Michael Spurgeon’s Reviews > Respect for Acting > Status Update
Michael Spurgeon
is on page 143 of 240
Chapter 20: Character Actions
The object exercises have been endearing to look at. I can’t lie. This one particularly is interesting. “The trap is ‘to make sure they’re very different from each other.’” It is not the action that is important, but how you yourself gives into the needs of the character.
Interesting…
Now the damn play! I’ve been waiting for this chapter for WEEKS dawg.
— 15 hours, 10 min ago
The object exercises have been endearing to look at. I can’t lie. This one particularly is interesting. “The trap is ‘to make sure they’re very different from each other.’” It is not the action that is important, but how you yourself gives into the needs of the character.
Interesting…
Now the damn play! I’ve been waiting for this chapter for WEEKS dawg.
Like flag
Michael’s Previous Updates
Michael Spurgeon
is on page 139 of 240
Chapter 19: History
This one is interesting. I’ve always found it quite difficult to find myself in periods before me. Characters with vernacular alien to my own has scared me. I’d like to rid myself of that.
I might actually try this specific exercise out. Maybe even when reading that Haitian biography, I could attempt to understand that time period? Unsure.
— 15 hours, 17 min ago
This one is interesting. I’ve always found it quite difficult to find myself in periods before me. Characters with vernacular alien to my own has scared me. I’d like to rid myself of that.
I might actually try this specific exercise out. Maybe even when reading that Haitian biography, I could attempt to understand that time period? Unsure.
Michael Spurgeon
is on page 134 of 240
Chapter 18: Conditioning Forces
Interesting chapter. Reminded me of this much I have to place attention to for certain characters. I haven’t done anything like that before. Understand each condition deep enough in order for it to affect me.
I do like that though. With the condition of attempting to sneak. Understanding the SPECIFIC details of why you’re sneaking and who you’re sneaking from is nice to know.
— 15 hours, 25 min ago
Interesting chapter. Reminded me of this much I have to place attention to for certain characters. I haven’t done anything like that before. Understand each condition deep enough in order for it to affect me.
I do like that though. With the condition of attempting to sneak. Understanding the SPECIFIC details of why you’re sneaking and who you’re sneaking from is nice to know.
Michael Spurgeon
is on page 124 of 240
Chapter 17: Outdoors
More or less like the chapter of fourth walls. Slightly lame. Will have to re-read in the future.
— 15 hours, 35 min ago
More or less like the chapter of fourth walls. Slightly lame. Will have to re-read in the future.
Michael Spurgeon
is on page 124 of 240
Chapter 16: Talking to yourself
Monologues have always been the bane of my existence. They’re so tough.
But giving my self physical space is a good idea. Like knowing why I’m there, where I am, and what am I DOING (instead of “he ponders”) is actually really helpful for me. I might try to write the 5 w’s in all of my monologues. As well as what my inner objects are…
— Sep 26, 2026 08:12AM
Monologues have always been the bane of my existence. They’re so tough.
But giving my self physical space is a good idea. Like knowing why I’m there, where I am, and what am I DOING (instead of “he ponders”) is actually really helpful for me. I might try to write the 5 w’s in all of my monologues. As well as what my inner objects are…
Michael Spurgeon
is on page 119 of 240
Chapter 15: Endowment
A lot of this chapter is from chapter 5: sense memory. I’ve never been able to fully endow something on stage because my mind’s been too cluttered to do so.
I think the homework is to get to a place of reflex with the endowment. Then I no longer have to think about it.
— Sep 26, 2026 08:10AM
A lot of this chapter is from chapter 5: sense memory. I’ve never been able to fully endow something on stage because my mind’s been too cluttered to do so.
I think the homework is to get to a place of reflex with the endowment. Then I no longer have to think about it.
Michael Spurgeon
is on page 112 of 240
Chapter 14: The Fourth Wall
It’s very interesting. I’ve had such a problem with this and I’ve sort of unconsciously resolved that it will always be that way. That mechanical feeling I get when asked to cheat outwards will exist.
But placing objects in the 4th wall that exist in this world and have no immediate purpose is genius. It gives reason to look out and stay present without interruption.
— Sep 19, 2026 01:42PM
It’s very interesting. I’ve had such a problem with this and I’ve sort of unconsciously resolved that it will always be that way. That mechanical feeling I get when asked to cheat outwards will exist.
But placing objects in the 4th wall that exist in this world and have no immediate purpose is genius. It gives reason to look out and stay present without interruption.
Michael Spurgeon
is on page 106 of 240
Chapter 13: Immediacy
“A fine actor forgets what’s coming.” I kind of like that. It’s a sort of comfortable sensitivity. You’re open to whatever but you’re not completely sure what is supposed to happen next. I think that’s why I like to only rehearse things a few times in class. Keeps it fresh and bare.
Like open toed shoes.
— Sep 19, 2026 01:28PM
“A fine actor forgets what’s coming.” I kind of like that. It’s a sort of comfortable sensitivity. You’re open to whatever but you’re not completely sure what is supposed to happen next. I think that’s why I like to only rehearse things a few times in class. Keeps it fresh and bare.
Like open toed shoes.
Michael Spurgeon
is on page 102 of 240
Chapter 12: Three Entrances
Should really be called three steps. I haven’t tried this yet. Another piece of the puzzle. Think I’ll give this another read when I book some play or something.
But yeh. Having a before, present, and objective is really good for me. Then I’m not stuck anywhere, I’m just going forward.
— Sep 12, 2026 01:37PM
Should really be called three steps. I haven’t tried this yet. Another piece of the puzzle. Think I’ll give this another read when I book some play or something.
But yeh. Having a before, present, and objective is really good for me. Then I’m not stuck anywhere, I’m just going forward.
Michael Spurgeon
is on page 95 of 240
Chapter 11: The Object Exercises
I tried this one before. Or I really haven’t gotten to actually sit down and pursue someyhing like this. I already have source material to work on and scenes to improve.
But this idea of an acting “score” is interesting. I attempted this for my last play and it didn’t really get me anywhere. It actually froze me up.
— Sep 12, 2026 01:25PM
I tried this one before. Or I really haven’t gotten to actually sit down and pursue someyhing like this. I already have source material to work on and scenes to improve.
But this idea of an acting “score” is interesting. I attempted this for my last play and it didn’t really get me anywhere. It actually froze me up.
Michael Spurgeon
is on page 75 of 240
Chapter 8: Walking and Talking
Having an action in each moment is important. Like one that has an ending which I am actively tying to reach. Like today, at the boils. My goal was what? If I have a goal, then I can at least work backwards from there.
Chapter 9: Improvisations
Just need to flex the improv muscle a lot more. It’s an important tool bruh
— Aug 22, 2026 09:33PM
Having an action in each moment is important. Like one that has an ending which I am actively tying to reach. Like today, at the boils. My goal was what? If I have a goal, then I can at least work backwards from there.
Chapter 9: Improvisations
Just need to flex the improv muscle a lot more. It’s an important tool bruh