Memorizing Tips

Need to learn how to memorize? I can teach you that.
I used to be terrible at remembering my lines. A professor of mine used to say"Memorization is the $%!* work." But then I started using this magic memorization technique.

Let me show you.

The Problem with Repetition

Most people memorize by repeating the words over and over again. What they don't realize is that they're not only memorizing the words, but the rhythm, cadence, and tone of voice too.
We call it muscle memory and it's lethal to good acting.
Why? Because when you're acting in a scene, it has to seem like you're living it for the first time, every time. But if you're trapped behind your muscle memory, you're not vocally free. And you're not acting.

A Better Way to Memorize

You'll memorize by rote.

Rote:n.A memorizing process using routine or repetition, often without full attention or comprehension.

You're going to repeat the words over and over (and over) in a monotone voice, without any inflection. Like a robot.When you memorize this way, you eliminate the muscle memory associated with the lines.
So when you play the scene, it'll be different every time! One day you'll be angry and yelling, and the next day you'll be on cloud nine.

Give it a try, this stuff really works.

Memorization Tips

Cook, clean, or go jogging.

While you're repeating the words, do something with your hands and feet. Do some cooking, clean your bathroom, or go for a run. This will occupy the parts of your brain you don't need for memorizing.

Chunk it down.

You don't have to memorize all of your lines at once. Do a chunk of them this afternoon, and another chunk tonight.

Take your time.

This technique requires lots of time to work its magic. So if you have to be off book by next month,start now and take your time.

Ignore punctuation.

Just because there's a comma on the page doesn't mean you have to pause. Just because there's an exclamation mark in your script doesn't mean you have to yell. Just because there's a question mark.... You get the idea.

Whisper instead.

This technique requires you to talk a lot. It may be hard on your voice. If you need to, whisper it instead.

Remember to breathe.

It may sound simple, but it isn't. People like to hold their breath subconciously. But if you breathe, it will help you remember the text better.

The Bottom Line

A final note about how to memorize: Your lines must be so ingrained into your body that you can recite them in your sleep. If you're struggling to remember lines during a scene, you're not being attentive to your scene partner. And your acting will suffer.But if you know how to memorize by rote, you won't have to worryabout that. You'll be too busy building your acting career!

How to Become Famous, And Why You Shouldn't Try?

So you want to know how to become famous, huh?
You're just dying to be discovered. If only you could get on the Disney Channel or Indian Idol, you'd be a celebrity overnight. But why? Don't hit your browser's "back" button. Keep reading.

Why Become Famous

People who are trying to get famous are trying desperately to be loved. They have very little self-esteem, and to make up for it, they seek attention and approval from anyone and everyone. So when they turn on the television and see Miley Cyrus getting her picture taken, they crave that same sort of attention.

Don't agree with me? Think I'm wrong?
Fine, I'll prove it to you...
What if I told you exactly how to become famous? That all you have to do is travel to Delhi and assassinate the President. Tomorrow morning, your face will be splattered all over the front page of the Times of India. Everyone will know your name. You'll be famous. No? Not into it? I didn't think so.

The Curse of Celebrity

Rather than hear it from me... hear it from those who live it every day.

"Celebrity is death... Celebrity... that's the worst thing that can happen to an actor."~John Cusack

"My mom is always telling me it takes a long time to get to the top,but a short time to get to the bottom."~Miley Cyrus

"People want you to be a crazy, out-of-control teen brat. They want you miserable, just like them. They don't want heroes; what they want is to see you fall."~Leonardo DiCaprio

"I found the fame thing really was a torment for a while. Then you learn to deal with it."~Mel Gibson

"I go around the world dealing with running and hiding... I can't take a walk in the park, I can't go to the store... I have to hide in the room. You feel like you're in prison."~Michael Jackson

"The drama and the demands and the pressure and all of the people giving you so much access to so many things can be too much. So couple that with everyone telling you you're so this and so that and so perfect and of course you can lose yourself."~Beyoncé Knowles

"First people discover you and they love you. You get big and then you fail. And people are glad that you fail. But I've always come back and I've started to trust myself."~Steve Martin

"Being famous was extremely disappointing for me. When I became famous it was a complete drag and it is still a complete drag."~Van Morrison

"I may be a living legend, but that sure don't help when I've got to change a flat tire."~Roy Orbison

"Fame makes you feel permanently like a girl walking past construction workers."~Brad Pitt

"I don't think I realized that the cost of fame is that it's open season on every moment of your life."~Julia Roberts

"You can't get spoiled if you do your own ironing."~Meryl Streep

"That's one of the weird things about celebrity is that you don't know who's watching. That's my least favorite part of acting, celebrity."~Denzel Washington

The Life of an Actor

In stark contrast to the life of a celebrity is the life of an actor. Most of us are constantly in and out of work, on the road with a touring show, attending auditions and callbacks, and making an honest living. We don't own million dollar homes, go to awards shows, and we're not hounded by the paparazzi. So why do we do it?

Do It for Passion

Real actors are hungry for work. They ache to be on stage. They know that the journey is the reward. They are passionate about what they do. If you came to this website hoping to learn how to become famous, it's time to re-evaluate your goals in life. Are you looking for a challenging yet fulfilling career in the performing arts? Or do you just want the best table at China Garden?

Audition Tips

What do I mean by audition tips & tricks? I mean the small stuff. Stuff you may never have thought about. But it makes a huge difference.
Over the years, I've been to hundreds of auditions. And every time,I've made a mistake. But every time, I learned something new. So shave a few years off your learning curve by following my advice.

The Arrival
First audition tip: Bring something to do. Do a crossword or read a book. Anything that occupies your full attention. Why, you ask? Because you're usually stuck in a room with other actors who are there to audition, just like you. One of them is going to start a conversation. Either because they're nervous, or they want to make you nervous.
Listen, I'm all for networking with other actors. It's a great way to find work. But at an audition, keep to yourself and stay focused. Also, reading a book will prevent you from pacing the hallways and reciting your lines. Don't do that either. It will only serve to jitter your nerves. And besides, if you don't know your lines by now...

How to Memorize
Speaking of your lines, do you know how to memorize them?
One of the best audition tips I can offer: Your lines should be so ingrained into you, that you could recite them in a coma.

First Impressions
Here's a good audition tip: When you walk in the room, be confident. The human brain makes over 27 judgments about another person within seconds of meeting them. These judgements are based on your posture, body language, voice tone,breathing rate, eye contact, etc.
Make a bad first impression, and everything you do thereafter is filtered through that impression. (Called a cognitive filter.) You'll smile and they'll think you're afraid and nervous.
If you make a good first impression, you'll smile and they'll think you're relaxed and confident.
Why is this important? Because acting is a business. And people do business with those that they know, like, and trust.

The Auditors
The powers that be. The folks behind the desk, in the dark, eating their sandwiches, drinking their coffee, smoking their cigarettes, and taking their notes. All the while, ignoring you. When I walked in the room, I used to think I was at their mercy for two minutes. Now I walk in and think the exact opposite.
They're at my mercy for two minutes. I can make 'em laugh, cry, or at least yawn. Whatever the case, I'll be having fun. A little known audition tip: Think of them as potential business partners. Equals. You're selling, and they're buying. Treat them with respect and courtesy, and they'll do the same. But don't ask who they are. Introductions waste time, time you could use for showing off your acting chops. And don't use them in your monologue. (Unless they ask.) They're there to observe and evaluate, not engage.

The Room and the Space
I've auditioned in all sorts of places. Living rooms, kitchens, rooftops, you name it. But typically, it's either in a theatre or a studio space. Wherever it is, there's usually an X on the floor, done with tape. Find it and go stand there. That's called a mark. (X marks the spot.)
Why? Because the auditors get antsy when you're too close. (I had a professor in college who would throw a pen at you if you came too close to the table.)But don't stay rooted to that X. Remember, the space is yours for two whole minutes. So feel free to move around.

The Slate
Another great audition tip: After you hit your X, tell them who you are. This is called slating. There's the good slate, and the bad slate. The Bad Slate: "Hello, my name is so-and-so, and I'll be doing Viola from Twelfth Night."Boring! Imagine how many times a day the auditors must hear that. It'll go in one ear and right out the other. The Good Slate: "Good evening, I'm so-and-so and this is Viola in the first act."That has class and distinction. Or what about this? "Hi everyone, my name is so-and-so and this piece is from Twelfth Night."Now they're listening! (Just remember to keep it simple.)

The Time Limit
If you prepared a monologue or a song, you (usually) get two minutes starting from your first line. And two minutes is plenty. (In fact, the auditors will have made their decision in about 30 seconds.)So as to be respectful of everyone's time, cut down your monologue or song. Rehearse with a stopwatch to measure how long it is. Then when you get to the audition, you won't be rushed. And if they cut you off, don't take it personally. It doesn't mean you're bad, it means they're renting by the hour.

