Introduction
In this portfolio I will be documenting and reflecting on my development of my skills in my screen acting and my specialist skills classes, using images and videos to support my reflection. Throughout my specialist module I have developed additional skills in acting that will support my professional career, and I feel as though I have become more of a versatile and knowledgeable actor after reflection on this module.
Screen Acting
Studying screen acting this semester has opened up new opportunities for me, especially as screen acting is something I would be interested in pursuing when I graduate, so I’m grateful for the opportunity to develop my skill. Our first class began with a read through of a short film script called ‘Sweet Maddie Stone’ which I enjoyed because it was very different to any play or musical scripts I’d read before, as it felt extremely similar to a real life scenario, more so than a musical script. My classmate Annalise and I decided to work on a scene from this script that we were going to try and shoot in the next class. We looked at the difference between stage and screen acting, and I discovered that screen acting can be much more naturalistic. I discovered this through a task Keeley set us that she thought would help me and Annalise develop the acting within our scene. We were tasked to walk around outside of the classroom saying the lines to each other, but the trick was to say the lines like we were having a conversation, at a volume that would not draw attention from other people as it would be so naturalistic. Once we got to film the scene, everything felt so calm and naturalistic, which was perfect for the screen. We developed that connection between the two characters which made everything feel extremely real and truthful, and it gave a sense of internal depth. This really read on camera, as we watched it back and were both happy with our work, especially both being new to screen acting.
Script for ‘Sweet Maddie Stone’
We had a few more weeks of shooting scenes, with whoever in the class that wasn’t shooting a scene was given a “role” that are real life roles on film and tv sets. These included director and assistant director, continuity, camera operator, DoP, art department and runner. I was able to take the role of continuity during one shoot, which I found sparked interest as I could focus on the small details of a scene, making sure nothing changed with each shot, putting my trait of being a perfectionist to good use. I think it was useful to have an understanding in the other roles within film and tv sets that aren’t just being an actor, because not only does it open potential avenues, but it also opened my eyes to how hard everyone works on a film and tv set.
We then had a few weeks of mock auditions, which were useful and I quickly discovered the difference between an audition for stage and an audition for screen. We were given a script to briefly look over and prepared for an audition style environment for a screen audition. The roles of casting director, director and camera operator were given out to my other classmates, which again was useful to experience what it’s like on the other side of the panel. One by one we walked into the room with everyone else observing, we sat in front of the panel and read our scripts. I learned how to make quick choices with a script I’d just been given and adapt to direction on the spot. This experience was helpful in preparing for real auditions, as you never know exactly what the panel will ask.
The highlight of the semester was working on self tapes. This was my favourite part of the semester as I had the opportunity to choose a scene to shoot as a monologue. This gave me the freedom to choose something that played to my strengths. I picked a monologue from the TV show Skins, a gritty, British teen drama that suits my casting type.
We started with picking and learning our monologues, then worked from a cold read to being ready to shoot through guidance and advice from our tutor Keeley. She helped me dig deep into my character and her relationships to other people in the show and how that could affect her behaviour in the scene. For example, my character Naomi gets quite upset in the scene, why is that? What from her past has caused emotions to resurface? I discovered lots about my character’s backstory and what caused her to say the things she was saying, and it was a really positive shooting experience where I learnt a lot.
Script for ‘Skins’ – Naomi’s Monologue
However, I initially struggled with lines during filming due to mostly nerves and being slightly underprepared, but this experience has taught me the importance of thorough preparation to be as confident as possible so the acting isn’t hindered in any way. Despite this, I was happy with the self-tape I ended up with, and it will be a great addition to my spotlight to showcase my acting skills. I have attatched a link below of my self-tape video to support my reflection. There is 2 takes included to show a difference in shots. Overall, the semester has been a valuable learning experience. I’ve gained a deeper understanding of screen acting, improved my technical skills and built confidence in my ability to perform in front of a camera.
