One of the most important skills an actor can learn is auditioning and there are many acting studios in NYC where actors can learn these skills. Becoming a working actor is essential to gaining experience, and becoming a working actor can't happen if you don't audition well. If auditioning is not being taught in your acting classes in NYC, it's a skill that you will need to work on developing. 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. 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. Directors and producers are used to seeing overly confident or insecure actors and this is not what will count against you. 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.
Being "closed off" or self aware is a very bad acting habit, and one that threatens to get in the way of a great audition as well. In essence, "you" and whatever you are feeling needs to disappear, and make way for a fascinating, exciting character to emerge. 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 may not seem important. 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 to have little importance, in fact may be the very thing that keeps you from being seen. Here's a shocking fact. Not all casting directors, producers or directors watch all the tapes past the slate. For any given part there are likely hundreds of folks auditioning. Anything to speed things up, like a poor or boring slate, is a good excuse to just move on. A slate needs to take those few seconds, and let them know you are someone worth watching.
While this may seem harsh, it is certainly expedient. Fair or not, this is the way it is more often than not. Teaching auditioning skills is not part of every acting academy's curriculum. 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. It's something you can do on your own, and do quite well with a little help from a friend. Set up a camera, a good mic and then give it a try. Some things to think about if you do practice slates. True communication is connecting with someone even if through a device, like a camera. This is something you can record, playback and assess. 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. This is their first impression of you as an actor but the real deal should be saved for the audition. When auditioning for commercials a hint of character might be okay. 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. Then, give them what they want and deserve, a brilliant, fresh take on the part you are aiming to get. 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 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. Directors and producers are used to seeing overly confident or insecure actors and this is not what will count against you. 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.
Being "closed off" or self aware is a very bad acting habit, and one that threatens to get in the way of a great audition as well. In essence, "you" and whatever you are feeling needs to disappear, and make way for a fascinating, exciting character to emerge. 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 may not seem important. 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 to have little importance, in fact may be the very thing that keeps you from being seen. Here's a shocking fact. Not all casting directors, producers or directors watch all the tapes past the slate. For any given part there are likely hundreds of folks auditioning. Anything to speed things up, like a poor or boring slate, is a good excuse to just move on. A slate needs to take those few seconds, and let them know you are someone worth watching.
While this may seem harsh, it is certainly expedient. Fair or not, this is the way it is more often than not. Teaching auditioning skills is not part of every acting academy's curriculum. 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. It's something you can do on your own, and do quite well with a little help from a friend. Set up a camera, a good mic and then give it a try. Some things to think about if you do practice slates. True communication is connecting with someone even if through a device, like a camera. This is something you can record, playback and assess. 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. This is their first impression of you as an actor but the real deal should be saved for the audition. When auditioning for commercials a hint of character might be okay. 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. Then, give them what they want and deserve, a brilliant, fresh take on the part you are aiming to get. if you want to know more, look into Meisner acting NYC, for tips on how to create character, emotional preparation and scene study for auditioning.
About the Author:
The Maggie Flanigan Studio provides meisner acting training in New York City. For more information about commercial acting classes visit the studio website where you can get specific answers to any question you have.