Eye Contact
Actors love to stare. Especially in auditions. They think it makes them look ultra-concentrated on their scene partner. The end result looks like someone who might be slightly deranged. And who wants to hire that?One of the best audition tips on making eye contact is the 90/10 rule.

The Bottom Line
These little audition tips & tricks took me years to collect. And they can make or break your audition. Follow them, and you'll be light years ahead of the competition, and so much closer to becoming an actor.

Acting Exercises

Here are a few acting exercises you can use to sharpen up your craft. Some of them are simple theatre games, while others are more complex. All of them are designed to help your acting abilities.

Please note:
Some of these acting exercises require the use of a character. Go read a play that you've never heard of and choose a character that interests you.

They can be classified as under :

Middle and High School
College Level
Individual Exercises
and Homework

Middle and High School

Alphabet SceneTwo students are selected. Everyone else thinks up a scenario for them and a letter to start with. Then they play the scene, using each letter of the alphabet.
For example: If Y is the letter chosen, the first line of the scene starts with Y. The next line starts with the letter Z. The next line starts with A. And so on. If you want to make it harder, add more actors. Why? This acting exercise is like a game. It forces the actor to think on his feet and use his imagination.

Zip Zap Zop
Gather everyone into a circle. One student starts by clapping his hands at another and saying "Zip." That student immediately responds by clapping his hands at another and saying "Zap." Again, that student claps at yet another and says"Zop." The process repeats over and over, getting faster and faster,until someone says the wrong word, or hesitates too long. That person is then eliminated from the circle. The last student standing is the winner.
Why?This game is great for concentration, eye contact, and acting on impulse.

Also a great game for getting to know each other.
Freeze!
Two students improvise a scene suggested by the audience. After a minute or so, a student from the audience might yell "Freeze!" The two actors freeze in their pose. The student from the audience replaces one of the actors, assuming that same pose. That student must now begin a new scene, based on the pose he is in.Why?This game helps a student to explore their physical world and how it relates to acting. It also stretches their imagination.

Question Scene
Two students improvise a scene where the all lines must be questions. If someone hesitates or fails to ask a question, anotherstudent takes their place. The scene continues.Why?This game forces a student to think on his feet and trust their instincts.

Backwards Scene
Two students are selected. The class makes up the last line of an imaginary scene. The students must then improvise a scene backwards. (And if you want to make it harder, add more actors.)Why?This acting exercise forces an actor to think on her feet and use her imagination.

Party Quirks
One student plays the host of the party. Three other students are each given a wierd quirk. (For example, "thinks he's Madonna".) One by one, the students enter as guests at the party. It's up to the"host" to guess their weird quirk.
Why?
The students with the quirks are forced to get their idea across using only their behavior and speech.

College Level

Public Solitude
The student will play out their morning routine in the studio as if they were alone. Wake up, brush and floss, call a friend, make their bed, etc. It should be as close to reality as possible. Have them bring in their posessions and set up their living space. (In the interest of time, limit each student to 20 minutes.)
Why? Public solitude is the artificial sense of privacy. Humans don't behave the same way if other humans are watching. The goal of this acting exercise is to forget the audience exists.

Repetition

Two students will stand on opposite sides of the room, facing each other. One makes a simple observation about the other:"You're wearing a blue shirt." The other student simply repeats it:"I'm wearing a blue shirt." They repeat that same statement until they feel they have to change the statement."Stop looking at my shirt!""Stop looking at your shirt?"And so on. They must keep repeating. Don't let them stop and think of something to say, just repeat.
Why? Repetition helps a student to "get out of their head." They must acton their impulses instead of logic or wit. It also trains the student to pay acute attention to their scene partner.

Individual Exercises and Homework

Observation
Observe a complete stranger for few minutes. Describe his or her behavior. Are they sitting, standing, walking? Who do you think they are? How are they feeling? What are they doing? Reading a book, waiting for someone, having a conversation? (Note: Don't let them notice you. It will ruin the exercise.)
Why? Acting is behavior. Nothing more. The better you become at reading someone else's behavior, the more keenly you will react to it.

Music
Choose a theme song for your character. Is it classical, or contemporary? Does it have lyrics, or is it instrumental? Is it fast, or slow? If your character were a piece of music, what would they sound like?
Why? A simple yet effective acting exercise. After you've chosen a piece of music, put it on your iPod and play it just before a performance.

Circle of Concentration
Immediate Circle: Choose a location and get comfortable. Imagine that there's a circle around you, about 10 feet in diameter. Your task for the next five minutes is to concentrate only on the objects within that imaginary circle. How would they feel, or smell? How heavy are they? What color?
Intermediate Circle:The rules are the same, but the circle enlarges. This time it's the whole room. Do another five minutes.
Distant Circle:You might want to go outside for this one. Now the circle is as large as a house. Do another five minutes.If your attention moves outside the circle, gently move it back. Don't feel discouraged. Not only is it unhelpful, it isn't within the circle. So you're not allowed to think about it.
Why? Concentration is very important for an actor. When playing a scene, you must reject the stimuli you're experiencing as an actor in favor of the stimuli of the character. In other words, you must see what your character sees.

Research
Research your character's life. Down to the last detail. How old are they? What do they do for money? Where do they live? What color fingernail polish do they wear? Are their parents alive? If not, what happened? Write everything down. Be specific.

Why? Not so much an acting exercise, more like homework. But the more you discover about your character's circumstances, the better you are able to answer the question: "If I were this character, how would I behave?"

Picturization
Right now, vividly recall an event from your character's past. See it play out in front of you like a movie scene. Be specific. As the scene plays out, move from third person to first person. Put yourself in the scene. Become your character.
Why? This acting exercise will help you to "own" your character. Their experiences become your experiences. It's also quite a workout for the imagination.

Acting exercises are a key to success for any actor. They keep your mind and body sharp during those times when you're not working. Hopefully, you'll use some of these and apply them to your craft.

The Business of Acting

Wanna learn how to become an actor? You've got to remember that acting is first and foremost a business. Just follow this simple and practical advice and you'll book job after job.
Let's get down to business!

Acting is a Business First

I know, you love the lights, the camera, the action. But don't romanticize what we're doing here: You're a business first and an artist second.

SIDEBAR: Many actors and actresses I know would disagree with me. (Including my former professors.) They would say the craft of acting is first priority.Don't misunderstand: I'm in this business because I'm an artist, an actor. It is my first andgreatest love.But in order to get work, the skills and techniques I'm about to share with you are paramount. So hear me out.The secret is the right mindset: The powers that be will see you as a product. Something to sell and make money from. And you should think this way too. This is true of theatre, TV, film,voice acting, commercials, and any other medium you'll work in.You are an entrepreneur with a product to sell. You're selling you. Your face, your body, your voice, your acting skills, your singing skills, etc. All working actors understand this concept. This may seem dark and dreary, but it's actually a good thing. Why? Because you realize that it's not personal. It's business. (That's important to remember when you're dealing with rejection.)

Marketing Your Business

Now that we've identified the product (you), it's time to market that product. How do you get your name out there? How can you get hired? How to become an actor who's working?

Here are a few ways to get your name out there:

Headshot and Résumé.
An actor's 8x10 calling card. It needs to look as professional as possible because it's going to cross the desk of directors,producers, agents, managers, etc. Nothing to put on your résumé? Try to become a movie extra, or volunteer at your local community theatre. (Theatres love volunteers!)

Use your Type.

Directors use type-casting to better fill acting roles. Figure out your type (frat boy, valley girl, office professional) and tailor your approach. On the web sites like ReelAct.com will host your online information, hosting photos, your résumé, even your demo reel. The best part? It's free!

Networking.

One of the best skills you can develop is tuning into what's happening around you, and trying to get involved. What's more, surrounding yourself with positive, successful role models is essential. True entrepreneurs are experts at networking.And please realize, thisisn'tthe recipe forhow to become famous.The Audition is the WorkActors often say to me, "I can't find acting work. It's so frustrating!" Here's the answer:I had a professor in college who told me that until you get hired, the audition is the acting work. If you don't enjoy marching into that audition and strutting your stuff, why do you want to be an actor? Use your auditions to hone your craft. Until you get hired, your monologues are your acting work. And enjoy it. That's how to become an actor.

Be Patient

Don't you hate it when someone tells you to be patient? Me too. But it's true.Life is funny. Things happen by chance, luck, happen-stance, and divine intervention. You must be patient and wait. But that doesn't mean you can rest on your laurels.

I'm about to share with you the#1 tip on how to become an actor:

Constant and repeated exposure.

