Why your Acting sucks- Go beyond your comfort zone


Here is Kaoru, and I am an acting coach.

I am happy to say that many of the people who come to my lessons seriously want to deepen their singing and acting skills, and even those who have field work to do will take time out of their schedule to attend classes or continue with private lessons.

Now, in the midst of all this, ….

One of the first obstacles that you encounter when you decide that you want to be a professional and perform at a high level is that you have to “re-learn”,

One of the obstacles you run into at the beginning when you decide you want to do it professionally and at a high level is that you have to make time to give up (halfway) what you are used to.

This is called “giving up”.

We all have the understanding that we don’t intentionally want to use bad posture or stiff necks and shoulders, nor do we dare to tense or relax our bodies for the circumstances of the role, which happens depending on the acting situation.


If, hypothetically?

If you have spent a lot of time (secretly or actually for a long time) using your arms and shoulders in a position where you are originally holding your arms and legs in, don’t you think your senses would have become accustomed to that?

If you’re used to it, it means you can’t feel it.

Yes, because you don’t feel it… Tough!

We don’t even notice the smell of our own home (haven’t you ever come home after a long time and had a gasp?).

For some reason, we no longer feel the ‘stance’ or ‘stretching habit’ that was necessary at the time, the pattern of sticking out our legs or lifting our shoulders to try to get by…?

Only when you are photographed, do you notice the distortion of your facial expression and the difference in the height of your shoulders.

In other words, you didn’t feel it clearly, right?

When you look back at the video later and think, “Huh? Why might my face be much further forward?” This is something I’ve been warned about before…? Well, that wasn’t the effect I was aiming for…

If I had felt it, I would have been able to adjust on the spot and would have changed my position or my grogginess if necessary…

But the memory of the sensation there is scanty! I’m missing it.

I was surprised when I saw the soles of my shoes worn down and asked myself, “Are you really that out of shape?” I am surprised,

I can’t remember how I used to walk or what it felt like then, so it’s trial and error to find out how to change it…

It didn’t really hit me when I looked at the video, but I actually counted the number of times I bobbed my head and nodded my head and compared it to the number of times other people did,

Finally, I realised that I had bobbed my head 20 times more than anyone else and nodded 20 times more!

But when I decided to do it three times each, I would (unconsciously) do it again.

That’s right.

It’s not a question of ‘motivation’ or ‘trying harder’, but because we get used to it, because we cleverly mix up our patterns, even though we’re in a hurry, whether we’re climbing stairs, carrying luggage or absorbed in a script, and because we don’t feel it, it’s difficult to change.

(While speaking) I lift my shoulders too well!

(There’s so much to pay attention to.) You’re too good at keeping your arms ready!

(Every time, in public) I’m too good at keeping my legs tucked in!

How amazing!  hahaha! : ‼️

From a different perspective, this is actually what I mean.

While you’re NOT doing what you want to be good at, you’re doing what you don’t want to be good at.

Do you understand? This contradiction!

It would be easier and more comfortable if you weren’t doing it,

The more eager you are to listen to the other person, the more you tense your neck, clench your jaw, stick out your legs and add more and more.

Moreover, unconsciously, they mix it up at every turn.

Even if the lines are complex or the drama is at its peak, I try my best to act and sing, mixing my posture and muscle tension patterns every now and then…


Because it’s been like that for a long time.

I do it daily; it’s a normal part of my life, and I feel more ‘calm’ and ‘comfortable’ when I give that feeling a sense of the role.

Oh my…

This is already…

The other day, I talked to a student and laughed: ‘It’s a slightly dirty, furry, slobbery baby blanket from puppyhood.

As for us, we want him to sleep comfortably and spontaneously in his new dog bed, and we want to wash or throw away the old blanket indeed,

But when we take the old blanket away, she gets angry and says, “Oooh!

If you remove the old blanket, she will get scared, anxious and frustrated and go on the ‘defensive’ with an angry ‘oooooh’.

If you return the ‘favourite and familiar blanket’, he will happily take it back as if it were special and wonderful…

This situation is where the new size fits better than the old one.

I tried to change it, thinking that the new size would fit better, it would be cleaner and safer to wash, and the new material would be more comfortable,

Familiarity = justice! (The Puppy World Code).

But it’s become a ‘familiarity = righteousness’ (the puppy world code), and there is no room for change.

This is an example of a thing, but humans are no exception.

The more eager we are to listen to the other person, the more we tense our necks, clench our jaws, stick out our legs and add more and more, even though we really want to have room to do so.

Moreover, unconsciously, at every turn, I mix in unwanted habits.

Your arm stance and hardened eyes become increasingly skilful, even though it’s not a habit you like.

A sense of presence? That’s all I can say, but am I actually comfortable with it, or is it a body that can afford to look closely, listen closely, feel closely, and think enough?

This is an important point.

Yes, it is.

Wouldn’t a ‘body that can afford to look, listen, feel, and imagine well enough’ be more useful in singing or acting?

If you can reallocate your efforts to get absorbed and to use your senses fully, you’ll probably burn out less or realise you’re being a jerk after you’re sore.

And back to the first point,

As long as you’re using the ‘familiar sensations’, stepping out of that familiar zone and diving deep into some skill development or totally new experience is hard.

Because you’re used to it.

That’s what it’s all about.

That’s why you need to think logically and scientifically.

Dare to be aware of it; that’s what I say.
I look forward to seeing your changes.

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Julia was in the groove then, and her passionate performance was intense.

It was mentioned as a social film, but in fact, when I did the script reading,

Is it?

It’s a good film with interesting thematic digs.


Introductory Alexander Technique Class for actors and singers
3/20 Wed/Bank holiday 13:00-15:30 in Setagaya
Booking in advance is required.
Fee: 10000¥
No previous experience in the Alexander Technique is necessary.

The March online script analysis and studio acting special classes are happening!
Online text analysis part
3/21 Thu 19:00-22:00
3/22 Fri 19:00-22:00

Studio Exploration in Acting part
3/23 Sat 13:00-17:00 in Setagaya
3/24 Sun 13;00-17:00 in Suidobashi

In these programs, you’ll thoroughly prepare scripts online and engage in scene work/acting in person at the studios.


Let’s equip ourselves with the skills for “performative interpretation” and make steady progress from spring onward!

Let’s become actors and directors who can practice and rehearse with focus and attention!


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