If you want to learn truthful acting and how to be in the moment, add this to your library to make it complete. Thousands of action words are alphabetized and categorized to help you find what you are doing in every beat. This book will help you play specific actions and get away from making general choices. So there you have it! My six top picks no actor should be caught without. Master your craft, empower yourself, and enjoy the journey. It has since been updated.
The views expressed in this article are solely that of the individual s providing them, and do not necessarily reflect the opinions of Backstage or its staff. Backstage Experts. By Denise Simon Dec. Denise Simon Denise Simon is a New York-based acting coach and career consultant who has been involved in the entertainment industry for more than 30 years as an actor, teacher, director, casting director and personal talent manager.
More From Backstage Experts. Now Trending. From EPAs to the pit to bar cuts, here are nearly expressions you need to know:. Backstage is a great place to start because, as previously mentioned, we have musical theater opportunities of all sorts. Additionally, fellow actors perhaps those you met in acting or dance classes are a great way to stay in the know about upcoming auditions. Contrary to some popular opinion, most actors want to see other actors working.
The specifics of what you should perform in your MT audition will depend on the specific gig, but you will frequently need both a ballad and an uptempo number. The composer of your song selected an original key for the piece that they wrote, but you should ask yourself if the song is in the right key for you. Many times, even a half-step up or down can make all the difference in the world.
Two caveats:. Make sure you have thought through how you will begin your song. Some singers prefer to start their pieces with a bell-tone a single note or octave that is played to give the singer their starting pitch. The advantage of this is it gives the performer more control over when to start the song. However, sometimes it feels better to have the musical energy established before singing begins, and in those cases, you should craft a brief piano introduction.
If it is longer than 5—7 seconds, it should probably be shortened; between two and four bars is usually a good musical length. For most musical theater songs, we expect a tempo that is close to the original feel from the cast recording. In your audition, you should also tell the accompanist that you will be taking a different tempo than they may be used to. When you are asked for 16 or 32 bars, this is not an invitation for you to literally count the bars of your song. Therefore, I think it is better to time your song; a bar cut should be around 30—45 seconds one minute is maximum and a bar cut should be around — two minutes is maximum.
The most important thing is that the cut feel right and make good musical sense. Consider whether or not you want to use the whole playout the last few bars of music of your piece. If you are not sure how to decide this, ask your vocal coach for help. You will most likely be asked to perform sides from the production at hand. However, there are many instances in which the team will request a monologue in addition to or in lieu of scenes from the show. Select an entertaining one. No one in the industry wants to watch an actor working really hard to impress them with their "acting" especially if the piece is boring or mediocre.
Choose a monologue you love doing so we will love watching you.
Find one that "fits you like a glove" so we believe you. Know your type and range as far as being cast. Make sure the part is age-appropriate and physically accurate. It's agonizing to watch a year-old try to be 45 or a guy from Minnesota try to be an Italian Mafioso from Brooklyn or a plain Jane try to be a femme fatale. A monologue is the time to show who you are, not add layers of dialects, character traits, a limp, or something outrageous to impress.
Avoid props unless it is so essential to the scene that it won't work without one. Choose one that is serio-comedic—not just comedic or dramatic. Show us some change in emotion but keep us laughing. Serio-comedic monologues are my favorite choices. Start with a piece that is funny, quirky, and gets people to laugh and then "turn the screw. They're already in your corner and you've won them over!
kick-cocoa.info/components/xumehuzy/kuz-spiare-cellulare-senza.php Be compelling to get them involved in liking you, loving you, and hiring you! Work on one that has an "arc" or storyline.
Avoid the "Johnny One-Note" monologues that show one emotion throughout. There is nothing worse than watching someone rant and rave angrily at the audience for four minutes. We all love to hear stories with twists and turns. Bring us along with you. Keep it short. Every agent I've ever met made up their minds about an actor in less than 10 seconds. After two minutes they change their mind and it goes the other way. Stay within their attention span, and you'll have more success.
Find one with an element of surprise. If the audience is three steps ahead of you, they get bored very fast. Shift gears suddenly and change your mood or voice. Find a way to keep us on the edge of our seats, wondering what will happen next.
Everyone loves to be pleasantly surprised. Choose one that is not full of foul language or rude sexual innuendos. The exception here is unless it is essential to the character, who in spite of the language is funny or quirky. But be careful. Well-written monologues like that are few and far between, and most actors aren't clever enough to pull them off. You run the risk of alienating everyone within earshot, and then looking like a mediocre actor on top of it.
Choose good writing over something flashy to impress.