Get your arse in front of casting directors, agents, producers, and other powers that be, and they'll begin to recognize you. People do business only with those that they know, like, and respect. That'show to get into acting.You need to have a good, solid audition every time. Stay positive. Build your business. And I promise, you'll be telling others how to become an actor!

Creating a Profile for Auditions

In almost every on-camera commercial audition—after slating—an actor will be asked to turn sideways and show the left and right sides of their face and body.

Profiles are normally required so that those doing the casting can get a clear look at the side views of the actor. Most auditions especially those with dialogue are done facing the camera but in many commercials, actors move sideways or are working or speaking in profile. So, the creatives need to see if actors have: round shoulders, a large or small chest, a belly, a receding chin, a big nose, tattoos, long or short hair, etc.

If actors have any body issues that can be perceived as a distraction in the commercial, doing profiles will reveal them to those doing the casting. Profiles can determine how you are perceived so it is essential to perform them correctly.

The slate is usually done in a close-up or medium camera close-up then the camera zooms out as the actor does their profiles. Simple enough, right? It should be, but many rookies don’t always really understand what is needed and the correct technique, and I have also seen way too many professionals do it incorrectly. Doing profiles unprofessionally can make you look like an amateur. Why would those doing the casting even bother to take the time to watch the audition work of an actor who can’t even do simple profiles correctly.

Here are some mistakes actors often make when doing profiles.

1.  Turning just your head, not your body. This is technically a “profile” but is not what is needed at commercial auditions.

2. Turning your head and body only to a 45-degree angle. This doesn’t give the creatives what they need to see; they need to see your full body in profile. You need to be at a 90-degree angle to the camera.

3. Turning your head and body past the 90 degree angle.

4. Being cutesy, turning too fast or slow, fidgeting, looking angry, confused, bored, or with an attitude. This makes the actor look like an amateur.

To do a good profile, these are the instructions I offer my students in my L.A. acting workshops.

1. Be relaxed with a positive and confident energy.

2. Turn your body and head to the right at a 90-degree angle, stand for a second, face the camera, and  then turn to the left at a 90 degree angle, hold for a second then turn toward camera and smile.

Note: Although you are relaxed, be sure to stand up straight, shoulders back and tighten your stomach muscles.

Simple is professional. You might be thinking, “How boring.” Well, it is regimented for an important purpose. Your personality and essence will be present in your “slate” and your audition. The “profile” just needs to be done simply and professionally then it will send the right message about you.

You probably assume now that you have read this article that you understand how to do it and will have no problem with doing your “profiles.” Just to be sure, you should film yourself doing your profiles. If it is not clean, practice a few times and record yourself once again.

Finding the right Agent

Almost every actor who wants to be in commercials wants an agent. Landing legitimate representation for commercials can be easy sometimes, but it can also be challenging. Here are some suggestions that might help in the process.

1. Do your research. Start by getting a list of franchised agents.

2. Buy resources. Then,  Study how many agents are in the agency, where the agency is located, how long the agency has been in business, etc.

3. Ask people you know. If you know industry professionals, acting classmates, teachers, or relatives who are involved in the business, ask them the following questions about agents.

• Who would you recommend and who should be avoided?
• How do I contact them?
• Do you know anyone who could refer me?

4. Go online. Visit the websites of the agents you are considering and read about the agency, company history, and the people who work there. 

5. Decide where to submit. The size and status of the office you should realistically approach is determined by where you are in your career. When starting out, you will find that the small- and medium-sized offices are often more receptive to meeting new talent, but if you do have an “in” at a major agency or just want to try to get with one, you should pursue it. If your timing, talent, and type are right, you could get lucky.

6. Submit your materials. Now that you know the reputable agents you wish to pursue, submit your headshot, resume, and a cover letter. Don’t mail to one at a time and wait for them to reply. Also, don’t waste money mailing to every agent in town. Mail to a select fifteen or twenty. Actors bombard agents with submissions all the time. You might hear from some agents within a few days or weeks. If you don’t get responses, submit to your second round of choices. Agents and managers will call you for a meeting if they are interested in what they see in your submission. If you have industry contacts, teachers, or friends who can recommend you to your desired agent(s) ask your contact, if appropriate, if they would advise the agent to expect your submission. If you get minimal or no response after the second round of submissions, shoot new photos, redo your resume and cover letter, and then submit again to your first then second choices. Client rosters often change, making room for an actor who was of no interest just a few weeks earlier.

Tips for Actors

Each new year we draw up a list of resolutions about what we want to achieve. Since it is not within an actor’s power to predict that he will “star in a movie” or “become a series regular,” actors’ resolutions need to be about how to improve upon themselves and their approach to acting. Start the coming year with a positive view, not with one that sets you on the road to disappointment.

Don’t do these resolutions for just a day or two before slipping into a hazy recollection of a New Year’s Eve gone by. These will help you build a long-lasting and successful career as an actor on a business, creative, and psychological level—the “triad” of an acting career.

The Business
Learn how the business actually works, not how you would like it to work. The more you know about where the business is heading, the better. 

1. What new avenues are open because of the Internet and media streaming? 

2. How are pilots cast and how does that affect your chances of getting an audition? If roles are being offered to actors whose names appear on a list, there will be no auditions for those roles. If your name is not “list-able,” concentrate on what is realistic, not pie in the sky. 

3. What avenues are open for you to explore beyond the traditional TV and feature realm? Writing an indie pilot or feature script is good as an exercise but, in today’s market will probably go nowhere. It is possible to get some traction by creating a Web series or small featurette for the Web. 

The Creative
Are  you doing enough to keep yourself ready for your auditions?

1. If you come from a conservatory program or any intensive acting school, you do not need to take another class. You have a technique; all you need to do is get comfortable enough with it that you can use it and not be a servant to it. Put together an “acting gym” with some friends. Limber up by getting together once or twice a week and reading TV and film sides. Use practice sides to tape yourself and look at what you are doing. Decide for yourself if you are delivering at the level you need to be.

2. Make sure that you leave your work outside the audition room door. Remember that your character did not stay up all night working on the part. For your character, the present begins when you open your mouth and speak. Don’t “show” your character; stay in the moment and let him speak for himself. 

3. Shore up any holes in your skills. If you are a singer, bring your dancing up to a better level. A dancer? Get those high notes up to par with your high kicks. Take an improv class and learn to think on your feet. Develop some characters that you can use if asked. If you come from an ethnic heritage, learn the language. If you are Latin and can speak Spanish, many more jobs will be open to you.

4. Don’t play casting director. If you think you are wrong for a role, guess what the outcome will be? Why be negative? Just go for it.

5. Do comedy homework. Often, whether from bad teaching or a desire to be funny, actors forget one of the fundamental truths about comedy: Keep your stakes high and leave the laughing to the audience. Historically, the best comedy actors were those who, in trying their darnedest to reach a goal, found ways that we, the audience, thought were funny. They never winked at the audience, nor tried to lead them. They didn’t allow a comedy rhythm to conduct the scene, nor did they rely on such concepts as “comedy buttons” or “reversals.” They trusted that people could find the funny without being hit on the head with it.

Review comedy history. Explore who the founding fathers of comedy were and what is it that they did. For example: Charlie Chaplin and Harold Lloyd (silent films); Laurel and Hardy, Abbott and Costello (comedy duos); Lucille Ball and Jack Benny (early TV pioneers); “The Producers” and “Love Actually” (classic comedy films).

6. Take responsibility for what goes on in an audition. If you are late and feel rushed, don’t be late. If you make a mistake and feel yourself start to roll down the hill to failure, stop and set it back on the right course.

Psychological
Don’t be a victim of yourself.

1. Understand what you can and cannot control. You can’t control if there will be a part for which you are right or if you will get it. 

2. Don’t consider yourself to be entitled to something just because you want it. Banish the word “should” from your vocabulary. Nowhere is it written that you should get a part just because you think you gave a good audition. As I have talked about, there are lots of factors that enter into the casting process and fairness or your desire are not among them.

3. Fill your life with people, interests, and events that are outside of your acting career. Look at your work in proportion to your life not as your life. You will find more enjoyment and you will be more interesting to those you know and to yourself.

4. Don’t operate out of fear! Everyone in this business has his or her own fears, but if you walk in the door smelling of it, they will shun you because fear can be contagious. Fear makes you tighten up. Remember, emotion is like blood: If you are tense it cannot flow. 

5. Look into other locations where work for actors exist. For economic reasons certain areas of the country have become hotbeds of TV and film production. Consider moving to one of them where you might work more frequently and have a normal life.

6. Take honest stock of yourself in terms of your skills, career progress, and the level of personhood you bring to your work. If one route to an acting career isn’t working, try another. Sometimes one needs to change direction, but that doesn’t negate the time, work, and love you have put into the quest for an acting career. Not every high school quarterback ends up being on an NFL team, but that doesn’t mean he hasn’t performed well or grown as a person because of the time he spent on the playing field.

