Lightree Studios

10/15/2024

🌿 Mindfulness for Actors: Reconnect with Your Craft 🎭

Acting isn’t just about delivering lines—it’s about being fully present in the moment. Mindfulness can help you reconnect with your passion and bring authenticity to your performances. Here’s how you can practice mindfulness as an actor:

🌬️ Start with Breath
Before auditions, rehearsals, or performances, take a few minutes to breathe deeply. Ground yourself and focus on the present moment.

🎯 Stay Present
Whether you’re in a scene or preparing for a role, be fully immersed. Focus on the here and now—each word, movement, emotion and on your partner.

🧘 Mindful Reflection
After each performance, take a moment to reflect on how you felt. What did you connect with? What can you learn? This awareness helps you grow.

Ready to bring mindfulness to your acting? 🙌 Reignite your passion for the craft at Actors In Action Conservatory. Book a FREE 15-minute consultation with founder Julie-Anne Liechty and discover how mindfulness can elevate your work. 🔗 Link in bio!

09/03/2024

“My goal as an actor, as an up-and-coming actor in this business is to stay consistent with the work and if you do good work, and stay focused on the work, writers and directors will pay attention.”
— Michael K. Williams

08/14/2024

“You’ve gotta believe in yourself, and you just have to work harder at it than you’ve ever worked at anything before in your life. And if you keep doing that and keep believing in yourself, great things do happen.” — Kate McKinnon

07/09/2024

: Relaxation & the Actor (The Sunbathing Exercise)

Stanislavski, Meisner and Arthur Lessac all say relaxation is the key to great acting.

Why is that? And what exactly do they mean? And most importantly HOW do you get yourself to relax while you’re acting?

Why—because when we are relaxed we are more impulsive, more connected to ourselves, more in the moment. Tension is the modern-day killer. It keeps us bound up, ill, unable to fully connect with and use ourselves and our instruments. Stanislavski talks about a dog on the stage. When an actor brings on a dog all the audience will notice is the dog. Why? Because they are so relaxed. They are in true behavior. They are fully themselves. It is our human cognitive brains that get us all tide up in a bundle of nerves. If we could think without it, if we could just be, like the dog, we’d be just as riveting. That’s actually why we learn technique as an actor, playing verbs, focusing on our behavior, on our partner, on the moment, because it gives us something to short-circuit our thinking brains and get into our impulses. To be relaxed in the moment.

What—being relaxed is that mix of energized looseness we feel when we are at our most confident. Our most balanced and nourished. We can feel it in our bodies. Our breathing is full, our feet sense the floor as we walk, our muscles are both free from tension and alive with the possibility of movement, of impulse ready to streak through us. We know it when we feel it. We are subtle, and alive and ready for action or repose depending on our whim. We also feel feelings, emotions, desires, thoughts, etc. more readily. We feel access to our internal world. We are open and flowing, we are not shut down, in brain fog, or indecisive. We feel like our true selves.

How—do we become relaxed? Relaxation has a lot to do with intention. Acting, in fact, is all about intention. When we put our intention on what we want in acting—it will relax us. When we put our attention on what we are doing, not feeling, because we cannot control our feelings, but we can control our behavior, it will relax us. Then, much to our delight and the delight of the audience our feelings will flow out in a spontaneous, real way, which will make everybody feel. Acting is about doing something to your partner to get them to do something so you can get what you want. So when you put your intention on doing something to your partner, it will relax you because it gives you focus, takes away the “thinking” part of your brain and makes you instinctive.

The Sunbathing Exercise
Here’s an exercise I offer you that can help you tremendously with relaxation. I call it “The Sunbathing Exercise.”

Take the scene or the monologue you are working on and lie down comfortably on a sofa or floor. I want you to pretend you are sunbathing. In fact, I want you to imagine you are on a three-week vacation in some gorgeous and remote location. You are exactly halfway through your vacation, a week and a half into it and a week and a half to go, so you have nowhere to go and nothing you have to do.

Pretend you are basking in the sun poolside, or on the beach or somewhere super relaxing. Feel the sun warming your skin, making that your only task. Now, start to say your lines. If you are talking to someone, do not open your eyes to look at them, just say the lines keeping your focus on drinking in the sun’s rays. Allow yourself to explore the text keeping your focus on the sunbathing. Perhaps go through the scene several times.

