Introduction

Over the last three years of my training at Leeds Conservatoire I have developed and challenged my skills as an actor with a growth mindset that has allowed me to create a tool kit of mixed practitioners and concepts that I can use to approach playing a character. This module has been eye opening for me as an actor and a person as I have learnt to be more critical of my process and the new techniques I have adopted this year, Including Screen Acting, Uta Hagen and my Shakespeare development. In this portfolio I aim to give you an insight into my actor psyche through a critical reflection of my journey.  

The Mechanics of Shakespeare 

A soliloquy is ‘A speech by a character that is shared only with the audience, and no other character on stage. The character may be talking to themselves or talking directly to the audience.’ (Bell Shakespeare’ n.d.) I learnt that during Soliloquies Shakespeare uses dialectics specifically in Hamlet’s speech to convey Hamlet’s feelings of being complicit in a corrupt government and his desire to stand against it, yet his feelings of fear overwhelm him. Hamlet’s feelings are slowly unravelled as it reaches the turning point of the story.  

Thought Exercise  

This exercise came with some ease as I had done the groundwork of the dialectic of the speech, and I knew the individual thought changes giving the speech a clear trajectory. However I questioned the exercise’s purpose as the end result for me felt like the speech had become too mechanical and though the thoughts were clear, I felt the natural messiness and naturalism of Hamlet saying these massive thoughts out loud and the implications of it was lost and I struggled to find it again due to the rigidity of the exercise. However, I found stopping and starting on thoughts helpful in physically embodying and connecting to Hamlet’s realisation of his feelings and confliction.  

Development In practice- Ophelia’s Soliloquy  

For example, in Ophelia’s soliloquy. I annotated each line with my meaning of it and whether it fitted into the meter. Here is my annotation.  

  

I found from this technique; I learnt far more about Ophelia’s emotional state. For example, when the line fits into the meter, she is reflecting on who Hamlet used to be and how he made her feel, as if the past comforts her from the harrowing truth of how he has treated her now. The lines that fall out of meter are where Ophelia is talking about how depressed she feels and how she is trying to digest Hamlet’s change. As an actor this work enabled me to connect to each thought and engage with the meter as if it’s subtext, allowing me to bring more depth to her than just the text. Below in the video of my performance, my aim was to convey Ophelia’s dialectic underneath the text, on whether she is going to succumb to the situation or live through the struggle, despite that on the face of it the dialectic is about her processing Hamlet’s rejection. This has strong parallels to Hamlet’s famous speech which I was able to refer to help me breakdown the thoughts.  

Next, I integrated the technique of strong imagery ‘using figurative language to describe or represent feelings, thoughts, experiences or things, commonly visual images.’ (Bell Shakespeare, n.d.) 

  These lines convey the juxtaposition of Ophelia’s disillusionment of Hamlet and the rose-tinted past. However, I struggled to be specific in my process of creating imagery, I tried to create literal images in my head, so that I would still prioritise thinking on the line. But from feedback in performance, it felt like the images weren’t specific enough to affect the audience. This was a key learning point in my process as I had made the error of not linking imagery and metaphor/symbolism into my process.  

Symbolism

‘A device in which symbols are used to represent ideas or qualities, beyond an object’s literal meaning. Symbolism requires the audience to make the connection between the literal object and the meaning it conveys. Shakespeare used symbolism frequently to convey deeper meaning and ideas, making it a more sophisticated technique than merely describing something.’ (Bell Shakespeare, n.a.)  

On reflection, I needed to look deeper into Ophelia’s emotional state to understand why she would say these metaphors and figure out what they mean to her.

for Example  

Implementation into Performance

Reflection

These advanced classes have given me greater confidence to trust myself that I can create believable, three-dimensional ‘Shakespeare’ characters. In fact, now I would say it is an easier process as so much information is in the text, unlike some contemporary plays. However, I still find it challenging to execute the performance. I struggled linking the work to my physicality and body language. My physicality wasn’t tied to any historical context such as the patriarchy, manipulation and corruption she is victim of as a woman of the 14^th Century. This caused the physical stakes of Ophelia’s soliloquy to be lost, and I question whether it would be beneficial for me to do Hagen exercises as Ophelia to build her physically as preparation just as much as I did work on the text.  

Below is an example of the physical work I will implement into the physical performance.  

