How to start an acting career and be succesful
When it comes to getting work as an actor, your auditioning skills are far more important than your acting skills and talent. This explains why you see many poor actors on the screen and tube. Auditioning is a process that can be frustrating, but is the cornerstone of the industry. The first book on this list, by Michael Shurleff, is by far my all time favorite on the subject. The Auditioning Process, Bob Funk, 9 Hot Tips For Cold Readings, Nina Finburgh, Anne McArthur, 8 How To Audition For TV, Movies , Gordon Hunt, 13 How To Audition For TV And Movies, Fred Spector, 12 Next An Actor's Guide To Auditions, Ellie Kanner, Paul Bens, 17
At the Leicester Little Theatre where I was Director of Productions, we always welcomed the Magic Circle's shows and did our utmost to ensure that they were presented with the best background and that the performers were helped to make the most of themselves. Occasionally we held auditions so that magicians could try themselves out with the right lighting and atmosphere. More than once I have seen a quite ordinary performer made into something electric.
Thomas Edison did more than ten thousand experiments before he perfected the incandescent light bulb. Colonel Sanders, the founder of chicken franchise KFC, got one thousand and nine rejections before someone bought his chicken recipe. When Sylvester Stallone of Rambo fame showed up to Hollywood, he went through over a hundred auditions before someone cast him in a small role.
The girl's eyes grow wide, and she gets all offended and leaves. I laugh at her as she goes. I think it's funny how this girl is literally one step above a stripper, getting paid to walk around all night with nothing on, and then she gets offended when someone calls attention to the fact her breasts are exposed. Every other guy in the party is trying to ignore her nakedness and look her in the eyes, and she tries to pretend like she's a legitimate model because of it. The reason she got offended is because I reminded her that she is, in fact, pretty much taking her clothes off for money, and this strikes that chord of guilt and self-loathing deep down that causes her to take offence, because she so desperately doesn't want it to be true -- but she can't ignore the facts. I might not have been so harsh, if it wasn't for the fact that she was a gold digging slut. If there was any doubt, the next guy she talked to was a Studio Exec from FOX about her acting career. My bet is she'll never...
Auditions are a pain in the Canny. On several occasions I have had lo do live comedy auditions lbr one person, in a room built for live hundred. Not only is il oppressive, but the individual is sitting there evaluating my future, and isn't prone to start laughing out loud. So if the restaurant says they would like me to audition, I always suggest to them, Sure, why don't 1 come in and perform for a couple tables Otherwise, they are going to stand me in front of the servers, who have very little interest in spending their afternoon watching some guy trying to impress them. After your audition you can try to make your points, if there is anyone willing to listen. (Did I mention that I hate auditions ) It's my experience that a donated evening gives me much more of a benefit than a formal audition, so I'll often suggest il as an alternative to the audition. Still, there's no way around il. If you hope lo perform for a living, you've got to learn how to make...
A monologue is often what you present at an audition for an agent or for theatre work. It is rarely required for television and film auditions. You present your monologue solo, although you are often interacting with an imaginary person or people. Classic Audition Speeches For Women, Jean Marlow, 9 Fifty Seven Original Auditions, Eddie Lawrence, 12 The Monologue Workshop, Jack Poggi, 12 Monologues From Literature, Marisa Smith, 9
Illusions often bore me because the Illusionist and not the illusions themselves turn me off. I just hate the disco break-dancing Illusionist that performs as though he were auditioning for Dance Fever rather than entertaining his audience in a pleasing way. I think most illusionists (with exceptions) should realize that having a lot of money and being able to buy these expensive props isn't beneficial unless that illusionist entertains and not bores the audience.
Part three contains the information that will probably be of most interest to those trying to break into the strolling magic business How to sell your services. Included is advice on setting your fee, auditioning, composing a contract, marketing, interviews, and booking yourself on the phone. Part four discusses the nuts-and-bolts of working restaurants and other strolling venues. Mr. Charles offers excellent advice on interacting with the wait staff, approaching the table, accepting tips, soliciting outside work, dealing with problem audiences, and learning to be a professional.
Mike I bought my first synthesizer, a Yamaha DX7, way back in 1984. Three factors made it a hot machine the sounds it produced were new and totally cool the synth could store 32 sounds ( patches in the lingo) in its internal memory, and a ROM cartridge held another 64 patches, giving the player instant access to 96 different sounds and it was one of the first synthesizers that could be interfaced with a personal computer. This meant that you could store patches on floppy disk and load them into the synth when you needed them. So I began to collect patches. I swapped them with friends, downloaded them from BBSs, and bought them from commercial vendors. I accumulated thousands of patches. And then I made a horrible discovery. Since I had so many sounds, I felt that for any given project I had the perfect patch somewhere on disk. If a piece of music needed an electric bass sound I would go through the hundreds I had, looking for the one which would exactly fit my needs. The upshot being...
I must admit that I felt like a naughty little schoolboy who had to report to the headmaster. I went to his office and listened to what he had to say. I felt so deflated, and my next show felt as though I was auditioning for what I considered a bunch of amateurs - the cruise staff. It wasn't a good show I just wasn't in the mood. I remember coming off stage and the Cruise Director was waiting in the wings watching the technicians packing away one of my illusions he just looked at me and said, So, that's how it's done I walked away and couldn't help whispering under my breath, I'm getting paid a lot of money for this. You're the one that's being done Two shows down, one to go. I just wanted to get back home I despised everything about the SS Canberra.
In London he heard that auditions were being held for entertainers at a cocktail bar called The Hollywood. He donned a white dinner jacket, the only formal wear lie had at the time, and went along. He performed a cigarette manipulation routine and some mentalism but it didn't really register with the audience, the bar was too noisv for magic acts. One man who was impressed was cocktail pianist Vic Evans, later part of a double act called Harriott and Evans. I le cold David that the famous Stork Club, noted for its celebrity guests, held auditions at midnight and that if he rushed over he might just make them.
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