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Well being an actor is hard work. The actor has portray as a different person that may be nothing like them. It’s a natural talent that can years or months to learn but it’s something anyone can do if they put their mind to it. In fact, many actors work at bars or restaurants to help with bills. I found this information on xello.
#theatre
https://englishlive.ef.com/blog/language-lab/question-words/amp/
https://www.womenshealthmag.com/life/a22500573/questions-to-ask-to-get-to-know-someone/

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Sam was a Actor and passed away at the age of 73 in July 27th, 2017. He won 10 Obie Awards for theater. He was well known in this field. https://www.vogue.com/article/sam-shepard-obituary

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An actor in broadway can earn up to $2,000 dollars a week.
I found this information on xello.
#drama
https://www.latimes.com/business/story/2019-08-07/money-market-funds-wont-keep-you-safe-from-negative-yields

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Michael ball is an American actor, singer and broadcaster. He was born in 1962. In fact, in 2013 he won his second Olivier Award for the best actor in Music.

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Michael Ball has enjoyed a very successful and varied career over the last 20 years, both in the West End and on the Concert Stage, working with some of the 20th century's most prolific musical theatre composers. After graduating from the Guildford School of Acting, his professional debut was in "Godspell," playing the role of John the Baptist/... See full bio "

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Michael Ball, Actor: Les Misérables in Concert: The 25th Anniversary. Michael Ball has enjoyed a very successful and varied career over the last 20 years, both in the West End and on the Concert Stage, working with some of the 20th century's most prolific musical theatre composers.

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“I think not every improviser is a good stage actor. Certainly not every stage actor is a good improviser.”

Rich Sommer is an American actor and is best known as portraying Harry Cane from the series Mad man. He’s 41 years old and is from Toledo, OH.
https://www.backstage.com/magazine/article/mad-men-actor-rich-sommer-creates-characters-53959/
https://www.brainyquote.com/search_results?q=stage+actors
https://www.popsugar.com/celebrity/photo-gallery/18791420/image/18791432/Rich-Sommer

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“The crossover wasn’t happening. TV actors, and film and stage actors were a whole different thing. And now there’s just a lot of crossover.”

Christian Lahti is an actress as well as a filmmaker. She won an Academy Award for Best Supporting for the Swing Shift that first aired in 1984.
https://www.imdb.com/name/nm0001441/
https://www.brainyquote.com/quotes/christine_lahti_304084
https://en.m.wikipedia.org/wiki/Christine_Lahti

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“All of the world’s stage, and all the men and women merely plays: they have their exits and their entrances; one man in his time plays many part, his acts being seven ages.”

William Shakespeare was an English poet, playwriter, and actor. He was born in the United Kingdom. He was in many plays such as Hamlet, Julius Caesar and many others. He was born April, 1564 and died April 23, 1616.
https://www.britannica.com/biography/William-Shakespeare
https://www.brainyquote.com/quotes/william_shakespeare_166828
https://www.biography.com/writer/william-shakespeare

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Peter O’Toole full name was Peter Seamus O’Toole he was born in Yorkshire, England and passed away, December 14th, 2013. Peter played in many production but the main one he played in Hamlet, he was the leader of the performance in London, 1963. As one can see, he played a major factor in the drama world.

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Peter O'Toole, in full Peter Seamus O'Toole, (born August 2, 1932, Leeds, Yorkshire [now West Yorkshire], England-died December 14, 2013, London), English-born stage and film actor whose range extended from classical drama to contemporary farce.

O'Toole grew up in Leeds and was educated at the Royal Academy of Dramatic Art in London. He was a reporter for the Yorkshire Evening Post in his teens and made his amateur stage debut at Leeds Civic Theatre. After serving two years in the Royal Navy, he acted with the Bristol Old Vic Company from 1955 to 1958 and made his London debut as Peter Shirley in George Bernard Shaw's Major Barbara (1956). He appeared with the Shakespeare Memorial Company at Stratford-upon-Avon, Warwickshire, England, in 1960 in highly praised performances as Shylock in The Merchant of Venice and as Petruchio in The Taming of the Shrew, and he played the lead in Hamlet for the inaugural production of the National Theatre in London in 1963. A prominent film star by this point in his career, O'Toole continued to appear on stages throughout the world to great acclaim. He was named associate director of the Old Vic in 1980.

