Auditioning is more than just an different type of acting, it's a unique set of skills that are taught in many acting classes in NYC. Working actors know that gaining experience is critical, and that won't happen if you tend not to audition well. Developing auditioning skills may be up to you as some acting classes NYC don't cover this thoroughly. Landing the right role, is part luck, part good timing but, above all you must be prepared when the opportunity comes to audition. Acting classes in NYC that teach Meisner acting offer foundational skills that can be developed over time. And, Meisner acting techniques can be used to improve your auditions as well.
There are one or two ways that are common reasons actors "fail" to turn in arresting auditions. One way to be discounted is to appear overconfident. However, being insecure or overly nervous will not count in your favor either unless it suits the character. 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. 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. 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.
Many preparing for auditions consider the slate unimportant. 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 like a tiny practical thing, can have huge consequences if they don't like what they see. This is the bad news. There is no guarantee ever that a producer or director will watch a tape past the slate. With hundreds, perhaps thousands to see for a role, it's an overwhelming process. When wading through these tapes, anything that helps them to more quickly find the best of the best is necessary. A quick dismissal of an actor's tape because of a lackluster slate gets them to their goal more quickly.
This may seem brutal, it does speed up the process. Learning to slate well is one way to get an advantage over some of the actors you go up against. While some acting classes deal with auditioning, many don't. 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. Like any other skill, practicing slates makes perfect. Lights, camera action and give it a go. Practicing slates isn't easy. Communicate to someone, not the camera, which is an art form unto itself. Record and play back several versions of the slate and see how it plays. Find people you trust to watch the slate and give you feedback.
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. For a commercial audition maybe a hint of character is okay but avoid going overboard, it's risky. 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. Slate and then, give them a brilliantly original, fresh fascinating character that will make their project soar. 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. One way to be discounted is to appear overconfident. However, being insecure or overly nervous will not count in your favor either unless it suits the character. 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. 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. 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.
Many preparing for auditions consider the slate unimportant. 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 like a tiny practical thing, can have huge consequences if they don't like what they see. This is the bad news. There is no guarantee ever that a producer or director will watch a tape past the slate. With hundreds, perhaps thousands to see for a role, it's an overwhelming process. When wading through these tapes, anything that helps them to more quickly find the best of the best is necessary. A quick dismissal of an actor's tape because of a lackluster slate gets them to their goal more quickly.
This may seem brutal, it does speed up the process. Learning to slate well is one way to get an advantage over some of the actors you go up against. While some acting classes deal with auditioning, many don't. 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. Like any other skill, practicing slates makes perfect. Lights, camera action and give it a go. Practicing slates isn't easy. Communicate to someone, not the camera, which is an art form unto itself. Record and play back several versions of the slate and see how it plays. Find people you trust to watch the slate and give you feedback.
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. For a commercial audition maybe a hint of character is okay but avoid going overboard, it's risky. 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. Slate and then, give them a brilliantly original, fresh fascinating character that will make their project soar. 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 audition techniques visit the studio website where you can get specific answers to any question you have.
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