» Knowing the Basics

Acting 101 : Acting Tips: Line Memorization

actorguru — Thu, 05 Jan 2012 01:38:48 +0000

Memorizing your lines can be done by repeating them by yourself, rehearsing with fellow actors and listening to your own recordings. Learn a few memorization tricks with advice from experienced stage and screen actress Jennifer Rae in this free video on acting.

Expert: Jennifer Rae
Bio: Jennifer Rae is an Equity actor, who has been involved in all aspects of acting (theatre and screen) for more than 20 years.
Filmmaker: Tyler Bourns

No related posts.

Wanna Be on TV? You Have to Watch TV!

actorguru — Tue, 21 Sep 2010 21:18:12 +0000

by Amy Lyndon

It has always amazed me how much actors don’t know what is on television. Do you really think an agent or manager cares about booking you on a $100 a day film? They care about booking you on television. Why? Because that is where they make the most commission. I know most of you would love to be a film actor, but let’s be realistic folks, most of the film actors today started on television.

Also, know the television show you’re auditioning for. What is the format and tone? A lot of times you’ll be reading great, but no one will know how brilliant you are because you’re in a different show. Which is why you have to watch every show. If you want to be on television, you have to watch television. How are you going to have any points of reference if you don’t know what’s going on? Pick up TV Guide, subscribe to it and see who’s working. What are they wearing?

What are the popular hairstyles? If you don’t look like you’re on the show and act like you’re on the show, then why should they cast you on their show? Try not to extend the imagination of the people who are hiring you. Figure out how you can fit into the requirements of the given medium. It’s sad, but you can be the greatest actor in the world, but if they don’t see it with what they are casting, then you’re not going to get the part. It’s really that simple.

Do the research. Look up on IMDBpro the other shows the producers have worked on. If it’s an Aaron Sorkin show, then it’s a particular style that the network buys from him. Know what the casting director has worked on. What type of actors do they usually go for? The more information you have going in, the more powerful you are and the more able you are to get to the one percent booking.

When you get the audition, make sure that you’re prepared. Do you know exactly where you’re going? Map it out the night before. Lay out your clothes. Stay off the phone. If you’re still going over your script in your car on the way over and in the office, then you didn’t do enough homework. Don’t look at anyone in the outer office. The moment that you catch someone’s eye, they will talk to you.Bring music or put your head down and close your ears to all the noise and concentrate on what you’re going to do. Find out who is signed up before you and if you can, wait outside the room and go straight in as soon as they walk out. Do not engage.

Another thing, if you’re thinking about the audition for days after wards and asking for feedback from your representatives, then you didn’t do your homework. You know when you’ve hit it hard. You know when you’ve given it your best. You don’t need approval or feedback from anyone else about how you did. You know. Be honest with yourself.

Cheers.
Amy Lyndon
818.760.8501
http://thelyndontechnique.com/
TheLyndonTechnique@gmail.com

Forgetting Your Lines: Deal-Breaker?

actorguru — Wed, 15 Sep 2010 18:50:29 +0000

“This blog was pulled, in its entirety, from Bite-Size Business for Actors, a blog published by The Actors’ Enterprise. To learn more, visit http://theactorsenterprise.blogspot.com.”

Picture this: You finally get cast in the role of your dreams, and you’ll be working with a fantastic group of people to bring the play to the masses. You rehearse for weeks (some, even months) and can’t wait to get the show on its feet. You know your lines, you have your motivations, and your present to your scene partners, making it possible to create the “illusion of the first time” every time you do the show. And then, it happens… you “dry” on stage (more commonly known as “going blank” or “forgetting your lines.”) What is an actor to do?

I just received a question on this topic from a reader named Christopher:

“I have just finished a successful run in a play in which I played the lead male part in ‘Arsenic and Old Lace.’ The only blot in the show (at least as far as I was aware) was me dropping a line and corpsing for a few moments on the last night. I was mystified and am extremely angry with myself as I knew the lines very well having worked my socks off in preparing for and performing the role. I know anything unpredicted (almost) can happen in live theatre. Is there any advice, however, or comment you can give to encourage actors who will face similar situations?”

Hi, Christopher- thanks for your question! I am sure there are tons of actors in the same predicament, and I am so thrilled to be able to address this on the blog. The best encouragement I can offer is two-fold:

1) Give yourself a break. It happens to everyone, even the best of actors, and it’s part of what makes live theater exciting.
2) Audiences rarely notice that an actor misses a line. They may notice something shifted in the performance, but they rarely know what causes it. And in those rare moments where they do notice it, it reminds the audience that they are seeing live theater, which is exciting!

Losing your lines can happen for many reasons, most notably: a) being too tense and not being present in the scene; or b) being too relaxed and not focused on the action of the scene. Make sure that you are really listening to your scene partner and working off them- this should help in those moments when you think you might go blank.

