Here is a knowledge zone where you can get tips on acting and know more about acting terms and lines used in the theatre:
1.Appendix:Glossary of theatre
This is a glossary of terms commonly used in theatre.
A:
ad lib
Acting without having planned what to do or say. Often done to cover up for something having gone wrong or for forgotten lines. Also common in some forms of theatre such as pantomime. Also spelled adlibbing or ad-libbing.
against type
Playing a different sort of character than expected. See typecasting.
am dram
Amateur theatre; community theatre.
amateur theatre
Community theatre.
antagonist
A character that hinders the protagonist from achieving his or her goals.
anti-naturalism
An acting style in which the audience is kept aware that they are watching a performance rather than reality. (See Brechtian Acting.)
apron
The stage area in front of the proscenium arch.
aside
A dramatic technique in which a line is said by one character to him or herself or to the audience. The line is unheard by the other characters onstage.
avenue staging
The staging of a performance with the audience placed on two sides, as though the performance space is a street. Also called "alley" or "tennis-court" staging in regional variations.
B:
beat
The smallest division of action in a play. The length of time necessary for a character to play an "Objective" (also called "Intention" or "Goal") from beginning to end. Also a very short pause.
blocking
An actor's movement around a set, or the notations regarding movement in an actor's script. Also for one actor to get between another actor and the audience (see mask).
"boards"
A slang term for the stage.
"break a leg"
A saying for actors before they go out on stage, meaning "good luck".
brechtian acting
An acting style in which the actors purposely try to alienate the audience from the characters in order to constantly remind them they are watching a play, based on the theories of Bertolt Brecht
call times
The times at which each individual actor is expected to be at the theater. Call times vary based on the amount of time required to make-up the actor and may be staggered among smaller roles to allow for sharing of dressing room space, and/or make up artists.
"cans"
A slang term used for communication head-sets used during shows. The head set commonly uses one ear piece and a microphone. these are connected using XLRs in to a separate patch bay, normally next to the sound desk.
cast
The actors in a play.
casting
The process of choosing the actors for a play.
cat-walk
A narrow, often elevated walkway, as on the sides of a bridge or in the flies above a theater stage
character actor
An actor or actress who specializes in playing secondary roles. Character parts are not the romantic lead, but the additional funny, scary, or otherwise exaggerated roles.
cheating
The practice of turning one's body towards the audience even while keeping the head facing one's scene partner. Cheating is usually necessary for the audience to really see the actors and view the scene.
cold reading
A reading from a script or other text without any prior rehearsal, usually in the context of an audition or workshop.
community theatre
A performance by amateurs (or unpaid actors) as opposed to professional (paid) theatre. Some community theatre groups actually have registration "fees" that must be paid before rehearsals begin. This is usually to cover the cost of rehearsal space if their sponsoring Theatre does not have space.
corpse
To laugh when on stage, as the actor, not the character, would.
cover
Another term for Understudy
covering
To make up dialogue and or blocking due to a mistake or accident onstage without breaking character.
crossing
To move from one point on the stage to another, especially to a diametrically opposed point.
cue-to-cue
When the lighting or sound crew runs through each of its cues to check for errors. This is done without actors onstage.
curtain call
When the actors come to the front of the stage to bow at the end of a performance.
death role
A character who dies.
deck
Stage area.
dialogue
A reciprocal conversation between two or more persons; the speaking lines of a script.
digital multiplex
A communications protocol used in stage lighting; may also refer specifically to DMX512 cable
director
The person who directs a show. In most cases, the director has the final say on all aspects of the production.
distanciation
In Brechtian performance, when actors maintain distance from their character by reminding the audience through often stylized gestures or behavior that they are simply people pretending, instead of trying to identify with their "character".
DMX
Digital multiplex.
downstage
Toward the front of the stage; in the direction of the audience.
dramatist
The author of a play.
dramaturge
A theatrical scholar. During production a dramaturge is responsible for historical accuracy, and conforming to the vision of the absent, or deceased, playwright.
dress
Dress rehearsal.
dress circle
In some theatres, a shallow gallery level above the main seating. In UK proscenium houses, it is a (sometimes large) balcony above the stalls.
dress rehearsal
A practice of the play with all actors wearing full costumes. Generally, dress rehearsals also include full make-up and music (when applicable).
dry tech
When the running crew practices each scene change without actors onstage. This is done to insure each scene change can be completed swiftly and quietly.
