Acting agents + agencies

Burn No Bridges

It may seem like a no-brainer, but always be kind and respectful to agents, whether or not you agree with the way they handle their business. It may seem as though everyone wants to be a famous actor, but the industry isn't that big, and most agents are well-connected.

Leaving a bad impression with one acting agent can destroy your reputation with others. Conversely, if you impress an agent, she or he may recommend you to colleagues. Remember that many acting agents are creative people as well; they work in the same industry that you do. The more you respect your agent and work hard for them, the more they will work for you. Not to mention that being respectful and professional in all you do establishes you as someone anyone would want to work with.

Choosing an Agent

When you look for potential acting agents, consider where you are in your career. If you're just starting out, a smaller agency will probably suit you better. This doesn't mean you have to skimp on professionalism. Any good agency -- large or small -- will be well-versed in the industry or industries it represents.

Find out how many clients your potential agent represents. This will give you some idea of how much work s/he will have to do while representing you. If an acting agency is handling many actors, then you may add up to only a small part of their business. With large and reputable agencies, this is not necessarily a bad thing, as top names in the industry often have high status attached to them. Be sure the agent who is representing you is not so booked with clients that you become just another headshot and resume on his/her desk.

Making Connections

How connected is your agent? How well-known and well-respected is your agent among casting directors, actors, and even other agents? In order to get you seen by directors, agents need to be seen themselves.

It works like this: An agent will send your headshot and resume to a casting director asking for an audition slot. Probably, s/he will attach a cover letter expressing why you are a prefect fit for the role in question (another nice advantage to having an agent!). The better-known the agent, the more likely you are to get that audition. Any successful agent is well connected to the industry, so it doesn't hurt to ask if the acting agent is connected to any producers, directors, and writers. If your agent is very well connected, it's a good chance s/he will send you for auditions or interviews that will land you a job more readily.

The Importance of Being Represented

How important is it for you to have an acting agent? The truth is that many actors make a fine living in the acting business without being represented by an agent. It's a lot of work, since actors who represent themselves have to split their time between honing their craft and doing the business of acting.

The business end of acting includes compiling, updating, mailing out headshots and resumes; researching auditions; networking with casting directors and/or production houses; handling finances, and more. When you have an agent working for you, much of the business is taken care of for you. With an acting agent in your corner, you really only need to keep track of your audition schedule, show up on time, and bring the best of your talents to each meeting. The time you then have to work on your craft and presentation can certainly pay off in the end with more successful auditions...and more acting jobs.

Using Ross Reports to Find an Agent

A great source for agent listings is the Ross Reports. Typically, you can buy the latest issue (they run monthly) at any dramatic bookshop or even some commercial booksellers.

The Ross Reports website lists members of the industry by region, medium, and genre. You need a good idea of what your areas of interest are before you begin. Start with your location (New York, Los Angeles, Phoenix, Philadelphia, etc.), and begin researching acting agencies that represent actors of your type (commercial, comedic, musical, etc.). Make a list of possible candidates, and then do your research on each potential agent. Ask your contacts if anyone they know has worked with the agencies on your list. Search the Internet for any information about each agent. Best yet, visit the agencies in person to get a fist-hand view of the offices and agents within.

What is an Acting Agent?

So, what is an acting agent? Acting agents are the professionals who have an inside edge on the theater, film and/or television industry. They act as the go-betweens for casting directors and you, the actor. Put very simply, with so many actors looking for jobs, casting directors need a little help weeding through potential performers. Good agents are well-versed in what projects are in production and for which auditions you, their client, will be best suited.

Casting directors aren't the only ones to benefit from the assistance of agents. The acting agent works for you as well. They do all the footwork of seeking out upcoming auditions, sending out your headshots and resumes, following-up on your meetings with casting directors, acting as the your professional contact person, and even promoting you one-on-one with casting directors when the agent feels you need a little push to get noticed.

You and Your Agent

An effective acting agent should have a clear idea of what roles you are looking for. Beyond that, your agent should act as a sort of career counselor, letting you know which roles you should be looking for. Your acting agent should be acutely aware of your "type," in other words. We can't all be leading men and women - some of us are . Some of us are character actors who thrive on the diversity of the business.

In order to develop a rapport with your agent, you need to help him/her get a better understanding of who you are. Ask the agent how s/he sees your career right now and where it could be in a year, 5 years, 10 years... You may not agree with your agent, but do listen to what s/he has to say. Objective feedback is a huge asset for any artist.

Acting Classes + Workshops

Acting Classes: Improvisation

Typically, the first year in any dramatic education program, includes acting classes in Improvisation. Improv skills are vital to any actor. Think of them as the neurological system of the "body" of your craft. Improvisation builds flexibility as a creative thinker. Many people hear the work Improv and think of comedy. This is a misconception. In fact, even some comedic Improv courses -- like those developed by long-form Improv pioneer Del Close -- do not stress being funny. Improv hones your listening and reacting skills. Many classes simply give you exercises to loosen your body and relax your critical brain. Those skills are imperative as they allow your performances to remain fresh.

Acting Workshops

Most acting workshops are geared toward scene studies. Essentially, "scene study" involves individual scenes from a play or film which are assigned to actors -- typically no more than two or three. Throughout the course of the workshop, actors don't merely act out their scenes, they discuss their roles, the play as a whole, intentions of playwrights...all of which help make their performances better. Scenes practiced in acting workshops should not be taken lightly. Prepare each scene as if you are training for a comprehensive production. Often, you'll learn new techniques (which is the point of your instructor giving you this scene in the first place). Any new skills that you are taught in class should be implemented immediately.

During presentation of scenes, stay open to direction from your instructor. Don't argue about your motivation or why you chose to employ a certain technique. The instructor may be trying to teach you a new angle or break you of a habit you're not aware of. Remember that everything you learn in a workshop is designed to make you stronger as an actor.

Meisner Technique

Sanford Meisner was both an actor and a teacher of acting through out most of the twentieth century. He was a founding member of the Group Theater in New York and taught such prominent actors as Robert Duvall, Diane Keaton, Steve McQueen, Grace Kelly, Gregory Peck, Joanne Woodward, and Allison Janney, Mary Steenburgen at the Neighborhood Playhouse for fifty years. His “Meisner Technique” was developed to get actors to “live truthfully under imaginary circumstances.”

One of his exercises occurs between two people. Each takes turn making spontaneous comments on the other person's behavior. Such as, "You’re laughing." The phrase is repeated back and forth (i.e., “You’re laughing.’ “I’m laughing.” Etc.) until the statement is changed organically by a new development in behavior. The objective is to remain in the moment. The Meisner technique is one of the most famous, and is taught in schools around the world.

Networking Through Acting Classes

Acting classes are not only a great way to hone your craft in between jobs, but they are a great way to meet other actors and network with industry professionals. Besides the obvious benefits of learning techniques to improve your acting skills, attending regular classes can be a lot like attending a support group!

By interacting with others in your field, you can share experiences (both good and bad), exchange contacts, share creative ideas and delve deeper into the ins and outs of a career in acting. Life-long friendships and even business relationships have developed from acting classes. Sometimes the phrase "it's who you know" actually refers to the kind of networking you've done over the years in classes or workshops. Build your contacts now and you'll see how they pay off in time!

