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Surviving a child actor

After teaching Acting School in Los Angeles youth for over twenty years has been one of my main aims to prevent them from following the same path as I did as a young actor. At first glance, this may seem a bit odd coming from someone who had his own series in television at the age of nine years and spent a period of great success in life from the ages of 9 to 16 reserve advertising, doing voiceovers and radio commercials, and many sometimes act with a degree of success for parents (including mine) very proud. My main problem is not clear to me until a little late to support success above. The problem is that to be cute and photogenic only take a certain point and more specifically of a certain age. Furthermore, no successful career can wait lasting without a solid base of knowledge in quality behind it.

To be fair to parents, guardians and mentors young aspiring actors who have attended to school like everyone who can develop very quickly and very soon, unlike other career opportunities. Parents of children who decide to become lawyers, doctors or accountants need to start taking the right decisions about these high school careers come to an end. In the case of young players, the damage can be done much good before, except the right decisions are taken from the start.

I think I was about eight when I decided I wanted to act, and I told my parents all the more. Needless to say they had no idea he was making a statement about what I will spend the rest of my life doing, but I suppose to do. However, when the first thing that happened was an open casting call resulted in me becoming the head in my own TV show, it seemed that we were track. None of this is done through acting classes I have the same skill that the children were numerous and at this age – the ability to look cute, do what the director wanted to make real and imagined.

In fact, almost uninterrupted success until I was 15. At that time, my family and I were back and forth between New York for auditions with some regularity. Only after a brief period in a series that was forced to the realization terrible that I was more committed, although I still desperately wanted. Most people are not forced into the horrors of this type of accomplishment such a young age, but in the world of child actors is quite common.

It was only later that I was able to correctly analyze where he had begun to go wrong. In this case, did not join the long list of child actors who simply fail to act and move, and four years at NYU, resulting in a BFA degree in acting the problem has become clear to me. I just be mechanical or robotic. I had the opportunity to be in the timestamp, follow the example of the director, jump through rings, for example and spend here – but in the end I realized I knew nothing about acting. Much more frustrating my time at NYU clear to me that I had not I learned nothing in between the ages of 18 and 22 could not have been introduced at the age of 8 years. I certainly undergone several bits of "coaching" me negotiable, but real, technical progress has been the missing piece of the puzzle.

In the technological heart of the action or "method" Stanislavsky formalized and subsequently adopted by the giants of the acting classroom as Lee Strasberg, Uta Hagen and Jack Garfein, is the belief that being oneself – one's emotions, instincts and ideas, should be the focus of a great piece of acting. I began to understand that my success as a young actor had been in large part because I was being itself and not anticipate or second guess what the casting directors and producers wanted me to be. Had not been for me before did not mean an act of counterfeiting or emotions on stage – was rather to have the courage to discover and live faithfully on stage or camera. From my main objective is changed from "Be yourself in the work book, my chance and more importantly, my sense of self, radically changed in the wrong direction.

The most important thing the father of any aspiring young actor can do is make sure they are injured on the road – either along the road to becoming an adult actor, or along the route Access to the discovery that this is really what you want done. There are several important aspects in this regard.

The first is to lead the child to understand their value as an artist is in no way linked its reputation and / or capital. Hay (services) of people in the entertainment industry is the job is marketing and selling Skills – To promote what they consider to be profitable and leave what they consider unprofitable. A child should be made to see that its value as an artist and a person is completely unaware of what is "worth" to their agents.

The second is to make the child understand that there is nobody who can contribute what they can contribute to a function. It is ultimately the individual features to all agents, customs and personalities that make it interesting to see – and those that are unique to each individual. The game is complete and 100% non-competitive in this regard. Basic philosophy as the main one would be the ability to have children are shy, restless children, nervous, awkward, terrified children confidence and we all know that these beautiful pieces of individuality are of vital importance that they are doing and make that artists se.

Thirdly, parents and children should understand and respect the patience and dedication necessary to succeed in any field gear. No one could have imagined that they could play an instrument in a concert or make a model, but received training on how to do it. Act only suffers from the fact that everyone knows how to act a bit, so I guess the sheer will combined with a lucky break or two can be seen through. Having a natural talent and a sense of drama (Either scenario or screen) are both wonderful things and certainly took me through the first seven years of my professional life, but at the end of the day, a solid technical make an artist for life, whether long or short.

No parent can ever know, like mine, however, when a child says "I want be an actor "refers to the rest of their lives, or just for next week. Many children play in the writing of school and go from one extreme to another experiment no effect harmful. However, the sense of self worth, pride and success that I had the opportunity to see pass through my school over the past ten years, let me no doubt that the training they offer can not be the greatest benefit to any young actor. It puts in place those who choose to continue the art of acting in college and beyond, and that is those who decide not to continue with the understanding that its specificity is wonderful and something we value.

Jeff Alan-Lee wanted to be an actor all his life and began pestering his mother at the age of 7 years. At age nine, he auditioned for a role in a local television series in Detroit called Jerry in the circus and landed the lead role. He continued to serve in a special program called magic bullet, and reserved an agent in New York. As a child actor, flew Returning to New York and Detroit to the audience and advertising to book and acted in theater, film and television.

At the age of 18 he moved to New York attended New York University Jack Garden, the Theater Harold Clurman Theater brokers in New York. After a year of training, he landed the lead in the film Warner Bros. feature entitled THE GANG Benik, who played in theaters and on television. It also has more than 20 commercials and the main function with the legendary Joshua Logan Broadway production for the end of Huck and Jim on the Mississippi and starred in the root of chaos and loss off Broadway. Your Regional Theatre includes "Brighton Beach Memoirs, lead with Andrea McArdle in" Snoopy, "" Lion in Winter, THE NERD Broadway Bound, several original pieces with the Playwrights Theater New Jersey, and a recurring role on AS THE WORLD TURNS.

He began teaching quality in children and adolescents in several schools in New York, produces cable TV programs in Manhattan and was invited to teach at the Lee Strasberg Theatre Institute in New York. Young Scarlett Johanson was formed at the moment between many others.

On arrival in Los Angeles, she performed and taught at the Lee Strasberg, and later opened his own acting school in Los Angeles called Youth Actor's Studio. More recently, Jeff has received rave reviews for the role of Jerry in Edward Albee's THE ZOO STORY W. THEATRE FOUNDATION MARK WEST Cone and Deaf.

School of Dramatic Art Jeff, Class Act … The young actor the studio, is one of the schools operating primarily in Los Angeles that teaches method acting for children and adolescents. The study teaches young people to use their own characteristics, personalities and ways the role of script and therefore stand out. The study specializes in assisting the young player to develop a solid technique that can be taken in any medium, the stage or screen. He has directed over 40 productions and commissions of new works by leading authors in the original theater.

About the Author

We are one of the best acting schools in Los Angeles for young people, founded in 1996, by Jeff Alan-Lee. We provide our acting students with the opportunity to discover, nurture and explore their own uniqueness and merge that into the script to stand out on the set or on stage. For more details please visit http://www.youngactorsstudio.com

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