Nick Byrne in Canberra, Australian Capital Territory | Actor

Nick Byrne

Locality: Canberra, Australian Capital Territory

Address: GPO Box 1495 2601 Canberra, ACT, Australia

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24.01.2022 Performer Tips #3 - Presence and Including The Audience Your audience is always there. If there is no audience, (even an online one), you are actually rehearsing or just amusing yourself, rather than performing. Your audience notices everything, so there's little point either ignoring them or attempting to hide any part of yourself from them. They are, however, there by choice, with a strong desire to have a fulfilling experience. They want you to succeed! They really do! Thi...s makes them one of your greatest assets. Allow them the honour of assisting you, because they are an absolutely essential part of your performance, and you are an essential part of their experience. We are all inhabiting the same space. There are many types of performance, of course, so you may not feel you can look them in the eye and speak directly to them. In many plays, for example, you might be hoping to sweep them away into a fantasy world, and you feel that direct communication will break the 'fourth wall', sending them back into reality......., but you must still invite them and welcome them into the other dimension that you want them to visit. Accordingly, we tend to face in the direction of the audience, somewhat more than purely realistic experience would suggest, and we project our voice with enough resonance for them to hear. We enter the stage, to present ourselves to the audience! They exist! If you imagine, before you begin your performance that rather than trying to impress the audience and be good enough for them, you are actually delivering them a gift that they already want to receive, with as much love as a birthday present for your favourite friend or relative, performing is easier and a very great pleasure. Give yourself to them, and they will give themselves to you. Find authenticity, by allowing them to see you - the real you, beyond, yet within the character. Show them your eyes. Breathe in the atmosphere (quite literally), when you are facing them, and you will gain an awareness that will improve your timing, amongst a dozen other nuances of your performance. Definitively, this is a large part of that magical quality known as 'stage presence'....., but it's not magic, nor a trick. It's very real, and YOU can have it. Just believe in your audience. Love them. Invite them in, and be generous with your hospitality, as you share the space. Perform together. <3

23.01.2022 Performer Tips #2 - Your First Action is Reaction A performer should always be reacting to something. Even when you first enter the stage, you are reacting to i...ts prior emptiness or lack of you or some other call for you to appear. It might be that there was a previous scene or song or happening, (whether seen by the audience or imagined), that gives you a character or attitude to begin with. If you are reacting to one of these preconditions, from the moment we see you, you are already, (and appear to the audience to be) connected to the new scene, rather than being a new actor or character finding their purpose and comfort on the stage. Such preconditions are sometimes known as 'the moment before'. The same is true, when you are in the middle of a performance. When your first thought is to react to what is actually happening, (eg. your partner's line, move, riff), rather than to sprout off your next line, you will remain in the moment, and add extra dimensions to your own contribution. Your character, line, style of movement, will now have more emotion, detail, and above all, relevance. This reaction is most commonly expressed in movement, whether full-body, or simply facial, often with some sort of wordless emotional sound. This means it is less likely to drive you back into your head, losing connection with the performance, and as a wonderful bonus, it turns out that the audience can remain interested in seeing what you do for much longer than they can remain interested in what you say. As the cycle of goodness continues, what you do say will be consequentially improved, too. Practice this, next time you appear or in exercises. Enter the stage as a reaction to something, (even just a glance back off-stage, as you are half-way on, is an example that implies that something has previously happened). Then, once you are on stage, have a rule that you must react physically or facially, before speaking any line. Of course, some performances will call for more immediate vocal reactions, but this practice will get you in the habit, where appropriate, and give your performance a fresh burst of animation, flavour, and emotion. * Your stage partners will also love you for this, as you are overtly acknowledging their work <3 (From the writings of Nick Byrne, Artistic Director of Impro ACT. If you'd like to join a class, or to arrange a private session, tailored to you or your team, check http://www.impro.com.au/ to [email protected] )

23.01.2022 Hi dear friends! I guess I'm going to try using this page, finally :) I have been spending lockdown writing my thoughts, teaching and performing experience into what is rapidly looking like an improvisation book. It's at about 70 000 words, currently, so I guess it's really getting there. I look forward to sharing some of the thoughts, here, as a taster, and I hope you'll enjoy the whole book, in time.