The Basics of Acting Training

Like any skill or talent, you must begin your studies at a basic level. Acting training should begin with familiarizing yourself with your own body as a tool to relay your craft. Movement and voice classes are imperative. Learn how to hold your body for maximum breath control and healthy posture. Improv classes are also a wonderful way to learn to use your body (and mind) effectively. When studying voice, practice projection, annunciation, and breathing. Most basic or "Intro" classes will cover these skills.

Once you have learned the fundamentals about your body and how to best use it in service of your art, you can move on to scene studies and workshops.

The Point of Acting Classes

Do you really need acting classes? Chances are, you do. Most every actor benefits from regular classes, particularly at the beginning of his/her career. Choose acting courses that best suit your needs as a student of the craft. This can be a difficult assessment to make, since many of us tend to gravitate toward things that are comfortable. Don't short change yourself as an artist! You should be seeking acting training that will help you to develop your strengths and assuage your weaknesses. Don't be afraid to try new things. Take every opportunity you can to add new and different skills and training to your repertoire. It's certain you'll discover new strengths that you never knew you had.

As much as you may hate the idea, do take classes that offer exercises that scare you or put you off (like monologue work, audition technique, or musical theater). These are often the best indicators of where you need to improve, so diving into these areas of weakness can only make your skills stronger.

Theater Acting vs. Film Acting

Acting is acting, right? If only it were that simple. Depending on the vehicle through which you are relaying your craft, different skills must be employed.

Theater acting -- or stage acting -- is the first form of the craft. In history, actors had to be prepared to project their voice long distances...or at least to the last row of the audience. This technique is called "projecting to the back of the house." Of course, these days, most actors are mic-ed, so projecting is not much of a problem. In addition, movements of the body had to be larger-than-life so they could be seen by members of the audience. Small movements like a facial expressions are simply too minuscule to "read," so other methods had to be used to express emotion: pacing, dialogue, etc.

Film acting is much closer to reality. Because the "audience" is now the camera (and eventually those watching what the camera captures), the acting style is much more intimate. There is no need to project your voice, as film sets are equipped with sensitive sound recording devices. Cameras are able to zoom in to capture the slightest eyebrow flinch, so much less is required of the body n terms of large sweeping movements to relay a point.

Acting Conservatories + Universities

Pick Your Site On Sight

A critical part of researching acting schools is visiting the campuses. Of course, the school's statistics should rate high in your list of considerations, but don't stop there. One of the final arbiters when choosing a school should be the campus visit. Visiting campuses gives you a unique opportunity to question the students who attend the school. You may schedule meetings with counselors or instructors as well. Don't underestimate the location of the campus as well. You'll be spending anywhere from six weeks to two years in this place, and if the physical environment doesn't feel right, chances are you won't be happy and your acting career will suffer.

Scholarships for Acting Students

Scholarships are a wonderful way to help fund your acting education. Unlike Financial Aid, which often requires you work for the school in some capacity in exchange for reduced tuition, acting scholarships do not need to be repaid. Scholarships are awarded on a competitive basis and may reflect artistic promise, as well as demonstrated financial need.

For example, the School for Film and Television in New York offers scholarships like The Sanford Meisner Merit Award and the Mary Doyle Memorial Scholarship, which are available to students who show exceptional talent. Awards can range from $500 to half the year’s tuition, depending on the scholarship.

Keep in mind that any drama scholarship you earn will most likely require you to maintain a GPA of 3.0., so be sure to take your studies seriously.

Study Acting in the Big Apple

Many people think that they have to go to school in Los Angeles in order to get a foothold in the acting industry. The truth is that there are many fine acting schools in New York City that have strong ties to the industry. NYU has both a film school and drama school. The School of Film and Television specializes in training actors for the industry. In recent years, New York has become a hub for casting TV pilots. The city also has one of the oldest theater communities in the US, making it an ideal place for studying acting of any kind. Other schools, like the Circle In The Square and Julliard, offer specialized acting courses for an aspiring New York thespian.

The Business of Show Business

Remember that actor training isn't just about playing roles effectively. A good acting school shouldn't just teach you how to act, it should teach you how to become familiar with the entire industry. Performing is obviously the key to your education, but understanding all that makes up being an actor is essential to your long-term success.

Like any other career, you need skills in how to present yourself professionally -- from behavior to what clothing to wear to an audition. Interpersonal skills should be developed as well. You may have the talent to be the Next Big Thing on television or in film, but you won't get far without knowing how to market yourself effectively.

The Conservatory Education

Looking for an acting school can be a daunting task. Many large universities offer courses and degrees in the field of acting. There are even opportunities to attend an acting university. For those looking for a more general educational setting or a larger student body with which to interact, universities are a great way to go.

If your needs are more specialized, an acting conservatory may be the best route. A conservatory education provides coursework geared specifically to the craft and business of acting. Typically, you can receive your degree in two years. (Some conservatories also offer internships after your coursework has been completed.)

If you go the conservatory route, make sure the school has modern facilities that meet professional standards. Examine the school's faculty, and make sure that they have plenty of experience in the industry. Look for acting schools that offers practical training and relatively small class settings so that you can get the most out of your two years.

Your Teacher

Finding teachers at drama schools who challenge and inspire you is a critical part of your training. A good instructor will help you to build consistency in your acting. His or her constructive criticism is designed to help you improve your skills. During workshops and classes, most will not shy away from pointing out your flaws. In fact, be wary of teachers who only point out your positive attributes. Criticism of your work is not criticism of you as a person. Remember that everyone has weaknesses, and even the best actors have room to improve.

Acting for the Comedy Genre

Comedy is Hard Work

Acting in a comedy is harder than it may seem. One of the key elements of comedic acting is not to "milk the audience" for a laugh. You may have a brilliantly funny script to work from, but if you play the scenes as though a laugh is going to come at any moment, you will certainly kill the spontaneity of the world you have created.

In order to avoid giving the joke(s) away too soon, actors need to stay focused on each moment as it unfolds. Trust that the playwright has orchestrated his/her scenes so that the humor will be seen (and heard) in them.

Don't Be Funny

How do you deliver a funny line? Don't be funny.

We've all seen actors trying too hard to squeeze very last bit of humor out of one line just to be sure s/he gets the laugh. Or worse, an actor delivers a line then waits for the laugh s/he is positive will follow. (You can almost hear the crickets chirping in the silence.) You can avoid this by staying true to the world of the scene at hand.

Rule of Comedy: If you believe it, the laughs will come.

How to Laugh

For some actors laughing on cue can be just as daunting a task as crying on cue. Here are a few tips on how to laugh effectively:

First and foremost, keep your attention on the scene and on your partner. If you are truly engrossed in the moment of the scene, the laugh will come organically.

Think of the kind of laugh required for the moment. What size or type of laugh is an appropriate reaction to the situation? Sometimes a little chuckle is far more effective than a belly laugh. Although a seemingly inappropriate laugh may work as well, particularly if you are acting in a comedy.

Be aware of the what the mood of the scene is and decide how your character would honestly react. After that, forget about it. Let the moment carry you through.