When you are ready you can open your eyes and say your lines again, this time talk to the person you are interacting with, but make sure you still keep your focus on being warmed by the sun. Notice what this does to your performance, how it helps you with the scene.

Finally sit or stand up and perform the scene again allowing whatever impulses or feelings or sensations you discovered while sunbathing to come through.

Perhaps you tried the monologue or scene before you started the Sunbathing Exercise, how does it feel now? Do you feel more relaxed? Do you feel more effective? Do you feel more connected to the role and powerful as an actor?

This is a great exercise to add to your arsenal of back work.

If you try this, let us know how it goes for you by reaching out to [email protected]. We can’t wait to compare notes!

For more info visit us at: www.actorsinactionconservatory.com

07/02/2024

Freedom is the ultimate goal of technique. Many actors have no repeatable system of work. Afraid that technique will trap them, they use random instincts, which produce random results. This creates a problem when the director asks them to repeat what they just did take after take. There must be a technique that can be consistently relied on. Technique actually frees actors to be spontaneous and bold while giving them a dependable foundation, so they can adapt quickly and work effectively on set or stage.

06/18/2024

—Getting Real With Motion Capture

I have to admit I’ve never been a huge fan of the Planet of the Apes franchise . . . so when my husband dragged me to see the new one, I was not terribly enthusiastic. I guess I remembered the old movies of it which I barely watched and always found—well, kinda creepy—those people dressed in ape costumes with those weird masks. And then they rode horses? It was just kind of unsettling. Even the Tim Burton one with Helena Bonham-Carter awhile back was a bit strange—although not even an ape mask could mask her amazing acting.

But as this film, The Kingdom of the Planet of the Apes, started playing on the big screen, the popcorn headed for my mouth dropped from my hand. I was in awe.

It looked amazing.

They looked like real apes up there. Having real feelings, real relationships, really interacting.

Where had I been? Thanks to the motion capture suits—and some brilliant actors—Planet of the Apes was reborn for me.

Apparently, they shot the whole movie on location in New Zealand. The director, Wes Ball, didn’t want to shoot it in a studio, VFXing everything. He wanted the actors to feel like they were in the real environment—which helps tremendously with believing in what you are doing as an actor. He wanted to build the sets and have them there, present and really living out the story.

And it translated beautifully.

I had to rush home and watch the “making of” videos because before I did, I just couldn’t wrap my head around HOW THEY DID IT. Of course, everyone’s heard about motion capture suits—we all saw Lord of the Rings and the unbelievably talented Andy Serkis’ lovably creepy, brilliantly portrayed, angsty Gollum. And when I saw a few clips of how the actors worked in those suits, it all became clear to me.

They were just acting. And the performances were being captured and the visual effects were seamlessly added in.

But it made me think, how would it feel to work like that? In those suits. Would it be hard to get used to them? Would it be distracting? And most importantly, how would an actor prepare to do motion capture work? Those suits are expensive, and they don’t have any weekend workshops where you can go and try them out while doing a scene. At least not any that I know of.

I think one of the ways to prepare yourself as an actor to do work like that is working with space objects. Space objects? You mean like miming? No, not exactly. When I was getting my BFA in acting at DePaul’s Theatre School we did a lot of space object work. Creating things with our imagination. Holding an imaginary teacup and drinking out of it. Opening a door that “wasn’t there” and walking through it. Yes, sort of mime stuff, but used for acting. It took a little while but most of us got pretty good at it. That kind of work you’d think wouldn’t be that useful unless you were doing a production of Our Town (where all the props are mimed). But it turned out to be invaluable, especially for creating your environment.

I teach a bit of space object work in my classes because it helps with “referencing” or creating that 3D feel when you are auditioning. It helps with greenscreen work. Think of Daenerys in Game of Thrones—those dragons weren’t real. They were a bit of greenscreen paint over Styrofoam for the most part which she had to bring to life with her acting or with the use of eyelines. Such work trains the imagination. I would even venture to say it would help with motion capture work.

