Scene Study in LA –
Here’s an uncomfortable truth: Most actors walk into scene study classes thinking they already know how to act. They’ve done school plays, maybe a few student films. They can cry on command. They’ve memorized monologues.
Then they crash and burn.
Why? Because there’s one critical mistake almost every new actor makes—and it’s not what you’d expect.
At Jig Reel Studios, we’ve seen this mistake tank auditions, ruin self-tapes, and leave talented actors confused about why they’re not booking. The good news? It’s an easy fix—once you know what to look for.
The Mistake: Playing the Emotion Instead of the Action
Let’s break this down with a real example from our classes:
Scene: A couple is breaking up.
What most actors do:
– They play “sad.”
– They cry.
– They try to show the audience how heartbroken they are.
What actually works:
– They fight to save the relationship (action).
– They use humor to deflect the pain (action).
– They beg, bargain, or blame—anything to avoid the breakup (action).
See the difference?
Emotions are the RESULT of pursuing an action—not the goal itself.
Why This Mistake Hurts Your Auditions
Casting directors aren’t looking for actors who can demonstrate emotions. They want actors who:
✅ Behave truthfully under imaginary circumstances (thanks, Stanislavski).
✅ Drive the scene forward (instead of wallowing in the “feeling”).
✅ Make bold, specific choices (not generic “angry” or “sad”).
Real Talk: If your scene study work feels flat or “same-y,” this is probably why.
How to Fix It (The Jig Reel Method)
Here’s how we train actors to stop emoting and start acting:
1. Replace Emotions with Verbs
Instead of thinking “I’m sad,” ask:
– What am I DOING in this scene?
– What do I WANT from the other person?
– How am I TRYING TO CHANGE THEM?
Example:
– ❌ “I’m playing heartbroken.”
– ✅ “I’m guilting them into staying.”
2. Use the “But…” Trick
Every line should have a “but” underneath it.
“I love you… (but I’m terrified you’ll leave).”
“Get out… (but please stay).”
This creates layers—exactly what CDs look for.
3. Drill Actions in Class
In our scene study intensives, we force actors to:
– Play the same scene 3 different ways (e.g., “seduce,” “intimidate,” “mock”).
– Switch actions mid-scene (to build flexibility).
– Cut all “indicating” (no fake crying, yelling, or sighing).
Pro Tip: The more you focus on DOING, the less you worry about “being good.”
2025 Twist: Self-Tapes Demand This Even More
With 90% of first auditions now on tape, casting teams zoom in on:
🔍 Eyes (are you thinking or just saying lines?).
🔍 Stakes (do you NEED something, or are you just “performing”?).
🔍 Authenticity (does this feel like a real moment?).
If you’re playing the emotion? Your tape gets skipped.
Try This Today
Pick a scene you’ve struggled with. Ask:
1. What’s my character LITERALLY doing? (e.g., convincing, hiding, testing.)
2. What’s the OPPOSITE action I could play? (e.g., “comforting” instead of “accusing.”)
3. Where’s the FIGHT? (Even in quiet scenes, there’s resistance.)
Need help? Our scene study classes break this down step-by-step—so you walk into auditions (or self-tapes) with tools, not guesswork.
Spots fill fast—call (818) 839-0704 to learn more.