Improv Comedy

Improvisational comedy is often a misnomer. When acting in Improv comedy, actors don't set out to come up with the wittiest line or out-joke his/her scene partners. In both short- and long-form Improvs, the basic idea is to take a subject or scenario (often given by an audience member) and create a scene based on the reality of the moments that unfold once the scene has begun.

Much like real life, actors do not approach the scenes with the desire to make everyone around them laugh, but if the scene is played organically, humorous moments do arise more often than not. The goal is to play the scene with honesty.

Physical Humor

One of the oldest comedic traditions is physical comedy. Here, not only language is used to make audiences laugh, but the body is used in ways that evoke humor. Sadly, this often involves some unfortunate event for the comedian such as falling down or sustaining some other bodily mishap.

Vaudeville comedians were masters of this type of humor. Film comedians of note like Charlie Chaplin, Buster Keaton, and Harold Lloyd were masters of physical comedy. Today, physical comedians are not as prominent, but actors like Jim Carrey have carried on the tradition.

If you choose to study physical comedy, be aware that learning the skill effectively is as complex as learning stage combat. Looking like you've been hurt (or blinded by a cream pie) without actually being that way is a fine art that takes years of training and practice.

The Muse of Comedy

Everyone loves to laugh. It's no wonder then that in the line-up of the original Nine Muses of the arts and sciences was Thaleia (or Thalia), the Muse of Comedy. That's how important comedy is!

Thaleia and her sisters were the daughters of Zeus and Mnemosyne (the Titan goddess of memory and language). Thaleia herself appears with the comic mask, a shepherd's staff, or a wreath of ivy. The Muses are said to be inspiring nymphs; writers and performers called upon them to give them strength and inspiration to create their art.

Today, the Muses are still worshipped, if only in general invocation! Still, if you're a comedian, Thaleia may appreciate some special attention. She's a fan of offerings of water, milk, and honey. Put some out before your next Neil Simon production.

Types of Comedy

The word “comedy” comes from the Greek word komos which means celebration or merrymaking. It may or may not imply that a situation is funny. Mostly, it focuses on a conflict that escalates, but which in the end has a happy ending. When you study comedy, there are several subdivisions you may encounter. Here are a few:

Farce: A high-energy dramatic-comedic piece with improbable situations, exaggeration, and oftentimes playful roughhousing.

Imbroglio: A comedy that grows out of a character's attempt to solve a specific problem. Typically, the journey toward the solution becomes a comedy of errors that leads the hero into deeper entanglements, but the conclusion ends up happily.

Black comedy: Comedy (usually a social commentary) that tests good taste and moral tolerability by juxtaposing dark elements of human nature with comical ones.

Pantomime: Mainly designed for children, this musical drama dance, mime, puppetry, slapstick, and melodrama are combined to produce an entertaining and comic theatrical experience. In Europe and the UK, these “pantos” are performed around the holidays.

Acting for the Drama Genre

Acting in Soap Operas

In the old days, soap opera acting was synonymous with cheesy acting. Crying women, brooding men... Some soap operas do still hold that honor, but most have begin to hire actors who can bring a bit of reality to their roles.

Think of a soap opera as real life with the intensity knob turned up a few notches. In a moment of conflict, don't go overboard with your emotion, but simply intensify it. Audiences thrill at living through their favorite characters vicariously. The more vivid your emotions, the more you give your fans something to experience and enjoy.

Drama Schools

Drama schools focus on the development of acting technique, usually focusing on work in the theater. Although the work is performance based, students typically also learn about stage craft. Classes on set building, lighting design, and even dramatic writing are often offered so that students get a well-rounded education.

Because they are so specialized, they tend to have a highly competitive admissions process. Applicants must submit to an audition process before they are granted admission. Previous school transcripts can also be taken in to consideration, as well as any previous professional experience in the field. Take time to prepare your audition materials as well as your curriculum vitae in order to present a professional package to the admissions board.

Exercise: Playing for Status

Status is a huge part of acting technique. Much of human interaction can be broken down in to shifting issues of status. During the course of a normal conversation, a person's status may shift from high to low, and back again, depending on the topic of the conversation.

Be conscious of your body language. What kind of status is your body projecting? You should also take note of the timbre of your voice. Is it clear and confident or low and quavering? These factors help determine your status in a scene, and thereby establish your position and goals within it.

Try this: You and your scene partner take one card each from a deck of cards. Do not share the number you have. Begin a scene you are working on. The higher your number, the higher status you should play. Once the scene is finished, compare numbers to see how accurate your portrayal was.

Mantras in Drama

A simple strategy for creating honest drama is through the use of mantras. This is often referred to as the subtext in a scene. In other words, it's not what you're saying to the other character(s), but rather what is going on in your mind behind the words , as it were.

In order to make subtext work for you, while you are acting in a scene, recite an appropriate phrase over and over again in your head. For example, if you are playing in a scene that involves a fight, you may want to try reciting, "I hate you," in your head during the scene. This subtext mantra will subconsciously affect your performance, making it seem more natural.

The Elements of Drama

The primary elements of drama are theme, plot, and character.

Theme: The central idea of the work, or the message the writer wishes to impart on the audience. The theme governs the progression of the plot.

Plot: The storyline, or the "what happens" of the piece. Plot governs the characters actions and emotions.

Character: The players in the piece. They move through the plot's conflicts, thereby helping to further develop the theme.

Other elements such as irony and symbolism can be added to lend more subtle touches to the drama, making it more human and accessible.

What is Drama?

The definition of drama is a piece that involves plot and characters that are governed by a certain overriding theme. Your job as an actor is to investigate and understand this theme. Work within the themes of the drama and let it flow through you and the relationships that you build with other characters. Once you have thoroughly read the piece, discuss the stage- or screenplay with your fellow actors, the director or the dramaturg, if one is available. Developing a sense of unity concerning the motivations of each character will help round out the production as a whole.

You Are Not Your Character

There is a saying in drama: Leave your personal problems at the stage door. In other words, don't let your current mood affect your performance. You are not your character.

While on stage or in front of the camera, you are the character you are playing, not the other way around. Although you and presumably your character are both human beings, your feelings must be put on hold in order to give precedence to what your character is feeling. When you are no longer in character, try to patiently observe your own feelings so that you can call upon them to breathe life into your future roles.

Acting for the Horror Genre

Acting Horror

Serious horror films require just as much preparation for a role as other genres. It's imperative that the audience believes in the world of the film. The believability of your character is an integral portion of that believable world.

Do your research. Ask yourself the following: What lies at the emotional core of your character? What motivates him/her? Why does he do the actions s/he does (pay particular attention to scenes where s/he puts him/herself in danger)?

Acting with Blood...and Other Scary Things

Remember that any horror film you are acting in is a world that needs to come across as believable. True, it's not every day that you might get stabbed in the heart or have your friend's head fall in your lap, but it is your job as an actor to make these moments as real as possible.

You may wish to take a few moments before filming a particularly gory scene to meditate on the darkness of what is about to occur. Imagine what it might be like to step onto that set and actually lose your life...or see someone else lose his/hers.

Once that meditation has ended, however, forget it. You don't want to anticipate the dramatic moments once the cameras are rolling. Trust that the energy you called up during meditation will resurface when the time is right.

