Originally published in The Stage, September 2016
It used to be one of the most frequent complaints you’d hear from drama school graduates: while they felt prepared for big classical roles and theatre productions, they had been given very little training for screen.
It is certainly the case that, traditionally, drama schools would take the stance that if an actor could work on stage, those skills were transferable to screen – that the creative process needed only limited training to transpose to a television or film set.
Over the past decade, that stance has gradually been eroded, and now most three-year acting courses take acting for screen modules as seriously as their theatre work. That isn’t to say that actors can’t and shouldn’t do both – at the end of the day, there are basically two types of acting: good acting and bad acting, and the rest is technique. But learning that technique is vital.
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