|
Volume 5
Issue 16 Jill Place, Publisher
jill@actingintuitive.com
You've received this
e-zine because you asked for it.
If you
wish to leave my list, please scroll to the end for
instructions.
Movable Classes and BRANDact Branding for Actors
I HAD that Role but . . .
Hi [[FirstName]]
Whew, I'm glad THAT'S
over! Temperatures in Los
Angeles climbed to triple-digits last
week. But autumn is now in the air and with it
cooler temperatures. Fall episodics are heating up
in LA as they are all over the world, however.
And with them
lots of acting work.
So today
I'm sending
you I HAD that Role but . .
.
, a spiritual guide to audtitions. To help you snag
as much
of that work as you
can.
Oh,
and do me a favor and go here to read some great things
actors have to say about Act Intuitive.
[NOTE:
Some words in this e Zine have been disguised to
avoid triggering sp^m filters.]
Movable Classes PERFECT for Fall
Episodics
The Movable
Classes are a great way to get a private or
semi-private session for a class price. Simply check the
schedule by going to
www.actingintuitive.com and
scrolling to the bottom of my home page. The
current week's Movable Class times are listed there. Or
sign up the get on the Movable Class List and I'll send you
e-mail reminders every Sunday night.
But, here's the
deal. You've got to call me either at 323.225.9850 or
323.842.9850 no later than midnight before for a day class or
four hours before for an evening class. For example,
call me no later than 3pm to attend to 7pm class.
So, if
you can't take the
Intensive on Saturdays, these classes may be an important training
option for you. The Benefits of the Movable Class are as
follows:
- Flexibility
- An easy way to get in a class every week
if you're a busy actor
- Focus
on cold reading and audition skills
- Option to pay a
four-week or per-class fee
- The same
GREAT Act Intuitive technique
Act Intuitive . . . my new fusion of
Grotowski, Method and active imagery, which I call
Acting-Out, taps rapidly into muscle
memory to free expression quicker and easier than any other
technique I've taken or taught. Ever! Get in touch at 323.225.9850
or
jill@actingintuitive.com to
find out more. Or to get the scoop on the BRAND-NEW
Movable Classes!
BRANDact Branding for Actors is now One-on-One
I'm now branding actors
individually all over the world!
Once actors name and claim their talent, their
careers soar. And now branding is easier than
ever. Go here
to find out more. Or if you'd
like to do the home branding course
instead, you can get the whole BRANDact acting success
sytem, including phone or e-mail help, for
$39. Go here
to
get it now at the pre-internet price.
Top
|
I HAD that Role
but . . .
An Art and Soul Guide
to Auditions
|
 |
You show up at the appointed time, the Now Casting sides crinkled in your hand. Your heart, which is pounding overtime, levitates into your throat. You'd like to clear it, but they'll think you're some kinda Method freak. You'll look stupid. You pace . . . you look
stupid. Tension creeps into your shoulder and virtually screeches, "MOVE ME!" You hitch up your shoulder . . . you look stupid. You sigh . . . you look stupid. The committee chattering in your head has turned into a deafening cacophony. You want to yell, "SHUT THE F*** UP!" But you'll . . . look . . . stupid. On top of that, everyone in the room looks skinnier (beefier), more
gorgeous (handsome) and more right for the role than you. Even the receptionist!
If you go
to auditions feeling this way, you'll most likely psych
yourself out, bomb, and then beat yourself up about it. In the
forty-plus years that I've been in ShowBiz, I've seen that
happen more often than not. Casting Directors, Directors and
Producers are not only looking for good actors. They're
looking for positive, proactive people with whom they'd like
to work.
So psych up instead
of psyching out! Find a way to
fall in love with the audition process
. And have all those people fall in love with
you. Embrace the fact that auditions . . . lots of
them . . . are the way you ultimately get
work. They may even ultimately be fun. Melissa Gilbert once admitted at
a networking event I attended that she still auditions.
And she's a reigning queen of Lifetime TV and a past SAG
president.
So how
do you fall in love with something that scares the socks off
you? I'd start with
gratitude. Wake up grateful for all you have
in your life and for the brand new day you're starting. Be
even more grateful for the auditions you have today. After
all, someone took the time to review your picture and resume
and consider you for the role. So when you get out of bed
every morning and say "thank you" all day for the wonderful
things in your life right now, as James Ray recommends in The
Secret, you're setting a powerful intention for the way you
want your day to go. Including your auditions.