So I sat there in wonder, popcorn uneaten, as I watched the beautiful performances in Planet of the Apes.

One other thing really helped make the performances was the movement. Actors forget how important movement is. Acting is doing. Doing is movement. It’s all about how we physically and then emotionally relate to the scene/space/environment we’re in. These actors had the privilege of working with expert movement coordinator Alain Gauthier (who worked with Cirque du Soliel for years). The first thing he had the actors do was learn to move like apes. If they had not done that, if that structure of movement wasn’t there, no amount of CGI could have fixed their performances. They also had some coaching from Gollum himself as Andy Serkis had a lot of experience playing the leading role in the Apes movie before this one.

This world that was created was fascinating. The actor’s hard work shone through. The director’s vision and creativity brought the story to life. The nuances, the feelings, even the thoughts of the characters.

If you want to see a study in fabulous acting while dealing with the challenges of using technology, go see this movie.

If you want to prepare to play roles like this—get in a good class and get those acting chops up!

For more information about our classes/training visit: www.actorsinactionconservatory.com

IG: ActorsInActionConservatory

Watch our “Reality Show” Real Actors of SLC. Witness the process of becoming a working actor in this one-of-a-kind glimpse into the ongoing AIAC acting class based out of Salt Lake City. https://www.youtube.com/playlist?list=PLYJtPdZWYSpPR_nMyi5GsqDkmhUap065N

See our testimonials: https://www.actorsinactionconservatory.com/testimonials/

06/04/2024

—The Moment Before

What is a “moment before” and is it important?

A moment before is literally the moment before your scene starts. What you do to bring us into the world of the scene. It could be a gesture, a body turn, a look, discovering the other person you’re doing the scene with. It could be a million things.

Is it important? Yes. Super important. Especially in auditions. Why? Because it can be what hooks the casting director into watching the rest of your audition. Did you know that most casting directors will watch about five to ten seconds of your audition and then either discard it or if they like it, throw it into the “watch later” pile? It’s absolutely true. They don’t have time to watch every audition all the way through. And they can usually tell in those first few seconds if the actor is a fit for the role, if they can act, and what professional level they’re at. Having a strong moment before can put you into that top professional level. So don’t blow that super important opportunity of the moment before.

How do you do it?

It really depends on the script. Look at the stage directions at the beginning of the scene. Usually it will say something like:

“A BOOK slides off the shelf, revealing JUDITH behind Ben. He turns and whispers to her through the stacks.”

Ask yourself, how can I use that stage direction to craft a clear moment before? If you’re playing Ben maybe you could see the book slide and then discover Judith there, turn slightly toward her and start whispering your first line. You’ll need to consider your framing—where you are in the camera’s frame. Maybe start out looking camera right trying to find Judith, then “hear” the book sliding camera left, look over there, see it fall and then discover Judith also camera left. You could then angle your body to her and sat your line.
If you were to do something like that we’d get a sense from the start that you are looking for someone, then something happens (the book slides off) and then you discover the person you’re looking for. Boom! You’ve got a little preview of the scene. We’ll be instantly intrigued because we know this person you are looking for is important and we’ll be hooked into the story.

Here's another example—

“The Bartender gestures to where Clover is, sitting at a dimly lit table in the back. Hunter nods in appreciation, heads back and slides into a seat.”

Here you could step just into frame, say camera right. Look around for Clover, spot her camera left, give a slight nod to the bartender (camera right) and take a step or so in so you’re in the center of the frame and then sit down on a raised stool (so whoever is filming you doesn’t have to pan down) and then start your lines to Clover.

This will give us a world of information too. You could start the scene just sitting and saying your first line to Clover. But if you have a strong moment before like above it really sets the mood. It intrigues us as viewers and we’re more likely to watch more of your scene because we can sense you are one of those rare actors that uses your creativity and sense of storytelling to really bring us in.

How long should a moment before be? I like to stick to the three second rule. Or three strong beats. Boom, boom, boom—and into the scene. Anything longer than that can get tedious, anything shorter feels incomplete.

Be super creative, but make sure your moment before makes sense with the scene.