At the end of the day you can resolve to approach your work and yourself in a better way and that is all you can ask of yourself. The outcome is not yours to predict...but the ways in which you go about getting there are things you can control.

What to do for auditions

What happens in the waiting room is an aspect of auditioning that is often ignored, but that plays a critically important role in allowing an actor to be ready psychologically as well as creatively for each audition. Here are some things to keep in mind:

1. Time.
You must leave enough time so that you do not arrive at your audition as if you were blown in by a tornado. Remember that it will always take you longer to get somewhere than you expect and you don’t want your inner thoughts to be fixated on the fact that you are late. That puts pressure on you that you cannot afford.

2. The schedule.
Although it is important that you arrive at your scheduled time, I am afraid that casting directors often don’t adhere to their own schedule. I know you have all arrived, on time, to an appointment only to find yourself sitting in the waiting room for a very long time. This is not something you can control, so you have to make the best of it and not allow your energy either to get hyper or dissipate during the wait. Ask the assistant where you are on the list and then tell her that you are going down the hall for a few minutes. Don’t wander too far away and check back in from time to time, but get yourself out of the tension that is building up in the waiting room.

By the same token, if you arrive early and the casting director has a hole in the schedule, don’t allow yourself to be rushed in before you have had a chance to settle into the environment. If the assistant comes into the room, sees you and there is no one else there, and declares, “OK, you’re next”, simply say, “ If you don’t mind I have got to run to the bathroom,” and then go to the bathroom and compose yourself.

3. The mood.
I wish I could say that all actors treat one another with kindness and respect, but unfortunately, they don’t always do that. Too often I have heard groups of actors talking amongst themselves about all the auditions they have had recently and go on and on about how well they are doing. If you pay too much attention to this, it will get to you. Do not engage in idle chitchat about careers with any actor in the room. This is not a social gathering and the other actors are your competitors, not your pals. Also your career has nothing to do with anyone else’s career so don’t fall into the trap of comparing yourself to others. If you find that the banter is getting to you, again, excuse yourself and get away. What the other actors are doing is a form of psychological warfare and you don’t have to be its casualty.

4. The casting director’s mistake.
Because you are sitting in the waiting room while the assistant gives out appointments, you will be privy to information that is only going to distract you if you pay attention to it. Likewise, with walls being as thin as they are, you might hear the casting director talking to a producer or the network and giving them an update on where they are in the process. Sometimes you will overhear them talking about offers that are out for the very same role for which you are about to audition. Again, tune it out! Bring earphones and listen to music or go down the hall but don’t sit there and allow what you are hearing to get to you.

5. Respecting your character.
Very often, I see actors poring over their sides before they are called in. Don’t do that. Going over and over the same material is akin to cramming for a test. There is nothing you will learn in those last few minutes that will do you any good, and you will be sucking the air out of your reading. Remember, your character did not prepare for what he or she is about to say. For your character, the first and only time that he or she says the words will be in the context of the actual audition. This is part of the “hear, think, speak” process that is so essential to all acting. This is not about memorizing material like it is the Gettysburg Address and then spitting it out, word for word. You have to keep the freshness in the words and the only way you can do that is by allowing your character to take over the control and to think.

Trust me, very little of the material with which you will be auditioning will require as much digging as I see actors do in their preparation. Use the time in the waiting room to do a crossword puzzle or knit—both things that require you to focus on something outside of yourself and the pending audition. If you find yourself getting anxious, take a deep breath and look at your fingernail or a button—anything that will allow you to get back into the present.

In general, auditions are often won or lost by the state of mind with which the actor enters the room. Follow these guidelines and you will walk into that room with confidence, relaxed in the fact that you can hand the controls over to your character and just “be”. You don’t want to act out of fear or desperation. Nor should you be reflective of what you have heard in the outer office chatter. Keep yourself calm and in the moment, and don’t bring any junk with you into the room. Imagine that there is a large trashcan outside the door to the inner office. Now, imagine yourself dumping all of your anxiety, fear, and personal concerns into the trashcan. Now you can walk into the audition unencumbered, ready to have the casting director see who you are

Actor Agent Relationship

When an actor signs a contract with an agent or a manager he is, basically, entering into a marriage with his or her representative. As with any marriage, there are terms to be negotiated, ways in which each party must conduct him or herself, and communication that must be ongoing and honest. The components I think are the most important are: understanding each person’s role, managing realistic expectations, trust, loyalty, honesty, and communication. As with any relationship, personal chemistry is also a factor, so choose someone with whom you feel comfortable. If you and your rep don’t like each other, neither of you will profit from the relationship.

1. Understanding the roles.
The simple fact is that your representative works for you! You pay him or her a salary in the form of a commission for work you have gotten through his or her efforts. The tricky part is that, in order to get that commission, your rep has to work with no guarantee of ever getting paid. They make submissions so that you will get an appointment, then they hope that you give a good audition and that the planets align so that you get the job. It takes a special kind of person to work for you day after day knowing that they might never see a dime. In return, you must confirm appointments promptly, be prepared, and show up on time for the audition.

2. Expectations versus reality.
Understand the type of company where your rep works and how he or she fits into it. Do some research before you sign: How many agents work there? How many clients does the company represent? How does the company divide the work? Most agencies divide the town into casting directors or studios and each agent is assigned to a certain territory. Therefore, it is essential that all of the agents want to work for you or else you will only be covered by the one agent who signed you. This is known as being a “hip pocket client” and, while some of the larger agencies follow this practice, it is never in the actors best interest not to have the support of the whole agency.

Where do you fit into the food chain amongst their clients? Where does the company fit into the hierarchy of the industry? It is no secret that agencies are typecast by the type of clients they have. Because of this, some agencies don’t even look at the kinds of roles that are right for you when you begin your career, so a big fancy agency or management company might not be the best one to help with your entrée. Some agencies work by volume: They have lots of clients from whom they expect a certain financial return. This amounts to a figurative time stamp on an actor. If he or she doesn’t bring in a certain income within a certain period of time, he or she is gone. These types of companies might not give you the kind of career building attention you need. Taking on a manager will help, but if you are with a big agency, you will want to sign with a smaller manager or else you will be duplicating the problem.

3. Trust.
Once you hire someone, you must trust that they want you to have a good career and that they share your vision of it. Assume that they are making submissions and pushing to get you in unless you have proof of the contrary. Don’t second-guess everything they do, tell them what you saw on the breakdown, or tell them about appointments your friends are getting. That is a very sure route to building up a climate of animosity. If you aren’t sure about something, ask but, remember, the more time your agent is on the phone with you, the less he or she is putting into getting auditions.

4. Loyalty.
 It is hard work to build a career, which is why some of the larger agencies wait to sign an actor until after his or her first agent has laid the foundation. While it is flattering to be approached by another company, before you jump ask yourself why you want to do it? If it is just your ego that wants a fancier label, you might be doing it at the expense of the special care you’re getting from your original agent. Also, if you are already getting in on the good appointments and booking them, what else can someone do for you? Use your business head to look at the situation. While many large companies lure actors with the idea that they can “package” them in a film, the reality is that packaging is a financial arrangement between an agency and a studio or network wherein the agency gets a fee worth a certain percent of the budget if they provide an element that makes a project a “go.” It does not mean that Steven Spielberg will automatically put you in a film. Important point: When an agency gets a packaging fee, it cannot collect commission from any client who might be cast in the project. So, why would they want to load the project up with clients whom they cannot commission? They don’t! Keep in mind that agencies collect clients like some people collect baseball cards; it doesn't mean they are going to do anything with them, it just means they have a lot of them.

5. Honesty.
Questions and communication are essential. If you don’t understand the whole process of being an actor or what is going on with your career, go in and talk about it. If there is some problem in your life that is affecting how you do in auditions, let them know. It does neither of you any good if you are not up to snuff. It is better to take a few days to pull yourself together than to allow your personal situation into the audition room. However, that does not mean that you should use things in your life as an excuse. Telling your rep that you “can't possibly” go on an audition because you had a fight with your boyfriend is just lame. Pull up your socks and do your job! A heart surgeon would never miss an operation because of a romantic tiff and neither should you. Going on auditions is your job and you must treat it that way.

6. Communication.
Don’t be a stranger or a pest, but check in with your rep on a regular basis. Schedule a phone call or an appointment to go over things. Once a month have an informal coffee or lunch and stick your face in the door. It is always a good idea to give them a visual reminder of you from time to time. If you are having problems with the way your agent is communicating with you, discuss it with him or her. Agents are not mind-readers and, as in any relationship, it is good to talk through problems and come up with solutions rather than just get angry or harbour a grudge.

Actors must understand that working with an agent is a two-way street, so be clear on what they do and what you need do to make this unique relationship work.

