Auditioning much like scene study or emotional prep, are crucial skills that you can learn, and it's an acting skill you can learn in many acting classes you find in New York City. Working actors know that gaining experience is critical, and that won't happen if you tend not to audition well. Acting classes NYC might be the place to build strong auditioning skills, but it doesn't hurt to work on this independently as well. Landing a role is luck and timing but, none of that matters if you're not prepared when the opportunity comes. Meisner acting classes in NYC that teach the Meisner technique are known for producing disciplined actors. Meisner acting techniques are suitable for improving your auditioning ability also.
There is no such thing as "failing" an audition unless you have fallen into one of these traps. The first way to fail is to enter the audition with overconfidence. However, being insecure or overly nervous will not count in your favor either unless it suits the character. Being overly nervous or overconfident is not what will count against you in an audition. Nervousness, overconfidence or any other type of emotional reaction to an audition is an unwanted block to the emotional presentation of the character you are auditioning for.
An overconfident or overly nervous auditioned is usually closed off to far more important emotions, those of the character they are creating in the moment. If you are over thinking it, you jeopardize the chance for something unexpected or thrilling to happen in the moment. The many layers of human traits, communicated in a thousand smalls ways is what must shine through, how you feel personally can't inhibit this.
The slate may not seem important. Remember this will be the first impression you make. It seems like a throwaway moment, just a way for the people conducting the audition to keep track. The bad news is this. Not all casting directors, producers or directors watch all the tapes past the slate. Actors must think about how many hundreds of other actors are also turning in tapes our auditions. They are on the lookout for the best of the best and a so-so slate will indicate that your tape is not worth their while. They need any excuse to move through the auditions as quickly as possible.
While this may seem harsh, it is certainly expedient. Whether it seems fair or not, the fact remains you had better learn how to slate well. Teaching auditioning skills is not part of every acting academy's curriculum. When researching acting classes in NYC, research those that teach about slates and other auditioning skills. In fact, some acting classes in NYC will ask you to slate to enter the class. Like any other skill, practicing slates makes perfect. Lights, camera action and give it a go. If you do practice slates here is more to consider. Communicating to a "presence" or person rather than the camera is important. Record and play back several versions of the slate and see how it plays. Get honest feedback from people you trust, and make sure that the slate presents who you are.
The information you include need not be lengthy, they really just want your name and possibly your agent. The shorter the better so they move on to the critical thing, the audition. While it might be okay to offer a hint of character for a commercial audition, it's still a risk. You could be wrong in your assumption about what they are looking for, and lose them before they even view your real work. The real purpose of the slate is for them to keep track of your tape, so just let them know if a few short seconds who you are. Slate and then, give them a brilliantly original, fresh fascinating character that will make their project soar. Creating character, building spontaneity into a performance and other essential auditioning skills can be learned by studying Meisner acting in NYC.
There is no such thing as "failing" an audition unless you have fallen into one of these traps. The first way to fail is to enter the audition with overconfidence. However, being insecure or overly nervous will not count in your favor either unless it suits the character. Being overly nervous or overconfident is not what will count against you in an audition. Nervousness, overconfidence or any other type of emotional reaction to an audition is an unwanted block to the emotional presentation of the character you are auditioning for.
An overconfident or overly nervous auditioned is usually closed off to far more important emotions, those of the character they are creating in the moment. If you are over thinking it, you jeopardize the chance for something unexpected or thrilling to happen in the moment. The many layers of human traits, communicated in a thousand smalls ways is what must shine through, how you feel personally can't inhibit this.
The slate may not seem important. Remember this will be the first impression you make. It seems like a throwaway moment, just a way for the people conducting the audition to keep track. The bad news is this. Not all casting directors, producers or directors watch all the tapes past the slate. Actors must think about how many hundreds of other actors are also turning in tapes our auditions. They are on the lookout for the best of the best and a so-so slate will indicate that your tape is not worth their while. They need any excuse to move through the auditions as quickly as possible.
While this may seem harsh, it is certainly expedient. Whether it seems fair or not, the fact remains you had better learn how to slate well. Teaching auditioning skills is not part of every acting academy's curriculum. When researching acting classes in NYC, research those that teach about slates and other auditioning skills. In fact, some acting classes in NYC will ask you to slate to enter the class. Like any other skill, practicing slates makes perfect. Lights, camera action and give it a go. If you do practice slates here is more to consider. Communicating to a "presence" or person rather than the camera is important. Record and play back several versions of the slate and see how it plays. Get honest feedback from people you trust, and make sure that the slate presents who you are.
The information you include need not be lengthy, they really just want your name and possibly your agent. The shorter the better so they move on to the critical thing, the audition. While it might be okay to offer a hint of character for a commercial audition, it's still a risk. You could be wrong in your assumption about what they are looking for, and lose them before they even view your real work. The real purpose of the slate is for them to keep track of your tape, so just let them know if a few short seconds who you are. Slate and then, give them a brilliantly original, fresh fascinating character that will make their project soar. Creating character, building spontaneity into a performance and other essential auditioning skills can be learned by studying Meisner acting in NYC.
About the Author:
The Maggie Flanigan Studio provides meisner acting classes in New York City. For more information about acting classes nyc visit the studio website where you can get specific answers to any question you have.
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