Dermot’s Influence  

 Working on Shakespeare in Dermot’s classes has broken down a mental block I had about how Shakespeare should sound and look. I knew it didn’t need to be in a heightened accent or that my acting choices needed to be big. I just didn’t have a process for how to make it feel accessible and truthful to me. However, this changed when I learnt to find a way to my own accent and in understanding how Shakespeare’s stories are timeless.  

From 1:18

Uta Hagen – Back to Basics.

Exploring Uta Hagens techniques has been one of the biggest challenges this semester as it has forced me to question and re-evaluate the consistency, safety and quality of my work.  

Uta Hagen was a highly influential German/American Actor and theatre practitioner. She believedin actors committing to the reality of doing and physically crafting the lived experience of a character through observation and routine.  

‘Hagen asserted that developing authentic behaviour and performing a role fluently requires rehearsal. She believed that a two-minute exercise based on an actor’s life required at least an hour of rehearsal. Hagen created a series of exercises to help actors observe human behaviour and recreate it on stage to assist with preparation.’ (Ates, 2023)  

Reflection.  

Endowments in focus  

-not being able to light a cigarette  

– raining/being cold waiting outside  

Creating a process for performing an endowment which ‘asks actors to believably treat objects on stage as though they have the qualities the actor needs in a scene.’ (Ates, 2023) was a challenge. My aim was to get to a stage where the endowment was consistently repeatable and believable for an audience. To achieve this, I started by carefully constructing each endowment in a step-by-step formular so I can break down the physical language. I build each sequence through observation of behaviours. I found from watching people light cigarettes outside, observing when people try to hide frustration and how I behave in the cold and rain.  

This influenced these behaviours: 

 Application of technique to character using Hagen exercises 

‘Exercise as Adele Rice’

Reflection of integrating Hagen into character.

Monologue from ‘Boys’ Ella Hickson (2012).  

I applied Hagen’s exercises to my monologue, incorporating techniques such as using fourth side and using props. This helped me improve my ability to create behaviours that hide how the character is truly feeling. For example, folding clothes and writing was a door into my character being able to express their frustration without having to voice it. Using fourth side ‘is to help actors observe how they interact with all dimensions of an enclosed physical space’ (Ates, 2023). In this monologue it was effective in giving me more stimulus to respond to such as pictures in my room that can be used to harness the characters emotions.  

Adapting my process and technique for screen 

Mike Leigh technique  

Mike Leigh is an English playwright and movie director, starting in the 1960s as a writer, he eventually progressed into creating films for the BBC. Leigh’s work is polemic, tackling controversial topics of the 70s and 80s such as class and racism (Actor Hub, n.d.) 

Leigh is known for his distinct style of process when creating and directing. Unlike many writers, Leigh relies heavily on his actors using them from the start of the process to create and build the story using improvisation. His work was unique because his stories are non-linear, focusing less on a clear message and more on the effect he has on an audience and the feelings it evokes.  

Leigh works with his actors for months on their characters and building the world around them until he integrates it with specific circumstances that outline moments or scenes in the film. The improvisation continuous throughout shooting with Leigh pushing his actors to stay in character and respond to whatever is thrown at them, due to the fact the actors have lived and breathed the characters in great detail. The improvisation is repeated till Leigh finds the perfect takes.  

My experience using the Mike Leigh Technique 

Leigh’s technique is about gaining a complete understanding and world for the character. For example, ‘The actor, with the help of Leigh, builds an elaborate alter ego, mapping out the character’s life in fine detail. Their background, parents, upbringing, education, social standing.’ (Actors Hub, n.d.)  

‘St Maude’ Improvisation.  

The process started by using improvisation to create a whole world for the character Maude by Keeley directing questions at me (the character).  

The exercise pushed my ability to not overthink what was being asked of me and pushed my creative imagination. For example, being able to create elaborate details of my character within an hour that felt tangible and memorable aided me in gaining confidence as an actor to draw upon my own skills with text as opposed to dedicating loads of time on isolated script work. Due to the creative freedom and trusting my instincts as an actor, I felt I could then be that character in any given circumstances because I have understood the nature and context of the character and naturally interwoven it with me as I created it.  

Gradually answering questions as Maude became natural. This technique helped me let go of my inhibitions from fear of making the wrong choice for a character.  

Creating memories and the nervous system of the character 

Creating a real memory for a character is a technique that has allowed me to connect more to my body and get out of my head.  