Monologue tips

A well-written monologue makes them remember you.
Good audition monologues will:
1. Be less than two minutes.Two minutes is more than enoughto show your stuff. In fact, the auditors have already made their decision after 30 seconds, maybe even less.
2. Have a clear objective.You can't just stand there and talk. You have to be actively talking to someone you've imagined, and you must be trying toget somethingfrom them.
3. Have a distinct beginning, middle, and end.
A beginning: A strong first sentence to capture attention.
A middle: Lots ofjuicy content.
An end: A strong finish. When your monologue has structure, the auditors are more likely to remember you.
4. Contain conflict.Drama cannot exist without conflict. Who wants to see a play about everyone getting along?

Choosing a Monologue

Actors often get hung up choosing a monologue. But it's verysimple: Pick one you love. If you're going to bring it to life, you must first love it.Also, it's important to choose a few contrasting monologues.
Have at least four monologues ready to go at all times:
• A classical comedic
• A classical dramatic
• A contemporary comedic
• A contemporary dramatic

Many actors stay away from audition monologues that are overdone. They think directors have heard Hamlet too many times before. Don't let this concern you. You bring somethingunique to every character you play.

Play it with truth.

After you decide, read it aloud to yourself. Don't feel any pressure to act. Just listen to the words fall out of you. How do they make you feel? What images come to mind? Maybe you'll want to write down your reactions.

2 E's & 3I's of Acting

Recently we have addressed several practical and very necessary professional subjects, such as paying to be heard, the use of postcards, memorizing, and scams in all their varieties.
Each of you can determine which article–hopefully at least one, has most helped you personally. But if I were forced to choose, just generally, which was the most important topic for every actor it would be “Energy.” Without energy–especially in the voice (not energy slithering out under the guise of waving arms and wagging heads)–without energy, the very foundation of all acting is missing. You can define every acting term, dissect every text like a master, have every word memorized in its proper place as written by the play/screenwriter, know and embrace every acting “technique,” but without energy the role is a lifeless, boring, passive, instant cure for insomnia.Our voice and eyes and face must have energy or there is only a recitation of memorized words. Add to “Energy,” the other E word: “Ear.” Two vital E’s: Ear and Energy. Add the three I’s after those E’s and you have EEIII. Looks like an  ancient primitive cry of joy! (Or my vocal response to bad acting!)Three I’s? Intelligence, Imagination, Intuition.Ear + Energy + the Three I’s produce great theatre and are essential and basic foundations for good acting.

E1 = EAR
Learn to listen to people speaking, to actors acting, and listen especially to the ends of sentences and to the “music” of the line. The most difficult part of sounding real is the end of a sentence. It cannot be taught in writing. It is something you must train your ear to listen to carefully. But watch out for the dying fall when you hit the end of each sentence.

E2 = ENERGY
Energy: Go back, reread the article on energy and make it part of your credo for acting.Every cell in your body has to be engaged actively while keeping as still as possible (unless movement is called for). All those unconscious wiggly-wags are distracting. Keep the audience riveted with your “still energy.” Yes, yes, yesI know “still” is an odd adjective in front of energy. Think David Caruso in his current show and you see “still energy.”

I1 = INTELLIGENCE
Intelligence, strictly in relation to acting? My advice is to read. Especially poetry. There are several poems that justmight change the way you see the world. Might. But they are guaranteed to change the way you act–“act” as in being an actor, not “act” as in “behavior.”You also must use the intelligence to read the text carefully in order to know the story line, the facts of what happens, the place of your character in relationship to moving the story along, the idea of what the play is revealing about human nature, or just to “get” the humorand wit if it is a comedy. The best use of an actor’s intelligence is to learn to read carefully, analytically, and critically.You have to know what the words mean and what the phrases are saying or you’re merely “mouthing the lines” as Hamlet says. I cannot tell you how many times since I started coaching I have asked a student what a word in a line meant and the response has been an embarrassed, sheepish “I don’t know.” Use your intelligence.A subdivision of Intelligence–and the place where the line blurs between intelligence and imagination–is “curiosity.”  First ask a question and then set out to find the answer because you are “curious” about the play, the playwright, and your role. Google is a good place to start. If you want to know more about a play, look it up on the Internet to see what reviewers have said about it. If new, then Googlethe playwright to see what else he has written.Be curious. Ask questions and then set about to find the answer yourself. Curiosity means to keep asking “why.”

I2 = IMAGINATION
First let’s categorically assert that imagination does not consist of pretending to be a character. Pretending to bea character is just that–pretending. And second let’s categorically assert that imagination is not simply diving into your own psyche.Imagination begins with a pictorial response to a word, that is, allowing that word to draw a mental picture. “Allowing” is the clue. Allow the “what if’s” to occur. Allow the mind to wander. Allow possibilities. Allow the imagination to have freedom to create. Allow words to make, to create, to evoke pictures. If the word evokes memories, SEE the memory as a picture. Do not try to relive the memory. Let the words do the work. Let the words arouse the imagination. Allow yourself to respond tothe pictures that the words elicit.No, of course all words do not draw pictures! What is a picture for “the” or “an”? But if you have a line that goes, “I thought I would die of embarrassment” look at all the possible readings. Who is making the statement? Whatembarrassment is the character referring to? Would the cause of the embarrassment make every human being embarrassed? What does the line reveal about the speaker other than the embarrassment? These questions rightly belong in the arena of the Intelligence. So where does “Imagination” enter?Look at the word “embarrassment” in the sentence quoted above. Allow the imagination to see pictures of embarrassment: your own embarrassment, anyone–strangers, friends–you have seen when they were embarrassed. See what the eyes look like, the mouth, the skin when you see embarrassment. You do NOT have to feel the embarrassment. You have to allow the word to recall pictures of embarrassment. You have to allow the imagination to create a picture of embarrassment.In that line (“I thought I would die of embarrassment”) let the imagination respond to each separate word. Emphasize first the word “I,” Then “thought.” Then “die.” And last “embarrassment.” Listen to how each different emphasis affects the meaning of the sentence. What I have just described in this paragraph is the joining of imagination to verbal technique. If this is strange and newto you — wonderful! You have a whole new world of possibilities in line delivery being opened up.

FINAL TIP ABOUT IMAGINATION
A response to words greatly involves the imagination. Spend time with language. Let the sound of the word, thenumerous meanings of the word, the pictures that the word evokes, the implications, and yes, your memories of the object that the word elicits — let these all come to the surface of your consciousness. This brings emotion intothe word as you, the actor, deliver that word. Thus the imagination–not recalled feelings raised into acting the feelings–the imagination creates the spoken line, along with its companions: ear, energy, intelligence and intuition.

I3: INTUITION
So as usual we leave till last the most difficult to tackle: Intuition.
Maybe it’s because I am not sure intuition, our third “I” word, can be taught. I’m not even sure you can say much about it. I know it exists. I know I trust it completely. I know we all have it by the gallon. I also know we deny it vehemently–consciously or unconsciously it doesn’t matter–we deny it. I know it has to be nurtured. Iknow that if you deny it long enough it will curl up in a corner and refuse to budge!So what is it? I don’t know. It is just another one of those “is-ness” things we have mentioned before. When working with a student on a line reading, he will try out variations and I will say, “There, that’s it. That’s the one to keep.” “How do you know?” questions the actor. Answer “I just know.” That’s intuition.You see it’s not like reading a poem because in that area I’ve had training by the buckets, have learned how to “read.” But how does one learn how to “intuit”? A thought flits past. We dismiss it. That thought may be intuition. It may indeed be a knowing, an inner being response, a message from the universal unconscious. (I think that’s Jung’s phrase.)I keep returning to the notion that intuition is just a knowing. Children have intuition. Cats have intuition. In mycourting days, I trusted my cat’s intuition about my male friends more than my own. When the then current cat met the man who later would be my husband for 37 years,the then current cat walked away from me, tail in air, wound himself around Mr. Kulerman’s legs and said, “Daddy!” He knew. He knew better than his mistress. Intuition.Maybe it works like this: Imagination creates. Intuition knows. Intelligence analyzes. Or maybe none of those.Sorry to be so obscure about “intuition.” You have it. We all have it. And one day, if you allow it, it will help you as an actor–perhaps help more than ear, energy, intelligenceor imagination. Just love it and cherish it and nurture it and never deny it.Remember that “EEIII” can be a cry of joy or a cry of torture. Language and our response to it–ah. It is my deepest conviction that language is our most valuable invention or discovery–far surpassing the wheel–or even the door knob! Language is the very foundation of the dramatic arts. Love it and use it imaginatively. The rewards are greater than you can “imagine”!

