Bruce Miller is the author of The Actor as Storyteller, The Scene Study Book, Acting Solo, and Actor’s Alchemy. StageNotes.net asks Bruce, “What made you first get interested in Broadway and theater?”
I’m a certified secondary English teacher and I taught for three years and during that time I did a community theater production. I was always a lead or director in the camp show as a kid. That was a safe venue to do theater and I always loved it. In my first teaching job, which was middle school, I got called on to direct the middle school production of Arsenic and Old Lace and I had no clue what I was doing. Apparently, I did it better than most. That was my first toe in the water.
I taught high school English for four years and I went back to graduate school for Journalism. I wanted to be a television journalist and in order for me to take the graduate class I needed, which was Journalistic camerawork, I needed a prerequisite. The undergraduate journalistic prerequisite was full so they told me to take an acting class. Because I was a little older, the guy who taught the most advanced BA undergraduate scene study class said “Come on in, you’re smart. Work with these guys.” Without any previous training or classes, I went into the highest level scene study class and I was no worse than anybody else. Then I applied to grad school at the same school which was Temple University, they had a very good graduate program. I had no idea what I was doing and I didn’t get in.
I was so interested at this point that I went to find out what I would need to do in order to be good enough. I bumped into a woman who I had a graduate course with and she turned out to be the wife of the director of the acting conservatory and she spoke to her husband. Another long picaresque series of events-it seems like destiny in hindsight-I got into this program I didn’t deserve to be in. Within the three years of graduate school, I caught up, I guess, and I learned how to do some stuff.
When I left, the one big issue that everyone was talking about was my “technique” and my “toolkit.” Most of us didn’t really have a technique. Ironically, it was a really good acting program by reputation but none of us left with a solid background. It wasn’t until I was acting in NY and found some other teachers that I really learned to put together that thing called technique. Except for one really good teacher who had a tremendous influence on me, on all of us.
I dedicated my teaching career to making it [acting techniques] simple and clear. And so nothing I teach is original, other than maybe my definition of good acting, but everything else is just basic late Stanislavsky but articulated to the lowest common denominator and through repetition, it seems to work.
Keep reading this interview with Bruce Miller on StageNotes.net.
Acting can – and should – be more than guesswork and instinct. Actor’s Alchemy: Finding the Gold in the Script examines the relationship between the script and what an actor ultimately does on the stage or on screen. Here is a straightforward guide filled with useful information to help actors learn to use their scripts in a specific and analytical way to solve the problems of the scene and bring their elusive characters to life. In learning how to decipher the script, actors will be equipped to make the choices that lead to delivering a gold performance.