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A Practical Handbook for the Actor by Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel (1986)

Introduction to the Book

“A Practical Handbook for the Actor” is a refreshingly straightforward guide to the craft of acting, created by a group of dedicated theatre practitioners: Melissa Bruder, Lee Michael Cohn, Madeleine Olnek, Nathaniel Pollack, Robert Previto, and Scott Zigler. Emerging from workshops led by renowned playwright David Mamet and actor William H. Macy, the book distils their teachings into an accessible approach that cuts through the mystique of acting.

Rooted in the belief that acting is a craft—something you can learn and master through practice—this book provides clear, practical tools for actors to consistently deliver truthful and compelling performances. It challenges the overcomplicated and often nebulous exercises traditionally associated with actor training, focusing instead on concrete actions and a no-nonsense philosophy.

At its core, the book teaches that the actor’s job is to "live truthfully under imaginary circumstances." It arms actors with a technique centred on physical actions, enabling them to connect with their roles in a way that is simple, honest, and free of unnecessary emotional strain. Whether you’re preparing for a scene, navigating a rehearsal, or confronting the realities of a professional career, A Practical Handbook for the Actor offers tools to help you bring discipline, clarity, and creative freedom to your work.

The book’s philosophy is refreshingly empowering, reminding actors that talent is not an elusive quality but rather the ability to commit to the hard work of the craft. If you’ve ever found acting classes bewildering or wondered how to apply lofty theories in real-world performances, this book might just be the practical guide you’ve been searching for.

Preface: The Job of the Actor

This first section sets the tone for the book by laying out exactly what an actor’s job is—and, just as importantly, what it isn’t. It’s all about stripping away the myths and complications that can make acting feel overwhelming. The authors emphasise that acting is a craft, not some mysterious art reserved for the "talented few." Anyone who’s willing to work can learn and grow as an actor.

At its heart, acting is defined as "living truthfully under imaginary circumstances." The actor’s role isn’t to create magical moments or manipulate emotions but to prepare themselves fully and honestly to engage with the play’s circumstances. And what does this preparation involve? A strong voice, a flexible body, and the ability to break down a script into clear, actable choices.

The authors also stress the importance of focusing on what’s within your control, like improving your skills or understanding the text. Things like your height, the director’s decisions, or the reviews—those are out of your hands, so why waste energy on them?

The chapter makes a case for working with common sense, bravery, and willpower. You don’t need to worry about "talent." Instead, focus on building a toolkit of skills you can rely on: a resonant voice, a strong body, the ability to analyse scripts, and a mindset ready to tackle challenges truthfully.

Finally, the authors remind us that theatre has a special place in society—it’s where people come to hear the truth about the human experience. And as an actor, your job is to help tell that story. It’s not about "putting on a performance" but about being part of something bigger: a collaboration that connects actors, the audience, and the playwright’s vision.

So, this chapter is like a pep talk with a practical twist: the key to great acting isn’t some hidden magic—it’s preparation, honesty, and a willingness to do the work.

Preface: Technique Outline

This section is a quick, practical introduction to the core principles of the book. It sets out the foundation for the actor’s craft: acting is living truthfully under imaginary circumstances, and the key to achieving that lies in understanding two crucial areas—action and moment.

First, let’s talk about action. Acting isn’t about "feeling something" or trying to be a character; it’s about doing something. Everything you do on stage should have a purpose, a clear goal that drives your performance. This goal is often referred to as your objective or action. The authors provide a simple definition: acting is the physical pursuit of a specific goal.

The second focus is moment. Acting is a dynamic process where each moment builds on the one before it. Your choices as an actor should arise truthfully from what’s happening right now, not from some predetermined plan. Essentially, the scene isn’t about you—it’s about the interaction between you and the other actors.

To help actors approach their work, the authors introduce the concept of given circumstances. These are the facts of the play: what the playwright and director have set in stone, like the setting, relationships, or physical conditions of the character. Your job is to work truthfully within these boundaries, using them as the framework for your creativity.

Preparation is also highlighted here. The authors explain that the actor’s job is to find and rehearse their action for the scene, ensuring it aligns with the play’s circumstances. Once on stage, it’s about improvising how to execute that action moment-to-moment, based on what’s happening with your fellow actors.

