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PODCAST

I Don"t Need an Acting Class

Become a Paid Subscriber: https://podcasters.spotify.com/pod/show/actingclass/subscribe Academy Award winner and celebrated acting teacher Milton Justice invites you into his weekly acting class, based on his years of study with the legendary Stella Adler. I Don’t Need an Acting Class delves deep into the craft of acting, breaks down concepts, tools and techniques, explores endless possibilities and offers you a foundation on which to build a solid, dependable process. Produced by Walker

arts performing arts

All Episodes

00:11:20

Realism and The American Play

I Don"t Need an Acting Class ·

2022/05/03

In this episode, Milton walks us through the shift that took place in the late 19th century when writers began writing about real people. Plays became much more complex and based on the interior life of their middle class characters, as opposed to being centered around the aristocracy which was larger than life and less personally relatable to an audience. Therefore, a new form of acting was called for. Have a question for Milton? Email him at questionsformilton@gmail.com --- Send in a voice

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00:12:36

To Remember About Script Analysis

I Don"t Need an Acting Class ·

2022/04/26

When we first sit down with a play, it’s far too easy to rush through it and start getting preoccupied about how we're going to "play it." Our minds start racing, we get overwhelmed and we start making decisions too soon. We have to fight this impulse. Your first time reading through a script, you want to go really slow and just register first impressions. Then when you go back, you will start getting an idea of what work you need to do. Again, take one fact, or idea, at a time and explore it

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00:20:55

Pt. 2: ABCs of Audition Prep

I Don"t Need an Acting Class ·

2022/04/12

WANT MORE? Become a subscriber for bonus content! ⁠⁠⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠⁠⁠ In this second part of ABCs of Auditioning, Milton applies all the concepts mentioned in the last episode to Teo’s audition for a police procedural, in which he was given two lines and no information. This is a practical example of knowing what world you’re in, understanding the function of your scene, having a relationship with everything so that every moment is filled, and having

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00:14:55

Pt. 1: ABCs of Audition Prep

I Don"t Need an Acting Class ·

2022/04/05

WANT MORE? Become a subscriber for bonus content! ⁠⁠⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠⁠⁠ There are certain fundamental steps we can take when analyzing sides or preparing audition material. These concepts will help you understand where to begin, determine what work you need to do and inform the choices you make. This is a two-part episode. Next week, Milton will apply these techniques to a specific piece. Have a question for Milton? Email him at

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00:13:54

Always Come from Somewhere

I Don"t Need an Acting Class ·

2022/03/29

WANT MORE? Become a subscriber for bonus content! ⁠⁠⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠⁠⁠ This week, Milton talks about the importance of having a clear impulse for all of our work so that we “earn” the text. Nothing starts from nothing or nowhere. We’re always somewhere, in a particular circumstance, with something going on which gives us the impulse for the scene, the monologue, the entrance, the first line, what have you… A great way to get clear about your impulse is

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00:17:05

Building the Past

I Don"t Need an Acting Class ·

2022/03/22

This week, Milton addresses a frequently asked question: how much information do we need when building the past of a character? As individuals, we may desirer (or require) different facts or details or tools. However, there are some “indisputables.” It’s vital to be able to differentiate what information is essential in order for us to play a role, and this is a skill that develops with experience. When doing a play, especially a great play, the text will tell us what we need to build. And the

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00:10:02

Not Defining a Character Exclusively

I Don"t Need an Acting Class ·

2022/03/15

Last season, Milton suggested that one way we can go about developing a character is by asking ourselves, “who is this person most?” In this episode, he reconsiders that idea. (Can you imagine? An acting teacher admitting they might have been wrong and changing their mind? Who’s ever heard of such an anomaly!) But as his own understanding of character work progresses, Milton questions whether asking this question forces us into a box. After all, no one is just one thing. In the end, asking the

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00:09:47

The Time It Takes

I Don"t Need an Acting Class ·

2022/03/08

Learning to act is not something you do in one year. It takes a lifetime. In the same way, doing a play isn’t something you can take on in one night. It’s a process. Stella told a student once that if she could learn one new thing a year, she’d be on the right path. Stanislavsky likened doing a play to going on a journey and making many unexpected stops along the way that added to the overall journey. These lessons remind us that the creative process is never linear or finite. With each project and

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00:11:49

The Legacy of Largeness

I Don"t Need an Acting Class ·

2022/03/01

The lineage of this podcast is derived from the teaching of Stanislavsky and Milton’s teacher Stella Adler, who, among other things, taught her students to aspire towards the big ideas we communicate as actors, (ideas which are far bigger than us.) This is the thrill of acting— entering a different universe, a different skin. It is always a chance for growth. “Your attitude shouldn’t be: oh, I have to build that,” says Milton, “but rather I get to build that. Every fact of a play affords you a

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00:12:53

Translating an Effect Direction

I Don"t Need an Acting Class ·

2022/02/22

Very few directors speak the language of acting or have any real idea about what we do. So most of them give us “effect directions,” such as: “play it angrier,” or…”the scene needs to be more intense.” But if we play “anger” or “intensity” or any result, we’ll end up playing a cliche, an idea of an experience that we’ve absorbed from watching film and television. Therefore, we have to be able to translate a performance note into something doable. Have a question for Milton? Email him at