Horror Acting: Calm Before the Storm

One of the biggest elements of horror films is the shock factor. As an actor, you can learn to use this convention to your advantage. In most horror films, there is a scene that seems relatively benign, or a scene that begins calmly. Don't ignore the importance of this peacefulness. If anything, you should play the calmness to its fullest potential. The calmer you are in the scene, the bigger the pay-off will be when the shocking action occurs.

How to Scream

Believe it or not, many actors have a terrible time screaming convincingly. Acting in horror films almost always requires some sort of noise of distress at some point or another...usually it comes in the form of a scream. Here are a few tips to make yours a better one.

The Warm-up:

1. Go far away from other people.
2. Take a deep breath through your nose, filling your lungs. Feel your diaphragm lower.
3. Drop your jaw open.
4. Exhale through your mouth in one long forceful (but silent) ha-aaa.
5. Repeat two or three times.

The Scream:

1. Go far away from other people.
2. Take a deep breath through your nose, filling your lungs. Feel your diaphragm lower.
3. Drop your jaw open.
4. Exhale through your mouth in one long forceful (but silent) ha-aaa.
5. Repeat two or three times.

An important note: Screaming is very bad for your vocal cords. Be sure to drink fluids (preferably warm) before and after you need to scream.

Playing Dead

Nothing ruins the magic of a horror film than being able to see the dead guy breathing. It happens, though. After long hours and many takes, the actor playing the newly-killed often is not aware when the camera is on him. Something as small as a breath can ruin the integrity of the entire film. Should you have to die in a film, here's how to make sure you are not the cause of the film's demise:

• Always know when the camera is rolling, and when you are in the shot.
• When your "body" is part of the scene and the scene's length is too long for you to hold your breath, take slow, shallow breaths.
• Stay focused on keeping your breathing in your neck and throat. Of course, your lungs will be working, but this visualization on your part will help keep your chest cavity from moving.

Suspense & Psychological Thrillers

Suspense films and psychological thrillers require a bit more subtlety than horror acting. Much of the time, the very nature of a horror film is to go over-the-top with fantastical elements and gore. Your acting can and should stay true to the feel of the film itself.

In suspense and thrillers, what frightens the audience is not the shock value of blood and guts, but the deeper fear hidden within our own minds. Investigate the deeper essences of our character and look in particular for pockets of fear in him/her that you can bring to your portrayal. Find his/her neuroses and discover where in the film they can be played for maximum benefit.

Using Your Imagination

Oftentimes, actors need to act opposite things that are not there. This is particularly true for horror films that may have CGIs (Computer Generated Images) as monsters. In these scenes, you must rely on your imagination to create your scene partner.

As the director of the film to give you an idea of what this creature will look like. Try to get a hold of some sketches or models so that you have a better idea of how to react to it on-screen. The more you know about the creature, the more realistically you can react to it (or where it will later be placed by the film's graphics team).

Auditions + Callbacks

Auditioning: What to Read

The material you read in an audition affects the impression you make. Use material that is representative of you, in terms of both age and type, and that will make you look your best. Concentration is key during the reading phase of the interview. Some general auditions ask for a classical and a modern piece. It's best to have two of each in case you are asked to perform another. If you audition a lot, it's a good idea to vary your monologue readings. This keeps you fresh when you perform, and your lively performance may very well result in a callback.

Auditioning: What to Wear

When dressing for an audition, consider first the role you're auditioning for. You don't have to arrive at the audition in full costume, but do dress with the essence of the character. Here are a few examples of roles and appropriate audition-wear:

Young Mother/Father: Twin set and slacks or a skirt for women; slacks and a nice shirt or sweater for a man.

Businessperson: Suit and/or at least a sport coat over slacks. Women can wear skirt suits and/or slacks.

Non-descript/General: Wear your normal street clothes, but steer away from anything too trendy.

If your audition is a screen test, steer clear of wearing white, as it washes out your skin color and doesn't read well on screen. The best color to wear for screen is a medium blue (like a deep periwinkle). Remember the audition is to showcase your acting talent, not your wardrobe!

Don't Sweat Cold Reads!

Cold read. Sounds scary, huh? Actually, cold reads can be a lot of fun.

A cold read is when you are handed a script and asked to perform a scene. This is often done in lieu or or in conjunction with monologues as part of your audition. Many actors fear this type of audition because they feel they do not have time to prepare. Of course, there are ways to prepare for these types of auditions.

If you already know the piece you're auditioning from, try to find a copy of it and read the entire piece. If you're auditioning from an unproduced script, your auditor will most likely give you a brief background of your character. Overall, don't sweat it. Have fun. Play! Cold reads can often be thrilling experiences, as you don't run the risk of being over-prepared or burned out from over-read monologues.

Giving Professional Auditions

If you only learn one thing about auditions, remember this: Professionalism goes a long way.

It's not just about looking professional, it's about acting that way. Be prompt and courteous during your auditions. Take as little of the auditors' time as necessary. If you receive a callback, be sure you are available for rehearsal and/or shooting dates. You don't want to waste the director's time by auditioning even though you already know you have conflicts. If you do not receive a part, do not call the theater/production house/etc. Chalk it up as a role that was not for you and move on. (There will be a lot of them in your career, so get used to it.)

Improving Your Auditions

If you have had a bad experience with an auditor, when do you know it is acceptable to meet him/her again? In smaller cities, this can come up more often than you might think. New York actors, for example, don't have as much concern about this unless they are returning to the same casting directors over and over again.

In short, you should only return to that auditor if you have shown improvement in your craft -- either through additional training or additional acting experience. If the auditor previously offered any feedback, show that you have taken his/her advice and incorporated it in to your acting. Don't tell them that you have improved; show them! You should be able to demonstrate stronger acting skills since your last meeting.

Research Before Your Audition

Before you enter an audition, make sure that you are as informed as possible. Whenever possible, make it your business to get to know as much as possible about the director and his or her previous work. Similarly, knowing about your casting director can help you understand the way s/he works in an audition scenario.

If you are attending an open audition – where casting is open to anyone who wishes to try out – think of the audition in terms of your past and future work. Be sure that you are of similar type to the part that you are auditioning for. Some directors like to ask you about the piece as a whole, so if possible, read the entire script -- not just your part -- so that you are able to discuss it comfortably.

The Audition Slump

We all have them. One month you're auditioning like gangbusters and then...nothing. No one's calling; no roles seem to be right for you. Or worse, the few auditions you get seems to end terribly. You're just not on your game.

Don't panic if you find yourself in an auditioning slump; after you have found what works to land a few roles, your auditioning can become mechanical, leading to a slump. Get back in the game by focusing your training regimen and attacking each new audition. Slumps can also result from disillusion with the auditioning process. When this happens, it is best to take a week or two off to refocus other aspects of your life before returning to acting.

Film Acting

Background Actors

A great way to enter the world of film acting is to work as an extra on film sets. (Although you won’t be called an “extra” on-set; instead, you will be referred to as “background.”) You can find calls for extras on the Internet as well as in publications like Backstage, Hollywood Reporter, and Variety. Background casting calls are also sent out by agencies that specialize in background casting. You can find these agencies listed in Ross Reports or online. Doing background work or taking a small role in a student film is another excellent way to cut your teeth. Any university with a film department will have postings announcing casting. When you get a background job, find out if you need to bring your own clothing/make-up. Also, be sure to arrive on time for your call and/or your pick-up location. Unless you are told otherwise, plan to stay on location all day. If you have any other appointments that day you should either reschedule them or do not take the background job. PAs (Production Assistants) will be your main contact for the day, and are not interested in hearing about anything else you have to do besides their film!

