Auditioning is a critical skill you can develop, much like scene study or emotional prep, and it's an acting skill you can learn in acting classes in NYC. Becoming a working actor is essential to gaining experience, and becoming a working actor can't happen if you don't audition well. Developing auditioning skills may be up to you as some acting classes NYC don't cover this thoroughly. 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 are one or two ways that are common reasons actors "fail" to turn in arresting auditions. The first is to be overconfident. At the same time you cannot allow yourself to be overly nervous or insecure, unless the role calls for it. Either one of these can count heavily against you--and not because auditors don't like overly nervous or over confident actors. 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.
This is a very bad acting habit, being too closed off and too rehearsed and it's a poor auditioning technique as well. 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, as it is called, may not seem important at first. Remember this will be the first impression you make. This is not a throwaway moment, it's an opportunity. Here's a shocking fact. Not all casting directors, producers or directors watch all the tapes past the slate. With hundreds, perhaps thousands to see for a role, it's an overwhelming process. Anything to speed things up, like a poor or boring slate, is a good excuse to just move on. So, a quick dismissal of someone who doesn't slate well gets them closer to their goal.
This is challenging for the actor, but challenging is what spurs growth. 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. Acting classes in NYC may be able to help you practice your slate. Acting classes in NYC in some institutions, may ask for a slate and audition tape for entry into their program. This skill can be practiced much like any other. Enlist a friend to help record your efforts on tape and you will instantly see how well you are doing. Practicing slates isn't easy. True communication is connecting with someone even if through a device, like a camera. By recording several versions and playing them back you can begin to get a feel for you how you are presenting yourself. You can get feedback from people you trust, and keep working at it until you feel like your slate is a natural extension of who you are as an actor.
As for the information they want, it's most often limited to your name and the agency that represents you. The shorter the better so they move on to the critical thing, the audition. It won't hurt in commercial auditions to put a hint of the character in your slate but avoid going over the top. It could fall short and send the auditors to hit eject before you get a chance to show your 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. Then give them something they want to see more of: a brilliant and original character. 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.
There are one or two ways that are common reasons actors "fail" to turn in arresting auditions. The first is to be overconfident. At the same time you cannot allow yourself to be overly nervous or insecure, unless the role calls for it. Either one of these can count heavily against you--and not because auditors don't like overly nervous or over confident actors. 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.
This is a very bad acting habit, being too closed off and too rehearsed and it's a poor auditioning technique as well. 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, as it is called, may not seem important at first. Remember this will be the first impression you make. This is not a throwaway moment, it's an opportunity. Here's a shocking fact. Not all casting directors, producers or directors watch all the tapes past the slate. With hundreds, perhaps thousands to see for a role, it's an overwhelming process. Anything to speed things up, like a poor or boring slate, is a good excuse to just move on. So, a quick dismissal of someone who doesn't slate well gets them closer to their goal.
This is challenging for the actor, but challenging is what spurs growth. 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. Acting classes in NYC may be able to help you practice your slate. Acting classes in NYC in some institutions, may ask for a slate and audition tape for entry into their program. This skill can be practiced much like any other. Enlist a friend to help record your efforts on tape and you will instantly see how well you are doing. Practicing slates isn't easy. True communication is connecting with someone even if through a device, like a camera. By recording several versions and playing them back you can begin to get a feel for you how you are presenting yourself. You can get feedback from people you trust, and keep working at it until you feel like your slate is a natural extension of who you are as an actor.
As for the information they want, it's most often limited to your name and the agency that represents you. The shorter the better so they move on to the critical thing, the audition. It won't hurt in commercial auditions to put a hint of the character in your slate but avoid going over the top. It could fall short and send the auditors to hit eject before you get a chance to show your 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. Then give them something they want to see more of: a brilliant and original character. 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 training in New York City. For more information about commercial acting classes visit the studio website where you can get specific answers to any question you have.
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