I found this article in a theatre magazine a while back and thought it was pretty interesting and the full book ought to be coming out soon, so I will keep my eye out for that.
Open the images in a new tab if their not big enough to read, the pictures should be high enough quality to work.
I found this article in a theatre magazine a while back and thought it was pretty interesting and the full book ought to be coming out soon, so I will keep my eye out for that.
Oh my God, I did auditions yesterday and see the cast list tomorrow for Macbeth… Understand that Lady Macbeth is a character that I have loved forever and I may cry of joy if I get the role. That being said, our director is doing something pretty cool and some of the other parts that I could possibly end up with would be pretty fun as well…
With all this in mind I just wanted to do a bit on auditioning and all that because it’s so much of a part of what we have to do and we have to do it so often, it’s said that an actor’s job is auditioning. I absolutely love auditioning, I’ve looked into it quite a bit, figuring out what’s the best strategy, so here’s just a bit of what I’ve found out. Getting good at doing cold readings/monologues etc. can be one of the most instrumental skills in being successful.
I’m working on a kind of important post right now regarding the differences of Studying Drama in college vs. Acting Classes and schools and the basic idea of what some of these schools do/require. I’ve been doing some of this research for a while as I try to figure out exactly what my course is going to be because everyone has a different thing that is going to be best for them. Anyway, I was just thinking that getting some of the first hand experiences/opinions from any of you who have already gone through the school choosing process would be a good edition. So if you guys want to put anything in my ask or a website you know of that has some useful stuff in my suggestion box that would be great because I have gotten a lot of questions about stuff like this and I think having a post to sort of lay out the pros and cons and have, again, the first hand experiences, could be extremely helpful. :D yay!
Em, your thoughts please?
Hey guys! Sorry its been so inactive around here. I’m slowly but surely getting finished with my finals.
Anyway, I found this and thought I had to share. The way body language can tell how a person is really feeling is something that I consider very interesting. I think it would be a great way to show, in a subtle way, how a character is really feeing.
Hope its useful! And good luck with finals! Hopefully, this place will be a bit more active once summer kicks in.
THIS IS FREAKING AWESOME
Interesting thing for actors to consider if your not sure what to do with your hands on stage, I mean, don’t use this as strict rules obviously because thats not acting and it wont be natural, but it could help at times.
- Don’t look down at the paper all through the reading. Put your thumb next to the line you’re reading for reference. Look quickly at the line and commit it to memory, then look up and deliver it. Let the director see your expressions. If your lines are too long to commit to memory at a glance, go ahead and repeat the process. But whatever you do, don’t bury your head in the script.
- Listen! Sometime you have an idea about the character by glancing at the script, but the director may have another idea. If the director describes the character and the situation to you, listen! Don’t try to sneak a peek at your lines. It’s better to understand what the director is looking for than to focus on the next line.
- While you’re reading, focus on the person who’s reading with you. Look at what you have to say, then communicate with the other actor. Don’t read the lines to the camera, the casting director, or anyone else that is in the room. Read only to the person who reads with you.
- If it is a stage production, don’t be afraid to use space and movement during cold readings. Follow your instincts. If it’s a screen reading, don’t move a lot, stay within your frame, unless your were instructed otherwise.
- Listen to your partner’s line rather than reading ahead. Much of acting isreacting, and your silent response is often as important as ,much as your spoken one. Let the director see your reactions.
- Be conscious of your posture. Everything about you should play the role—not just your voice.
- If asked to read in a different way, take it as a compliment not a criticism.
- Don’t apologize, or request to start over. A casting director looks how you deal with the situation, not only with the text. Take your time if you made a mistake, then make it a part of the character.
the website is here:http://www.actorspages.org/coldreading.php
So, by now we are all completely aware of how expensive it is being an artist…today, backstage was kind enough to actually break it down for us and see how much is costs to be an actor. It’s kind of shocking to see the total all added up.
Headshots: 150-200 (low end), 800-1000 (high end)
Just a bit I found, it was too long to just copy and paste, but you can download the file from this website.
Found this about how to perform audition monologues, They can be kind of wierd becaue it’s a different type of acting, so… here.
GIVING A PROFESSIONAL AUDITION
When you arrive at the audition, greet the auditors and offer your headshot and resume. They may already have a copy, but always have one ready. Most likely they will ask you your name and what you will be performing. It seems obvious, but have the answer ready. All they need to know is the name of the play or film, and the character if it’s not obvious who you would be playing. Don’t give them a synopsis of the story, the scene or what your character is feeling. Simply do your piece.