Extra Time

When you are doing background work, be prepared to do a lot of waiting. Some background talent may get booked for a day and end up spending 15 hours in “holding” usually a large hall or space that serves as a waiting room/dining hall/lounge/dressing room. Sometimes, background actors wait all day long and are never called to work. You’ll still get paid; don’t worry. Two important tips:

1. Bring a book or knitting or something to do while you wait. Don’t sleep; if you get called, you’ll need to be up and energetic at a moment’s notice.
2. When you are on-screen, remember you are background. Do not call attention to yourself. Keep your movements at a minimum, even your facial expressions.

Hit Your Mark

One of the most important tips about film acting is “hitting your mark.” It can also be the hardest part to learn. Unless you’re in film that’s being shot with a handheld camera that is following you around, you will need to learn this important skill.

Before cameras begin to roll, your spot for the scene will be marked on the floor, usually in a n X or T formation with some glaring piece of colored tape. When you enter the scene, your job is not only to walk directly to that spot and stay put or you’ll wander off screen and make the director very unhappy. On top of that you need to look natural doing it! See why it’s hard? If you have a video camera and tripod, try setting up shots for yourself at home as practice.

On Being "Normal"

Film acting is very appealing to many performers because it allows them to be “normal.” There is no need for over-the-top physicality as stage acting requires. Sets are actual places, not made of wood and canvas. There is no immediate audience; your only concern are your scene partners. (Of course, you have tons of crew, equipment, lights and camera in your face, but when you’re living in a scene, these factors all away.) Actors are able to delve into the roles they play as though putting on the suit of another person’s body. When they appear in front of the camera, they are not acting the characteristics of that person, they are that person. Actually, it’s the most abnormal thing an individual can be! There can be a danger in this dissolution of self into the role you are playing. Remember that once the cameras stop rolling, you have a life – your own life. You must respect it and take care of yourself. If you don’t, you will inevitably be unable to tap into your resources to bring life to future characters you play since there won’t be anything there to tap into.

Pulling Back

There is a misunderstanding about what it means to “pull back” in film acting. Let's clarify: by no means does it refer to lowering your energy or the strength of your character on screen. It does, however, refer to pulling back on your physical gestures. Watching someone wriggling around gesticulating wildly is more than distracting on screen. If you must move, make sure your movements are in-character and germane to the scene. Even if your character has a twitch, choreograph it so that you are not distracting from the other actors who share the scene with you.There is a misunderstanding about what it means to “pull back” in film acting. Let's clarify: by no means does it refer to lowering your energy or the strength of your character on screen. It does, however, refer to pulling back on your physical gestures. Watching someone wriggling around gesticulating wildly is more than distracting on screen. If you must move, make sure your movements are in-character and germane to the scene. Even if your character has a twitch, choreograph it so that you are not distracting from the other actors who share the scene with you.

SAG

SAG is the Screen Actors Guild – the union for professional screen actors. In order to join SAG, you must have performed in a SAG film, television program, videotape, or commercial. You can also join by having worked as background on a SAG film as long as you were paid SAG rates and worked a minimum of three consecutive days. Members of affiliated performers’ unions such as ACTRA, AEA, AFTRA, AGMA or AGVA can also apply for membership once they have been in their union for one year in good standing (i.e., paid dues) and worked at least once as a principal (lead role) on-screen or in voice-over work. Rates and benefits of being a SAG member can be found on their website at http://www.sag.org.

Shhhh!

When you are on stage, projecting your voice is essential. On film, however, the set is full of audio recording devices from lav mics to booms – all designed to pick up your tiniest finger-tap. A dead giveaway that an actor has transitioned from stage to screen with no additional training is when s/he appears to be yelling lines. There is no need. In fact, film is designed to be true to life, so the same vocal level you use to talk to anyone in your daily life is the same you’d use on a film set.

Monologues

Auditors Are Not Scene Partners

Never directly engage the auditors in your monologue. They are not there to perform, you are. In an actual performance, you would not normally look an audience member directly in the eye while delivering your lines. The same is true in an audition. Remember that auditions are like your own mini one man- or one-woman show. Instead, create a scene partner for yourself if necessary. In your rehearsals, imagine this person very vividly so that you can bring him/her into the audition with you. Have him or her sit just behind your auditors. If you’re not comfortable with playing off someone who isn’t there, deliver your monologue to your auditors, but use an atypical focal point such as their ear or the tops of their heads.

Choosing a Monologue

Nothing is more important than choosing the right monologue for your type and skill level. Remember, monologue auditions are your moment to shine. They are perhaps the only time an actor has complete control of a situation. Find monologues that play up your strengths as an actor. While reading through plays and screenplays, pay attention to monologues that seem to get you in the gut; these are the pieces to which you will most likely be able to bring true emotion and passion.

Try to seek out material that has not been overdone. Think of the poor auditors! Imagine a day full of actors reading Hamlet’s “To be or not to be” soliloquy or Juliet’s “Romeo” speech! Be a little more original and consider your audience. What might they enjoy hearing?

Giving a Professional Audition

When you arrive at the audition, hand over your headshot and resume (if the auditors don’t already have it) then take your position to begin reading. Do not talk to the auditors unless you are asked a question. Most likely they will ask you your name and what you will be performing. It seems obvious, but have this answer ready. Announcing your piece is part of your professionalism.

At the end of the audition, most auditors will simply say thank you. Return the thanks and leave. Do not linger, do not ask questions, do not compliment their previous work, do not tell them you have a common friend, etc. Stay open and polite. If you are asked some follow-up questions, feel free to answer them, but be brief. A little respect for their time will go a long way.

Going Up

Forgetting your lines is every actor’s nightmare. In the business, this is called “going up” on your lines...and it happens to everybody at some point or another. Of course you should always be prepared, know your monologue inside and out, be able to recite it in your sleep, backwards, on cue, etc. But on the occasion that you go up in an audition, do not panic. Act professionally. If you are doing a piece no one has heard of, improvise a few lines until you get back on track. If your piece is well-known, then pause a moment to gather yourself, but stay in character. This is vital. The auditors are looking at you as an actor. Actors stay in character when they are on stage or on screen. Your audition should be no different.

Move!

Some actors make the mistake of staying rooted to the floor when they give a monologue audition. Don’t do that - it’s rather boring to watch. And never give a monologue sitting down unless it’s implicit in the script (i.e., your character is in a wheelchair). Play the room. Move around. Work believable stage business into your monologue. Think of the entire 1-2 minutes you are performing as a mini play. You don’t need to come in full costume or have a bag of props (in fact, this is not recommended), but do stay mobile in a natural way. Take the time to have a director or acting coach work out some blocking with you.