You’ll need to practice this a lot at first. Figure out what you’re going to do. Tape it and then watch it back to see if it is working. Is it clear what you’re doing? Are you really seeing what you’re seeing? Does it look real? Are your eye lines working with the framing? With the camera? It may be awkward at first but as you do this more and more it will start to look really good.

Remember in this age of digital auditioning, great moments before can really set you apart from the barrage of submissions casting gets.

You can do this! It’s just a skill.

For more information you may want to watch our blog post/video on end of scene “buttons”. You can find that by clicking here: https://www.actorsinactionconservatory.com/put-a-button-on-it/

05/22/2024

Becoming a Great Actor – Let Canelo Alvarez Show You How

Wait, Canelo Alverez? He’s a boxer, what does he know about acting? Is that what you’re thinking? Well, let me tell you what I learned about acting from watching his last fight.

Known just as Canelo, because a lot of his brothers are also fighters, he is a Mexican Super Middle Weight Champion Boxer who has been on the international stage for nearly two decades. He’s also considered one of the best his sport has ever produced. At 33 years old he’s had 65 fights and won all but 2. Starting boxing at 13, he turned pro at 15.

On Cinco de Mayo weekend this year he was scheduled to fight Jamie Munguia, also Mexican, and a younger fighter by 7 years. Munguia had fought 43 total fights with zero losses. He was hungry and set on defeating his idol, Canelo.

The fight started explosively for Munguia. He jumped in and took charge. Being a Canelo fan it was a bit disconcerting. The announcers were heatedly going on, was Canelo getting too old? Did Munguia have what it takes to unseat the legend? After all he was undefeated.

Canelo took his time. He took the punches. It was as if he was reading his opponent for the first two rounds. Getting the feel of him, seeing Munguia’s boxing style, clocking every move, even if he was feeling the brunt of the blows. The first two rounds went to the younger boxer. We were nervous. Fans of Munguia were elated. The announcers talked about a possible overthrow. It was a nail biter.

But then by round three Canelo and his vast training and experience took over. He had assessed his partner, figured out his fighting style and went to work. It was astonishing. His punches were clean and calculated, landing hard and precise. Munguia was trying to hold his own, but in the fourth round with a well-placed upper cut from Canelo, Munguia dropped. It was his first time being knocked down. Ever. It wasn’t a stone-cold knock out, Munguia got to his feet right away, but it decidedly changed the fight.

After that Munguia started to brawl. If he’d had a game plan for the fight, it went out the window then. He was combative and tried to pepper Canelo with blows, but not much landed. Not like Canelo’s punches. Munguia was throwing his power away in a fury, not leaning into technique. He simply didn’t have the experience that Canelo had. And that made all the difference. After 12 rounds, Canelo won by unanimous decision from the three judges.

And it was witnessing Canelo’s experience—which came from years of deep training and all those fights—that really stood out to me. That made me think about acting. Canelo had 20 fights on Munguia and half a decade more time in the professional ring.

Even Munguia said after the fight, “I came out strong and was winning the early rounds. I let my hands go, but he’s a fighter with a lot of experience.”

Canelo summed up the fight well, “I took my time. I have a lot of experience. Munguia is a great fighter. He's strong and smart. But I have 12 rounds to win the fight and I did.”

Munguia will have another day to win. He’s talented and trains hard too. Just that night, his lack of experience, or Canelo’s glut of it took the fight.

So what does that mean for us actors? Meisner says it takes 20 years to become an actor. We watch the greats, like DiNiro, Blanchett, Swinton, Pacino. We see their experience. We see their craft. How can we get that for ourselves? How can we become one of the greats?

Start now. Do everything you can to get experience. Train, get in a great class, have a daily acting workout, get on set as much as possible, produce your own work, believe in yourself, take care of your mental health. And most importantly, lean into your passion for acting, just like Canelo does with boxing.

If you want to act, you were meant to act.

Link to highlights of the fight: https://www.youtube.com/watch?v=EfuUszLrjkE

Check out our acting classes: https://www.actorsinactionconservatory.com/training/

Watch our “Reality Show” Real Actors of SLC: https://www.youtube.com/playlist?list=PLYJtPdZWYSpPR_nMyi5GsqDkmhUap065N

Reach out with questions: [email protected]

05/14/2024

One of the greatest actresses of all time, Katherine Hepburn. I love this quote because it reminds us not only to trust ourselves as actors, but to trust the audience, too. We're there to serve them. If we've done our work they can be transported. And that's the whole point of acting.