Finally, they stress the importance of developing habits. Through consistent practice, the tools and techniques outlined in this book become second nature, freeing you to focus on the immediacy of the performance.

In essence, this section lays the groundwork: acting isn’t about emotion or imitation—it’s about clear, purposeful action that allows you to live truthfully on stage.

Part One: Technique - 1. Physical Action

This chapter gets straight to the heart of acting: to act means to do. Acting isn’t about projecting emotions or putting on a show—it’s about taking action to achieve a specific goal. The authors define an action as the physical pursuance of a goal, and this idea becomes the cornerstone of their technique.

A good action must meet nine essential criteria to be effective on stage. These criteria ensure your action is clear, engaging, and, most importantly, playable. Here’s the breakdown:

1. Physically Doable: An action must be something you can begin immediately, like "pleading for help," rather than something abstract, like "pursuing the American dream."

2. Fun to Do: Choose actions that excite you or pique your sense of play. If it’s fun for you, it will be alive for the audience.

3. Specific: Vague actions lead to vague performances. "Extracting a crucial answer" is far more dynamic than "finding out something."

4. Tested in the Other Person: Your action should focus on your scene partner. By observing them, you can tell if you’re succeeding.

5. Not an Errand: Actions that can be completed in one line, like "delivering a message," leave you with nothing to do for the rest of the scene.

6. Not Dependent on an Emotional State: Actions like "making someone know how angry I am" are problematic because emotions can’t be forced. Focus instead on actions like "putting a jerk in their place."

7. Not Manipulative: Avoid actions designed to produce specific reactions, like "making someone cry." Instead, focus on objectives like "forcing someone to face facts," which can organically evoke responses.

8. Has a Cap: You need a clear end point to know when you’ve achieved your goal. For example, "getting a friend’s forgiveness" has a measurable outcome.

9. Aligned with the Playwright’s Intentions: Your action must make sense within the context of the scene and respect the story being told.

The chapter emphasises that actions are the actor’s most reliable tool. When you have a strong, well-chosen action, you can focus on pursuing it, moment to moment, instead of worrying about "acting" or manufacturing emotions. By anchoring your performance in clear and achievable goals, you bring clarity and authenticity to your work.

In short, physical action is what drives the life of the scene—and it’s the actor’s primary responsibility to make that action purposeful, dynamic, and truthful.

Part One: Technique - 2. Analyzing a Scene

This chapter is all about cracking the code of a scene so you can approach it with clarity and confidence. Acting isn’t just about delivering lines—it’s about understanding what’s really happening in the script and making clear, active choices that serve the story. To help actors achieve this, the authors introduce a simple, three-step process for analysing any scene:

1. What is the character literally doing?

This step is all about reading the text as it is written and identifying what the character is physically and literally doing. There’s no room for interpretation here—it’s just about observing the actions described in the script. For example, if a character enters a room, pours a drink, and sits down, that’s exactly what they are doing. The idea is to ground your understanding in the factual, observable elements of the scene.

2. What is the essential action of the scene?

Now it’s time to dig deeper. The essential action is the heart of what the character is trying to achieve in the scene. This step asks: What’s the purpose behind the character’s actions? For instance, a character pouring a drink and sitting down might really be trying to "reconnect with an old friend" or "build trust with someone." The essential action gives you something active and playable to pursue as an actor.

3. What is that action like to me? It’s as if…

This final step is where you personalise the action. The authors suggest using an "as-if" scenario—a simple, relatable situation from your own imagination that parallels the character’s goal. For example, if the essential action is "trying to build trust with someone," you might imagine it’s as if you’re trying to convince your sibling to lend you their car after you accidentally dented it last week. The "as-if" keeps your action personal and immediate, giving you a concrete way to connect with the scene.

Why It Works

This process helps actors stay focused on what they can do, rather than worrying about how to "feel" or "become" the character. By grounding your performance in specific, active choices, you’re free to respond truthfully to what’s happening in the moment. And because the "as-if" is personal to you, it brings energy and authenticity to your work without needing to overthink emotions or motivations.

In short, this chapter is a roadmap for tackling any scene. By breaking it down into clear, actionable steps, you’ll find your way into the character’s world—and, most importantly, keep your focus on the work that matters.

