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What´s a coach work?






The technique


This is an area where I should probably clearly establish a preference for one acting approach/technique or another… but, that’s not going to happen. I always try to avoid those situations where one must "convert" to a given methodology. Regarding acting technique, I have my clear ideas, but I consider that the theory alone never makes better actors.

As a Coach, I believe it to be counterproductive to be doubtful about the technique of the actors and actresses whom I'm teaching, because the result -along these lines- would only be to breed more doubt among actors and actresses. In this regard, leaving aside specific techniques which may be necessary, I find the real solutions reside in providing them with some “tools” to face the job.


A Coach’s task


The people with whom I work require a concrete and immediate need, for example: a audition preparation, monologue polishing or a scene that they need to prepare (could be for their videobook) or the building of a character for a play or a TV series or a film.


A Coach’s task consists largely in being a “guide”, someone who can polish the actor’s/actress’s initial proposal from the outside, showing them their own “acting tools” to discover new shades from that text and character. Regarding to those who have to prepare an audition, I must remark that the actor has to go through all the possible incarnations of his/her character. Even if he/she opts for one concrete approach (the one that they’ll show at the audition), he/she has to be able to react to the director’s or the casting director’s instructions immediately. This kind of actor will be the one who finally gets the most of the roles, and even there are some factors that beyond their control, there are some others which we can and must face.


The Coach at a TV serie


Regarding the Coach’s task into an audiovisual production, and specially in daily TV series, this could be divided in four important sections: the first one, to help the actors/actresses learning their screenplays. The second one should be to look for a certain homogeneity between all the characters so that the acting tone would be similar. This will give to the series a major coherence. The third one could be to follow the line with the just created characters. And finally the fourth, would be to help the actors/actresses to improve some shades from the sequence with the immediacy that a daily product demands, of course.





You can contact me for any questions you may have at e-mail direction: or call me at: 616036650


My kindest regards,


Jorge Elorza