O'Toole made his motion picture debut in Kidnapped in 1960 and two years later became an international star for his portrayal of T.E. Lawrence in David Lean's epic Lawrence of Arabia (1962). In 1964 he played Henry II in Becket, and he had the title role in Lord Jim (1965). He appeared as Henry II again in The Lion in Winter (1968), a film notable for the witty verbal sparring matches between O'Toole and costar Katharine Hepburn. The Ruling Class (1972), a controversial black comedy that has become a cult classic, cast O'Toole as a schizophrenic English earl with a messiah complex. Personal problems contributed to a decline in his popularity during the 1970s, but he made a strong comeback in the early '80s with three well-received efforts. He portrayed a duplicitous and domineering movie director in The Stunt Man (1980), and his performance as the Roman commander Cornelius Flavius Silva in the acclaimed television miniseries Masada (1981) was hailed as one of the finest of his career. His most popular vehicle during this period was My Favorite Year (1982), an affectionate satire on the early days of television, in which O'Toole played Alan Swann, a faded Errol Flynn-type swashbuckling screen star with a penchant for tippling and troublemaking.

O'Toole subsequently maintained his status with fine performances in such films as the Oscar-winning The Last Emperor (1987), the cult favourite Wings of Fame (1989), the miniseries The Dark Angel (1991), and Fairy Tale: A True Story (1997), in which O'Toole portrayed Sir Arthur Conan Doyle. Notable screen roles in the 21st century included King Priam in the historical epic Troy (2004), an aging romantic in Venus (2006), the voice of a haughty food critic in the animated Ratatouille (2007), and a priest in the historical drama For Greater Glory (2012). In addition, in 2008 he portrayed Pope Paul III in the TV series The Tudors.

MGM/The Kobal Collection

In 1992 O'Toole published a lively memoir, Loitering with Intent: The Child; a second volume, Loitering with Intent: The Apprentice, appeared in 1996. He was nominated for an Academy Award eight times-for Lawrence of Arabia, Becket, The Lion in Winter, Goodbye, Mr. Chips (1969), The Ruling Class, The Stunt Man, My Favorite Year, and Venus-but never won; in 2003 he was awarded an honorary Oscar. O'Toole received an Emmy Award for his performance as Bishop Cauchon in the television miniseries Joan of Arc (1999).

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Peter O'Toole | Biography, Films, Plays, & Facts

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Peter O'Toole, in full Peter Seamus O'Toole, (born August 2, 1932, Leeds, Yorkshire [now West Yorkshire], England-died December 14, 2013, London), English-born stage and film actor whose range extended from classical drama to contemporary farce. O'Toole grew up in Leeds and was educated at the Royal Academy of Dramatic Art in London.

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https://gogreenbk.org/event/mcgolrick-jazz-concert-2/

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McGolrick Jazz Concert - Go Green Brooklyn

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Join us and the Jesse Lynch Ensemble for an amazing night of jazz music!

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https://www.123rf.com/photo_16414237_abstract-word-cloud-for-performance-art-with-related-tags-and-terms.html
#whatactingreallymeans

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This video explains how to avoid stage freight and how to improve your acting skills in theater. There’s multiple ways to improve your projection, as well as others that is explained in this video.
#actingskills

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How to Not Be Shy When Acting : Theatre 101

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These are some more tips about how act realistically. In this video, there will be some key tips of how to improve your acting skills that your instructor may or may not have told you. Make sure to keep an eye on when he mentions acting strategies, it is appropriately 8 mins and 35 seconds. #theatreskills

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Before going to law school, I worked as an actor in New York after graduating from NYU's Tisch School of the Arts. I was lucky enough to land among a troop of rising actors, directors, and producers staging classical productions in a small theatre in Times Square. When I decided to pursue a career in law, I was hopeful that some of the skills I learned on the stage would translate well into a legal practice. Happily, they did. Below are the top tips I picked up as an actor that can help any newer attorney become a better practitioner.

Understand your motivation.

Actors are constantly being asked, by instructors and directors alike, about their character's motivation. Why, exactly, is your character saying that particular line, in that particular moment? What does it mean for your character's arc? What does it mean for the narrative of the play as a whole?

Motivation also plays a key role in many aspects of legal practice. If you take the time to understand what motivates your clients, witnesses and opponents, you will undoubtedly be a more effective advocate. Is your client motivated by securing a quick and quiet settlement, or are there important principles at stake, or perhaps a number of similarly situated potential claimants? Understanding your client's motivation is crucial to advancing their interests. Likewise, is your opponent motivated solely by financial concerns, or are they looking for a forum in which to be heard and have their position vindicated? Understanding motivation can be surprisingly difficult; it requires stepping out of your own frame of reference and trying to view the circumstances in a way that may be diametrically opposed to the views of the client you are advocating for. But avoiding the temptation to fall back on the "our opponent is simply greedy and/or crazy" position can pay huge dividends, and inform every aspect of your behavior and presentation during the course of a case. Understanding motivation allows to you get the most leverage out of your personal communication style, which brings us to our next point...

