playing what in the show. My goal is to develop a cohesive group of actors who work together and create the best show possible. I am clear and kind, but I do not allow anything less than one hundred percent participation in a mindset based on the inherent worth of all participants.
This does not mean that I run a democracy. I am clear with my actors from the beginning that they may approach me with problems or issues that need attention at the break or after rehearsal, but that as director, I make the final decision and once final, a decision stands. I always welcome input from the actors, but I do not always consider making changes. I want them to feel that they have been heard, and will always let the student actors know when I am available to listen, but it is important that they understand that if part of their work or a comic bit they have been working on is cut, it is because the cut helps the show, and it is not a personal judgment against them. I will inform the actors affected by a decision in a compassionate, respectful way, but at that point there is no argument allowed.
But by now you must be wondering, “What about the actual acting part of doing a play? How do you develop the acting skills of the young performers in the play?”
I was an actor for a long time. I loved the work and was given the opportunity to play some marvelous roles. But when I got my first taste of directing work it was clear to me immediately that this was where I really belonged. As an actor you affect the play with your performance and the ways your performance can reach out to the other characters in the play. The remarkable thing about directing is that it gives you the freedom to smooth the performances of all the actors toward your idea of what the entire play should be. It allows for a much broadened creative experience as you work to find the way to communicate to each actor the exact flavor you are looking for from their character that will add the right spice or sweetness to the play as a whole.
Directing young performers can be challenging simply because you have to first figure out where the child or teen is in their development emotionally. This will give you clues as to how close you will be able to get to your goal for each character’s emotional integrity. I am fond of saying that everybody’s development proceeds at different speeds and in different ways, and I stand by that as a way to describe young actors making discoveries about what is driving their characters. The key is to find the right clues, give the right hints and ask the right questions of each individual young person in order that you may inspire your actor to look for and find the evidence that will unlock the secrets of their character and facilitate their understanding of their piece in the puzzle of the dynamics of the play.
And yes, this is a challenge with kids. Simply by virtue of the differences in age and developmental stage a director of young actors has her work cut out for her in trying to find the way to reach each child, in hopes that she can discover at the same time how to provide the message that will unlock the mystery of the motivation of the actor’s character, all in a way this particular child will best understand. It is a challenge, yes, but once reached, the reward is great. The young actor can feel the success onstage and it is empowering. As it empowers the actor the performance is reinforced and the character develops further. With the character’s development the young actor’s emotional development is enhanced as well. The development of the play is effected, bringing it closer to the vision of the director.
It’s an almost perfect system. The key to working with kids on their acting is to remember that the goal is to bring them as close to the truth of their character in the play as is possible, always understanding that the stage they are at developmentally will affect the outcome of the performance and ultimately the play as a whole. But keep in mind that, with close attention to the needs and personal growth of each actor, you will also have been able to bring them as close to the truth of their humanity as is possible, their performances will reflect it their humanity and you will find that where there was once a troupe of kids who wanted to be in a play you now find standing before you a group of actors who have learned a great deal about the play, about the characters they’re playing, and ultimately - and nothing could be more important - about themselves.