Edinburgh Fringe session to help performers with anxiety

A free workshop for performers suffering from anxiety will be held at this year’s Edinburgh Festival Fringe and explore how breathing exercises can help them overcome their nerves.

Conquering Performance Anxiety will take place on August 20 at Fringe Central. It is being run by GP Pippa Wheble in association with Equity. Wheble is also a trainer in a technique known as Transformational Breath, which helps actors “open up the full potential of their breathing system for better physical and emotional well-being”.

The workshop comes after performers opened up about the impact anxiety has had on their careers, including Broadway star Patti Murin. West End actors including Caroline Sheen and Jodie Jacobs have revealed their battles with anxiety in a bid to encourage more industry conversations around mental health.

They have been joined by actors including Savannah Stevenson, best known for her roles in Wicked and Chariots of Fire, and Danny Colligan, who was in The Book of Mormon. All have revealed the struggles they have faced with anxiety and the impact this has had on their careers, and have urged the industry to do more to support sufferers.

The workshop will explore “why anxiety is good for us as performers” but also the problems that can then occur. “I will talk about how breathing can be a really direct tool for managing anxiety in those performance situations and techniques that can help with that,” she said, adding that actors will also take part in a practical taster session of Transformational Breath.

Actors’ tips on how to cry on cue

Ever wondered how the world’s greatest actors cry real tears on camera? Getting actual water to fall from your eyes while being pressured to give a compelling, honest performance on film or even in the audition room may sound daunting. But turning on the waterworks isn’t as difficult as it may seem.

First, there is one basic component to crying that also doubles as a handy trick: stay hydrated. Without enough fluid in your system, your body will be unable to activate its tear ducts. Drink up!

Don’t force it. At the Studio, which focuses on breaking down actors’ fears and limitations, Calcaterra encourages students to accept whatever emotions emerge during a scene. “If I’m working with a very specific moment with the actor where that emotion needs to be there, I work on getting to a place where the body is relaxed, breathing, and the focus is on what is at hand. The second the actor goes to, ‘I have to cry here,’ you’re focused on a result and you’re not telling the emotional truth of the moment.”

Borrow from your personal experience. Some people are more emotionally available, some people cry once a week, once a day, that’s just who they are. You should know your triggers. In your life when you find yourself becoming emotional, you should remember what it was that made you emotional. And you can draw back on those things later.

Or borrow from your imagination. The process is simple: Put yourself in an imaginary scenario that might stir in you intensely sad emotions. The best part: it’s solely yours to own. It could be something that has nothing to do with the scene, and that’s your secret. No one has to know what you’re over there bawling about.

Focus on the character’s circumstances and stakes. Don’t forget that your material provides everything you need to navigate any emotions that may come up, organically or artificially, in a scene. While prepping your character and filling in the basic questions (Who? What? When? Where? Why?), identify what in the character’s personality might lead to tears.

In fact, vulnerability is more important than the actual production of tears. How often have you responded emotionally to a film or TV scene you’re watching when no actor in the scene has cried? Those actors’ vulnerability is so acutely honest, they can engender emotion in others even without tears.