First Experience into Acting — My First Acting Class at Guildhall
Drama has been a hobby of mine for at least five years now. In fact, I’ve watched hundreds of plays, and I’ve always been curious about how theater is accomplished. More directly, how do actors on stage deliver such convincing and captivating performances? How do they immerse themselves in a role, establish a connection with the script, and what’s the secret behind it all? If there is one, I want to learn it too. So, inspired by the German actor Wolfgang whom I encountered while watching a musical towards the end of last year, I enrolled in a short-term evening course called “Introduction to Acting Practice Level 1” at the prestigious Guildhall School of Music and Drama in London. I hope to gain some knowledge and skills in acting, perhaps uncovering hidden layers and insights when watching plays.
Today marks the first session of this course. After registering at Guildhall, my fellow classmates and I followed our teacher Patrick into the classroom. It was a spacious, high-ceilinged room that resembled a rehearsal space.
Contrary to my expectation, we didn’t jump straight into actual performances today. Instead, we explored the meaning of acting and the connection between ourselves and acting through a series of activities.
Firstly, Patrick acknowledged the bravery of everyone present, taking a courageous step into this unfamiliar classroom, not knowing what to expect or recognizing other classmates. Exploring and embracing this challenge requires great courage, so he encouraged us to commend ourselves.
Before starting the course, Patrick asked us to walk around the room, imagining ourselves in a specific scenario and greeting other classmates we encountered.
The first activity of the class was a name game. By repeatedly mentioning everyone’s names in various forms and sequences, we quickly got to know each other.
Next, we all sat in a circle, and Patrick asked why each of us chose to take this class. This allowed us to understand each other better. Our classmates came from diverse backgrounds — some opera students looking to enhance their acting skills, others data scientists and biologists exploring acting for the first time. Many mentioned participating in school plays during high school (myself included), but after years of working, they hadn’t engaged in acting and wanted to rediscover that passion. Creativity was a common theme; individuals who had experienced the freedom and satisfaction of creative work sought to regain the power of free expression through acting. Some wanted to improve their communication skills through learning acting, which was another major goal for me. Interestingly, one person expressed the desire to become more cultured through this class, combining it with her passion for traveling and watching movies. It was a perspective I hadn’t heard before, but in a way, it resonated with my own journey.
The next icebreaker game was “2 Truths and 1 Lie.” The potential for acting emerged here, as concealing one lie among truths and observing subtle differences in the storyteller’s delivery became a form of performance. Understanding the embodiment of acting in this way was intriguing.
Before the break, we discussed “What is Acting.” The whiteboard was filled with everyone’s answers. I believed acting is about becoming — becoming another person, embodying that person with flesh, blood, and a story. Some classmates’ answers resonated with me, such as believability, authenticity, empathy, and connection. Acting is not pretending; it goes beyond pretense to truly become the character. It involves dynamic actions, not just static being. All in all, acting should not be rushed; it requires a methodical approach to expression.
After the break, we played a counting game from 1 to 7. Patrick used this game to convey that failing beautifully is better than coasting through without any excitement. Each time someone made a counting mistake and was eliminated, applause and encouragement followed. Patrick encouraged us to invest energy, not be afraid of mistakes, and speed up the game to make it more exciting. This, he explained, would make the process more thrilling, and even if we lost, we would gain a better experience and result than if we had played it safe. This embodied the spirit of acting — not fearing failure or embarrassment, fully committing to the moment to capture the audience’s attention and appreciation.
Next, Patrick paired us up with someone we hadn’t spoken to before. He posed a question, and one person (A) had to improvise a narrative for the other person (B) based on the question, while B remained silent, merely listening. Accompanied by gentle background music, this process unexpectedly had a therapeutic effect. When telling a story, one could express freely, and in listening, one could be fully attentive. In the second round, Patrick instructed us to place our hands on either side of our bodies instead of crossing them in front or clasping them in front or behind. Surprisingly, this made me feel more confident and at ease. I usually pay attention to my outward appearance, including posture while sitting, standing, and walking, so I rarely adopt this simple, and seemingly vulnerable, stance of placing hands on either side of the body. However, being instructed to do so made me feel liberated from the need to consider appearances. Instead, I focused on expressing myself. This key to performance is something I often believe young Chinese actors lack — not overly concerned with surface image; internal expression is more important.
Finally, Patrick had us sit in a row, walk to the front one by one, introduce ourselves again, look at everyone, and then return to our seats. He emphasized two points: “plant your feet” — after walking to the stage, stand still before speaking; and “breathe” — maintain your breath, or “take the time to breathe,” whether just getting at the spot or preparing to leave after speaking. These moments are when people are most prone to rushing because the mind is signaling to move on to the next step. However, for a better effect, he advised us to stand still, breathe, pause, observe our surroundings, and then better feel and perform. In summary, acting should avoid haste and proceed methodically. This is also true for expression.
He also urged us not to prepare in advance what we want to say on stage or think about it in our minds. Instead, when on stage, speak directly and authentically. He mentioned that in those moments, you naturally know what you want to say. Preparing in advance is acting; true acting is doing. Related to this, the homework assigned after the class was to engage in an unprepared conversation with a stranger in the coming week — no preconceived notions, just experiencing the feeling of speaking and doing directly, even if it means making mistakes. (This is quite the opposite of being cautious with words and actions; it’s truly a challenge.)
After the first session, I found these exploratory activities interesting, and I gained a lot from them. My interest in acting seems to have deepened. I also sense that both teacher Patrick and my classmates are wonderful people, and attending classes together will undoubtedly be a joyful and enriching experience.