Communicate with intent.

While on stage, there should not be a single moment when you are unaware of what you are doing with your voice, your facial expression, your eyes, your body language, even your position in space. Well-trained actors are able to convey complex and often contradictory sets of emotions at once: Your booming voice can project dominance, while a certain tension in your hands belies the fact that your aggressiveness is largely a front.

While the proper mix of emotions in the practice of law will usually be less complex, awareness and intention should inform every aspect of your communication. Your voice, face and body are always communicating something, so why not use that to your best advantage? While taking a deposition, do you want your face and voice to appear open, welcoming, and conversational, or is a sterner and more clinical approach called for? Should you maintain a very calm and placid demeanor so that when you need it, a little flash of passion or anger can have an outsize impact? Your position in the courtroom is also extremely important. Stand near the jury box, so your witnesses present their answers towards the jury even when those answers are directed to you. Move into the well during cross-examination so a witness adverse to you makes less eye contact with the jury, and consider using more physical gestures and movement to draw the jury's focus your way. Make intentional choices about what is most suitable to the situation at hand, or to your personal communication style, and tailor your communication accordingly. Bringing awareness and intention to all aspects of your communication will optimize outcomes for you and for your clients.

Intentional communication is also critical when evaluating witnesses and determining the order in which they will testify in a deposition or at trial. Observe your witnesses' expression, voice and body language. Do they project credibility, or something else? Do they appear confident when providing answers, or does their body language hint at them being much less sure than their words would suggest? Credibility is key, so if your witnesses are less than ideal, then just like a theatrical production you want to make sure you start and end strong: Place witnesses that may be less persuasive or provide less-compelling testimony in the middle if possible.

Rehearse.

A lack of preparation can present as nervousness or, even worse, a lack of credibility. For actors, complete mastery of the text is essential to get past the burden of remembering lines and into the fun part - presenting the external and internal emotional life of your character. Learning lines is tedious and, for me, a slow process, but it always pays off. I have spent countless subway trips listening to a recording of myself reciting lines in a hurried monotone to get them memorized.

In the practice of law, dedicate sufficient time to rehearse any oral presentation you may have to give, no matter if it's an opening statement in an important trial, or a simple CLE. A subpar opening statement effortlessly recited from memory is likely to be more impactful than a brilliant one read directly from the page or screen.

But beyond the obvious comparisons to opening statements and CLEs, rehearsal pays serious dividends in many aspects of a legal practice. Rehearsing an argument for a motion for summary judgment hearing will help you hone your points and improve your presentation. Internalizing your arguments and the caselaw that supports it will help you react calmly to the unexpected, whether it's an unforeseen question from a judge or an unanticipated attack from opposing counsel.

Even without being a classically trained actor, attorneys in all areas of practice can realize immediate benefits from bringing techniques that actors use on the stage into a legal setting. Whether it's advising your clients or persuading a judge or a jury, understanding your motivation and the motivation of those around you, communicating with intent, and internalizing the relevant facts and law will elevate your practice while avoiding unnecessary drama.

About the Author
Damien T. Munsinger (@dmpdx) is an attorney at Barran Liebman LLP in Portland, Oregon.
(Image Credit: ShutterStock)

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How Acting Informs the Practice of Law | ABA Law Practice Today

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Before going to law school, I worked as an actor in New York after graduating from NYU's Tisch School of the Arts. I was lucky enough to land among a troop of rising actors, directors, and producers staging classical productions in a small theatre in Times Square.

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This is one of the best theaters known in Canada!

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This is one of the best theaters known in Canada!

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https://www.chatelaine.com/living/best-movie-theatres-canada/
The Patricia Theatre is the longest running theater in Canada, it all started with a silent movie house back in 1913.
#Patriciatheater

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“A stage actor had to be 10% aware of the audience as he’s performing.”

William Shatner is an Canadian Actor, author, producer, director, screenwriter and singer. He’s well known for portraying as Captain James on Star Trek. He’s 88 years old and he’s been doing acting for 70 years now. He’s well known in theatre world.
https://www.brainyquote.com/quotes/william_shatner_459212
https://www.celebritynetworth.com/richest-celebrities/actors/william-shatner-net-worth/

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In 2019, there is expected be growth in this field. In fact, as of August 2019 the minimum salary for a Broadway Actor was 2,034 dollars a week.

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The first most important piece of advice for anyone aspiring to be a Broadway actor seems to be, if there is anything else you'd rather do, you should do it instead.