Screen Acting – Self Tape Video
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=56a4809a-83da-42f4-bfd2-b3a201004696Advanced Acting
In our advanced acting module, we’ve had 3 different classes throughout the semester. Uta Hagen classes with Alex Palmer, Monologue Bootcamp with Tyrell Jones and Shakespeare with Dermot Daly. I’m going to be talking in detail about Uta Hagen classes and our Shakespeare classes, as I have a lot to talk about and reflect on.
Uta Hagen
In our Uta Hagen class with Alex Palmer, we focused on strengthening our acting techniques through a variety of exercises, each aimed at improving the authenticity and believability of our performances. The process was about trusting the work and ourselves, and as the weeks progressed, everything started to click. Ultimately, the class helped me become a ‘better actor’ by deepening my ability to make my performances feel real and emotionally engaging for the audience.
We started by learning about the ‘fourth side’, which is a way of letting the audience in by looking at different points in front of you that represent objects in a space, so the audience can see into your world rather than generally observing. “What can you do for yourself with that big, gaping hole out there which is supposed to be the fourth wall of your set? You can complete it in your imagination as a part of your room or landscape.” (Hagen et al., 2009)
This was a useful technique to learn and I will be implementing this into future performances, as it’s an easy way to give the audience a better watching experience. Our first exercise was using the fourth side whilst doing a 2 minute phone call that you’d previously planned and practiced. You had to know where you were whilst this phone call was taking place, and attach a physical thing to each point on the wall, representing the fourth side. At first it seemed questionable, how would acting out a phone call teach us acting technique? However, by observing my peers during presentations, I learnt that doing something so simple such as a phone call whilst using the fourth side, really lets you into someone’s personal world. You could see all the expressions on the actors face, everything they were feeling and it became so watchable and real. We did this exercise again but added extreme emotions, which made it more complex and it was a great way to explore emotions you may need to portray on stage.
We then explored a task called ‘moment to moment’, where we explored being alive in the moment and how you could convince the audience that you’re doing this for the first time. To achieve this, we had to suspend our own beliefs on what is to come. The task consisted of losing an object and finding it. We added circumstances to the task that required us to look quickly, which automatically added stakes. For example, we were late for a meeting and couldn’t find our keys. The feedback a lot of us were given after completing our presentations was, would you really do that in real life if you’d lost something? It provoked lots of thoughts for me as I had to think of it as though I had actually lost something and needed to find it, which forced me to put myself in a real life scenario, which in turn would make it look more spontaneous and real to the audience. “Formalized, external acting (Representational) has a strong tendency to follow fashion. Internal acting (Presentational) rejects fashion and consequently can become as timeless as human experience itself.” (Hagen et al., 2009).
We did this task again but added endowments, for example being drunk or injured, which added new complexities and stakes. What made it a good performance in my opinion was having experience with your endowments, whether that meant observing people’s actions with the endowment, or experiencing it yourself and being able to observe that. It had to be completely in your body for it to look believable to an audience. I achieved this by thinking, for example, what would a drunk person do? What specific symptoms would a drunk person have, how does it feel to be drunk or how does it look to be drunk and how can I implement this into my acting mechanically. I found that the key was to be detailed and specific with my physical choices.
The next task was called ‘bringing the outside in’, where we had to choose a location and respond to it physically. We bought props and added circumstances to add stakes. For example, if your location was a hot beach you’d have to find a way to make the audience believe you’re at that location, thinking about how your body would respond in that setting. It helped to know the place well, as we had experienced it before and our bodies already knew how to respond to that situation. I figured out that to achieve a believable performance, firstly it’s mechanical, it needs to manifest in your body. For example, If you’re in a cold location, how would your body respond physically? Shivering, rubbing your skin, holding your body close, etc. it’s not about trying to act cold, it’s about doing cold. It should look real, not like you’re trying to act. “No matter how suggestive or brilliant the set designer may be, the actor, too, must bring the outdoors on stage with him. To achieve it, we must deal with the sensory and physical relationship to space, to nature, as well as their psychological aspects” (Hagen et al., 2009).