Keeping the Casting Director Awake…

“Novelty recognition is a hard-wired survival tool all humans share. Our brains are trained to look for something brilliant and new, something that stands out.”Dr. A. K. Pradeep

They’re only human, you know? Casting Directors. They sit there all day watching people like you give it there all (or not) and looking for the one or two that really stand out. But like any other human being, they do get bored, they lose interest, they have finite stores of attention even when they are happy to be there and looking for the next big star of a major commercial, they are only human, and they can and will switch off if they aren’t given a reason to stay switched onto your performance. There is something that we can do about that, it’s very simple but it’s also very overlooked. We can use something called Novelty Recognition against them (not in a nasty way, they’ll like it if you do it right) and it will help you make a killer impact.

Bombard the brain with new things. Sound simple?And yet most monologues that I see delivered without some help or coaching do the very opposite. This is how most monologues are delivered: Right, I am a serious actor, take a moment, right, start strong, have I found a state that approximates the emotion that the character might be feeling? Yes. I sound angry good, now I have to maintain that anger for the rest of the monologue, show them angry, I am angry, show them how angry I am, and I'll finish BIG with loads of anger, and come out of the ‘zone’ quickly and look a bit sheepish about what I have just done – like a dog that pee’d on the rug. Watch a dozen monologues and sadly 90% of them will roughly have that shape. And that’s not how you get their attention or keep it. You need to intrigue their brains into staying interested, into engaging. And that takes novelty. That means your monologue or scene needs be filled with attention grabbing variety that asks the brain to not only stay awake, but also pay serious attention. You need to make bold choices that trigger the novelty recognition.
This is the Casting Director’s brain during the above monologue:“Oh she’s taking a minute, that’s good. She should. Right! She’s off… Great, she’s started! That’s very believable! Right. She’s angry cool. She’s angry. Yep. She’s angry. Uh huh. She’s… Did I pay the electric bill?”Your monologue or scene should be broken down into chunks that can each introduce novelty. A change. A change in pace, in energy, in intensity. A change in pitch, or volume, a moment of silence – something linked to the journey of the character through the piece. Through novelty, we stimulate the brain. Through consistency, we send it to sleep. The choice is yours, but this one little trick, understanding the brain’s need for novelty may just land you your next big job.

Tips for Beginners Who Are SERIOUS about acting

Arrive Early- there is no reward other than gaining a good habit. This good habit however will be appreciated by all teachers, directors, producers, choreographers, and musical directors that you ever meet. Learn it early in your career. Nothing demonstrates your lack of respect for these people like being late.

Always Be Prepared– Come prepared, bring your script, bring pen/pencil and note pad, the excuses you make always sound like poor excuses, even if they are genuine reasons. Be prepared.

It's not a DREAM- It's not a dream you have to become an actor, you're beyond dreams now. Dreams are intangible and cannot be touched, therefore they cannot be achieved. So, stop thinking of it as a dream, and see it as your target, your goal in the near future. Then work out the steps to get there and start taking them. Many small baby steps make one big giant step.

It's Easier to Give Up than get Better– this is highly challenging environment and profession and at times, you may be challenged to the point of wanting to give up. Those who give up can never succeed. Those who refuse to give up can defeat the odds. Those who give up, will harp on in life about how they could have been an actor. When someone gives up on becoming an actor after the first few rejections, they didn’t want it. If you don’t get into drama school on your first attempt, and you decide to go off and do something safe, well, again, you didn’t want it.

Learn to Listen To Criticism: No one and I mean NO ONE wants to hear criticism. We just want to hear how good we were, of course. HOWEVER, the only way to progress is to listen very carefully to the feedback and criticism and respond to it positively by putting it into action. If someone says that you need to organize yourself better, that's what you need to do. If you trust the people offering criticism, then trust the criticism, they only have one goal, to maximize your chance of improving. Don't you want that too?

Casting Isn’t Fair- Whether you like it or not, you may never play a lead role in your life, you may also never own a Ferrari, date a rockstar or sleep with a supermodel. Life ain't fair, get over it and get on with making the most of the opportunities that you do get, rather than dwelling on what you don't.

Work out what's in your control – The Stoical philosopher Epictetus teaches to seek out what is in out control and what isn't. Graft as hard as you can to change the things that you can control, forget the things you can't. Don’t waste your time on the things out with your control, but be sure to honour those things you can control.

Overcoming Stage Fear

Here’s a note from a reader, which elicited today’s subject:“The audition process can be HECK! …My biggest hurdle? FEAR. Yikes! I’m guessing and hoping that more and more auditions will help tame that monster. Do you have any tips for me?”Fear is the deadliest of all performing traps. Let’s hold a mirror up to the monster called “stage fright.”A word of comfort—or warning: Do not think fear is restricted to those who perform before a live audience. An experienced actress I know booked a very small role (really only a couple ofshort lines) on a national TV show, and yet she fumbled and stumbled over the short speech, requiring numerous extra takes for a simple scene with only 6 or 7 words.Why the stumble? The scene was with the star (who she said was very nice to her) but our actress became so anxious or overwhelmed that her fear interfered with her memory. This was before TV cameras. Not a theatre full of people! Fear is a creepy crawly critter who invades all media.There are lots of ways to challenge the monster. Here are a few:Ask yourself: “What am I afraid of?” Failure? Forgetting lines? All audiences? Only specific audiences? Rejection? Not being good enough? Pinpoint the areas. Be honest.If the entire process of auditioning/performing is paralyzing, I strongly urge you to put it into perspective.What does that mean? It means this: Are you and your loved ones healthy? Do you have food, clothing, shelter? THESE ARE THE BASICS. Once these are taken care of, then please realize that some stage fright is part of the territory of performing, thateveryone experiences it in varying degrees from a wondrous electric bolt of energy to an incapacitating self-destructive paralysis. But understand this and understand it in bold print: Performing/auditioning is not a matter of life or death! Put it in proper perspective.Do not let fear control your behavior. It’s acting or singing or dancing – not brain surgery. No lives depend on it. No governments topple because of it. Hold onto reality whenever stage fright crawls into terror. Put performing and auditioning in their proper perspective. It ain’t life and death!Speaking strictly personally, I experience very little performance jitters most of the time–maybe because I delayedacting for so many years and the sheer JOY of it slays the fear dragon. I love the small electricity of energy that occurs just before performance (whether on film or on stage). I am proud to have finally silenced the voices that said, “You can’t do this at your age!”There is nothing to compare with the thrill of opening that audition door and knowing I am setting off to battle. Or the heady delight of hearing, “And—-ACTION” and knowing the camera is on ME. Maybe the jousting knights of old felt that way. Since the entire battle is with myself, how can I lose? I AMIN CHARGE OF ME.So maybe that’s part of the answer—JOY. Let the JOY of performance zap the fear of performance. Why would anyone go into acting if they didn’t want to be seen or heard? That’s real masochism! So delight in being seen and heard, rather than fear it.I am not a psychologist but would like to recommend a valuable book I bought in London: Dr. David Roland’sThe Confident Performer. There are several other books specifically addressing the subject of performance fright. Skim them in the bookstore and buy the one that seems best for you.What else to do about this monster? We go back to PREPARATION. Memorize the words to the ridiculous point! “Of course I know this line. It has 10 words in it. I have memorized several plays.” Those words are dangerous! Whether 10 or 10,000, all words, every line must be memorized and then re-memorized and then memorized again and again and again. Any line glitch can tumble anyone into the pit of fear. Only knowing the lines as if you wrote them can rescue you.I once worked with a national star, who was a lovely person and first rate actor. In the middle of a scene where only he and I were supposed to be on stage, here trots on another actor who unfortunately had a hearing problem and was too proud to wear a hearing aid. He misheard what was being said on stage and popped in too soon. The mistaken entry startled the star, frightened him into a tailspin of memory lapse.How could this be avoided? People ARE going to drop lines, exit or enter in the wrong place, a phone doesn’t ring, lights go awry. And you are hurtled into terror UNLESS YOU KNOW YOUR LINES beyond “normal” knowing of lines.I did a small scene in a national TV show with one of the stars who would improv constantly. My JOB quickly became not acting. My JOB turned into trying to keep hold of the lines I wassupposed to deliver! I personally couldn’t ad-lib. I had to stick to the script. It would have been an impossible nightmare if I hadn’t known my lines PERFECTLY. As it was, just getting those lines out right, in spite of all the improv, became a challenge. Ultimately it was fun, mostly as a challenge to see if I could NOT allow the star to throw me into a tailspin! Without all that obsessive preparation to hold on to, that scene would have been a minefield.So read the lines over and over and over and say them aloud about 50 times and write them down. If you have been blocked,once you get home walk through your blocking as you say the lines. Fear of forgetting lines is one of the greatest causes of performance fear. Over preparation of lines—another way to combat fear.However, for every suggestion there is an exception! I read of a major actor who had done the same show for three years on Broadway and yet the few days before opening out of town he suffered terrible anxiety and stage fright. Go figure!Another weapon that falls under the PREPARATION umbrella is FOCUS. Force all thoughts on the job at hand. It takes energyand will to focus. But realize that it also takes energy and will to create fear. No one handed you a “fear pill.” You created it yourself. So take a FOCUS pill instead.An actor told me of a play she was in with a man who memorized all his lines before anyone else. He was “off book” all through rehearsal. Unfortunately, from opening night to closing night because of fear he constantly forgot lines, jumpedahead, or just stood there, not giving cues. His fear affected everyone on stage. My first reaction on hearing about this was:“Stop being such a selfish, self-indulgent baby and start thinking about your fellow cast members.” NOT FAIR. Fear is deadly. And selfish.Another thing that helps hold the monster at bay is very easy: TAKE CARE OF YOUR BODY. Sleep, breathing exercises, yoga, and my own favorite: orange juice. Orange juice? I drink it before and during performance and take a last sip just before entering the audition arena. WHY?Orange juice helps maintain blood sugar level which is affectedby stress. A drop in blood sugar often increases anxiety. Candyfloods the system too fast. Go the orange juice route. Also havesome protein about an hour before an audition. Avoid caffeine. “Mens sana in corpore sano” – A sound mind in a sound body.“Be a better actor” via 3rd year high school Latin!More: Stick on those headphones and listen to some music youlove. Or run your lines over and over so that you cannot think about being afraid. Or exercise a bit. I have seen actors stretched out on the floor like snow angels, breathing and trying to relax before performance.One question that finally must be asked: Why choose to perform if the fear is overwhelming? Yes indeed, it should diminish with more and more exposure to auditioning and performing. But what if it doesn’t?If the fear interferes with your ability to perform well, then either seek professional help—a therapist who specializes in performance anxiety—or rethink your professional goals. Instead of performing there is directing, assisting, stage managing, camera work, costumes, props, designing—all the great backbones of our profession. These vital jobs do not giverise to the same fears that the performer faces.And now for the strongest weapon against fear.My deepest belief is that if you are passionate about acting, that same passion will insist, will demand that you perform. And that insistence, that demand, will slay the fear dragon. Let that passion to perform be greater than destructive fear. Being a performer is NOT EASY. It requires a demanding drive which ultimately conquers a faint heart or self-destruction.So don your PREPARATION armor, stay FOCUSED, gulp down the ORANGE JUICE, mount the steed named JOY and gallop off to confront and conquer the monster of fear. And remember, it is a battle that can be won.