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00:12:26

Diving Into The Time Period

I Don"t Need an Acting Class ·

2022/02/15

When breaking down a script, a profoundly important question to consider is: how does the time period in which this play takes place affect my character? It’s not just something you want to understand intellectually; it has to affect you experientially. The time frame is an enormous part of the given circumstances and we must take the time to consider how it influences our characters’ behavior. In this episode, Milton applies this concept to Bernie Dodd in The Country Girl, and how the 1950’s

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00:10:38

Interpreting the Play

I Don"t Need an Acting Class ·

2022/02/08

This week’s episode is an excerpt from Milton’s current script analysis class which gives us insight into how we might begin to approach a play, or any piece of text. Using one of his favorite examples, Clifford Odet’s The Country Girl, Milton introduces some fundamental principals of script analysis: the playwright writes out of his social circumstances; the playwright has something to say that is a reflection of the times in which he’s living; It’s our job to figure out: what is that reflection

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00:12:45

No, But What's Really Going On?

I Don"t Need an Acting Class ·

2022/02/01

This week’s episode begins with an analysis of Aunjanue Ellis’ performance in the film King Richard and why it’s an example of great acting. Her interior life is so complete and rich that we, as an audience, are able to see (and more importantly, feel) the character’s struggle without any dialogue to reveal plot or exposition. How do we bring this level of depth to our work? One way is to talk out. Talk out your character’s past, talk out their unconscious struggle. This makes our work go beyond a

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00:12:55

Pt. 2: So Much More Than Ourselves

I Don"t Need an Acting Class ·

2022/01/25

This week, Milton continues the conversation of expanding the characters we play far beyond ourselves. While it’s true that our choices must feed us as actors, our choices must also feed our characters (who don’t know they are living out our choices— they’re just living their lives— and will respond to our choices differently than we will.) In this episode Milton uses the example of Willy Loman in Death of a Salesman, and how even though he may instinctively understand different aspects Willy’s

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00:16:51

Pt. 1: So Much More Than Ourselves

I Don"t Need an Acting Class ·

2022/01/18

Welcome back to the podcast and Happy New Year! Milton begins Season 4 of I Don’t Need an Acting Class responding to the misconception that as actors, “all we have is ourselves”— a statement that sounds logical but couldn’t be further from the truth. Only using ourselves as actors can limit us and lock us into choices that come out of our feelings, judgements and perspectives on our characters. In the end, your work is a result of multiple factors: you and your choices, your knowledge of the play,

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00:03:34

*Coming Soon*

I Don"t Need an Acting Class ·

2021/12/09

Milton will be teaching a six-week sᴄʀɪᴘᴛ ᴀɴᴀʟʏsɪs ᴡᴏʀᴋsʜᴏᴘ beginning on Wednesday, January 12th, 2022. I know many of you have expressed interest in taking his class since the beginning of the podcast— and this is your chance! 😄 Class is limited to 20 students— first come, first serve. $500 for the six weeks, BUT— the first 5 people to register before the new year can take advantage of this workshop for the promo rate of $400. Email Walker at questionsformilton@gmail.com if interested! --- Send

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00:05:33

Thank You for a Great Season

I Don"t Need an Acting Class ·

2021/11/30

It's the end of Season 3! Thank you all so much for being a part of this podclass. We're gonna take a short break and will be back in 2022 with a season of script analysis! In the meantime, feel free to email Milton with any questions, confusions or comments at: questionsformilton@gmail.com Order the book and stay tuned for the latest news at idontneedanactingclass.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/actingclass/message

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00:13:40

The Idea as a Tool

I Don"t Need an Acting Class ·

2021/11/23

WANT MORE? Become a subscriber for bonus content! ⁠⁠⁠https://podcasters.spotify.com/pod/show/actingclass/subscribe⁠⁠⁠ We have so many tools and techniques as actors that we can easily forget what the missing link is. Or what might help us when we find ourselves stuck. So it’s helpful to step back and ask ourselves: what are the things that I know? What are the acting tools that I have? One of those tools that is often forgotten is the idea. The idea of the play/film, or looking at our character *as

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00:11:40

Permission to Rehearse

I Don"t Need an Acting Class ·

2021/11/16

So many actors feel the need to deliver a performance in rehearsal. And yet, rehearsal is not a performance, nor should we expect what we do in rehearsal to be “the final performance”, but a work in progress, a building of the elements that will eventually lead to performance. Rehearsal is an opportunity to try new things, dig deeper, make sure that we have a specific relationship with everything we talk about. That means giving ourselves permission to *be* in rehearsal. It means *slowing down* to

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00:14:11

When Your Choices Stop Feeding You

I Don"t Need an Acting Class ·

2021/11/09

There comes a point, especially when doing a long run that your choices dry up and no longer have the emotional effect on you they once did. But part of being an actor is never allowing our relationship to anything dissipate. Therefore, we don’t ever want to try and recreate what we did last time, or “bring in our homework.” Instead, we have to keep finding new things that activate our talent, making sure our choices keep feeding us. Your creative process must be an endless pursuit where you’re

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