No one really talks about this but line memorization (or the lack thereof) wreaks havoc in auditions, rehearsals and performances alike. The way in which you memorize can restrict your performance and that restricts your spontaneity and that’s not good. Another big problem happens when an actor thinks they’re off book but then when they go into performance the words don’t show up and everything comes to a screeching halt.
Make a study of how you memorize. Become aware of how long it takes you to memorize something and, more importantly, how long it takes you to be completely free of the book. Until the words just show up without you having to rummage around in your head, you are not completely memorized.
In the Green Room Professional Program the processes of memorization and script development receives a lot of attention because both have a profound impact on performance.
It’s perfectly normal to get a little rush before or when you walk into an audition. It’s basically just a little shot of adrenaline that will burn off relatively quickly if you let it.
If you don’t know how to let it burn off, than you’ll likely try to repress the rush and that’s going to keep it from burning off. This in turn causes the jitters to hang around and get worse.
Just let the adrenaline play out however it happens too. Don’t feel that you have to hide the rush from the casting director. If it’s okay with you, then it will be okay with them. They know that most actors walking into an audition have the jitters. It causes bigger problems if the actor tries to repress the rush. Repressing causes them to become less spontaneous and that’s never good for an audition.
One of the things I focus on in Making The Audition Environment Work For You is how to work with the adrenaline rush rather than against it.
Over the years I’ve been surprised by how many actors don’t have an answer for this question. It’s like they have a yearning to act but they’re not sure what that yearning is about or where that yearning is leading them. When an actor does have an answer it usually has to do with something that they want to happen in the future. I’m pursuing acting because I want to be rich and famous or because I want to be a really good actor or because I want to make a living as an actor. Continue reading Why Do I Want To Act?
The acid test of acting is how well you take direction. If you take direction well, it can literally make your career. In a casting, if they ask you for something and you cover it, that sets you apart from everyone who didn’t cover it. By the way, most of the people who came in for the casting, didn’t cover the direction. In rehearsals, if you can cover direction, your interaction with the director becomes a true creative collaboration. Directors love this and are likely to hire you again down the road. On a shoot, time is money. Your ability to cover direction from take to take makes for a happy set and a happy director (who has one eye on the clock and the other eye on the production budget). Being able to take direction well means you’ll bring your very best work to opening night with roles that are fully developed and truly serve the script.
I’ve often seen actors struggle with developing a repertoire of monologues that will really work in auditions. The reason is simple. In most production situations, be it theatre or film, actors are used to having a director. Continue reading METHOD BEHIND THE MONOLOGUE
Actors often enter an audition feeling the need to “present” themselves. “Don’t I need to do something to impress them, to let them know that I really want this role?” Presenting an image or attitude triggers behaviors that really don’t reflect who you are. In fact, “presenting” yourself, say for instance by forcing an ingratiating smile, actually limits the casting director’s impression of you and your skills. The forced smile is all they see, and since it is forced, it doesn’t seem like the “real” you. To see you in the role that they are casting they need to get a feel for who you really are. Continue reading PRESENTING YOU
Going from audition to audition most actors experience fluctuating skill levels. You feel pretty good about one audition and the next one is a “crash and burn”. And, virtually every actor has experienced some version of the “lost in the fog” audition. The moment you enter the audition room the fog descends. You drift through the audition feeling isolated from everyone in the room. The moment you leave the audition room, the fog evaporates. What’s that all about? Continue reading THE TWO MOST IMPORTANT MOMENTS IN AN AUDITION