Process

The character is triggered by something the other character says in the script. It can be a feeling, memory, and trauma response.  

Chosen line to trigger memory  

(Glass, 2019)  

I created a memory through improvisation based on using the back story I created that my character Maude suffered from religious trauma in her childhood. This memory can be used in a scene or as preparation for a scene to access the character’s state of mind.  

Below are the details of the memory.  

Connecting memory to body 

To embody Maude’s lived experience into my physicality I used the Laban effort of ‘wringing’ in my physical preparation. Linking the effort to the places in my body where Maude feels guilt. Doing this greatly helped me improve the safety of my craft as an actor as I was moving the intensity of her sadness and trauma into my body instead of keeping it in my head which then protected me in separating these difficult feelings from myself but also it gave my character a real ‘immune system’.  

Using this technique gave me this state of aliveness in my body which has real context attached to it allowing me to access specific tangible feelings for the character enabling myself as an actor to simulate the characters lived experience more effectively.  

Evaluation  

The technique was effective in my character-building process of Maude however I question its effectiveness as a preparation tool as I found it difficult to then draw my usual high level of focus on my scene partner as I felt I was over-intellectualising how I wanted the scene to play out. Upon reflection I now know that the preparation for the character should be left outside the actual performance and that my focus is to listen and respond to my scene partner and if the techniques I’ve developed appear in the moment of the scene, then that is an ideal result.  

Critical reflection of Acting for Screen. 

Moving from stage to screen was a challenging yet hugely rewarding process. I found the process of acting for screen taught me that the transition to stage to screen isn’t about making the choices or performance smaller but to engage specifically with the inner world of the character and their state of aliveness. I was able to do this by connecting to all the characters senses. In my performance of Maude, I believe I was successful in bringing the intense stakes of the scene whilst keeping my voice at a naturalistic level, and also successful in connecting the effect of the ‘memory’ through the idiosyncratic facial expressions I created for Maude such as intense eye contact, furrowed eyebrows and tensing my neck where she holds the guilt of her past. Despite this scene being my first on screen, I learnt very quickly when watching my work back that my eye line cannot move freely the way it does on stage as multiple times it looks like I am looking down the Lens. To counter this, I have worked on finding thoughts below or slightly off camera using post it notes or challenging myself to keep eye contact on my scene partner, so I get used to the level of concentration and specificity needed for eye contact on camera.  

The challenges that displayed themselves were when I was shooting my monologue, I realised how much being by myself Infront of a camera and lights would throw me as an actor. I felt I couldn’t connect myself to the text and wasn’t physically prepared enough to find the state of aliveness I needed. To overcome this, I created a preparation plan for all the screen work I do to help me block out the external world. Also to combat my nerves I used a physical scene partner to ground my eye contact and allow me to feel comfortable in sitting in a long pause. A success from the monologue was sitting in pauses and how much I can say with intricate facial expressions.  

This work has completely changed my perspective of creating a character, I now focus on the past and history of the character in my process, as I have learnt it is important to understand and connect with the journey of a character to bring the character’s future to life. However, I question the use of creating a past for a character. I’m aware of it’s benefits in rehearsal however, I don’t think it should play an active part in performance as I don’t want to get into a habit of thinking my character only has a finite amount possibilities and I am aware that I am not as interesting as my character at any point in behaviour or decision making.  

Combining Uta Hagen and Meisner for future process 

Despite now fully integrating Hagen into my rehearsal process of a character, I realise I like it because it makes me feel safe as an actor which is a good thing, I want my performance to be consistent and to hit the marks the Director has given me. However, I feel I am improving the most from feedback/experience and I have given my most progressive performance when I feel vulnerable which is where I can bring Meisner back into my process. ‘Meisner explained emotional preparation as doing whatever is necessary to enter a scene “emotionally alive.” He instructed actors to use whatever affected them personally to put themselves in their character’s emotional state.’ (Ates, Alex 2025). Using this preparation as the last stage of my process means I can let go of the mechanical infrastructure of my performance such as the world building, authentic endowments etc. And simply be ready in the nervous system of my character who is ready to listen and respond. This way I can still access a feeling of vulnerability that keeps my performance alive each time.  

