Miranda uses six simple ideas as the basis for all her work:

  1. Connection
  2. White Space
  3. Internal Landscape
  4. Vista and Objects
  5. Journey
  6. Unselfconsciousness

Reference material and clips are drawn from cinema, TV, the worlds of fine arts and the performing arts, sports and nature, documentary and archival photography.

Miranda draws on her work in prisons, with documentary and verbatim text, with the Deaf community and in theatre to bring a unique approach to every individual actor and director.

  • dena kennedy
    Dena Kennedy

    "I had an audition today, and I used the techniques I learnt while filming your class. It was the most amazing audition I've ever had, I've never felt so free and real. It wasn't forced or planned, and was completely connected to the reader. The things that happened surprised even myself. It was an amazing experience. The things I learnt from you are revolutionary to me, and have changed the way I will approach auditions, and screen acting in general, forever. Thank you for your class."


Miranda references age-old clapping games from the school playground as well as tools to easily and quickly achieve intimacy and conflict, in rehearsal and on-set.

White Space

A tool based on John Keats’ Negative Capability, Miranda shows paradigm-changing visual material and ask actors to concentrate less on the information-transfer of the text and more on the thinking/feeling space in the beats/pauses/silences/ellipses/breaks.

Internal Landscape

We work on the invisible landscape of real memory and how it can impact on the believability of a performance. Miranda references documentary material.

Vista and Objects

Miranda works with the environment of the actor or character, how this can affect actors’ behaviour and how the nearer world of objects and props can advance character and performance. She asks actors or directors to bring real objects that carry a story.


Journey is about writing and how the actor can trust the text as the intricate roadmap for performance. It is about charting development from the beginning to the end of a scene. Miranda references documentary and sportscast material in which the performer does not know how the event may end.


Unselfconsciousness is what the actor aims to achieve in relation to the camera and to the audience. Miranda uses documentary and news footage to illustrate this idea.