Part One: Technique - 3. The Truth of the Moment

This chapter dives into one of the most vital aspects of acting: responding truthfully in real time. Acting isn’t about rigidly sticking to a plan or "performing" your choices—it’s about staying present, open, and alive to what’s happening in the scene at any given moment.

The authors stress that acting must always remain a dynamic process, guided by the interaction between you and your fellow actors. This is where the truth of the moment comes in. While your preparation and analysis give you a strong foundation, your performance is shaped by what unfolds in real-time during the scene.

Why the Moment Matters

Each moment on stage is influenced by what has come before it. The way your scene partner delivers their line, reacts to you, or moves in the space should affect your own responses. This interplay keeps the scene alive, truthful, and connected to the audience.

Rigidly sticking to predetermined choices, on the other hand, creates a stale performance. Instead of responding truthfully, you end up locked in your own head, trying to "get it right." This chapter reminds us that there’s no "right" way to act—there’s only truth, and that truth lives in the moment.

Listening and Observing

The key to playing truthfully is active listening and observation. Really hear what your partner is saying and take in their behaviour. When you’re present and focused on them, your reactions will be organic and honest, allowing the scene to flow naturally.

Improvisation Within Structure

The chapter also highlights the balance between preparation and improvisation. While your given circumstances, action, and analysis provide a structured framework, your execution should always be flexible and responsive. Think of it like jazz—your preparation gives you the sheet music, but the truth of the moment lets you riff and adapt to what’s happening around you.

Trusting Your Instincts

Finally, this chapter encourages actors to trust their instincts. Your body and mind already know how to respond truthfully, as long as you allow them to stay in the present moment. When you let go of overthinking and focus on your action, your instincts will guide you to reactions that feel authentic and aligned with the scene.

In essence, The Truth of the Moment is about freeing yourself from rigid expectations and embracing the fluid, ever-changing energy of live performance. It’s this openness to the present that keeps your acting fresh, truthful, and deeply connected.

Part One: Technique - 4. Externals

This chapter shifts focus from internal preparation to the external elements of acting. It’s all about the physical aspects of a performance—costumes, props, makeup, and even physical quirks like a limp or an accent. While these externals might seem secondary, they play an essential role in bringing a character to life when used correctly.

The Role of Externals

Externals are the physical traits or details that make a character distinct, and they’re often determined by the given circumstances of the play. These might include:

• A specific costume piece, like a uniform or period dress.

• A regional accent or particular way of speaking.

• A physical condition, such as a limp or a hunchback.

• Props, like a cane, cigarette, or drink.

The key takeaway is this: externals are tools to enhance your performance, but they should never drive it. They support the story and help clarify your character’s world, but they’re not a substitute for the deeper work of pursuing your action.

Why Externals Should Be Simple

The authors caution against relying too heavily on externals or letting them dictate your performance. For example, a complex accent or over-the-top physicality can distract you from the scene’s purpose and pull focus from your action. Keep it simple and purposeful—choose externals that serve the character and the play without overshadowing your performance.

How to Use Externals Effectively

• Integrate Externals into Your Preparation: Practice with costumes, props, or physical traits as early as possible, so they feel natural by the time you perform.

• Let the Action Lead: Always tie your externals to your action. For example, if your character carries a cane, consider how it reflects their objective—are they using it to assert authority, to lean on for support, or as a weapon to intimidate?

• Don’t Perform the External: Avoid "playing the limp" or "playing the accent." Instead, let these details exist naturally alongside your pursuit of the action.

Trust the Simplicity

One of the big themes of this chapter is that less is more. When you keep externals simple, they enhance your performance instead of taking it over. It’s the truth of your action that draws the audience in—externals are just the finishing touches.

In summary, this chapter reminds us that while externals are an important part of creating a character, they’re not the star of the show. Keep them simple, integrate them into your action, and let them serve the story. By doing so, you ensure they enrich your performance rather than distract from it.

Part One: Technique - 5. Preparing for a Scene

This chapter takes us into the nuts and bolts of preparing for a scene. It’s where all the earlier ideas—like action, moment, and given circumstances—come together to help you hit the ground running when the curtain rises. The focus here is on building a preparation process that is simple, repeatable, and gets you ready to perform with clarity and purpose.