I used this concept when re-recording my monologue and I believe it enabled me to create a well-connected screen performance as I was able to physically prepare myself to the internal energy I needed. However, I must ensure that this preparation is sustainable when playing complex characters. In the past I have fallen into the trap of using my own memory to prepare which has had negative effects on my performance. Moving forward I will emotionally prepare using imagined circumstances and draw upon very detailed false memories of the character, attach it to high stakes and an objective of what the character wants so I remove the focus away completely from myself. This links to Hagens technique ‘Substitution’ where an actor uses the characters circumstances to prepare not their own. “For Hagen, substitution is more about the actor convincingly putting themselves in the circumstances of the performance, rather than importing their own life’s defining moments into their work.” (Ates, 2025). Transforming the preparation into something so detailed I can conjure the emotions authentically. 

I quote from ‘Sanford Meisner on Acting’ which helped me combine Hagen and Meisner.   

Page 84 (Meisner, 1987) 

Conclusion 

Ultimately my journey through training as an actor has consistently led me back to one question when approaching a character which is as an actor am I telling the truth or am I lying? I feel that I am most challenged as an actor when I use the truth to approach everything I do, and this reflects in the techniques and theories that I have implemented and will continue to do so in the future to challenge myself.  

My personal successes such as endowments, changing performance for any medium and creating my own process. I believe have come from being able to use and combine multiple different practitioner’s and methods into my own process, so I am able to be independent and confident in the industry. However, I wish I had trusted my instincts more when performing Shakespeare. I now have been able to apply all the analytical techniques I learnt to crafting my third-year show character and integrating the text work into my acting through song which has helped me deliver a more connected performance with clear intentions through song because of these techniques such as the moving on the thought exercise.  

 As my training comes to an end, I am most proud to say I am now comfortable in always pushing myself to feel out of my depth to ensure I am always on a journey to making new discoveries. To ensure this, as an artist I keep updated on actors and works that inspire me to keep improving my craft. The most recent quote I read that summed up my desire to create a process that puts truth at the centre of it came from actor Jeremy Strong.  

Bibliography  

Ates, A. (2023a) The Definitive Guide to uta hagen’s acting technique. Available at: https://www.backstage.com/magazine/article/the-definitive-guide-to-uta-hagens-acting-technique-68922/ (Accessed: 01 January 2026). 

Ates, A. (2024) The meisner acting technique: A complete guide | backstage. Available at: https://www.backstage.com/magazine/article/the-definitive-guide-to-the-meisner-technique-67712/ (Accessed: 31 December 2025). 

Ahmed, R. (2025) Riz Ahmed and Aneil Karia on their modern adaptation of Hamlet, Metro. Available at: https://metro.co.uk/video/riz-ahmed-aneil-karia-modern-adaptation-hamlet-3531665/ (Accessed: 31 December 2025). 

Costa, Daniel. “iambic pentameter”. Encyclopedia Britannica, 8 Jan. 2025, https://www.britannica.com/art/iambic-pentameter. (Accessed 18 December 2025.)

Ewan, V. and Sagovsky, K. (2018) About Laban’s efforts, LABAN’S EFFORTS IN ACTION. Available at: https://labaneffortsinaction.com/labans-efforts (Accessed: 31 December 2025). 

Hillman, M. (2015) The politics of accents, Bitter Gertrude. Available at: https://bittergertrude.com/2013/12/23/the-politics-of-accents/ (Accessed: 29 December 2025). 

Language techniques in Shakespeare’s plays – education resource (no date) Bell Shakespeare. Available at: https://www.bellshakespeare.com.au/language-techniques-in-shakespeares-plays (Accessed: 31 December 2025). 

Leigh , M. (2014) Films – interview – Mike Leigh, BBC. Available at: https://www.bbc.co.uk/films/2002/10/03/mike_leigh_all_or_nothing_interview.shtml (Accessed: 31 December 2025). 

Meisner, S. and Longwell, D. (1987) ‘Preparation: “In the Harem of My Head”’, in Sanford Meisner On Acting. Random House, pp. 84–84. 

Mike Leigh’s process and Techniques (no date) Mike Leigh’s process and techniques | Actor Hub UK | Actor Guide | Actor Tips | Acting Career Help | Advice for Actors. Available at: https://www.actorhub.co.uk/383/mike-leighs-process-and-techniques (Accessed: 31 December 2025). 

Strong , J. (2025) Interview with Jeremy Strong, member of the feature films jury – festival de cannes. Available at: https://www.festival-cannes.com/en/2025/interview-with-jeremy-strong-member-of-the-feature-films-jury/ (Accessed: 31 December 2025).