03/19/2024

"You have not seen this Macbeth, and you should" (Utah Theatre Bloggers).

Led by a powerhouse cast of women, our rendition of Shakespeare's timeless tragedy offers a fresh perspective on themes of resilience, sacrifice, and the relentless pursuit of power. With each scene, the stage pulses with energy as the indomitable spirit of our performers ignites the space, blurring the lines between fiction and reality. Only six performances remaining--secure your tickets today!

Use code DOUBLEDOUBLE for $10 off tickets for the Thursday 3/21 performance.

Buy tickets at: https://www.eventbrite.com/e/macbeth-scaffold-theatre-tickets-769386805647

Location: Lightree Studios, 740 W 1700 S, Suite 5, Salt Lake City, UT, 84104

Recommended for ages 13 and up. Parental Discretion advised due to mature themes, intensity, and stage violence. House opens at 7 pm. Please arrive early as there is no late seating.

Scaffold Theatre is funded in part by Salt Lake County Zoo, Arts & Parks (ZAP)

02/29/2024

Brace yourselves Salt Lake City, for double toil and double trouble! Witness a groundbreaking all-female production of Shakespeare's Macbeth that will redefine the boundaries of strength, ambition, and tragedy. Limited seats, limited run -- Get your tickets today!

March 14 - 30 (Th, Fr, Sat at 7:30 pm)

Buy tickets at: https://www.eventbrite.com/e/macbeth-scaffold-theatre-tickets-769386805647

Buy Tickets Now! Use Promo Code HURLYBURLY for a limited time early bird discount.

Location: Lightree Studios, 740 W 1700 S, Suite 5, Salt Lake City, UT, 84104

Recommended for ages 13 and up. Parental Discretion advised due to mature themes, intensity, and stage violence. House opens at 7 pm. Please arrive early as there is no late seating.

Scaffold Theatre is funded in part by Salt Lake County Zoo, Arts & Parks (ZAP)

02/27/2024

Something wicked is coming to Salt Lake City. Femininity meets ferocity as a troupe of women bring Macbeth to life like never before. Witness the power struggles, the ambition, and the haunting consequences unfold through a unique lens in a small blackbox theatre space.

March 14 - 30 (Th, Fr, Sat at 7:30 pm)

Buy tickets at: https://www.eventbrite.com/e/macbeth-scaffold-theatre-tickets-769386805647

Location: Lightree Studios, 740 W 1700 S, Suite 5, Salt Lake City, UT, 84104

Recommended for ages 13 and up. Parental Discretion advised due to mature themes, intensity, and stage violence. House opens at 7 pm. Please arrive early as there is no late seating.

Scaffold Theatre is funded in part by Salt Lake County Zoo, Arts & Parks (ZAP)

02/20/2024

Join us for an unforgettable evening of Hurly-Burly in Salt Lake City as we bring the timeless tale of Macbeth to life. Get ready for an up -close and personal experience with the dark forces of sorcery, ambition and murder, swirling in an intimate blackbox space.

March 14 - 30 (Th, Fr, Sat at 7:30 pm)

Buy tickets at: https://www.eventbrite.com/e/macbeth-scaffold-theatre-tickets-769386805647

Location: Lightree Studios, 740 W 1700 S, Suite 5, Salt Lake City, UT, 84104

Recommended for ages 10 and up.

Scaffold Theatre is funded in part by Salt Lake County Zoo, Arts & Parks (ZAP)

02/02/2024

My Happy Place

02/02/2024

Join us for an unforgettable evening of Hurly-Burly in Salt Lake City as we bring the timeless tale of Macbeth to life. Get ready for an up-close and personal experience with the dark forces of sorcery, ambition and murder, swirling in an intimate blackbox space.

March 14 - 30 (Th, Fr, Sat at 7:30 pm)

Buy tickets at: https://www.eventbrite.com/e/macbeth-scaffold-theatre-tickets-769386805647

Buy Tickets Now! Use Promo Code HURLYBURLY for a limited time early bird discount.