“WHAT DRAWS PEOPLE TO BECOME ACTORS?”

I’ve asked several people this question over the years. They fib. But here are some of the replies, followed by my own observations.

1. “I thought it would be fun.”
TIP:  Fun? Let’s see. Work all day, beg for time off to run out and sign up for an open call. Or instead, get up at six AM and stand in a line outside the Equity building in every kind of weather.
TIP:  Fun? Tech and dress night that goes on until one AM. A long subway trip home. Up at seven to be to work at eight. In the theatre at seven. Curtain at eight. Hours and hours and hours of rehearsal. There are twelve people in the opening night audience.
TIP: Fun? Four months of open calls nearly every day and not one callback. The air is heavy with depression, rejection, doubt,loneliness. Suddenly a small house and a family in Nebraska sound like Eden.
TIP: Fun? After an audition, being told by the director you are better than the “star name” they cast, but golly gee you know the business! Gotta fill those seats! Subtext: You’re a nobody. “How dreary to be somebody! How public, like a frog.” This is one mini example why I’ve pushed for actors to read poetry. Nobody sums up being a nobody better than Emily Dickinson.
TIP:  Fun? You have the female lead in a 35 minute short film, opposite a huge name actor who won’t even speak to you because you are not also a “name.” [“I’m nobody! Who are you? Are you nobody, too?”]
TIP: Fun? Five years later you still have the scar on your arm from the nail some indifferent carpenter did not hammer in properly and you, rushing off stage, slashed your arm on it. Then the wardrobe mistress blasts loose language you never heard even in triple XXX rated because you got blood on the costume. Excuse me!Endless examples. If you’re in it for “fun,” go dance on the rim of Etna or Vesuvius when they next sizzle. Now that’s fun!

Reason # 2 “I thought I’d give it a try.
”TIP: Don’t bother. Fire eating would be easier. Try it.

Reason # 3. “I was in a play in high school and it is a good memory.
”TIP: Don’t ruin a perfectly lovely memory by going professional.

Reason # 4. “I just have to. It’s like breathing. It’s something I have to do.”
TIP: Oops. Hope he’s talented. His answer is impeccable.With the possible exception of number 4, it is my own opinion that 15 minutes in the sun is what lures people into acting.TIP: You want sun? Go to Phoenix.And it is that same drive for recognition and praise that draws us all, regardless of how noble our professed protestations for wanting to act. The person who doesn’t have that drive for recognition and praise won’t work his tail off trying to get auditions and trying to get roles. So my bravos to those who truthfully say, “Yeah, I’m all for fame and glory. I want recognition. I want to be famous.” Then let the drive for fame also be the drive that gets you auditions and bowls over the directors and producers.But also love acting, and honor the profession, and want to be the best actor you can be.Acting, every word and every eyebrow twitch, is a challenge. Let that also be a reason to become an actor. Because acting, especially on stage,  is one of the toughest jobs in all of the arts. Challenge doesn’t begin to describe what it means to make an audience forget you and mix you up with character you are playing. I remember once auditioning with the Duchessof York’s curse to her despicable son, Richard III. Although shelater cast me, the director’s first response was, “I wouldn’t wantto cross you!” That was not me. Those were Shakespeare’s words. Not mine. The only son I have is the brother of Pepper the Diva cat.Shakespeare’s words were a challenge. The director’s response, of course I remember. It wasn’t intended as a compliment. Erase that. Mostly what I remember was the Herculean struggle with those words.

“WHAT KINDS OF PEOPLE GO INTO ACTING?”

Lunatics, manic depressives, people with too much ego, people with too little ego. People with so much talent it’s scary. People with so little talent it’s scary. And just about everyone else in between. The ideal candidate–so “I repeat myself” as Walt Whitman yawped–embodies the following: ear, energy, intelligence, imagination, and intuition. His character traits: determination, drive, refusal to be beaten, resilience, pride, awareness of self and others. Join all those traits and you have a potential actor–or saint!
As for me, I prefer not to ask about the actor but about the art of acting. What he is like as a person, what his qualifications are may make for coffee conversation. But the art of acting andhow to sound real and sound interesting–ah, there’s the rub–and the value.But this I do firmly affirm–the deeper you drink from the well ofsympathy and understanding, the greater the possibility of becoming a great actor. Maybe.

Top 10 tips for actors

1. Understand the Industry
Before you enter it, become an expert on the acting and entertainment industry. Read twenty books on the business of acting, talk to dozens of actors and meet with as many people in the industry as possible (directors, producers, agents, editors,grips, stage managers, etc.). Pick their brains. Take notes. Send thank you cards. Interview a working actor with a career you’d like to one day have. Ask them to share their roadmap with you. Study it. With this knowledge you’ll have fewer surprises and disappointments down the road.

2. Manage Your Expectations
Remember that your chances of becoming a star are extremely small. You may be able to make a living after years of training and hard work, but 99.99% of all actors are unknown and unburdened with paparazzi and plenitude. If your goal is to win an Oscar, you will most likely find disappointment. However, if your goal is simply to act, fascinating audiences with your ability to bring characters to life, working among a community of fellow artists, then there is little to stop you. All you need is a bit of talent, and a huge helping of persistence, flexibility,and hard work.

3. Get Training
Study at a university with a good drama program. In addition to acting, take courses in literature, psychology, history and philosophy. A broad liberal arts background will provide you with more tools and a broader palette from which to paint your portraits. Never stop training. Take a few classes every year to address your weaknesses (auditioning, camera work, stage combat) or to improve skills that will increase your stamina, awareness, or psychological well-being (yoga, aikido, dance are all good bets).

4. Get Awesome Headshots
Headshots are your primary means of getting work – don’t rush or skimp on them. That doesn’t mean you have to spend a fortune; it's more important to find a photographer who can bring out your best qualities. Great headshot photographers will take time to get to know you,identify your type, and give you lots of options. Job-winning headshots are bursting with personality.

5. Get practice
Don't wait for the perfect role or the big gig: get out and act. The most successful actors I know are continuously searching for and working on various projects. In addition to improving your abilities, working consistently keeps you on directors’ and agents’ radar and increases the number of people you’ll meet. And work leads to more work. Finally, don’t be afraid to take on projects that aren’t perfectly interesting or which don’t pay well (or at all). Especially in the beginning of your career, you’re better off acting than not. Remember that you can learn something from every acting experience,no matter how dismal.