The Goal of Preparation

The authors remind us that preparation isn’t about psyching yourself up or manufacturing feelings. It’s about setting yourself up to pursue your action truthfully and effectively within the given circumstances of the scene. With the right preparation, you can step into the moment fully engaged, instead of worrying about “getting it right.”

Steps to Prepare

1. Find Your Action:

   • The first step is always identifying what you’re trying to achieve in the scene—your action. This gives you a clear, playable objective to pursue.

2. Focus on the Given Circumstances:

   • Ground yourself in the specific details of the play: Where are you? What’s just happened? What do you want from the other person? These circumstances create the framework for your action.

3. Use Your "As-If":

   • Personalise the action by tying it to an imaginative scenario that resonates with you. This keeps your preparation specific and energised.

4. Set Your Entrance:

   • Decide exactly how you’re entering the scene. What’s your physicality? How do the given circumstances affect your mood or behaviour as you begin? This helps you start strong and focused.

5. Relaxation and Focus:

   • Before the scene starts, take a moment to relax and centre yourself. The authors suggest letting go of tension and distractions so you can fully step into the work.

Why Keep It Simple?

The chapter emphasises simplicity at every step. Complicated rituals or overthinking can take you out of the moment before you even begin. Preparation should give you a sense of ease and confidence, allowing you to focus entirely on your action and your scene partner once you’re on stage.

The Power of Repetition

The authors also stress that preparation is a skill that gets better with practice. The more you rehearse your process, the more natural it becomes. Over time, you’ll develop a reliable, personalised routine that helps you consistently show up ready to work.

Key Takeaway

Preparation is about freeing yourself to play truthfully. By focusing on your action, the given circumstances, and your “as-if,” you create a solid foundation for each scene. When the curtain goes up, you’re not trying to force emotions or overthink your choices—you’re simply doing the work you’ve prepared for.

In short, this chapter is a guide to preparing with purpose and simplicity, so you can step into any scene fully present and ready to live truthfully in the moment.

Part One: Technique - 6. Troubleshooting

This chapter is all about solving the common challenges actors face when working on a scene. The authors address the hurdles that can get in the way of truthful, focused performances and offer practical solutions to keep you on track. It’s like a troubleshooting guide for when things don’t feel right.

Common Acting Pitfalls

Here are some of the common issues the chapter tackles:

1. Feeling Stuck or Unmotivated:

   • Sometimes you might feel flat, like nothing is happening in the scene. The solution? Go back to your action. If your action is clear and compelling, it will give you a reason to stay engaged.

2. Overthinking the Scene:

   • It’s easy to get caught up in trying to “act well” or hit a certain emotional note. The authors remind us to let go of self-consciousness and focus on what you’re doing to the other person in the scene. Stay in the moment and let the action lead.

3. Forcing Emotions:

   • Trying to manufacture a specific feeling never works—it just looks fake. Instead, trust that genuine emotions will arise naturally as a by-product of pursuing your action.

4. Getting Distracted:

   • Distractions can come from anywhere: the audience, your own thoughts, or even your scene partner. The solution is to focus all your energy on the other person in the scene. Watch them, listen to them, and let their behaviour guide your responses.

5. Worrying About Mistakes:

   • Mistakes are inevitable, but the authors encourage actors to see them as opportunities. If something unexpected happens, respond truthfully—it might create an even more interesting moment.

Practical Tips for Staying on Track

• Simplify: If something isn’t working, strip it back. Is your action clear? Are you grounded in the given circumstances? Overcomplicating things often creates unnecessary tension.

• Stay Playful: Acting is a creative process, and playfulness keeps it fresh. Don’t let fear of failure stop you from experimenting and taking risks.

• Adjust, Don’t Panic: If you feel lost, don’t scrap everything—make small adjustments. Refocus on your action or tweak your "as-if" to keep things moving.

Key Takeaway

Troubleshooting is a natural part of the acting process. When things go off-course, it’s not a sign of failure—it’s an opportunity to refocus and deepen your connection to the scene. By keeping your preparation simple and staying present in the moment, you’ll find your way back to truthful, dynamic acting.

In short, this chapter is like having a trusted coach in your corner, helping you navigate the challenges of performance with clarity and confidence. It’s a reminder that no matter what comes up, the tools you’ve developed will guide you through.