21.01.2022 Why Learn Improvisation? IMPROV BASICS #1 with Nick Byrne from Impro ACT "Making and Embracing Offers" One of the first things an improviser learns is this sim...ple way to facilitate the flow of any interaction, and it works just as well in life, as it does on stage. Any action a performer takes or any words they say, is referred to as an "offer". It's called this, because it is the primary material gifted to other actors for them to respond to, or for them to be inspired by. If another actor "embraces" (I prefer this word to the more standard terminology "accepts") the offer, by validating its existence and making a response that uses the original "offer" to inform their own, then a cycle of "making and embracing offers' has begun. Continuing a "scene" in this way, creates an easy, positive flow, that drives the interaction forward in a shared way, keeping all actors on the same page. Here's an example... A: You're looking particularly happy, today, Olivia? (Making the "offer") B: I am! ("Embracing" the offer by validating its existence). I've just been accepted to study Medicine! (Making their own offer informed by the original) A: I'll have to call you Doctor, soon! ("Embracing the offer") Let's go have dinner to celebrate! (Informed by the last offer) B: Agreed! We can take the scooters! And they do :) Try this process, in your next work interaction, or perhaps while socialising, and observe how easily the conversation flows :) If you'd like to learn more, join an impro class, here; http://www.impro.com.au/beginners-courses/

19.01.2022 Performer Tips #1 - The Art of Caring About Others To look and feel good on stage, focus on the needs of your scene partner (the audience, if you're solo). This... will bring you out of your head, and into the present moment, greatly improving your ability to observe and respond appropriately, listen, and even remember what you thing you're supposed to do or say, (for the scripted performer, lines and choreography, and for the improviser, character names and other elements established so far). Anyone can learn basic practical externalised skills. It's your internal struggles that are the greatest barriers to becoming the loved performer, I already KNOW you can be. Looking after your scene partner is so much easier work, and much less stressful, than worrying about whether you're good enough. You are already enough :) If everyone on stage is looking after each other, you'll have a beautifully connected performance, as well achieving that magical team vibe, every time. It's easy to get caught up in concerns about yourself. The problem comes back at you in waves, even in the careers of the most experienced performers. Take a moment to reconnect with this fundamental, whatever stage you're at, and everything will start to improve, quickly. There are many techniques for this. Here is a simple one. Before you enter, instead of thinking "What must I remember to do to be good?", focus outward upon others, repeating the mantra in your head, "What do you need?". I'm thinking of you <3 (From the writings of NIck Byrne, Artistic Director of Impro ACT. If you'd like to join a class, or to arrange a private session, tailored to you or your team, write to [email protected] )

16.01.2022 Performer Tips #4 - Authenticity When I began to tour overseas, I was reasonably confident about my ability to teach, and my ability to create/direct shows, at ...a level suitable to the other internationals in my field, but I didn't rate myself so well, on stage. People were advertising their Australian guest, as part of festivals, and I felt the pressure to deliver the qualities that others had, in comparison......, but that's NOT what you're hired to do. You are hired to deliver what YOU have. When you try to be something that you're not, you might just get away with it, but you are taking a big risk that the audience will like what you try to do. The result will always be a game of percentages, (which is a bit stressful). You are, in a way, faking it, so they will always have a subconscious reason to doubt you, and your job will be to constantly seduce them into believing otherwise, even as you maintain the same uncomfortable doubts, yourself. Under these circumstances, you feel yourself needing to get your performance 'right', and every pause, stumble, cough, seems to be a glaring mistake. When, however, you are simply being yourself, the audience can immediately relax. They will automatically empathise with you, because that's what the human mind does when confronted with anyone telling them the truth. The game of percentages is gone. They will actually accept you EVERY time, and your performance will not fail; it will simply be rated somewhere between perfectly ok and outstanding, (which removes the stress and thereby improves your work, anyway). You can pause, stumble, cough, as often as you like, because you are not pretending, and these elements, as well as all your inherent idiosyncrasies, will only make you seem MORE real. When you play a character (a fiction), that is not you, rather than first concentrating on learning the altered vocal qualities, style of movement, and other imposed elements, begin by empathising with the character; consider what you share with them. If you are playing an aggressive monster, recall what it was like when YOU felt different or an outcast, and when you felt angry. Play the authenticity first, and allow the character tropes to filter-in, naturally, so that in this way, you can allow the audience to empathise with the reality of your character, too. Just as when you were being yourself, they will believe your character, which will also have a multi-dimensional depth. Anyone can roar like a monster, but your monster will seem real. I am never worried, on tour, now, because I am only trying to be me. I know, for certain, that this is the best result I can get at any given time, and that it is going to be good enough to be on stage with any of my peers, and from this base, I can continue to build stagecraft that can filter-in on top, gradually and naturally. This is definitely true for you, too. To practice, and to prove this reality to yourself, (because you'll only feel empowered to be authentic, when you believe in it), tell vulnerable honest stories (no matter how light or heavy) to groups of friends, or at rehearsals. The more honest, and the more vulnerable you are, the more you will feel the empathy and interest of the listeners. It's a good feeling, and it's instant, and it's reliable. In this way, you are training to accept your authentic self, and the good feedback will be the drug that replaces your earlier desire to be what you are not. Authenticity is easy. You've always had it, hiding somewhere beneath the cover story we all create to some degree. You just need to exercise this strongest of performance muscles, to harvest the many benefits, both on and off stage. <3 (From the writings of Nick Byrne, Artistic Director of Impro ACT. If you'd like to join a class, or to arrange a private session, tailored to you or your team, check http://www.impro.com.au/ to [email protected] )