Our next exercise was occupation while waiting. This task was about dealing with the bare stage, you’re on your feet but not occupied with a task. We had to know our purpose for waiting, for example waiting for a bus or a friend. The point of this task was to find what you’d actually do in real life to create something real. We simply had to find a way to feel comfortable whilst waiting. I had a great time with this task, as I picked a situation that I had experienced and knew well. I also discovered that you can always occupy yourself with something, whatever that might be. I was waiting for a train in the rain far from home late at night. This not only adds stakes, but gave me something to respond to, which was the cold and the terrible weather. I didn’t feel comfortable in the situation, but I felt comfortable creating a scene out of it, as I could quite literally replicate my experience and tap into how my body would respond in such a situation, which made my performance feel authentic.
Overall, these exercises have given me tools to make my acting more grounded, real, and emotionally connected to the audience. They’ve helped me refine my physicality, develop my emotional range, and improve my ability to truly live in the moment on stage. I now feel more prepared for the demands of the industry, knowing that these techniques will help me create performances that are both believable and compelling.
Shakespeare
The next class I’m going to talk about is our Shakespeare class with Dermot Daly. This was a class where we deep dived into Shakespeare and covered multiple topics, such as imagery, his influence and adaptations, his canon, and iambic pentameter. I think what I’ve gained over the semester in this class is definitely an understanding of Shakespeare in detail. When studying Shakespeare before, I felt like everything I’ve learnt has been extremely surface level. Now I feel like I have a more rounded understanding of Shakespeare. Additionally, before this semester I had a dislike for Shakespeare and I found it difficult and boring, and I usually kept away from it. However, I feel like being open minded in these classes has really made me like Shakespeare, and I’ve found these classes very interesting and I’ve learned a lot.
The first topic I want to talk about is Imagery. I’m a very visual person, so the task we did with Dermot on imagery was so insightful. Firstly we asked the question; How does Imagery influence the understanding of Shakespeare? We took a Shakespeare text that we had and read through it, looking out for words or phrases that stood out, or painted a picture in our minds. We then took these words or phrases and drew our own interpretations of the text on blank paper. Looking at pictures on a page helped me visualise that section of the text, therefore understanding the overall text better. It opened up my imagination and forced me to see a piece of Shakespeare text in a creative light, rather than from a literature standpoint, which I would often find uninteresting.
Monologue and Imagery Examples
We also explored Shakespeare’s influence and discussed whether his plays have become elitist in the modern world. The complex language and cultural context often make them seem inaccessible without education, leading to the idea that Shakespeare is primarily for the upper class. This links to how Shakespeare is often performed in RP (Received Pronunciation), an accent stereotypically associated with the upper class. However, Shakespeare’s plays were originally performed in OP (Original Pronunciation), which is closer to a West Country accent, associated with the working class. “OP practitioners try to pronounce the words in shakespere’s plays the way they would’ve been spoken in the Elizabethan period.” (Witmore, 2014). This shift to RP raises the question: why do we associate Shakespeare with the upper class if it wasn’t originally performed this way? Shakespeare’s plays center around universal themes, like love, which isn’t confined to any one class. If we strip away the complex language and the mindset that Shakespeare is for the elite, the plays become more accessible and relatable to everyone. I believe there is a Shakespeare play for everyone, as long as we focus on the meaning and emotion behind the words rather than the societal context they’ve been placed in today.
This links to Shakespeare’s adaptations. We looked a lot at different adaptations and retellings, and the difference between them. I learnt that an adaptation can actually be the same basic story adapted in a completely different form. For example, the Disney film the Lion King being the same as Hamlet. It is the same story arc told in a completely new cinematic form. “It quickly became clear the characters, themes, and relationships were developing unmistakable echoes of Shakespeare’s great tragedy, which the film’s creators decided to lean into.” (Tichenor, 2019).
