Acting includes learning a deep set of skills, that includes auditioning, a skill you can develop in some acting classes in NYC. Gaining acting experience on stage, film or television is an important way to develop acting skills, but that won't happen if you don't audition well. Acting classes NYC might be the place to build strong auditioning skills, but it doesn't hurt to work on this independently as well. Landing the right role, is part luck, part good timing but, above all you must be prepared when the opportunity comes to audition. Acting classes in NYC that teach Meisner acting offer foundational skills that can be developed over time. Meisner acting techniques are strongly connected to powerful auditioning skills.
There are one or two ways that are common reasons actors "fail" to turn in arresting auditions. One way to be discounted is to appear overconfident. At the same time you cannot allow yourself to be overly nervous or insecure, unless the role calls for it. Directors and producers are used to seeing overly confident or insecure actors and this is not what will count against you. Being nervous or confident projects a sense of "self awareness" which can kill a great acting performance.
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. It is the character, with all his or her flaws, energy, sorrow, tension, humor, really a balance of all of these human traits, that must be present.
The slate, as it is called, may not seem important at first. Remember this will be the first impression you make. What may seem to have little importance, in fact may be the very thing that keeps you from being seen. The harsh reality is this. There is no guarantee ever that a producer or director will watch a tape past the slate. For any given part there are likely hundreds of folks auditioning. Anything to speed things up, like a poor or boring slate, is a good excuse to just move on. A quick dismissal of an actor's tape because of a lackluster slate gets them to their goal more quickly.
This may seem tough, but no one said auditioning was easy. Learning to slate well is one way to get an advantage over some of the actors you go up against. Some acting classes teach tips for auditioning some don't. Acting classes in NYC may be able to help you practice your slate. Acting classes in NYC in some institutions, may ask for a slate and audition tape for entry into their program. Like any other skill, practicing slates makes perfect. Enlist a friend to help record your efforts on tape and you will instantly see how well you are doing. Practicing slates isn't easy. Communicating to a "presence" or person rather than the camera is important. This is something you can record, playback and assess. Feedback from people you trust is also important, the slate should communicate who you are.
As for the information they want, it's most often limited to your name and the agency that represents you. This is their first impression of you as an actor but the real deal should be saved for the audition. It won't hurt in commercial auditions to put a hint of the character in your slate but avoid going over the top. If you fall short of their expectations they may hit the eject button before the actual tape. The goal of the slate is to present yourself as an actor and a person, not as the character. Then give them something they want to see more of: a brilliant and original character. if you want to know more, look into Meisner acting NYC, for tips on how to create character, emotional preparation and scene study for auditioning.
There are one or two ways that are common reasons actors "fail" to turn in arresting auditions. One way to be discounted is to appear overconfident. At the same time you cannot allow yourself to be overly nervous or insecure, unless the role calls for it. Directors and producers are used to seeing overly confident or insecure actors and this is not what will count against you. Being nervous or confident projects a sense of "self awareness" which can kill a great acting performance.
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. It is the character, with all his or her flaws, energy, sorrow, tension, humor, really a balance of all of these human traits, that must be present.
The slate, as it is called, may not seem important at first. Remember this will be the first impression you make. What may seem to have little importance, in fact may be the very thing that keeps you from being seen. The harsh reality is this. There is no guarantee ever that a producer or director will watch a tape past the slate. For any given part there are likely hundreds of folks auditioning. Anything to speed things up, like a poor or boring slate, is a good excuse to just move on. A quick dismissal of an actor's tape because of a lackluster slate gets them to their goal more quickly.
This may seem tough, but no one said auditioning was easy. Learning to slate well is one way to get an advantage over some of the actors you go up against. Some acting classes teach tips for auditioning some don't. Acting classes in NYC may be able to help you practice your slate. Acting classes in NYC in some institutions, may ask for a slate and audition tape for entry into their program. Like any other skill, practicing slates makes perfect. Enlist a friend to help record your efforts on tape and you will instantly see how well you are doing. Practicing slates isn't easy. Communicating to a "presence" or person rather than the camera is important. This is something you can record, playback and assess. Feedback from people you trust is also important, the slate should communicate who you are.
As for the information they want, it's most often limited to your name and the agency that represents you. This is their first impression of you as an actor but the real deal should be saved for the audition. It won't hurt in commercial auditions to put a hint of the character in your slate but avoid going over the top. If you fall short of their expectations they may hit the eject button before the actual tape. The goal of the slate is to present yourself as an actor and a person, not as the character. Then give them something they want to see more of: a brilliant and original character. if you want to know more, look into Meisner acting NYC, for tips on how to create character, emotional preparation and scene study for auditioning.
About the Author:
The Maggie Flanigan Studio provides meisner acting training in New York City. For more information about acting classes nyc visit the studio website where you can get specific answers to any question you have.