Taking a Stand

When delivering a monologue, position yourself close to your auditors, but not in their laps. The auditors certainly want to get a good look at you, but if you are too close the fourth wall (that imaginary wall between actor and audience) may be compromised. Your auditors will generally be sitting behind a desk, so use the desk as your centering point. Stand about 10 feet away (or as the space of the room permits) to begin your piece. If you’re on a stage, don’t hide yourself so far upstage that the auditors can’t see you move properly or hear you clearly.

What is a Monologue?

A monologue is an excerpt of a longer piece written for stage or screen. For audition purposes, you should select monologues that run 1-2 minutes in length. Do your best not to exceed this length unless requested by the audition notice. Auditors may have hundreds of people to see, and if you take up more time than they expect, it will certainly go against you no matter how great your monologue is. Typically you should have one or two classical (pre-20th century) and contemporary (20th century) monologues prepared. This way, you have flexibility in your material and can alternate them to keep auditions fresh.

Pursuing an Acting Career

Acting and Your Money

In order to become an actor or become an actress, you must first have a passion and drive to learn your craft. However, many young actors make the mistake of not realizing that there is much more to living the actor’s life. A key part of beginning (or transitioning into) your acting career is insuring your financial stability. Before you begin, you should have a supply of cash in place. If you’re moving to a city like New York, Los Angeles or London, you’ll need to factor in the higher costs of urban living. Spend some time researching banks and credit unions in the city, noting interest rates and checking fees. Search for affordable housing. Keep in mind that this could take some time as well as trial-and-error situations. Commit yourself to a reasonable budget; you don't want unpaid bills delaying the start of your career.

Be a Student Film Star

There are plenty of opportunities for actors to find work throughout the year. Not all acting jobs are commercial acting jobs! Acting in student films is a valuable way to gain both experience and exposure. Each spring, New York's film schools offer numerous opportunities for working in student films. Participating actors get to work with the industry's up-and-coming directors. A role in a student film allows you to practice your acting skills while enhancing your resume. Student films are often shown at international film festivals, providing a valuable opportunity to display your acting talent. An additional bonus is that more often than not, student directors will hire non-union actors, so you won’t need to worry about having to join SAG to get film acting credits on our resume! Keep in mind that you probably won’t get paid on a student film. You will generally receive free transportation and food as well as copies of the film on DVD or VHS as payment.

Being a Working Actor

Technically, a working actor is someone who is paid to perform dramatic (or comedic) works. In order to call yourself a professional actor, you must be paid for your work. Keep in mind that a working actor may have a steady stream of jobs, but not be able to support him-/herself by acting jobs alone. The sad truth is that most actors are never really able to settle into a long-term job. There is always the next audition, the next gig...

The important thing is to keep getting out there and keep being seen. In the meantime, look into joining a temp agency to earn extra money. Temp agencies are geared toward people in the workforce who cannot commit to full-time jobs and need flexibility. Some temp agencies are even geared specifically toward actors, placing them in temp jobs related to the industry.

Online Networking

There are two primary websites that handle networking online in New York City, a must for the acting careers of budding thespians:

Actor's Access allows you to submit yourself for projects within the city as well as Canada and the West Coast.

NY Castings allows you to submit headshots and resumes directly to casting agents and casting directors through their electronic database.

Both websites allow actors to submit and host their own video portfolios. There are also plenty of online groups that allow you to network with other professionals. A quick search in any search engine will bring a number of results you can sort through to find the most appropriate community for you.

Taxes And The Actor

Once you start your acting career, one of the smartest things you can do for yourself is to hire an accountant. It may sound daunting, but a good accountant may be able to save you money year after year. S/he will be able to tell you which of your expenses are tax deductible. For example, did you know that any money you spend on your acting business -- your headshots, postage for mailings, trade magazines and newspapers, classes, and even transportation to and from acting school and/or auditions -- are all tax-deductible? Keep careful records of your expenses and save receipts. Taxes can be audited up to three years after you file them, so hang on to all paperwork even after tax season.

The Actor's Life

Your foray into life as an actor will be made much smoother if other aspects of your life are in order. If you're moving into a new city, spend some time setting up a comfortable apartment. Even if you share a space, be sure you have an area that is quiet enough for your private time. If possible, set aside part of your living space for your work as an actor. This “office” will help to create a physical focus for your budding career.

You may also consider joining a gym. Keeping your instrument in good shape is always important. If you have the time, involve yourself in the local community, especially in the arts. The more people you network with, the more enriching your career will be.

The Director is God

If you want to know how to keep your acting career going, heed these words: The director is God. The director will have final say in any play, program, or film your work on. So if you're going to take on an acting job, be sure you share your director's vision of the role you've been given and of the production as a whole. Check your ego at the theater door (or studio gates, as the case may be). There will inevitably be points of disagreement between you and your director, but don't waste the director's, crew members', and other actors' time by getting into argument on stage (or set). Should you need to address any conflicts, try to speak with the director after the day's work is done.

Resumes, Headshots + Portfolios

Be Honest!

Just like any other job, your resume should reflect your talents and highlight your skills. When putting together your acting resume, only include truthful information. While the industry is big, it isn't that big. People talk and network, so there’s a very good chance that someone with whom you have an audition knows someone who knows someone who knows all of your previous work. No one expects a young actor to have a stellar resume. In the end, it is your audition that will land you that job. A small, credible resume is much more effective than a large one padded with lies. It’s better to earn your credits the hard way. In the end it will pay off.

The Resume Rules

Want to land an acting job? Follow these basic resume rules:

1. Your resume should never be more than one page long.
2. Never make the font on your resume smaller than 10pt. It is difficult to read in any situation, whether it's in a well-lit office or a darkened theater.
3. Staple and trim your resume to fit the headshot, or even better, print it directly to the back of your headshot.
4. Don't staple clippings or reviews to your resume; they will just get in the way.
5. You should have an email address created specifically for your acting resume. It should be your first and last name, whenever possible (i.e. janesmith@yourserver.com)

Selecting a Headshot Photographer

When selecting a photographer, use one who specializes in headshots. Portrait artists may make you look great, but without insight into the industry, the photos may be overlooked. Research several different photographers, and ask your contacts in the industry for recommendations. Ask to see a portfolio of the photographer's previous work. Use a photographer with a permanent studio; mobile studios are less trustworthy. Negotiate rates beforehand and get an agreement in writing before shooting begins.

Also find out if a make-up artist will be available to you. If so, pay the extra money and hire him/her. It’s well worth the cost to have someone making sure you look your best you during the entire shoot.

The Headshot and Resume Combination

Since you'll be handing your resume over with your headshot – the two are rarely, if ever, separated – you need to have the resume attached to the back of your photo. Many photo printing companies offer the service of printing your resume directly to the back of your photo. If this option is in your budget, take it; it is the preferred method of casting directors. If not, neatly glue your resume to your photo. If gluing is too messy, staple your resume to the back of the photo. Be sure to staple each corner to the photo. Never use paper clips, as they snag on other photos and resumes in a casting director's pile. The last thing you want is for your photo and resume to be separated; one without the other is useless!

Types of Headshots

There are two basic types of headshots: commercial and theatrical.

Commercial: These should be attractive, warm, and open. Always smile for these shots, with teeth showing, if possible. (You never know if you’re going to be up for a toothpaste ad.)

Theatrical: These can be more “natural,” and should try to represent your characteristics as a person.

