For the daily needs of actors trying to make it big!!!
On one of my first auditions the casting director told my manager I was good, but I was “a bit green”. What the hell does that mean? Well, its still not very clear. For some its a simple excuse not to get into detail about WHY they didnt like you. For others it means their lack of experience is preventing them from hiring you even though you have talent, and for others, its a matter of a lack of talent or not having leart to use it.
As actors we are stuck with alot of “in-between gigs” periods. All that time when there arent many auditions and bills still need to get paid. When your career seems at a standstill sometimes you need to find new ways to CREATE opportunities. The most common and well known example of how this works is Sylverster Stallone, who wrote “Rocky” with the intention of creating for himself a good role that would showcase his talents. Im not saying your next script will be a big hit, but isnt it worth a try? It might even open up a new side of you that you werent aware of.
Here is an article I thought you all might be interested in. Its amazing how many questions we get asking about how to cry! Although its a taboo subject among actors (many feel if they ask their fellow actors or teachers they will be frowned upon as talentless) most actors have the same doubts and difficulties crying at the beginning of their career. Its not easy to reach intense emotional states truthfully, even harder at an audition, so here are a few ideas on how to focus on being honest and eventually letting yourself get carried away enough to allow tears to flow…
In this video, professional voice instructor Jennifer Rutherford of International School of Music, and private teacher in Bethesda Maryland, describes how to prepare for a competition like American Idol, or any other audition. Some tips on preparation, vocal health, song choice, and audition etiquette are covered. Warm ups are also suggested and demonstrated with student [...]
At the end of the day, a character is fully created when it is no longer seen as a character, but a person. But how do we make this change? Where do we get the necessary information and tools to make this possible?
A)from our own experience.
B)from observation.
C)from research.
D)from our imagination.
This is the last of a four week series in which we will look at all these tools: today we look at imagination.
At the end of the day, a character is fully created when it is no longer seen as a character, but a person. But how do we make this change? Where do we get the necessary information and tools to make this possible?
A)from our own experience.
B)from observation.
C)from research.
D)from our imagination.
Here at breakalegg we dont usually do reader mailbags but this particular question has come up several times and I wanted to answer in a way that might reach other people in a similar situation…
At the end of the day, a character is fully created when it is no longer seen as a character, but a person. But how do we make this change? Where do we get the necessary information and tools to make this possible?
A)from our own experience.
B)from observation.
C)from research.
D)from our imagination.
This is the [...]
At the end of the day, a character is fully created when it is no longer seen as a character, but a person. But how do we make this change? Where do we get the necessary information and tools to make this possible?
A)from our own experience.
B)from observation.
C)from research.
D)from our imagination.
This is the beginning of a four week series in which we will look at all these in due time but today we focus on the first tool: our own experience.
The art of acting has 3 requisites:
a) The genius to transform oneself.
b) The talent to showcase such transformation
c) The inspiration to do both things in the conditions of time and space given.
Here is a list of things that will get you a good head start on your fellow auditioners;
1. LINES - learn them. If you do not you will have no chance ofbeing picked, it shows you are lazy and incompetant. Learn your lines and the lines of the people playing with you too, so when they forget you can then remind them – and sometimes the agent asks you to stand in and read the lines with the rest of the ‘contestants’ – if this happens guess who has a better chance of getting the part.
Susan Giosa writes an article on what sense memory is and exactly what we can use it for. Remember all the techniques are tools, so use them to your best advantage… For other opinions on sense memory...Click Here.
His book has been a success due largely to his familiar tone and approachability. Here is a snippet of an interview:
So for all of you new actors starting out who dont exactly know what it means when people say “I’m a method actor!” ModernTimes has a little page on the basics. Even so, I strongly reccommend you familiarize yourself with all of the techniquies and schools available to the modern actor (Stella Adler, Meisner, Stanislavski…etc) and then figure out what teachings are most in tune with your personal beliefs and will easily tap into your creativity… For the full article….Click Here
The Acting Room has a great post on how to substitute to achieve real emotions. I personally believe this is useful to start with, but once you have connected, you need to feel the characters emotions as your own, not substitute them. Make his emotions yours, not the other way around…
There is a world of difference between the actor who is
caused authentically to do what his character must do and the actor whi
only indicates of self-generates his actions.
Meisner didn’t invent this concept but it is the principle upon which his technique is based.
The technique is often mistakenly identified exclusively by his
signature repetition exercise. Repetition encompasses the basic
principles of his technique, however it is only the beginning…
After reading Stanislavsky’s dictum about the necessity of the actors being private in public, Strasberg created the private moment exercise. He viewed the exercise as a corrective for actors who were inhibited by the presence of an audience. By enacting a moment of true privacy in front of people, Strasberg hoped to get them to [...]
Here is a great article from Broadway Mouth that exemplifies how modern theater actors need change and an evolution in techniques that is paralell to the one happening in the medium. For the full article…Click Here.
Here is a wonderfully clear example of WHAT NOT to do when acting on film. Enough said.
In film, you sometimes encounter actors who think they’re going to steal the scene by being big, and bombastic. Proving their value. Those actors are using their bodies and voices instead of their brain! They don’t realize in terms of voice and action, less is more…
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