Part One: Technique - 7. The Tools of the Craft

This chapter lays out the fundamental skills every actor needs to master in order to build a strong, reliable technique. The authors emphasise that these tools are practical, achievable, and essential to the craft of acting.

A strong, clear voice is vital. It allows you to be heard and understood in any performance. Good, clear speech follows naturally, ensuring your delivery is precise and impactful. Equally important is having a strong, supple body. Your physical presence is a key part of how you tell the story on stage.

The ability to analyse a scene correctly is a cornerstone of good acting. You need to understand what’s happening in the script to make strong, purposeful choices. Semantics, or the ability to use words precisely, helps you choose actions that are specific and playable.

Memorisation by rote is another critical skill. Knowing your lines perfectly frees you to focus on the moment rather than worrying about what comes next. The ability to work off the other person keeps your performance connected and truthful. Acting is not a solo activity—it’s about reacting to and engaging with your scene partner.

The ability to act before you think, or to follow your impulses, is what keeps your performance alive and spontaneous. Concentration is also key. It’s like a muscle that strengthens with use, and when it falters, the authors remind you to refocus on your action to bring it back on track.

Bravery is essential. Acting requires you to take risks and put yourself out there without fear of failure. Willpower helps you push through challenges and maintain discipline. Common sense grounds your work, helping you make clear and practical choices.

These tools, when developed and applied consistently, form the foundation of a strong acting practice. They are the building blocks for truthful, engaging performances and ensure that you are prepared, focused, and ready to meet the demands of any role.

Introduction to Part Two: Pitfalls (Working in the Real World)

The second part of A Practical Handbook for the Actor shifts focus from technique to the challenges actors face in the real world. While Part One provided the tools to build a strong foundation for acting, Part Two tackles the common traps and misconceptions that can derail a performance or an acting career.

This section reminds actors that the principles of acting don’t stop when rehearsals end—they extend into every aspect of your work, including how you approach auditions, handle direction, and navigate the pressures of the industry. The authors encourage actors to stay grounded in the core idea of action and avoid falling into emotional or intellectual traps that can overcomplicate the craft.

The introduction sets the stage for the practical advice that follows, emphasising the importance of maintaining discipline, common sense, and clarity in the face of professional challenges. It’s about learning to work truthfully and effectively, no matter the external circumstances.

Ultimately, Part Two is a guide to staying focused and consistent as an actor in a world full of distractions. It’s about reinforcing the habits and mindset that allow you to thrive, not just on stage, but in the broader landscape of acting as a career.

Part Two: Pitfalls - 9. The Emotional Trap

This chapter takes aim at one of the most common misconceptions in acting: the belief that your job is to "feel" something on stage. The authors call this the emotional trap—the idea that an actor’s performance depends on generating the "right" emotions. It’s a trap because it sets actors up for failure, turning their attention inward and away from the action of the scene.

The truth is, emotions can’t be forced. They’re unpredictable and fleeting, and trying to manufacture them often leads to fake, stilted performances. Instead of chasing emotions, the authors remind us that the actor’s job is to focus on their action—what they are doing to the other person in the scene. When you throw yourself fully into your action, the emotions will arise naturally as a by-product of your pursuit.

The chapter also debunks the idea that certain scenes require specific emotional states. For example, you don’t need to "feel sad" to play a grieving character or "be angry" to portray a fight. These emotional colours will come through organically when you commit to your action. The audience doesn’t need to see you feeling something—they need to believe you are pursuing something with urgency and truth.

One of the key points here is that emotions are out of your control, but your actions are always within your power. By focusing on what you’re doing rather than how you’re feeling, you free yourself from the pressure to perform and allow the scene to unfold truthfully in the moment.

The chapter encourages actors to trust the process. Emotions are the result of being present and committed, not the goal of the work itself. When you prioritise action over emotion, you stay grounded in the reality of the scene and deliver performances that feel alive and authentic.

In short, The Emotional Trap is a call to let go of the myth that great acting is all about emotions. Instead, it’s about the clarity and simplicity of doing, which leads to the kind of truthfulness that resonates deeply with audiences.

Part Two: Pitfalls - 10. The Myth of Character

This chapter tackles another common misunderstanding in acting: the idea that you need to "become" a character. The authors call this the myth of character—the belief that acting is about transforming yourself into someone else, rather than simply pursuing actions within the given circumstances of the play.