The format for headshots varies throughout the country –- from close-ups to 3/4 shots, from bordered to borderless. Make sure you use the preferred format for your area of application. It’s not a bad idea to have one of each taken so that you can submit to all types of jobs.

The general rule is that television and commercial work receives the commercial shot, theater and film receive the theatrical shot. If you're in a showcase, you can present either, depending on the industry professionals who may be present at the event.

You and Your Headshot

Casting directors use headshots to get a feel for an actor's type. The headshot should embrace your best qualities. Don’t dress or use make-up that covers your true nature; let the shot be true to you. And by all means, get new headshots if your look changes drastically and/or after a few years have passed. Misrepresenting yourself will only lead to trouble later in auditions. Remember, headshots aren't glamour shots. The look should be natural, open, and compelling. Many times, you will be judged by your headshot even before you are called in to have an audition. Let your photo speak for you and your abilities by being professional yet accessible.

Your Mailings

Enclose your headshots in an envelope that is easy to open. That way, the casting director doesn't have to struggle with your materials. A simple clasp envelope sealed with a small piece of tape should be sufficient. Consider attaching a small note to your headshot; it could gain you a few extra moments of the casting director's time. Although they are popular, it’s not advisable to use the envelopes with clear covers. The idea behind these envelopes is that the casting director would not even have to open the envelope to see your picture. However, this can go against you; s/he may not warm to your photo and could toss the envelope out without even opening it to read your resume.

Stage Acting

Finding Your Light

Much like finding your mark in film, finding your light on stage is a tricky technique. Unlike film, where a mark is set up specifically for an actor, lighting in a stage production is set up more generally – to light the scene. It’s up to you to find your light. The easiest way to do this is by feeling the light on your face and in your eyes. Stage lights are set from above, so when you step into your spot, per your blocking, feel where the light shines on you. Ideally, you should feel the heat of the light on your face and if you were to look up, you’d see the light angled at around your forehead. Be careful of standing directly under a hot light, however, as you will get “washed out” by the light’s glare.

Have a Voice

A thespian’s voice is one of the most precious possessions s/he has. Here are a few ways to keep it safe and warmed up:

• Only drink water that is room temperature or warm. Cold water will constrict your vocal cords.
• Before a performance and between scenes, sip hot water with lemon.
• Slippery elm lozenges are a great quick-fix for scratchy throats.
• Support your voice by using your diaphragm, not your throat, to control your breath and vocal cords.
• In between shows, keep your jaw loose. Bette Davis used to walk around her apartment with a wine cork held loosely between her upper and lower front teeth. Try it, it works!

Learn Your Directions

Acting on stage requires the knowledge of a new kind of navigation. When you are on stage, directions are oriented to you as the actor. (Conversely, House Left (HL) and House Right (HR) refer to directions oriented to the audience.) In a script, you’ll see blocking that may read any of the following: SL, SR, DSL, DSR, USL, USD. Here’s what they mean:

SL: Stage Left – Your left when you are standing on stage.

SR: Stage Right – Your right on stage.

DSL: Downstage Left – Moving toward the audience, to your left.

DSR: Downstage Right – Moving toward audience to your right.

USL: Upstage Left – Moving to the back of the stage, left.

USR: Upstage Right – Moving to the back of the stage, right.

Downstage and Upstage refer to the old days of theater -- think Shakespeare -- when stages were "raked," or sloped. When you moved toward the audience you were literally moving in a downward direction and upward when you moved to the back of the stage.

Stage Acting Term: Blocking

Blocking is the term used to describe where and how an actor moves on the stage during a play. Most playwrights incorporate basic blocking into their scripts. Since stages come in different sizes and may have different special needs, the director will draft out his/her own blocking before rehearsals begin. Blocking includes elements such as where an actor takes his place at the beginning of a scene, “crossing,” when an actor moves across the length of the stage to another actor or part of the set, and any action that asks an actor to employ the use of a prop.

In musical theatre, blocking becomes especially important, particularly when choreography is introduced. It's imperative that every actor is in the right spot on stage before and after a musical number. Oftentimes, this positioning becomes a cue for the orchestra or for other actors' entrances.

Stage Combat

Stage combat, quite simply, is fighting on stage. Of course it is more complex than that. In order to stage a fight, actors must look convincingly as though they are fighting – whether hand-to-hand or with swords (generally rapiers or broadswords). Fight directors are hired to actually choreograph moves for any fight you see on stage or on screen. It’s a serious business; no one wants injuries! Once the actors learn their fight “dance,” it is up to them to bring the final element to the scene: the acting. It’s one thing to see an exciting wrestling match, punchfest, or duel, but the scene is raised to a higher level when the actors deliver the emotion of the moment with each blow.

Staying Open

Oftentimes, novice actors make the mistake of “closing” themselves off to the audience. In physical terms, this means you have positioned your body on a slight diagonal so that the side facing the audience is blocking the rest of your body. This is also calling “upstaging yourself,” as you have essentially shoved half of your body upstage, toward the back of the stage. Many young actors do this unconsciously, as a way to protect themselves from the very vulnerable position of being in front of an audience.

It’s important to remain open, both physically and emotionally when you are on stage. In terms of your body positioning, always angle your body out toward the audience if you’re not facing them outright. Any movements that require you to turn, always turn in the downstage direction. If you need to cross furniture, cross in front of it whenever possible. And as every actor knows, never leave your back turned to the audience. As many directors say, “They’re paying to see your face, not your behind.”

The Scottish Play

One of the biggest faux pas any actor makes is to utter the name of one of Shakespeare's most incredible plays, "Macbeth" under the roof of any theater. It's an old superstition that has lasted many years, and it's one many young actors are not aware of.

The superstition goes back to several accounts of terrible things happening to actors and sets alike, from the first performance of "Macbeth," when Shakespeare himself had to play the role of Lady Macbeth since the boy who was to play her suddenly died. King James hated the show so much, he shut it down. Over the years, there have been tales of injuries, bad luck, and even death at performances.

In order to reverse the bad luck, the person who uttered the word must exit the theater, spin around three times saying a profanity, and then ask for permission to return inside. Other variations require spitting over your shoulders or simply spewing a lot of curse words. The best thing to do is not say the word at all. If you must refer to the play, call it “The Scottish Play.”

Don’t say you haven’t been warned.

Summer Acting Programs + Camps

Acting Camp

The wonderful thing about acting camp is that camps offer acting training to people of all ages, backgrounds, and talent levels. Acting camps have sprung up all over the world. Their popularity is due in part to how flexible they are in terms of time and budget.

Many actors who want a quick shot of acting practice can sign up for an acting camp. Many business professionals also use acting camps to help strengthen their improvisation and public speaking skills. Most camps can last from a day in length to an entire summer. However long they last, acting camps are a great way to meet people and improve your skills.

Networking at Summer Acting Camps

Before you attend a summer drama program, have a set of business cards printed up. Chances are you'll be meeting a lot of new people, particularly if you are attending a camp or school in a city you don't live in. You'll want to stay in touch. The saying, "It's who you know" can often translate to "It's who you meet."

Keep you business cards with you at all time. Your headshot should be on the front, with your name and professional contact number. If you are in any unions, list them on the front of the card as well. The back of the card should be kept blank -- you never know if you'll have to jot down additional information.

