03.13
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Auditioning is an important skill, not just an extension of acting, it's a separate skill that can be developed in many acting classes in NYC. Gaining acting experience on stage, film or television is an important way to develop acting skills, but that won't happen if you don't audition well. If auditioning is not being taught in your acting classes in NYC, it's a skill that you will need to work on developing. Landing a role is luck and timing but, none of that matters if you're not prepared when the opportunity comes. Acting classes in NYC that teach the Meisner discipline are known for turning out highly professional actors that know how to work. Meisner acting techniques are strongly connected to powerful auditioning skills.
One or two ways actors tend to crash and burn during auditions are common. The first is to be overconfident. The second is if you are overly insecure or nervous. Producers and directors, casting agents see overconfidence and extreme nervousness all the time and this is not what will work against you in the end. Being nervous or confident projects a sense of "self awareness" which can kill a great acting performance.
An overconfident actor may come across as being too rehearsed, without enough room for spontaneity to emerge during the audition. Too nervous, and it's too distracting to you and the auditors and you run the risk of not being open to the performance and the emerging character. It is the character, with all his or her flaws, energy, sorrow, tension, humor, really a balance of all of these human traits, that must be present.
The slate may not seem important. As many of you know, the slate is when you state your name into the camera so the auditors can keep track of everyone they've seen. What may seem to have little importance, in fact may be the very thing that keeps you from being seen. Here's a shocking fact. Not all casting directors, producers or directors watch all the tapes past the slate. For any given part there are likely hundreds of folks auditioning. Anything to speed things up, like a poor or boring slate, is a good excuse to just move on. A slate needs to take those few seconds, and let them know you are someone worth watching.
While this may seem harsh, it is certainly expedient. Fair or not, this is the way it is more often than not. Teaching auditioning skills is not part of every acting academy's curriculum. Acting classes in NYC are a great resource for learning about slates. Acting classes in NYC in some institutions, may ask for a slate and audition tape for entry into their program. It's something you can do on your own, and do quite well with a little help from a friend. Set up a camera, a good mic and then give it a try. Some things to think about if you do practice slates. True communication is connecting with someone even if through a device, like a camera. This is something you can record, playback and assess. Feedback from people you trust is also important, the slate should communicate who you are.
Keeping it simple is the best route, let you personality be upfront, and be quick. This is their first impression of you as an actor but the real deal should be saved for the audition. When auditioning for commercials a hint of character might be okay. It could fall short and send the auditors to hit eject before you get a chance to show your work. Mainly, the aim is to give a slate that represents you as a person and as an actor. Then, give them what they want and deserve, a brilliant, fresh take on the part you are aiming to get. if you want to know more, look into Meisner acting NYC, for tips on how to create character, emotional preparation and scene study for auditioning.
One or two ways actors tend to crash and burn during auditions are common. The first is to be overconfident. The second is if you are overly insecure or nervous. Producers and directors, casting agents see overconfidence and extreme nervousness all the time and this is not what will work against you in the end. Being nervous or confident projects a sense of "self awareness" which can kill a great acting performance.
An overconfident actor may come across as being too rehearsed, without enough room for spontaneity to emerge during the audition. Too nervous, and it's too distracting to you and the auditors and you run the risk of not being open to the performance and the emerging character. It is the character, with all his or her flaws, energy, sorrow, tension, humor, really a balance of all of these human traits, that must be present.
The slate may not seem important. As many of you know, the slate is when you state your name into the camera so the auditors can keep track of everyone they've seen. What may seem to have little importance, in fact may be the very thing that keeps you from being seen. Here's a shocking fact. Not all casting directors, producers or directors watch all the tapes past the slate. For any given part there are likely hundreds of folks auditioning. Anything to speed things up, like a poor or boring slate, is a good excuse to just move on. A slate needs to take those few seconds, and let them know you are someone worth watching.
While this may seem harsh, it is certainly expedient. Fair or not, this is the way it is more often than not. Teaching auditioning skills is not part of every acting academy's curriculum. Acting classes in NYC are a great resource for learning about slates. Acting classes in NYC in some institutions, may ask for a slate and audition tape for entry into their program. It's something you can do on your own, and do quite well with a little help from a friend. Set up a camera, a good mic and then give it a try. Some things to think about if you do practice slates. True communication is connecting with someone even if through a device, like a camera. This is something you can record, playback and assess. Feedback from people you trust is also important, the slate should communicate who you are.
Keeping it simple is the best route, let you personality be upfront, and be quick. This is their first impression of you as an actor but the real deal should be saved for the audition. When auditioning for commercials a hint of character might be okay. It could fall short and send the auditors to hit eject before you get a chance to show your work. Mainly, the aim is to give a slate that represents you as a person and as an actor. Then, give them what they want and deserve, a brilliant, fresh take on the part you are aiming to get. if you want to know more, look into Meisner acting NYC, for tips on how to create character, emotional preparation and scene study for auditioning.
About the Author:
The Maggie Flanigan Studio provides meisner acting instruction in New York City. For more information about audition techniques visit the studio website where you can get specific answers to any question you have.
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