| There are many techniques for auditioning. First of all, | | | | are all kinds of DO IT AS IF scenarios. The key is to |
| it depends on the type of audition you are going up | | | | always do the scene or monologue as written. You |
| for. The four main types are; Stage or theatrical, film, | | | | are simply changing the circumstances, not the |
| TV and commercials. I would say that there are | | | | dialogue. |
| certain elements of the process however, that | | | | (Years ago I had a small role on WKRP In Cincinnati . |
| applies to all four. These are the techniques that I will | | | | Loni Anderson proved that she was not only |
| attempt to cover for you. | | | | beautiful, but a highly intelligent creative actress. I |
| Anyone who has read my article; | | | | saw the director ask her to do ascene AS IF at least |
| Acting Tips...To Be Or Not To Be Method Or technical | | | | six different ways, and she nailed it every time.) |
| that | | | | Again, if you are diligent in your pursuit of perfection, |
| Is The Question. | | | | you’ll put in the time and practice this exercise. It |
| You found several ideas on building a character. | | | | will pay big dividends, I promise you. It will also help |
| Some of the tips will be applicable to your | | | | you master the art of improvisation. |
| preparation for any audition as well. Especially the | | | | Which brings us to my next tip. |
| memorization exercise. For those who missed it, it | | | | Improvisation is one of the actor’s greatest tool. |
| bares repeating. | | | | If your class or group are not doing improves |
| If you dedicate yourself, and put in the time, you will | | | | currently, you have to find a way to include them in |
| learn the art of "quick study"and land every part | | | | creative process. This is very important; IMPROVES |
| you’re right for. | | | | DON’T ALWAYS HAVE TO BE FUNNY. |
| {Every day take 15 minutes and practice reading out | | | | The key to anything made up on the spot, is trust. |
| load. It doesn’t matter what you read from. | | | | Trust thatthe scene will find itself. By that I mean |
| Take 3 sentences and read them out load each time | | | | don’t force it. If someone says that they are |
| looking down for just a glance, before looking up and | | | | your uncle and you were thinking brother, you have |
| trying to say as much as you can remember. At first | | | | to make the transition to uncle. You can’t say " |
| you’ll probably be only able to memorize 5 or 6 | | | | no you’remybrother".Improves are fun as well as |
| words from the first sentence. But by the end of | | | | very enlightening. You might be surprised to learn the |
| the 15 minutes, you should be able to shout out at | | | | number of casting people and even directors that |
| least the first sentence and part of the second. | | | | utilize improvisation. |
| Don’t push yourself, or you’ll get | | | | I want to leave you with two extremely pertinent |
| discouraged. Your goal is to eventually be able to | | | | words; |
| after only about 5 minutes of memorization learn any | | | | DISAPPOINTMENT and REJECTION |
| 3 lines.} | | | | Every actor must learn to live with these words. |
| Can you imagine how impressed a director will be | | | | Some longer than others. Always remember not to |
| when he sees you making all the right choices and | | | | take them personally. You might think that you are |
| barely glancing at the script. You’ll nail that | | | | perfect for the part, but the casting person |
| audition! | | | | undoubtedly sees it differently. |
| Even if you are good at memorization, I don’t | | | | {you’re to tall, to short, to thin, to fat, not old |
| think it’s wise to have a first audition without a | | | | enough, to old, the list goes on and on. My favorite |
| script or side, though. On a callback you might be | | | | pet peeve; you didn’t get the role because their |
| instructed to have the scene memorized. But that | | | | brother or sister, cousin, niece or nephew, friend of a |
| means the director must have liked whatever choices | | | | friend, in other words nepotism,} |
| you’ve made during the initial tryout. | | | | As long as you know in your gut that you have |
| If you come to the first audition, with everything | | | | given your best reading, never let any of those |
| memorized, and you have made the wrong choice, | | | | outside interferences effect you. On the other hand, |
| the director will see it as a finished performance. | | | | take advantage of everything you can. If you know |
| They will decide that although you might be a good | | | | someone in the business, for example, don’t |
| actor, you’re just not right for this role. | | | | ever hesitate to use them. Remember, ultimately |
| So choices are very important to not only the | | | | it’s your talent that will get you the job. |
| development of a character, but also the audition | | | | I have more FREE advice and tips on acting at: |
| process. You need to choose who and what the | | | | My RecomMANNdations |
| character is about, and show thecasting person your | | | | Actors Click Here |
| commitment to that choice. Now if you have made | | | | If your goal is to be a STAR, no one can help you. I |
| the wrong choice, don’t worry. As long as you | | | | was, alongwith many of my colleagues, as good or in |
| have a piece of paper or book in your hand, you are | | | | many cases better then the so called stars of my |
| still ableto take direction. They will see that you are | | | | generation. All you can do is be the best actor or |
| an intelligent and creative actor, and direct you to the | | | | actress you can be. If all you wantis to be in local or |
| right choice, and let you read again. Remember, as | | | | community theater, be the best you can be. If |
| long as you bring something to the table, they will | | | | however you want to be a professional, then you |
| always want to work with you. Directors are famous | | | | must try to work at your craft, even if you’re |
| for asking an actor to: | | | | not getting paid at the time for it. You will be |
| DO IT AS IF... Which brings us to our next exercise. | | | | surprised at the connections you’ll meet if you |
| You can do this with or without your scene partner. | | | | are constantly in the game. If all you want is to be a |
| It is more fun with a friend, but you can do this | | | | film or TV actor for example, there are plenty of |
| exercise to a monologue. It’s very simple but | | | | student films you can get involved with. You |
| extremely effective. After you have the scene or | | | | don’t have to be strictly a stage actor or |
| monologue down pat, try doing them AS IF. | | | | actress. |
| For example; You are playing a big executive that is | | | | One last thing. Whatever road you choose to travel, |
| up for a promotion. Your best friend and colleague | | | | it is essential that you have something or someone |
| meets you for drinks to celebrate. Do the scene AS | | | | to provide financial backup. Don’t play the old |
| IF you just found out you’re getting fired. Or | | | | starving actor role! In these turbulent times you must |
| perhaps your spouse is cheating on you. Or do it as if | | | | not put yourself in such a precarious position. |
| your friend is the one getting the promotion. There | | | | |