Play at Your Theater Summer Camp

Drama – and the act of performing drama -- forces us to re-engage the spirit of discovery. As children, we played and discovered. Now that we're older, attending theater summer camp is a great way to reconnect with that natural instinct to play.

While it's the dramatic writer's job to bring characters together within the plot, the dramatic actor of drama has to learn how to recreate these relationships on stage or on screen. (It is perhaps why we call it "playing" a role, or even why a dramatic production is called a "play."). Use your time at a summer theater program to let go of inhibitions and play within the role(s) you are given.

Roll the Credits...

Taking a summer theater program is rewarding in more ways than one. Your skill level as an actor increases, you have an opportunity to meet and network with others in your field, perhaps you'll even get a chance to visit a new city. Beyond that, many summer drama programs offer transferable college credits or even certification.

Check with any school or institution that offers summer acting classes to see if you can earn credits or certification upon completion of their coursework. As long as you're doing the work, you might as well get credit!

Spend a Summer as Someone Else

Acting summer camps are ideal for working on character studies. Having the skills to absorb yourself in a role is paramount for actors, and an intensive summer session is a great way to develop these skills as well as work out any kinks you may have in the skills you already possess. Since many acting summer camps provide weeks of focused attention either on a scene or a monologue, you will have plenty of opportunity to hone our research skills.

• If private study is available -- at a library, for example -- you may wish to research work written by the author of your piece. See if any themes run through his/her characters. (Tennessee Williams, Ibsen, and Chekhov are good examples of these kinds of playwrights.)
• Talk to your instructor(s) to get ideas about how to bring your knowledge of your character to the stage (or screen) through physicality.
• Spend time writing in a journal as your character. See through his/her eyes and take notes about your (his/her) experiences.

Summer Acting Courses in New York City

Why not expand your horizons as an actor by taking a summer acting course in a new city...New York City, for example. New York has plenty of programs available for every level of actor. New York's School of Film and Television doesn't require an audition for entrance, just an interview, which is usually done by phone -- although you will perform a monologue at orientation in order to determine the best level for your course of study. Besides the training, New York is a diverse and enriching cultural hub. You'll find plenty of inspiration as an actor by spending just a few weeks on this historic island!

Summer School for Actors

Here's a show business standard: Summers are dead.

Don't worry if you're not getting work or even calls for auditions. Barring summer stock theater, it's just the way it is. But just because work is slow, it doesn't mean you have to be as well. So, if you're not off to play Hamlet in Harrison, PA in a summer stock tour, then consider looking into summer acting programs.

The "down time" that summer provides is actually an asset to actors. Imagine eight whole weeks (give or take) to devote to honing your craft! If you already belong to an acting school, chances are your school will provide classes there. If not, there are plenty of private instructors and companies that offer classes. Take a risk: This summer try a class you've never taken -- soap opera acting, stage combat, Commedia d'ell Arte, maskwork... Any classes you take will only strengthen your repertoire as an actor.

Teen Acting Camps

Many of the programs and camps that provide training in acting for teens are geared toward young people who want to get into the industry. These camps are typically day camps that last a few weeks over the course of a summer. Acting camps provide intensive training for teenagers in the basics of acting. At the end of the training, students often receive the opportunity to perform in showcases, which are collections of scenes that they have rehearsed over the weeks. Teen acting camps also provide contact with agencies and management companies as well as face-to-face meetings with casting directors. For teens looking to get into the acting business, camps can provide an excellent foot in the door.

Television Acting

Camera 1? Camera 2?

On a television set, there are typically several cameras angled at the set. Actors who are new to on-screen acting can get confused about which camera to look into. (This is not so much a problem for sitcom and dramatic television actors as it is for broadcasters and commercial actors.)

Each camera has a light at its top. Depending on the camera, the light can be red, green, white, or yellow. When the camera is "live" or "hot," the light will go on, indicating that this is the camera now capturing what is on the set.

Can You Hear Me Now?

Many on-camera actors and performers will have to encounter lav mics (Lavaliere Microphones) at one time or another. These are the tiny little black buds you often see stuck to people's lapels in talk shows (or ripped away before they storm off the set when the interview gets too heated).

If you need to wear one, wear it professionally: Slip the mic underneath your shirt so that the mic tip (the head where the sound is picked up) merely peeks out of the edge of your collar. If you're wearing a suit jacket, tuck the cord under your jacket flap. Keep the tip away from any clothing that might ruffle against it and interfere with clean audio.

Commercial Acting

When acting in a television commercial, remember that you are there to sell a product. In these instances, it is not so important to have motivation for your character, do a detailed breakdown of his/her character. Instead, focus on the product you are promoting; it is the star.

If you are reading your own copy, be sure to give a little more emphasis to the name of the product or service. This technique can be called either “punching” or “warming” a word or phrase, depending on the mood of the ad. Be sure not to overdo it. Advertising is a subtle art. You want the audience to believe you, not feel pressured by you.

Joining the Union

If you plan to work professionally in television, you will most likely need to join AFTRA at some point in your career. AFTRA stands for the American Federation of Television and Radio Artists. Along the with benefits of being paid the union-enforced day rates for performers, you are also eligible to join the sister union SAG, under certain circumstances.

New members must complete an application and pay a one-time initiation fee and dues for the current dues period. The initiation fee is $1,300 and, as of November 1, 2004, minimum dues are $63.90.

Sitcom Acting

Acting in a sitcom (situation comedy) is a very specialized talent. It’s something like being in a comedic play, but without the need for vocal projection and larger-than-life body movements. Sitcoms are known for their “laugh-a-minute” standards, so they are fast-paced. Comedic timing is key.

Actors wishing to break into the world of sitcoms should take a few comedy acting classes. Sketch comedy and stand-up are best, since they teach the fine art of timing. Watch as many sitcoms as you can stomach – good and bad. Familiarize yourself with what works and what doesn’t.

Television Acting Term: Frame

The term frame refers to the area that the camera's lens is capturing. You must learn what this is at any given point when you're on-camera, or you may just go wandering off the screen entirely. Camera frames usually cover close-ups (head), medium shots (head and shoulders), and long shots (full body).

To give an example of how these frames are used, sitcom ensembles typically encounter scenes with long shots (whole groups) and medium-shots (2-3 people). Close-ups are used to focus on one particular character when s/he is speaking.

To Join or Not to Join

Be aware that once you join a union like AFTRA, you are no longer eligible to work non-union jobs. If you are just starting out in your career and need to make money, you may wish to hold off on joining a union. Many smaller companies offer work to non-union actors (at a lower rate of pay than union actors). Once you are a member of a union, these jobs essentially become off-limits to you. There are certain exceptions to the rule, but you must research what they are before you accept non-union work. Failure to do so could result in you being dropped from the union.

TV Acting Terms: Copy, Teleplay, Side

Copy refers to the lines you will speak. In sitcoms and television dramas, “copy” comes in the form of a teleplay. In commercial advertisements -- whether on-screen or in voice-over work -- the words you speak are called copy, but the form in which they come to you is called a side. Sides are also what are given to you for an audition. In this case, almost any excerpt of a longer script can be referred to as a side.