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. Working actors know that gaining experience is critical, and that won't happen if you tend not to audition well. If you are considering acting classes in NYC, look for an institution that helps its students build auditioning skills. Getting the right kind of auditions that play to your strengths is key, but even that won't help if you are not prepared when the opportunity comes. Acting classes in NYC that teach Meisner acting offer foundational skills that can be developed over time. Meisner acting techniques are suitable for improving your auditioning ability also.
There is no such thing as "failing" an audition unless you have fallen into one of these traps. One way to be discounted is to appear overconfident. At the same time you cannot allow yourself to be overly nervous or insecure, unless the role calls for it. 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 actor may come across as being too rehearsed, without enough room for spontaneity to emerge during the audition. If you are over thinking it, you jeopardize the chance for something unexpected or thrilling to happen in the moment. 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. But, as you state your name into the camera for the auditors to keep track of your tape, you are already communicating a lot about who you are. What may seem like a tiny practical thing, can have huge consequences if they don't like what they see. The bad news is this. Many times, directors and producers never even get past the slate. Seeing hundreds of actors audition for a role is a daunting task. 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. Learning to slate well is one way to get an advantage over some of the actors you go up against. Some acting classes teach excellent auditioning skills knowing how important they are. When researching acting classes in NYC, research those that teach about slates and other auditioning skills. Some institutions that offer acting classes in NYC will even ask for a slated audition tape for entry into their program. This skill can be practiced much like any other. Lights, camera action and give it a go. Here are some things to consider when practicing slates. 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. 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. First impressions should be short and sweet. It won't hurt in commercial auditions to put a hint of the character in your slate but avoid going over the top. If you fall short of their expectations they may hit the eject button before the actual tape. The aim of the slate is to give them a sense of who you are as an actor and a person. Once the slate is done, move quickly into character and give them the portrayal they could never have anticipated, the character they didn't even know they wanted. Seek out Meisner acting NYC if you want to know more about how to create character with this technique.
There is no such thing as "failing" an audition unless you have fallen into one of these traps. One way to be discounted is to appear overconfident. At the same time you cannot allow yourself to be overly nervous or insecure, unless the role calls for it. 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 actor may come across as being too rehearsed, without enough room for spontaneity to emerge during the audition. If you are over thinking it, you jeopardize the chance for something unexpected or thrilling to happen in the moment. 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. But, as you state your name into the camera for the auditors to keep track of your tape, you are already communicating a lot about who you are. What may seem like a tiny practical thing, can have huge consequences if they don't like what they see. The bad news is this. Many times, directors and producers never even get past the slate. Seeing hundreds of actors audition for a role is a daunting task. 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. Learning to slate well is one way to get an advantage over some of the actors you go up against. Some acting classes teach excellent auditioning skills knowing how important they are. When researching acting classes in NYC, research those that teach about slates and other auditioning skills. Some institutions that offer acting classes in NYC will even ask for a slated audition tape for entry into their program. This skill can be practiced much like any other. Lights, camera action and give it a go. Here are some things to consider when practicing slates. 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. 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. First impressions should be short and sweet. It won't hurt in commercial auditions to put a hint of the character in your slate but avoid going over the top. If you fall short of their expectations they may hit the eject button before the actual tape. The aim of the slate is to give them a sense of who you are as an actor and a person. Once the slate is done, move quickly into character and give them the portrayal they could never have anticipated, the character they didn't even know they wanted. Seek out Meisner acting NYC if you want to know more about how to create character with this technique.
About the Author:
The Maggie Flanigan Studio provides meisner acting instruction 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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