Forgetting your lines is every actor’s nightmare. In the business, this is called “going up” on your lines… and it happens to everybody at some point or another. Of course you should always be prepared, know your monologue inside and out, be able to recite it in your sleep, backwards, on cue, etc. But if you do go up in an audition, do not panic. Act professionally. If you are doing a piece no one has heard of, improvise a few lines until you get back on track. If your piece is well-known, then pause a moment to gather yourself, but stay in character. This is vital. The auditors are looking at you as an actor. Your composure and confidence can sell you on the rare occasion your memory lets you down.
Some actors make the mistake of staying rooted to the floor when they do a monologue audition. Don’t – it’s boring to watch. Play the room. Move around. Work believable physical business into your monologue. Think of the entire 1-2 minutes you are performing as a mini play. You don’t need to come in full costume or have a bag of props (in fact, this is not recommended), but do stay mobile in a natural way.
TAKING A STAND
Position yourself close to your auditors, but not in their laps. Give your audience some space. Your auditors will generally be sitting behind a desk, so use the desk as your centering point. Stand about 10 feet away (or as the space of the room permits) to begin your piece. If you’re on a stage, don’t hide yourself so far upstage that the auditors can’t see you move properly or hear you clearly.
AUDITORS ARE NOT SCENE PARTNERS
Never directly engage the auditors in your monologue. They can’t be free to watch you if they are required to perform with you. In an actual performance, you wouldn’t normally look an audience member directly in the eye while delivering your lines. The same is true in an audition; remember, auditions are like your own mini one-man or one-woman show. Instead, create a scene partner. In your rehearsals, imagine this person very vividly so that you can bring him or her into the audition with you. Place your “scene partner” in front of you, not to the side, so the auditors can see you fully.
At the end of the audition, most auditors will simply say thank you. Return the thanks and leave. Do not linger, do not ask questions, do not compliment their previous work, do not tell them you have a friend in common, etc. Stay open and polite. If you are asked some follow-up questions, have a friendly, pleasant conversation. Be alert for cues that the conversation is over. A little respect for the auditors’ time goes a long way.
That Link ^^^
is to an article that talks about actors moving to LA and things that people with they had know beforehand and lessons they learned when they got there. It’s pretty long, but it has some nice info in it.
I really thought Acting Is a Job was good, had a lot of information and was extremely helpful but was very cynical. I also read Acting for Film (by Cathy Haase) which had a lot of info and personal stories so that was good. I’m now about 3/4 of the way through True and False: Heresy and Common Sense for the Actor, and It is proving to be pretty good as well. I’ve read some others, but none that were particularly awesome.
Stole from online somewhere:
Acting in a comedy is harder than it may seem. One of the key elements of comedic acting is not to “milk the audience” for a laugh. You may have a brilliantly funny script to work from, but if you play the scenes as though a laugh is going to come at any moment, you will certainly kill the spontaneity of the world you have created.
In order to avoid giving the joke(s) away too soon, actors need to stay focused on each moment as it unfolds. Trust that the playwright has orchestrated his/her scenes so that the humor will be seen (and heard) in them.
DON’T BE FUNNY
How do you deliver a funny line? Don’t be funny.
We’ve all seen actors trying too hard to squeeze very last bit of humor out of one line just to be sure s/he gets the laugh. Or worse, an actor delivers a line then waits for the laugh s/he is positive will follow. (You can almost hear the crickets chirping in the silence.) You can avoid this by staying true to the world of the scene at hand.
Rule of Comedy: If you believe it, the laughs will come.
HOW TO LAUGH
For some actors laughing on cue can be just as daunting a task as crying on cue. Here are a few tips on how to laugh effectively:
First and foremost, keep your attention on the scene and on your partner. If you are truly engrossed in the moment of the scene, the laugh will come organically.
Think of the kind of laugh required for the moment. What size or type of laugh is an appropriate reaction to the situation? Sometimes a little chuckle is far more effective than a belly laugh. Although a seemingly inappropriate laugh may work as well, particularly if you are acting in a comedy.
Be aware of the what the mood of the scene is and decide how your character would honestly react. After that, forget about it. Let the moment carry you through.
Improvisational comedy is often a misnomer. When acting in Improv comedy, actors don’t set out to come up with the wittiest line or out-joke his/her scene partners. In both short- and long-form Improvs, the basic idea is to take a subject or scenario (often given by an audience member) and create a scene based on the reality of the moments that unfold once the scene has begun.
Much like real life, actors do not approach the scenes with the desire to make everyone around them laugh, but if the scene is played organically, humorous moments do arise more often than not. The goal is to play the scene with honesty.
One of the oldest comedic traditions is physical comedy. Here, not only language is used to make audiences laugh, but the body is used in ways that evoke humor. Sadly, this often involves some unfortunate event for the comedian such as falling down or sustaining some other bodily mishap.