6. Network
As in all industries, personal connections play an important role in progress. Agents and directors work with those actors that they know, like, and trust. So make sure people know you, and earn their respect. You can accomplish this by always being professional and positive. Many people don’t like the idea of “networking” because it feels impersonal and false. Think of it as building a community of people who can support you in your aspirations. And you can support them. The more advocates you have out there, they more work you’ll be offered.

7. Be Positive
People like to be around those with a positive outlook. So don’t be grumpy, especially on set or backstage. Don’t bring personal problems to your job. Not only will the project be more enjoyable and rewarding for everyone involved, but you’ll almost certainly do better work. And nothing helps get recommendations down the road than being remembered as a person who was a joy to work with.

8. Never Stop Learning
Great actors are insatiably curious. They are full of wonder at the world and the people who inhabit it. They ask questions, they listen, they read, they watch plays and films and great television. And even more important, they watch themselves. In all these activities, they take notes and reflect, constantly honing their craft.

9. Know Your Type
It’s natural to want to try new characters and normal to fear being typecast. However, especially in the beginning of your career, it is important to know your type. It will determine the feel of your headshot and the roles you initially aim for. It’s best to get advice from an experienced actor or casting agent as to what your type could be. I’ve heard of actors who asked strangers on the street: “What job do you think I do?” That can give you an objective idea of what your look is (heartthrob, funny guy, young dad).Of course, this doesn’t mean that you can’t break free from your type, just that you understand your place in the market. You should also realize that while most stars are quite attractive, there are actually many more acting jobs for average or even quirky looking people.
10. Know Success
When You Have it if you work for five years at becoming an actor, one day you may wake up to find that you’re consistently acting. A student film here, a “downtown” play there. A commercial every now and then (you were called in at the last moment because someone remembered you from that student film), and maybe a one-woman show at your corner club. You’re doing work that you love, you’re doing what you do best,and you're part of a community. You’re a successful actor. Don’t fall into the trap of feeling like a failure because you don't make millions or aren’t in constant demand for big city tours. Appreciate the fact that you are doing what you love. Very few people can claim that.

Good to GREAT!!!

Unfortunately the word “great” has become so trivialized from careless overuse that it’s lost all its energy. However, to me it still means splendid, awe-inspiring, and beyond talent and into genius. Therefore moving into “great acting” is the equivalent of climbing Everest–difficult, but it can be done.

While clearing out paleolithic e-mail I unearthed this note. Six years later, the content is still intriguing, an attempt to define something we may only sense:

“Something wonderful happened in my audition. Remember you said you felt I was holding myself back? Something snapped and I couldn’t stuff myself back in the box if I wanted to. It feels great.”

Fast forward six years to this month. “Bob,” an adult newcomer to acting, is reviewing his monologue with me. “I know I can do better. I just can’t seem to let go,” he says.

Bob’s “letting go” equals the 1999 e-mail reference to “holding back.” When asked what he would do differently if he “let go,” Bob’s answer showed profound self-awareness: “I’d quit thinking about myself. In the middle of my monologue I started thinking, ‘What I am doing here? Do I really think I can be an actor? Am I crazy?'”

What is “Holding Back”? Or its opposite “Letting Go”?

How many times have we said, “That didn’t feel quite right”? Perhaps “not quite right” was the result of holding back.

It’s difficult to describe what holding back feels like–maybe like a cocoon separating you the actor from total you the actor. Or perhaps it feels like a self-imposed barrier separating adequate, OK, competent from mesmerizing, volcanic, meteoric. In simple terms, perhaps it is an awareness that you can give more in a line or even in the entire role.

How do you know if you have more to give? The inner being, the performing self knows. If you ask yourself the question, “Am I holding back,” the answer will most likely be “Yes, indeed.” The question is the answer!

If you say, “I know I can do better,” you are right. The actor himself recognizes his own holding back. Trust your intuition. In this area do not rely on friends’ and family’s ego stroking. Rely on the still voice of your internal talent, which is demanding to be loosened from your self-imposed limitations.

Why Do We Hold Back?

There are numerous reasons why we do not let go, why we are stuck in good and cannot move into great.

One of the main causes is precisely what Bob described. We lack focus. We allow the mind to doubt, question, and wander while in the middle of saying a line. Acting requires focus and focus requires discipline and discipline, ironically, is the beginning of letting go.

Holding back has many other causes: fear, lack of imagination, lack of respect for acting as an art, laziness, cowardice, not knowing that there is such a thing as “letting go,” willingness to “settle” for good or mediocre or competent or embarrassing rather than demand the totality of your talent. Lack of pride. Willing to be so-so rather than the best. Dilettantism.

Examples of Those Who Never Held Back

In order to let go, you have to know that letting go exists. Perhaps you need to see someone who did not hold back. I was lucky to have seen the greatest example at age 17.

Maria Callas, a controversial opera singer, was once the most famous singer in the world, scorned or adored, but never ignored! Her daring theatrics while singing sent shivers up your spine. She performed way out there at the edge. She dared and occasionally fell on her face.

As a voice student I heard her in Lucia di Lammermoor. Lucia (Callas) descends the wide curving staircase in her blood-splattered white gown, clutching the knife she used to kill her bridegroom. Callas gets to the final high E flat of Lucia’s famous “Mad Scene,” the one note the audience has waited for the entire evening. The cadenza ends. The E flat looms. Callas goes for it.

Her voice cracks.

Some of the audience boos. La Diva Callas steps to the edge of the stage, flays the audience with a look of utter scorn, repeats Lucia’s final cadenza and blasts out an E Flat that toppled buildings in Nevada. That was my introduction to the alpha and omega of not holding back. What was behind that rescued E Flat? PRIDE. COURAGE.

Remember the hypnotism of those old-time traveling preachers who could turn sensible people into hollering praise-the-Lord converts? Those preachers–charlatans or angels–did not hold back. Neither did Louis Armstrong going for that top note, Van Gogh swirling in a madness of color, Tina Turner strutting energy, Janis Joplin’s ironic gutsy raspy self. Letting go is controlled uncontrol. These are masters.

Steps in Letting Go

First comes courageous self-examination of your potential. A director may order louder, faster. But loud/soft-fast/slow relate to variety, not to letting go.

Variety, in all its variations, is a technique. Letting go is an attitude.

Next comes the courage to want to give more. We must dare to go from OK to better and then after better must come the courage to make the Grand Canyon leap into “best.” Having embraced the need to let go, next comes a grocery list of basics:

(1) have a polished technique,
(2) intelligently and imaginatively explore the script, remembering the powerful word “variety”
(3) diligently over-memorize the lines,
(4) discover a “competent” (believable) delivery that does not sound actory.
(5) search for every possible line reading and opt for the most interesting delivery, given the context of the scene.
(6) over-prepare and tune yourself up into a bundle of energy.
(7) insist that you have the right to be great but that right is not given–it is earned.

A major step in letting go involves Bob’s need to “focus.” He logically asked, “So what do I focus on, myself? The character?” No, no and another no. Focus on the words. If you focus solely on the words you are speaking and the pictures they create then it is impossible to start questioning your ability!

In other articles we have written about not focusing on character or on your own feelings. That focus perpetuates the self-doubts. Focus on the words. The words do the emotional work for you. They bring up remembered pictures and pictures bring up the emotions, leaving you focused not on you but on the words and pictures. My sports fan husband says it is called “in the zone.”

The final step in letting go requires common sense. Just go for broke. What is there to lose? If you are over the top, your coach or your director will pull you back. “Go for it” creates another way to break out of the self-created cocoon.

Before you perform or audition, picture something full of energy and light. My own favorite is the brightest star in the heavens: Sirius. Some actors envision a comet or meteor, some a sun spot, some the July 4th fireworks–whatever says “energy” to you.

A HUGE CAVEAT:
Letting go does not mean self-indulgent, uncontrolled, chaotic solipsism. In time, your intuition (or your director) will find a balance between giving all and going nuts.

The Reason to Let Go
Letting go is what performing is about. Being a “great actor” is not merely the thrill of being in the spotlight or on camera or the applause or the recognition or even the money. It is about the joy of being totally alive during performance.

There are two lines from a Yeats’ poem that come closest to describing-if not defining-my point:

O body swayed to music, O brightening glance,
How can we know the dancer from the dance?

The dancer and the dance, the actor and the role. Try it. But only after all the preparation, the analysis, the studying, the experimentation, the control, the technique–all of these things, plus the still silent center — these are part of you as an actor. They are all necessary in order to let go and be a great actor. Not good. Great.

- See more at: http://actortips.com/tips-on-going-from-good-acting-to-great/#sthash.ufB7otPO.dpuf