Since it is inevitable that, at some, point, every actor goes blank on stage, the best way to handle it in the moment is to try to move forward with a sense of humor. Try going onto YouTube and looking for clips of live performances where actors forget their lines- often times they say something funny, the audience starts to laugh, and once everyone relaxes they are able to move into the next moment. Even in a drama, where laughing is less desirable, keeping your humor about you will help you to get through the moment with more ease — which is better for everyone involved.

Lastly, shake it off when the show is over. Like I said, the audience will rarely notice what the problem is. And luckily, you’ll have another day to try again, another thing of beauty in live theater.

I hope this helps- please let me know if you need anything else!

Erin Cronican’s career as a professional actor and career coach has spanned the last 25 years in New York City, Los Angeles and San Diego. She has appeared in major feature films and on television, and has done national tours of plays and musicals. She has worked in the advertising & marketing departments of major corporations, film production companies, theater magazines, and non-profit acting organizations. To learn more, check out http://www.theactorsenterprise.org.

Audition Etiquette – Acting the Part to Get the Part

actorguru — Sat, 11 Sep 2010 18:50:16 +0000

by Gary Dooley

I have sat through many, many hours of theatrical auditions and it never ceases to amaze me how many actors, sometimes very good actors, fail to get roles just because they don’t know how to present themselves in a professional manner.

At an audition you are a salesman, and you’re also the product. It is your job to come over as an efficient and friendly professional — someone who not only has the acting skills, but would also be a good person to work with. If you come over as surly, aloof, disorganized, or just plain disinterested — why would you expect anybody to be interested in you, no matter how good an actor you are?

It is not difficult, but it really is worth taking a moment to reflect on how good a job you are doing in selling yourself. In fact, as an actor, this sort of reflection should be part of your stock in trade. Unfortunately, maybe because of the stress of auditions, many of actors fail to do this. Prepare yourself properly and it may just give you the competitive advantage in this very competitive industry.

Be on time and be prepared to stay. Always be on time for an audition — in fact, arrive early to give yourself time to prepare and centre yourself. Arriving 15 minutes before your appointed audition time should suffice. Always try to keep your calendar clear for the rest of the day; if they ask you to stay on, it’s a good sign, but it doesn’t look good if you say that you have to rush off to another appointment.

Be friendly, but not too familiar. Even if you know people on the audition panel, do not try and exploit this by being overly familiar, this is a professional interaction. Remember, you want to show them that you are a good person to be a part of their company. Remember that this doesn’t just apply to the people on the audition panel, you should be friendly to everyone you meet in the theatre including other auditionees. I have known actors fail to get roles because they were rude to the people who were helping to organise the auditions.

Be keen, but not desperate. Nothing puts an additional panel off more quickly than an actor who appears not to want the role. You should always seem keen and positive about the project that you’re auditioning for. Even if you have reservations about whether this role is for you, this is not the time or the place to be expressing them. On the other hand, you don’t want to appear too desperate, this will make an audition panel suspicious.

If things go wrong, handle it professionally. Inevitably, sometimes things go wrong during auditions. Even the best actors can forget their lines or trip over the scenery. If something like this happens, it doesn’t necessarily mean that you will not get the role. If you handle the situation in a professional and confident manner, you may even impress people with your recovery skills. If you dry, then take a deep breath, re-centre yourself and carry on as quickly as possible. Never try to explain or excuse what happened, and never break into a torrent of expletives. Behave as you would if you were in a performance in front of a full audience. Never apologise or make excuses, people don’t want to hear that you have a cold or didn’t have long enough to prepare, it just sounds amateurish.

Look the part. Whether you like it or not, people will make judgments about you based upon your appearance. As an actor you can use this to your advantage by choosing your ‘look’ to reflect positive qualities. In general, your clothes for an audition should be comfortable, unrestricting and neutral or dark in colour. Avoid anything too risque, garish or formal. Footwear should be comfortable, avoid high heels unless the character necessitates this.

Flexibility is key. People want to see that you are flexible and can take direction. If you are asked to do something during an audition, always try to do it. By all means ask for clarification if you don’t understand what is being asked for, but never argue or refuse to try something even if it sounds bizarre; they may just be testing you out.

Be organized and have materials prepared. Have an up-to-date copy of your diary with you at auditions. If people ask you about your availability, you will need to give concise and accurate answers. Make sure that you have copies of your CV and a head shots if appropriate. If you are providing both, then staple them together so that they don’t get separated. If you have a business card make sure you have copies with you ready to hand out if required.

Remember your performance isn’t just your two minutes on the stage; it’s the whole time from your arrival at the audition space until you finally leave. If you do all these things you’ll come over as a friendly, competent professional — the sort of person that anyone would want in their acting company. Then all that you have to do is to demonstrate that you can act, but that’s another story.

Gary Dooley is an academic, teacher and author with an international reputation. He has a PhD from Cambridge University (UK) and has worked extensively in the UK, Australia and United States. As a director, his productions of classic plays including King Lear, Othello, Measure for Measure, The Merry Wives of Windsor and The Servant of Two Masters have been widely acclaimed. His latest publication, ‘Monologue 1M: Great Classical Monologues for Young Male Actors’ is now available from iPSO FACTO publications http://www.monologuebook.com