10.01.2022 Performer Tips #6 - Creating the On-Stage Relationship .... even without the physical contact :) Whether it be romantic, adversarial. familial, or professional,... when on-stage characters develop a genuine and meaningful relationship, the audience is drawn in, as well as empathising through their own relationship experience. The characters and narrative gain texture, depth, and sophistication, and the actors become more committed to their performance. For the COVID age, and for times where you or your fellow performers may be generally more cautious about touch, here are some tips for growing relationships with your speech.... 1. "YOU" - whenever your script or improvised dialogue includes the word 'you', or direct references to the other character, you are building relationship, so consider emphasising these words or phrases. If you talk about objects, relationship is not impossible, but less common. If you talk about yourself, we only learn about you. When you talk about the other character, we learn 'your' perspective on 'them', which is relationship. 2. HISTORY - whenever your text or improvisation includes any moment/s of characters' shared past, (whether five years ago, or five minutes). this is evidence of a relationship. Consider your delivery of words like 'again', 'always', and 'never' to this end. 3. EMOTION - It's a basic, but always consider how much you include the emotion behind your words to another character. This may be different to the content of the text. For example, those who are deeply in love, often have the most aggravated arguments, but remembering the love that may cause such heightened passions to arise, gives real dimension and authenticity to the relationship. 4. NAMING THE RELATIONSHIP - In an improvisation, words like 'husband', 'queen', 'sister', literally tell the audience and other character what type of relationship is being created. In scripted performance, HOW you say these words, gives great insight very quickly into the relationship. Don't throw away this opportunity. How many ways can you say, "My liege"? Thinking about your own social or professional relationships? Practice saying "You" a lot more than "I", and when you say "friend" or "honey" or your colleague's name, use the chance to convey what you really mean by these words. <3 Hopefully, the COVID age will pass, soon, and we can dare to talk about how to deal with consensual touch on stage, too :) (From the writings of Nick Byrne, Artistic Director of Impro ACT. If you'd like to join a class, head to http://www.impro.com.au/ or to arrange a private session, tailored to you or your team, write to [email protected] )

10.01.2022 Oooh, I'm on this podcast with the wonderful Amy Jordan. Yes, But Why? Have a listen to find out :) https://www.spreaker.com//hc-un/yby-episode-253-nick-byrne

07.01.2022 I'm very excited to be teaching and performing improvisation in Belgrade, Serbia, this weekend. Drop in, if you're free ;)

01.01.2022 Performer Tips #5 - Rhythm & Pitch There is a rhythm to everything we do, on stage and off. An awareness of, and your intervention into this rhythm, will dramat...ically increase the artistic potential and ease of your performance. Verbally, when we hear someone deliver their speech or dialogue 'beautifully', they will typically be using (even if subconsciously) a somewhat regular rhythm pattern, broken occasionally to give a particular impact or closure. Shakespearean text is a case in point. A monotonous rhythm that is never broken, or conversely an entirely erratic delivery, is often less engaging, so someone creating an audition piece might attempt to constantly adjust their rhythm for impact, yet still lose the interest of the listener. Practice the feel of rhythmic speech, simply by breaking your dialogue, (whether pre-written or improvised) into blocks of a certain rhythm of syllables, selecting occasional special moments of emphasis to dramatically increase or reduce the duration or speed. Note that I haven't said, 'a certain NUMBER of syllables'. Be more interested in the number and emphasis of BEATS. For example, the nursery rhyme 'Mary had a little lamb' has phrases with a regular number of beats (four or eight per line, depending how you like to count), though strictly speaking, the syllables vary between six and eight. Physically, you can apply similar ideas. Prior to a show, or beginning a new character, I will typically select a default rhythm for the performance, based on the type of energy I wish to project. I might sing to myself, a popular song with this rhythm, until that beat is stuck in my brain. (eg. 'Uptown Funk' is a song that gives an excellent positive energy without being rushed). When I enter, I will naturally move with that rhythm. Extend this idea in the style of the verbal exercise, above. Try breaking your movements into phrases of beats, within your selected rhythm, then breaking the pattern, after a few moves. To emphasise a particular moment, dramatically reduce or increase the number of.beats or the tempo. Use these techniques, and you'll inspire a whole range of new dimensions within your work, and your performance will have flow. On a good day, it's like simply enjoying the ride, rather than trying to drive, all the time. Poetic devices, such alliteration and metaphor will magically become apparent in your speech, while style, finesse, and dexterity, will replace any awkward steps. Those experiencing 'the new you' are unlikely to pick-up on exactly what you are doing differently. They will simply consider your work more engaging, professional, and beautiful. <3' (From the writings of Nick Byrne, Artistic Director of Impro ACT. If you'd like to join a class, or to arrange a private session, tailored to you or your team, check http://www.impro.com.au/ or write to [email protected] ) (Photography: Aleksey Mazurkin, Moscow)