Another
way to change the way you feel about auditions is to visualize a positive
outcome. I saw my very first big role as
already in the can. I visualized myself acting it for three
days and didn't stop until the phone rang with the
good news. Several of my branding students currently continue
this visualization tradition. One just came back from Kyoto
where he did a major role in a BBC miniseries. So take a few
moments to close your eyes and see yourself giving an academy
award-winning performance in your mind before you go out the
door to the audition. Focus particularly on the sensory
aspects of the scene . . . feeling the clothing on your body,
hearing your voice as you say the words . . . what you see,
hear, touch, smell and possibly taste. Since your mind doesn't
know whether what you visualize is real or not, you're sending
a powerful message to the Universe that what you see in your
mind has already happened. And so it is!
Being
able to focus is
another important audition asset. There's a great scene in the
movie, Wimbleton, where Paul Bettany's tennis-playing
character suddenly shifts into focus mode. Silence, slow
motion and single-mindedness immediately ensue. I've always
been grateful to my Method and Grotowski training for helping
me develop this type of heightened focus. With it, you can
quiet your mind and relax your body so you can cut the chatter
and negative self-talk that shatters audition confidence. As
well as quickly shift from being your charming self to being
the character and back again. It's the reason I teach it. It
ain't bad for getting through life either. But it does take
lots of practice.
And,
speaking of practice, it's so important to have razor-sharp cold-reading
skills. I know it seems like a no-brainer. But
you'd be surprised how many actors don't do daily cold-reading
practice. Nothing destroys focus and sets those voices
achatter like not being confident with the most basic of
skills. In my acting days, I'd pick up a script, the book I
was reading or the paper and read aloud at least 15 minutes a
day. If you're around other actors, grab them and cold-read a
few scenes too. It's a given.
Be prepared not only
with sharp cold-reading skills but to act the heck out of your
sides. Professionals act professionally. And, for an actor,
that means doing the gruntwork of preparing the scene so that
you can act it well in whatever way you've found works for
you. If you don't know how to prepare or have no solid way of
working on scripted material, I'd suggest that you get in and
stay in a class to develop these skills. Good actors work hard
to create this magic. Also, if it's a really important
audition, make an appointment to work on it with your coach.
So don't just print off your sides, get in the car and expect
to do well. Lack of preparation makes even a professional look
like an amateur.
Finally, let it
go!
I used to run my obsessive-compulsive head about a reading so
much that, in the end, it was impossible to objectively
evaluate it. So I made a pact with myself. I'd leave whatever
went on in that room in it when I left. Especially when I was
dying for the part. If you have an audition-tracking system,
take a minute and quickly jot down a few words about your
performance before you leave. Then surrender the experience.
Because auditions are oxymorons. I often got roles I thought
I'd read terribly. And vice versa.
Whatever you do, don't walk around with a Jacob Marley
chain of failed auditions trailing behind you. It'll not only
sabotage future auditions. But it'll make you a victim. People
can sense that. And they definitely won't hire that. So be
grateful, do your visualizing, get prepared and when it's
over let it go. If you do, you'll show up at your next
audition prepared, confident and personable. They'll love you
for it.
Oh, and
don't forget to e-mail me when you get that great part.
Next Issue: Activity
Work
And, by
the way, DON'T LEAVE JUST
BECAUSE THIS eZINE COMES SCRAMBLED! Try
as I might, the program I use to publish it just doesn't suit
every type of e-mail. Acting
Magic is also
available online on my home page,
www.actingintuitive.com.
Simply use
the l~ink to the left of my picture right under
the opt-in form. Thanks in advance for your
diligence!
***********************************
ONLINE BUSINESS
FOR ARTISTS & ACTORS
Earn money writing about your
hobby
or passion - free online web platform.
http://www.tipzu.com
***********************************
Top
If you would like
to get this eZine, Go Here and fill out the form on
the left
To leave my list, Go
Here and
press
send
Please forward this
issue on to friends and associates! Just keep the entire
issue intact and unaltered. These articles are copyright by the
respective author. Jill Place is not affiliated with any other
school or organization.
Jill Place,
The Acting Intuitive 1309 Montecito
Drive Los Angeles, CA
90031 (323)
225-9850
Copyright © 2007 Jill
Place, the Acting Intuitive, All Rights
Reserved.
|