Being an actor on Broadway can be rewarding, personally, though not necessarily financially. And everyone usually has to start at the bottom and work their way up.

What is the bottom for a Broadway actor? Actually, it is to be an audience member - to see as much theater as possible, to audition and be cast in everything from school plays to community theater productions, and to invest in the career before trying to make it your career. The job of an actor, whether on Broadway or a high school stage, or even in someone's basement or garage, is to express ideas and portray characters, most often from someone else's script, to entertain and inform an audience.

Job Description: The Reality of Being a Broadway Actor

You aren't likely to be cast as the "lead" in a Broadway show right away. If ever. And you aren't likely to even be cast from the first audition you give - trying to convince a casting director your interpretation of the script, any part of it, is the best, and expresses the writer's vision of the character accurately and engagingly.

If you do get a "call-back" from your audition (the producer, casting director, director and scriptwriter want to see you essentially audition again), and succeed in getting cast, your roles can range between the lead, which requires hours of stage time and the memorization of lots of lines, to parts that require only a line or two or no speaking at all - as a "background" actor. Broadway musicals have chorus roles that are non-speaking roles but require dancing and singing.

As a cast member, you often will spend hours rehearsing - not only before the production opens but also often during a show's "run," to polish and adjust the performance. Unlike in television or film, in which the audience never sees or hears a full production exactly as it was written, and the writing is often being changed up until or even after a scene is shot, on stage, when someone thinks they know the material, they want to hear it "exactly the way it was written," and know when it has been changed because it is no longer familiar to them, actor and consultant David Patrick Green notes.

Another major difference between acting on a stage and acting for television or movies is the audience location. On stage, according to Green, the audience is 100 feet or more on average from the performers. Stage actors are therefore always taught to "act for the back row." In television or film acting, as the camera can always see you and the microphone makes it possible for you to speak more naturally, you only need to move and speak so that the person or people in the scene with you can see and hear you. In other words, as Green notes in an article in Backstage.com, for television or film acting, "if someone is 3 feet away, speak as though they are 3 feet away. If they are 50 yards away, speak to them in that manner."

A third major difference between stage and television or film acting is the "iconic nature" of characters and celebrated performances of those characters, Green notes. For example, there's the case of William Gillette, a stage actor, who began playing Sherlock Holmes in 1899, in a production co-written with the character's creator, Sir Arthur Conan Doyle. Gillette, a Connecticut actor, is credited with first introducing as a prop a curved Calabash pipe - originally written and envisioned by Doyle as a straight pipe made out of briar - and the expression "Elementary, my dear fellow!" According to University of California at Berkeley Film Professor Russell Merritt, "As far as Holmes is concerned, there's not an actor dead or alive who hasn't consciously or intuitively played off Gillette."

That includes in television and film. However, unlike on the stage, in most cases in television or film acting, you will likely be the only person to ever play any character, according to Green. So what producers of a film or television project want is some version of you, not your version of a character that first wowed an audience decades ago.

As a general rule, actors often work long and irregular hours, including evenings and weekends. Or, as explained by Broadway producer Ken Davenport, "we don't punch clocks." In his blog, " The Producer's Perspective," he explains: "Office hours may be 10 a.m.- 6 p.m., but everyone does the work for the love of it. If you love what you do, then you won't be watching the clock. And I only want to work with people who truly love what they do."

The work is usually indoors, in theaters, or outdoors on location or in an "open air" production. Also, actors may travel if they are part of a touring production. A Broadway cast member may work up to eight shows in a single week, covering a maximum of six of seven days. Shows also routinely can call on actors to perform five shows in a single 3-day period, and may set six shows in a 3-day period "no more than 12 times over the course of a year of shows."

Such frequent performances mean actors have daily schedules that revolve around being prepared to perform whenever the curtain goes up. For musicals, cast members may also need to rest their voices when not onstage.

How Much Do Broadway Actors Make?

And now the answer to the question that brought you here.

According to CareerTrend.com, actors who are members of the Actor's Equity Association receive a minimum salary of $1,653 per week for either musicals or plays, as of August 2019. Those working a split week, which is less than a full week's worth of work, receive $952 per week. Weekly increments are also added for special duties or performances - those playing a specialty part receive an additional $20 per week, as do those in roles with "extraordinary risk," as determined by the union, and, in musicals, those who are dance captains receive an extra $300.60 per week. Lastly, if an actor is asked to move set pieces, that performer can receive $8 more per week.