The authors argue that "character" is not something you create by adding layers of behaviour, quirks, or emotional states. Instead, a character is revealed through the actions they take and the circumstances they face. Trying to "play a character" often results in overcomplicated and artificial performances because it turns the actor’s focus inward, rather than on their scene partner and the action at hand.

Acting truthfully doesn’t require you to become someone else. The audience isn’t expecting you to disappear—they want to see a living, breathing person navigating the play’s world. By focusing on the action, the given circumstances, and how your character’s objectives affect others, you naturally bring the character to life.

The chapter also points out that most of what the audience perceives as "character" comes from the script itself: the lines, the setting, and the relationships. Your job as the actor is to make clear, playable choices that serve the story and allow these elements to shine through. Trusting the text and the framework provided by the playwright frees you from the need to "perform" character.

The takeaway is simple: character isn’t something you create—it’s something that emerges naturally when you focus on pursuing your action truthfully. The audience sees the character in what you do, not in what you try to "be."

Ultimately, The Myth of Character reminds actors to strip away unnecessary complexity and focus on the essentials. Great acting isn’t about adding layers; it’s about revealing truth through action.

Part Two: Pitfalls - 11. Keeping the Theatre Clean

This chapter is all about maintaining the integrity of the theatre space, both physically and creatively. The authors use the phrase keeping the theatre clean to describe the professional responsibility actors have to themselves, their craft, and their collaborators. It’s a reminder that acting is part of a larger collective effort and that respecting the process benefits everyone involved.

The first aspect of "cleanliness" focuses on professionalism. This means showing up on time, being prepared, and respecting your fellow actors, directors, and crew. These simple but crucial habits create an environment where everyone can work effectively and creatively.

The chapter also warns against behaviours that can disrupt the theatre’s collaborative nature. Gossiping, complaining, or bringing personal issues into the rehearsal room detracts from the focus needed to create great work. The authors remind actors that the rehearsal space is a sacred place for exploration, trust, and growth, and it’s everyone’s responsibility to protect that environment.

On a creative level, keeping the theatre clean also means maintaining the simplicity and truthfulness of your work. Avoid overcomplicating your performance or relying on tricks and gimmicks to get attention. Instead, focus on your action, trust the process, and let the play speak for itself.

The chapter emphasises the importance of discipline. Theatre is a demanding craft, and your dedication to keeping the space—and your work—clean ensures that you can meet those demands while supporting the team around you.

In essence, Keeping the Theatre Clean is a call to professionalism, respect, and simplicity. By bringing focus, discipline, and care to every aspect of your work, you help create a space where great theatre can happen. It’s a reminder that acting isn’t just about what you do on stage—it’s about how you contribute to the entire creative process.

Part Two: Pitfalls - 12. Conclusion

The final chapter of Part Two wraps up with a powerful reminder: acting is a craft rooted in simplicity, truth, and discipline. It reinforces the central idea of the book—that the actor’s primary job is to live truthfully under imaginary circumstances by focusing on clear, playable actions.

The authors reflect on the pitfalls discussed throughout Part Two, reminding actors to avoid emotional traps, unnecessary complexity, and overthinking. Instead, they encourage a return to the fundamentals. Pursue your action with clarity. Engage with your scene partner truthfully. Stay rooted in the given circumstances of the play. When you let go of the urge to control emotions or "create" a character, you open the door to authentic and compelling performances.

The chapter also offers a final encouragement: trust the process. The tools and techniques outlined in the book are designed to help actors prepare thoroughly and perform with confidence. Acting isn’t about trying to be extraordinary—it’s about committing to the work, staying disciplined, and allowing the truth of the scene to emerge naturally.

Above all, the conclusion emphasises the collaborative nature of theatre. Acting is not about shining as an individual but contributing to the greater story being told. By focusing on the craft and avoiding unnecessary distractions, actors can find freedom, consistency, and joy in their work.

In essence, this chapter ties together all the lessons from the book, leaving actors with a clear and practical approach to navigating both the stage and the challenges of the real world. It’s a fitting conclusion to a guide dedicated to making acting accessible, repeatable, and deeply connected to the truth of human experience.