Theatre Training

Foundations of Acting II by Pat Chan is a university elective I completed during my enrolment in Taylor’s University Lakeside Campus. Additionally, this is the follow-up course to Foundations of Acting I. This post highlights my completion of the follow-up course. “Walk-about-character” on campus One of our assignments in order to complete the course was to identify a type of busker character and act as that character around campus. Being the cheeky personality that I am and Ms. Pat knowing this after mentoring me fairly closely from Foundations of Acting I & ‘A Flower’s Promise’, industry player Pat Chan decided to allow me a difficult role: a male stripper. Within bounds, of course. I needed many layers of clothing to work with, as it was a public performance after all. What’s more, this was in Malaysia. Surprisingly, not only were there sufficient customers, the money was good too. Though, it was more of the male patrons buying my service for their female friends, rather than the females coming to me on their own accord. Nevertheless, a successful busk it was. Showcase for Foundations of Acting II by Pat Chan: Saya Anak Malaysia (Baru) As a Summer Semester elective, we had 9 weeks to pull off a show. Plus, we did this on top of our “walk-about-character” assignment. Besides industry veteran Pat Chan, the finale showcase also had another industry player involved in its process. Playwright Ridhwan Saidi. He helped with the finale show script. Pat Chan directed us. Pulling this show off was our final exam. Below are some pictures from the show. Rehearsal feedback during Saya Anak Malaysia (Baru) I was one of the main characters, which meant learning to place faith in myself doing the role. This held some weight for me, as it was my second time ever playing as the lead role in a play. The first time being SPARTIES SHORTIES 2016. I had to believe in my acting capabilities and not allow self doubt hold me back. Being in a lead role wasn’t familiar to me. Luckily, I turned out to be a natural and didn’t have to worry too much. I focused on acting to the best of my capability, instead of allowing my self doubt get to me. One rehearsal, Ms. Pat gathered us for announcements. She told the group what she needed for the play to be successful. For some, it was to focus more. For others, it was to not allow their insecurities to hold them back. Then came me. She said I was too concerned about the performance of my classmates. Apparently, I was busy giving energy and helping them on scene. This stopped me from putting energy and focus on to myself, which held back my own performance for the entire play. Essentially, she pointed out that because everyone else in the team was lacking in performance, I’ve been pulling myself back to carry everyone else. This comment struck me. Ms. Pat had then told me to not worry about everyone else, and to focus on my own acting. She had also mentioned that instead of trying to help everyone else achieve the same level as me, I should instead strive for the highest level I can reach and set an example for them to strive towards as well. My reflection learning from Foundations of Acting II by Pat Chan This proved to me that I had nothing to worry about regarding my own acting capabilities. However, it also proved to be a lesson where I need to achieve moderation when acting with those that are not at the same level as I am. Instead of always giving my energy and focus onto the others to help them achieve my level, I should instead focus on myself. Do my best. Set the bar higher so that they achieve levels that not only beat their personal best, but also my previous best. Additionally, I should also keep in mind as to not deprive my fellow actors of my energy on stage. While performing, actors also bounce energy off of each other. It isn’t about fully focusing on myself. Nor is it to fully give them your energy the way I did. It is about learning when to do what. Both serve critical roles when done correctly. Hence, rehearsals for acting are also rehearsals for learning how to exchange energies right. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too!

Foundations of Acting I by Pat Chan is a university elective I completed during my enrolment in Taylor’s University Lakeside Campus. Furthermore, it is a prerequisite course in order to take Foundations of Acting II. This post highlights my completion of the prerequisite course. My first formal training in the arts As a Fall Semester elective, we had 14 weeks to learn the foundations. One of the things we learnt was the Live Statue exercise, where we did our first public performance holding poses around campus. That and amongst many other fundamental acting exercises, Pat Chan laid the foundations of acting for her students. It was a great first “formal training” in to the performing arts. I thought it was so good, I decided to go for the successor course, Foundations of Acting II. After completing all the exercises, one critical contribution was necessary to pass the class: performing as a group. Our theme of the performance was “Colour of our skin”. We had to perform as a group following the theme and presenting it to Pat Chan was the final exam. Competition to conclude Foundations of Acting I by Pat Chan In order to graduate Foundations of Acting I by Pat Chan, students have to undergo a group final exam and public performance. The cherry on top? The public performance is in the form of a competition, where audience members can vote for their best group performance. Of course, passing the group final exam and doing the public performance was all that was needed to pass the elective. Winning the ‘Audience Choice Award’ is a separate, additional certificate, like the one below; Thanks to my teammates, our group performance stole the hearts of the audience and we won the Audience Choice Award. Unlike Ms. Pat’s evaluations which are qualified, I wonder what it was that made audiences vote for our performance. A wonder that will remain. Upon completing the course, I asked some of my classmates if they were going to continue to Foundations of Acting II. One of them said they weren’t, and that prompted me to ask “Don’t you want to be an actor?”. Then they replied with “Aren’t we already acting? Where ever we go, we act differently with different people. With family, friends, teachers, we don’t act the same in front of them.” That, for me, stuck with me as a philosophical question regarding acting. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too!

In January 2024, I signed up for Monday Show School’s Weekend Drama classes and attended classes until completion in December 2024. Huge thanks to Monday Show School and Dominic Lucien Luk for the Weekend Drama School experience in 2024. Attending Weekend Drama School from January to December is a lot to write in this single post. So this post will only cover my biggest takeaway I’ve learnt as an actor thanks to these classes. Improv game leading to a reflection of my amateur mistake One class we played an improv game where two players are on stage for a scene, and as the scene progresses, students offstage have to find a moment to shout “Freeze!”, causing the two actors to freeze in that moment of the story. The shouter then gets to tap any of the frozen actors to switch in with them, while the tapped joins the rest offstage. The new player then starts off a new scene with the untapped player. My turn and I chose to play a character that had to exert a lot of physical energy with my scene partner. Obviously, this choice was high in energy, but I also did it in a loud way. As the scene progressed, someone shouted “Freeze!”, and my scene partner was tapped out to be replaced. In this next scene, my new scene partner chose to be a dying character. To “Yes, and”, I went for a wailing character mourning for their slow death. My interpretation was high energy, but again, loud. Later after the game we had a group reflection, and one of the things mentioned is that even though the audience got two very different scenes, it felt like they were watching the same character when it came to me. This was when I realised; I lacked versatility and nuance. Versatility would have led me to go for a low energy character. Nuance would have allowed me to stay high energy, but execute it differently to offer a new character portrayal to the audience. My biggest takeaway from Monday Show School’s Weekend Drama School in 2024 There is a difference between being high energy and looking high energy. That class, I did both things in the two scenes consecutively. Being aware of my state of being showcases versatility, and how I make that state of being come across showcases nuance. Let’s use the example mentioned earlier for my wailing mourning character. (A) Versatility could have led me to be in a state of shock, a state of being low energy. Consequently, it would have also made me look low energy. (B) Nuance could have led me to mourn quietly, but intensely. This is a state of high energy, but I would have looked low energy. In both instances, I would have given my audience a contrasting character experience, especially since my previous scene was me both being and looking high energy. If my versatility strengthened, I could open possibilities into the unknown and make fresh bold choices. If my nuance masterful, I could stay high energy internally as a character but portray outward varying levels of energy. *Note: ‘Small Stage’ is a series of shows being staged at the end of every term. Enjoyed reading what I learned? You can find more performing arts related learnt content on my blog here, do check it out and learn what I’ve learned too! Credits Written by Danniel IskandarProofread by