We then were given a task where we adapted our own monologues. This was fun and exciting because as long as we knew the basic premise of the original play, we could adapt it in any way we wanted, not only making it fun for ourselves but also further developing our understanding of the plays our monologues were from. It also modernised it, as my adaptation was very modern, and I think looking at Shakespeare in a modern light takes the pressure off the language and it being potentially difficult to understand.
In the next class we explored Shakespeare’s canon, which includes 39 plays and 154 sonnets. The term “canon” refers to a collection of works deemed the standard by which all others are measured. We examined the four writing periods in Shakespeare’s career, with each play fitting into a specific period based on when it was written. I discovered that I’m most familiar with plays from period 3, which is known for its darker themes. I also realized I should explore more works from period 2, which is considered his best writing period. Expanding my reading of Shakespeare’s plays will deepen my understanding of his work, ultimately helping me grow as an actor.
Notes on Shakespeare’s Canon
We took a close look at which plays were in what period, and if there was any sort of pattern with plays we knew and plays we didn’t know. I found that I knew most plays from period 3 which was one of his slightly darker periods, and realised I should read more from period 2 as it was said to be his best writing period. “The second period, from 1595 to 1601, shows progress in dramatic art. There is less exaggeration, more real power, and a deeper insight into human nature.” (Halleck, 1913). Reading more plays is definitely on my To-do list as it will further expand my knowledge of Shakespeare, therefore expanding my knowledge as an actor.
Finally I’m going to be discussing Shakespeare’s use of different metres, iambic pentameter being most commonly used, but we also briefly looked at other metres that can be used, for example trochaic tetrameter, which is a total of 8 syllables per line instead of the regular 10 seen in iambic pentameter. We looked specifically at Macbeth and scenes between Lady Macbeth and Duncan. We discussed the use of meter and how it can be used to represent positions of power in scenes or duologues. Just by looking at the meter you can notice potential relationships, specifically status between characters. For example, through Macbeth you can see Lady Macbeth and Duncan fighting for the line depending on how many syllables they have in a line when talking to each other. Lady Macbeth always seemed to the line in the scene we looked at which showed she was in a position of power. I found this really interesting to discover as it’s useful to use in research of a piece, and informs your performance.
Conclusion
In conclusion, this portfolio reflects my development throughout the Specialist Skills Module across the three classes I have discussed. I have developed skills that have improved my confidence, versatility, and understanding as an actor. Screen acting as a whole has taught me the importance of preparation and adaptability, particularly through self-tapes and auditions, which will help me succeed in the industry. Our Uta Hagen classes helped me create more truthful and physically grounded performances. Studying Shakespeare has also changed my perspective, allowing me to approach the text with curiosity. This module has given me valuable tools that I will continue to use in my future training and career.
Bibliography
Hagen, U., Frankel, H. and Pierce, D.H. (2009) Respect for acting by Uta Hagen, Haskel Frankel ; foreword by David Hyde Pierce. Hoboken: John Wiley & Sons, Inc.
Halleck, Reuben Post. Halleck’s New English Literature. New York: American Book Company, 1913. Shakespeare Online. 20 Feb. 2011. (Accessed 06 January 2026). Available at: http://www.shakespeare-online.com/biography/fourperiods.html
Tichenor, A. (2019) The Lion King & Shakespeare, Folger Shakespeare Library Can you feel the Shakespeare love tonight Comments. (Accessed: 06 January 2026) Available at: https://www.folger.edu/blogs/shakespeare-and-beyond/lion-king-shakespeare-hamlet-hal-falstaff-henry-iv/
Witmore, M. (2014) Pronouncing English as Shakespeare did, Folger Shakespeare Library. (Accessed 22 December 2025) Available at: https://www.folger.edu/podcasts/shakespeare-unlimited/original-pronunciation/#:~:text=It’s%20about%20a%20trend%20that’s,spoken%20in%20the%20Elizabethan%20period.