Vaudeville comedians were masters of this type of humor. Film comedians of note like Charlie Chaplin, Buster Keaton, and Harold Lloyd were masters of physical comedy. Today, physical comedians are not as prominent, but actors like Jim Carrey have carried on the tradition.
If you choose to study physical comedy, be aware that learning the skill effectively is as complex as learning stage combat. Looking like you’ve been hurt (or blinded by a cream pie) without actually being that way is a fine art that takes years of training and practice.
THE MUSE OF COMEDY
Everyone loves to laugh. It’s no wonder then that in the line-up of the original Nine Muses of the arts and sciences was Thaleia (or Thalia), the Muse of Comedy. That’s how important comedy is!
Thaleia and her sisters were the daughters of Zeus and Mnemosyne (the Titan goddess of memory and language). Thaleia herself appears with the comic mask, a shepherd’s staff, or a wreath of ivy. The Muses are said to be inspiring nymphs; writers and performers called upon them to give them strength and inspiration to create their art.
Today, the Muses are still worshipped, if only in general invocation! Still, if you’re a comedian, Thaleia may appreciate some special attention. She’s a fan of offerings of water, milk, and honey. Put some out before your next Neil Simon production.
Farce: A high-energy dramatic-comedic piece with improbable situations, exaggeration, and oftentimes playful roughhousing.
Imbroglio: A comedy that grows out of a character’s attempt to solve a specific problem. Typically, the journey toward the solution becomes a comedy of errors that leads the hero into deeper entanglements, but the conclusion ends up happily.
Black comedy: Comedy (usually a social commentary) that tests good taste and moral tolerability by juxtaposing dark elements of human nature with comical ones.
Pantomime: Mainly designed for children, this musical drama dance, mime, puppetry, slapstick, and melodrama are combined to produce an entertaining and comic theatrical experience. In Europe and the UK, these “pantos” are performed around the holidays.
Found this online. Written by Talent Manager Vicki Frankmano:
Acting, for me, is an art form like painting or writing; it’s a process. Part of the process that I love is breaking in the new people. But if acting is your passion, you have to make it a priority. You have to do the footwork to succeed. You can start by building your foundation, and learning that it takes more than being a “natural” to become an actor.
If you want to become a successful actor, here is my advice:
Study! Study! Study! You wouldn’t become a brain surgeon without medical school.and you won’t become a great actor without training. Yes, I know you’re thinking: “But I have natural ability.” Well, so did Picasso, but he still studied art. You need the foundation. The foundation is everything. You don’t have to like Shakespeare, but you better understand it and know how to speak it. You may never have to reach the last row in a theatre, but you better know how to maintain your voice without blowing it. You may never need a perfect speech pattern, but you better start working on it or you will never grow out of being cast as the kid from Brooklyn, Atlanta, Kansas, or Texas. What you will need is the foundation that helps you to find your character even when you don’t relate to it at all, the foundation you can reach down to when you need a starting place. Like any solid foundation, it will serve you for years and years.
Grow a thick hide. No one suffers more rejection than actors. You can’t take it personally. You must be able to walk out of an audition and know you can say, “I did the very best I could.” That’s all we, as representatives, can ask of you.
Be prepared. Know your lines. Never show up to an audition without a picture (a picture that looks like you) and resume. And always be on time. Remember this: Casting people want you to get the job. They want to like what you’re doing. They want to like you. If you’re at least prepared, you’re making it that much easier for them and for yourself.
And for god’s sake, go to the movies! I don’t just mean the most recent blockbuster, but all movies. Get the Independent Film Channel, Sundance Channel, and watch those films. Go the the video store and rent all the old classics. They’re “classics” for a reason. There is some great work out there. See it. Also, go to the theatre and see what is happening there. If for some reason your town doesn’t have a theatre, go to the library and read plays. There are infinite ways you can get access to films. All you have to do is make an effort and make building your foundation a priority.
Be disciplined and tenacious.and maybe we’ll be seeing you at the movies.
This came up on my dash from someone who is a student actor/writer etc. whose doing a lot o fwork right now
This weekend was the first weekend of production for IAL! I got to work with some really, really great actors! And one that was less great. This guy was one of the older members of the cast, non-union, and a real diva. We’re talking, shows up half an hour late, smokes on the set (which was a…
I was reading this bit in an acting magazine about monologues and the way to do a monologue to get a director to see how good you are. I think the most poignant part of this was when it talked about remembering to actually be acting in a monologue. I never really thought about it before, but, it was basically saying that you have to remember that you are still acting a scene to a group of characters. There is still a point in making the speech beyond trying to impress the casting directors. It said something about how you will still pause and you have to almost imagine the other characters and their reactions and all of that in order to really get how you would act in character in response to them and what you might do for your character (you would of course have to do research to find out what who you are talking to and who you are. But anyway, thought this was helpful.