Acting in the theater is a little different. They have to act broadlyso everyone including the back row can get it. In movies we have close-ups. Subtle minimalism is what you need to impart on them.

RJSchwarz

So much of this is a matter of your personal aesthetic as a director. I've worked with a lot of stage actors, and when they haven't had film experience before I start by explaining to them that when your close-up is going to be projected on a twenty-foot screen, you don't need to work consciously to emote. I also tell them that the words aren't as important when you're doing a film--that the intimate nature of the medium means that interrupting, mumbling, ad-libs and flubbed lines are not only acceptable, but should be encouraged. In my opinion, the best thing that can happen during a take is a mistake. The bigger the mistake, the better. Make it clear that the scene is not over until you call cut, and that means staying in character even when the scene departs from the script. This is where it's great to work with theatre people: most of them are good at rolling with the punches and probably have some degree of improv experience.

If your actors are into Stanislavski or Meisner (method acting), you're in luck. That style translates very well to screen, if you know how to handle it. Often between takes I'll give my actors a seed of a thought to run through their head during the scene. It doesn't even have to be relevant; in fact, it's often better if it's a complete non-sequitur.

Don't give result directions ("Be happy! Now be angry! Give me more intensity!"). Instead, ask questions. Give your actors some action verbs to play to. Most of all, give your actors the freedom to give their own performance--if acting was all about fulfilling the director's vision, then all directors would be great actors. This is simply not the case. Your cast may come up with performances that you were not expecting, that don't mesh with your initial vision, that maybe even make you uncomfortable. But beware saying "That's wrong." Allow yourself to trust your cast. If they're truly talented stage actors, they won't disappoint.

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Andrew Gingerich
Exploding Goldfish Films
Check out my blog at http://www.exgfilms.com
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Theater actors are usually great. They often memorize the whole script. Their voices project well, so it's easy to get good audio. As explained above, they will tend to over-emote with facial expressions and gestures. All it will take is a little explanation of the filmic subtlety that you want and to show them the playback of their first few takes, especially closeups. Shoot a rehearsal and show it to them.

As mentioned above, stage actors can be great. One of the most important thing to tell a stage actor acting for film, is to be natural. I've made a few shorts just using stage actors and they will try to be proper and act out how they feel with body language. I suggest you stop that as soon as you see it. And believe me, you will see it.

"Look out below!"

Minor point, Meisner and Method are related but they aren't the same thing. I'm in the middle of a Meisner workshop now and the first thing our instructor did was to give us some history. Meisner training actually does translate very well into film. Sam Rockwell is Meisner trained, I believe.

Now as far as your actors go, I'll try to give you some tips. I've done film and stage from both sides and I've learned a couple things.

If they're experienced then they'll be experienced with a variety of stages. It's a common misconception that all stage acting is basically the same and requires an over-emotive style that comes across too big for film but the fact is acting in the procenium for hundreds of people is drastically different than performing in a black box for less than 60. Try explaining your shots in these terms: as the shot gets tighter the theater gets smaller. As the theater gets smaller the performance gets smaller to the point that when your in an XCU it's usually enough just to think the thing without consciously doing anything.

Often stage actors are trained to start as big as they can, the logic being that it's easier to pull back than go bigger, and, in my experience, it's true. So if you think your actor is overdoing it just ask him to pull it back a little. If he's good then he'll do it with no trouble.

Stage actors are also largely unaware of continuity, so be all the more aware yourself.

I agree that they'll usually have read (and sometimes memorized) the entire script. The result is that they'll usually have a clearer idea of their character's overall place in the story and will often have a much clearer character concept. This may or may not be a good thing, but that's for you to decide.

One other thing, actors who have no experience with film won't even think to ask you where their frame is, it's just not something they're trained to think about, so you'll have to let them know.
Also, while you absolutely should feed your people, stage actors aren't used to being fed and will probably be pretty impressed.

Lastly, they might already know this, but let them know they're going to be spending a fair amount of time on set doing nothing, so they should have a way to keep themselves amused.

That's about all I have right now. Oddly enough I was in a situation this morning that addresses this. I'm in rehearsal for a play right now, but one of the scenes I'm in is actually being filmed beforehand and shown to the audience on screen as if it were a closed-circuit camera (although there will be some subjective camera work). Basically, because I was in 'stage mode' I forgot for a second that I was actually rehearsing for film and started acting for the theater we'll be performing in which holds something like 200 people. Our director reminded me of what was going on, told me to pull it back and there was no problem.

Vertigo

it might be helpful to shoot a rehearsal on a video camera. Then let them watch themselves. try a couple of takes, until you get a feel for how you want it to look.

It really is a completely different medium, and you need to let them get a feel for it.

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