However, according to Playbill.com, pay for Broadway cast members depend on their fame, experience, and the demands of the role they're playing. A famous actor or actress in a lead could receive $100,000 or more a week, especially if their contract calls for a percentage of ticket sales. And, as of 2017, with slight increases expected by 2019, the current minimum salary for an Equity performer on Broadway was $2,034 a week.

Understudy roles - the actor who steps in when there's an emergency and an actor can't play a part assigned them - also come with additional pay. "Swing" actors, who understudy multiple ensemble tracks, earn $101.70 over the performer weekly minimum, Playbill says, or $15 if a performer is only a partial swing. Understudy principal roles can add $54.50 to a weekly salary, while understudy chorus roles can add $15.

Musicals designate some performers as "dance captains," who have to know all the show's choreography and are tasked with ensuring it continues to be performed as it was originally set. Serving as a dance captain results in a $406.80 addition to an actor's weekly salary, while assistant dance captains receive $203.40. If a production calls for a "fight captain," to maintain fight choreography, that performer receives $75 more a week.

Another way to increase your base salary as an actor is to agree to a one-year "rider," which essentially says a performer will remain with a production for an entire year. For the first six months of such a rider, the performer earns an extra $80 a week, with the addition reduced to $40 per week for the second six months. At the end of the year, assuming the performer did, in fact, remain with the production, the performer receives a $2,600 bonus.

Now for more perspective: according to the Bureau of Labor Statistics, the median pay for a Broadway actor in all of 2018 was $17.54 per hour - that was about $10.29 above the current federal minimum wage (set in 2009) of $7.25, and $7.14 above New York state's minimum wage for 2018, which has been raised to $11 for 2019.

Education Requirements

Unlike the majority of professions, a college degree isn't a requirement to become an actor or actress on Broadway. However, a bachelor's degree is often seen as helpful to learning the craft and, for musical theater, some even pursue a master's degree at places like Cincinnati Conservatory of Music and Carnegie Mellon University, or any number of other places that have performance degree programs.

In fact, the Bureau of Labor Statistic's job outlook for actors notes that, because of the heavy competition for even the most minor roles, "actors with a bachelor's degree in theater may have a better chance of landing a part than those without one."

A good actor has to have knowledge of how people behave and speak, so their characters can appear believable; they must know how to project their voice to fill a performance space, and have a wide range of knowledge of books, plays and even poetry; it helps to have knowledge of different cultures, and skill in interpreting or analyzing roles.

Whether you have a degree or not, one way to begin is to learn your craft. This means take acting classes, somewhere, according to Backstage.com. You will be performing in front of an audience, and be exposed to other performers, who could wind up a valuable resource or industry contact. And, if you're hoping to get cast in a musical, which has become quite popular not only on Broadway but also in film, vocal training would be a good thing to pursue.

In addition, dance training would help, starting with a ballet class to give you a solid foundation, as would scene study, to help you develop an ability to interpret a script.

Regardless, according to Davenport, "do what's required with a smile on your face, and you'll rise to the top quicker than you can say "I went to graduate school for this?"

Job Outlook

According to the BLS, employment of actors is projected to grow 12% through 2026, or by a total of 7,400 new jobs from 63,800 in 2016 - which is faster than the average for all occupations.

However, actors who work in performing arts companies are expected to see slower job growth than those in film, as small and medium-sized theaters have difficulty getting funding. As a result, the number of performances is expected to decline, according to the BLS.

As for Broadway, large theaters, with their more stable sources of funding and more well-known plays and musicals, should provide more opportunities.
It's never too late - or too early - to plan and invest for the retirement you deserve. Get more information and a free trial subscription to TheStreet's Retirement Daily to learn more about saving for and living in retirement. Got questions about money, retirement and/or investments? Email Robert.Powell@TheStreet.com.

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How Much Do Broadway Actors Make in 2019?

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The first most important piece of advice for anyone aspiring to be a Broadway actor seems to be, if there is anything else you'd rather do, you should do it instead. Being an actor on Broadway can be rewarding, personally, though not necessarily financially.

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Between 2010 and 2020 there is an expected growth in theater acting by just 4 percent.

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Aspiring actors may have thoughts of Broadway productions and Hollywood premieres when they envision their careers. These images can make the line of work seem more than appealing. But achieving success as an actor is no easy task. According to the Bureau of Labor Statistics,

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There are no formal education in order to become an actor, however getting a bachelor’s degree in theatre arts, drama, acting and performing may help. The more experience the better luck you will be. Experience plays a major factor in this field.
#actingforlife
https://study.com/articles/Acting_Career_Information_Becoming_an_Actor_or_Actress.html
https://targetcareers.co.uk/career-sectors/arts-and-creative/1015387-careers-in-theatre