Acting involves the development of many skills, one of which is auditioning, a skill you can develop in some 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 auditioning is not being taught in your acting classes in NYC, it's a skill that you will need to work on developing. Landing a role is luck and timing but, none of that matters if you're not prepared when the opportunity comes. Acting classes in NYC that teach Meisner acting offer foundational skills that can be developed over time. And, Meisner acting techniques can be used to improve your auditions as well.
There are one or two ways that are common reasons actors "fail" to turn in arresting auditions. The first way to fail is to enter the audition with overconfidence. At the same time you cannot allow yourself to be overly nervous or insecure, unless the role calls for it. Being overly nervous or overconfident is not what will count against you in an audition. It's actually the block that these types of feelings cause, which inhibits the emergence of an authentic arresting character.
An overconfident or overly nervous auditioned is usually closed off to far more important emotions, those of the character they are creating in the moment. In essence, "you" and whatever you are feeling needs to disappear, and make way for a fascinating, exciting character to emerge. The many layers of human traits, communicated in a thousand smalls ways is what must shine through, how you feel personally can't inhibit this.
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 to have little importance, in fact may be the very thing that keeps you from being seen. The bad news is this. There is no guarantee ever that a producer or director will watch a tape past the slate. Actors must think about how many hundreds of other actors are also turning in tapes our auditions. When wading through these tapes, anything that helps them to more quickly find the best of the best is necessary. So, a quick dismissal of someone who doesn't slate well gets them closer to their goal.
This may seem brutal, it does speed up the process. Whether it seems fair or not, the fact remains you had better learn how to slate well. Teaching auditioning skills is not part of every acting academy's curriculum. Acting classes in NYC may be able to help you practice your slate. Some institutions that offer acting classes in NYC will even ask for a slated 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. Lights, camera action and give it a go. Practicing slates isn't easy. Communicating to a "presence" or person rather than the camera is important. Record yourself trying several versions of a slate and then assess them. You can get feedback from people you trust, and keep working at it until you feel like your slate is a natural extension of who you are as an actor.
As for the information they want, it's most often limited to your name and the agency that represents you. Since the slate is the first impression of you-keep it short. When auditioning for commercials a hint of character might be okay. If you fall short of their expectations they may hit the eject button before the actual tape. The real purpose of the slate is for them to keep track of your tape, so just let them know if a few short seconds who you are. 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 are one or two ways that are common reasons actors "fail" to turn in arresting auditions. The first way to fail is to enter the audition with overconfidence. At the same time you cannot allow yourself to be overly nervous or insecure, unless the role calls for it. Being overly nervous or overconfident is not what will count against you in an audition. It's actually the block that these types of feelings cause, which inhibits the emergence of an authentic arresting character.
An overconfident or overly nervous auditioned is usually closed off to far more important emotions, those of the character they are creating in the moment. In essence, "you" and whatever you are feeling needs to disappear, and make way for a fascinating, exciting character to emerge. The many layers of human traits, communicated in a thousand smalls ways is what must shine through, how you feel personally can't inhibit this.
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 to have little importance, in fact may be the very thing that keeps you from being seen. The bad news is this. There is no guarantee ever that a producer or director will watch a tape past the slate. Actors must think about how many hundreds of other actors are also turning in tapes our auditions. When wading through these tapes, anything that helps them to more quickly find the best of the best is necessary. So, a quick dismissal of someone who doesn't slate well gets them closer to their goal.
This may seem brutal, it does speed up the process. Whether it seems fair or not, the fact remains you had better learn how to slate well. Teaching auditioning skills is not part of every acting academy's curriculum. Acting classes in NYC may be able to help you practice your slate. Some institutions that offer acting classes in NYC will even ask for a slated 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. Lights, camera action and give it a go. Practicing slates isn't easy. Communicating to a "presence" or person rather than the camera is important. Record yourself trying several versions of a slate and then assess them. You can get feedback from people you trust, and keep working at it until you feel like your slate is a natural extension of who you are as an actor.
As for the information they want, it's most often limited to your name and the agency that represents you. Since the slate is the first impression of you-keep it short. When auditioning for commercials a hint of character might be okay. If you fall short of their expectations they may hit the eject button before the actual tape. The real purpose of the slate is for them to keep track of your tape, so just let them know if a few short seconds who you are. 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 classes 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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