Location: Lightree Studios, 740 W 1700 S, Suite 5, Salt Lake City, UT, 84104

Recommended for ages 10 and up.

Scaffold Theatre is funded in part by Salt Lake County Zoo, Arts & Parks (ZAP)

All Female Cast of Shakespeare's Classic Tragedy. Macbeth like you've never seen it done before!

12/01/2023

Auditions for Scaffold Theatre's all female production of Macbeth.

All rolls are open except for Macbeth.

Please submit a self-tape. Film horizontally. Please use a reader. Make sure to upload a resume as well/contact info.
Auditions due Monday December 11th by 5pm. Earlier submissions may get more consideration.

Compensation is $200 per actor for the entire run and rehearsal process.

Sides Download Link: https://www.dropbox.com/scl/fo/ghged85ibfympb1ctfrhe/h?rlkey=uvfprrepqoskpe472aszjszjk&dl=0

Audition Upload Link: https://www.dropbox.com/request/n4w2mlHIFGlMxFDsO78k

Production Schedule
Rehearsals:
Th, Fri, Feb 15 & 16, 6:30 to 10pm. Sat Feb 17, 2pm to 6pm
Wd, Th, Fri, Feb 21, 22, 23, 6:30 to 10pm. Sat Feb 24, 2pm to 6pm
Wd, Th, Fri, Feb 28, 29, Mar 1, 6:30 to 10pm. Sat Mar 2, 2pm to 6pm
Wd, Th, Fri, Mar 5, 6, 7 6:30 to 10pm. Sat Mar 8, 2pm to 6pm
There may be possibilities of Sunday afternoon rehearsals as well.
Tech Rehearsals: Mn, Tu, Wd Mar 10, 11, 12 6:30 to 10pm
Performances: Th, Fri, Sat Mar 14, 15, 16 7:30pm
Th, Fri, Sat Mar 21, 22, 23 7:30pm
Th, Fri, Sat Mar 28, 29, 30 7:30pm
There is a possibility that we will extend the show one week (closing Apr 4)

Show will run approximately 90 mins.
Rehearsals and performances will be held at Lightree Studios, 740 W. 1700 S., Suite 5, SLC, 84104

For more information visit: https://www.scaffoldtheatre.org

11/16/2023

Auditions for Scaffold Theatre's all female production of Macbeth.

All rolls are open except for Macbeth.

Compensation is $200 per actor for the entire run and rehearsal process.

Please submit a self-tape. Film horizontally. Please use a reader.
Make sure to upload a resume as well/contact info.
Auditions due Monday December 11th by 5pm. Earlier submissions may get more consideration.

Sides Download Link: https://www.dropbox.com/scl/fo/ghged85ibfympb1ctfrhe/h?rlkey=uvfprrepqoskpe472aszjszjk&dl=0

Audition Upload Link: https://www.dropbox.com/request/n4w2mlHIFGlMxFDsO78k

Production Schedule
Rehearsals:
Th, Fri, Feb 15 & 16, 6:30 to 10pm. Sat Feb 17, 2pm to 6pm
Wd, Th, Fri, Feb 21, 22, 23, 6:30 to 10pm. Sat Feb 24, 2pm to 6pm
Wd, Th, Fri, Feb 28, 29, Mar 1, 6:30 to 10pm. Sat Mar 2, 2pm to 6pm
Wd, Th, Fri, Mar 5, 6, 7 6:30 to 10pm. Sat Mar 8, 2pm to 6pm
There may be possibilities of Sunday afternoon rehearsals as well.
Tech Rehearsals: Mn, Tu, Wd Mar 10, 11, 12 6:30 to 10pm
Performances: Th, Fri, Sat Mar 14, 15, 16 7:30pm
Th, Fri, Sat Mar 21, 22, 23 7:30pm
Th, Fri, Sat Mar 28, 29, 30 7:30pm
There is a possibility that we will extend the show one week (closing Apr 2)

Show will run approximately 90 mins.
Rehearsals and performances will be held at Lightree Studios, 740 W. 1700 S., Suite 5, SLC, 84104

For more information visit: https://www.scaffoldtheatre.org