JEFF LAMBERT WINGFIELD
J. WINGFIELD LLC
SAG-AFTRA-AEA-AFT
Producer/Writer/Director/Actor/Professor
Film, television, and stage actors should possess a wealth of techniques and methods to employ alongside their instincts when developing a character. These can be taught and used effectively.
The Accidental Death of an Anarchist
Officer
Montclair State University BFA program
MINE-FIELD is designed to build character, employ focus, and instill stage directions. The entire class participates.
IMAGINATION: creative thoughts through questions and story-telling...
FOCUS, OBSERVATION, and MEMORY developed through various exercises...
Teaching with A Purpose: A Critical Application of Pedagogies
​
As an educator, I focus on equipping students with the methods and techniques necessary to uncover a character's truth and authenticity, drawing on systems developed by past masters. I've learned that empowering students is key to making their learning meaningful. The daily application of defining, creating, evaluating, and analyzing is integral to my teaching process. Understanding and applying specific acting techniques is essential, and we carefully explore their relevance and effectiveness within the context of the script and scene.
​
My overarching goal is to leverage my experience, skills, and creative abilities to guide and mentor students on their path to success in the entertainment industry. I have honed these skills through years of classroom instruction and take pride in guiding the next generation of artists through the intricacies of theater and film, covering all aspects of pre-production, production, and post-production. This process is both creatively enriching and enlightening for all involved.
In my teaching, I emphasize six core acting techniques and methods: defining character values, character building, character study, character development, internal exercises such as solitude, and external exercises in character development.
​
I integrate established methods from renowned practitioners such as the Meisner Technique, Chekhov Technique, Uta Hagen, Stella Adler, Lee Strasberg, and Konstantin Stanislavski into my lessons. These diverse perspectives remain foundational in modern acting practice. As a producer, director, performer, and writer, I have a deep passion for creating compelling characters and often use specific techniques to portray them authentically. Film, television, and theater actors should be equipped with a rich toolkit of techniques/methods and approaches to complement their instincts when developing a character—techniques that can be effectively taught and applied.
For instance, class discussions, self-evaluations, peer reviews, creative assignments, presentations, artistic investigations, auditory listening exercises, and written reports are all part of cultivating a broader understanding of the arts, social issues, and emotional awareness beyond the classroom. Through these experiences, I provide frequent feedback and encourage peer-to-peer reviews, fostering a supportive learning environment where students are empowered to grow.
​
Ultimately, my goal as a teacher is to provide my students with a wealth of knowledge, experience, and resources, empowering them to pursue their endeavors in the arts with confidence and skill.
Teaching with Applicable Objectives and Disciplines Exercises
In my experience, the techniques and methods for developing a character are best learned through theatre games. Imagination, imagery, and objects are powerful tools for teaching, as they allow students to engage and explore new ideas actively. But how can these tools be integrated most effectively in the classroom? How can we teach students to explore critically and thoughtfully? Below are exercises that encourage analytical reasoning, critical thinking, and observational skills through active engagement:
​
ONE: VALUES & CLARIFICATION
​
Interactive Exercise: Character Values & Clarification
This class-wide exercise involves reading a scene from a play and analyzing a character’s actions. For example, does Hamlet seem mad in a particular scene? Students stand in three lines based on their answer: YES, NO, or UNSURE. They then present and defend their views on the character’s actions and emotions.
​
Objective:
This exercise promotes listening skills and an understanding of the text’s meaning. By discussing their interpretations, students develop a deeper understanding of the character’s inner life and choices, which helps actors imagine their characters more fully.
​
Explore:
Observe the differences in interpretation between classmates. How do their viewpoints shape their understanding of the character? This helps students recognize the variety of perspectives that influence their portrayal of the character.
​
TWO: MINE-FIELD
​
Character Building, Focus, Stage Directions
This exercise helps develop focus and the ability to follow stage directions. Students create a “minefield” of objects on the floor and direct a blindfolded participant from one side of the stage to the other without touching any objects. Each student gives one direction, and if the blindfolded participant touches an object, their turn ends.
​
Objective:
This teaches the basics of stage directions, trust, and focus and helps students understand the importance of clear voice commands.
​
Explore:
After the exercise, discuss the challenges of following directions, maintaining focus, and how the group worked together to achieve the goal.
​
THREE: SCRIPT ANALYSIS
​
Character Study – Goals/Objectives and Action Analysis
In a roundtable discussion, students analyze a scene to identify their character’s objective—what they want to achieve in the scene—and the actions they can take to accomplish this. This process includes understanding the text and subtext to develop strategies for portraying the character.
​
Objective:
The goal is for students to identify their characters' wants and their actions to fulfill them. This helps actors bring their characters' inner lives to the stage, staying true to the characters' intentions.
​
Explore:
Students list the character’s objectives and verbs that can describe the character's actions. They analyze any obstacles the character faces and how these challenges shape their behavior in the scene.
​
FOUR: CHARACTER DEVELOPMENT
​
Individual Exercise Using Uta Hagen's Techniques. This exercise uses Uta Hagen's principles, based on Stanislavsky’s System, to explore how actors can relate to their characters through personal experiences. This process, called "transference," helps actors find their emotional connections to the character.
​
Objective:
Actors learn to develop authentic behavior by observing human actions and relating them to their characters' situations. This allows for realistic portrayals while respecting the characters' emotional journeys.
​
Explore:
Discuss how you can connect your experiences to the characters, exploring similarities and differences. How can you apply the "Magic If" to understand the character's actions in different circumstances?
​
FIVE: CONCENTRATION
​
Internal Exercise – Private Moment
Based on Lee Strasberg’s “Private Moment” exercise, this activity helps actors focus and maintain concentration during a performance. The actor must stay engaged with the character’s emotions despite external distractions, using an object or action to remain grounded.
​
Objective:
Actors learn to stay in the moment, blocking distractions from the audience or surroundings. This exercise helps them focus on the character’s needs and objectives.
​
Explore:
After performing the exercise, discuss any distractions you encountered and how you overcame them. Reflect on how staying focused impacted your performance.
​
SIX: CHARACTER DEVELOPMENT – CHEKHOV
​
External Exercise – Psycho-Physical Character Development
In this exercise, students use physical gestures to express their character’s emotions and motivations, inspired by Michael Chekhov’s psycho-physical approach. This encourages actors to ground their performance in both internal and external actions.
​
Objective:
The goal is to connect the character’s internal state with external physical movements. By using the body to express emotions, actors can deepen their connection to the character and bring their inner life to the surface.
​
Explore:
After demonstrating various gestures, discuss how these physical actions influenced your understanding of the character’s emotions. How did your movements reflect the character’s desires and motivations?
Based on practical techniques, these exercises help actors and students develop a deeper, more analytical approach to character creation. Through engagement, imagination, and critical thinking, they learn to fully embody their characters in terms of emotional depth and physical presence.