emotional memory
In method acting, when an actor attempts to draw upon memories of prior emotions to match the emotions of their character.
exeunt
(archaic) A stage direction calling for more than one person to exit, from the Latin exire, "to go out."
exeunt omnes
(archaic) A stage direction meaning all the cast exit.
exit
A stage direction which specifies which person goes off stage.
final call
The half.
fit up
The process of setting up the theatre for the show.
fourth wall
An imaginary surface at the edge of the stage through which the audience watches a performance. If a character speaks directly to the audience or walks on/off the stage, this is known as breaking the fourth wall.
french scene
A section of a play between any entrance or exit of any character
front of house
Services including parking, concessions, ushering, and playbill distributing.
full house
The state of all of the seats being filled; the stae of the entire audience section being filled to capacity.
gallery
The highest section of the theatre; a section at the back or sides without seats where people can stand to watch a performance, usually raised.
get in
Fit up; the process of setting up the theatre for the show.
ghost
To be used as a singing voice for another actor. (See also, ghost-writer.)
ghost light
A light left on the stage overnight and/or when the stage is not in use for safety. It also has superstitious meaning for the run of the play.
gods
Gallery.
GOTE
An acronym (Goal, Obstacle, Tactics and Expectation) used to remind actors of their most basic work in character development.
the half
The time before a performance by which all actors must be present in the theatre – traditionally half an hour before curtain up.
ham
A bad actor; usually one who overacts or hogs the spotlight. Can be used endearingly to describe rambunctious, but good actors.
house
The theatre, the people in the theatre, the audience.
intention
A single, temporary desire or goal that arises in a character within a scene. (Also called "Objective" and "Goal".)
intermission
A break between acts (usually first and second, but some plays have three or more acts).
interval
An intermission.
improvisation
When an actor who is "in character" makes up action or dialog without prior scripting. (see Ad Libbing and Improvisational theatre.)
indicating
Unrealistic acting. At its worst it is often associated with acting of the past in which realism was not ubiquitously prized and stereotyped gestures were used to "indicate" emotions rather than actually showing them.
issue
To leave the stage.
to run Italians
To speak one's lines very fast, either individually or as a cast; thought to assist in committing lines and cues to memory.
jumper cable
An extension cable with a stagepin head.
leading lady
The actress playing the largest role in the cast performed by a female (or originally intended for that purpose).
leading man
The actor playing the largest role in the cast performed by a male (or originally intended for that purpose).
legs
Masking curtains hung vertically and parallel to the sides of the proscenium. Legs define the sides of the performing area and hide offstage areas from the view of the audience.
LX
Referring to the lighting department of the crew (lighting designer, head electrician, lighting operator etc).
manent
Manet.
manet
(archaic) A stage direction calling for a person (or more than one person) to remain on stage as others exit, corresponding to the Latin manent, meaning "they remain."
mask
To block another actor, or something worn over the face, sometimes expressing emotion. (See Kabuki.)
masking
Drapery or flats used to frame the stage, and stop the audience from seeing the backstage areas.
method acting
Acting style in which the ideal of a "true"( or "real") moment or impulse is valued most highly; the actors try to feel the emotions of the character so that the actors' choices and the characters' would be as one---i.e. inevitable. Pioneered by Konstantin Stanislavski, currently taught most formally at The Actor's Studio in Manhattan. Of note, the American Method acting of the popular imagination was based on an early, incomplete experiment of Stanislavski's. Many if not most modern teachers have moved away from the original (Stanislavskian ) "method" as it is truly difficult to teach well, has been altered by many secondary and tertiary disciples in the '60s and '70s to suit personal agendas, and can produce seemingly uninteresting and almost "masturbatory" results in younger actors. Marlon Brando and Dustin Hoffman are perhaps the best examples of masterful methodists who use and discard various parts of many schools of thought to achieve success.
monologue
An extended set of lines spoken by one person either directly addressing the audience (as in a soliloquy) or another character (a speech).
motivation
A character's individual desires or goals which propel them into action ;the driving force of an inciting event that starts a story's progression.
objective
A single, temporary desire or goal that arises in a character within a scene. (Also called "Intention".)
obstacle
A force opposing a character's "objective" (or "intention") which gives rise to dramatic tension and conflict.
orchestra
The seats on the lower part of the theatre.
orchestra pit
where the musicians play, usually directly in front of the stage, often sunken below the seating sections.
omnes
(archaic) In stage directions, all the cast.
packed house
Full house.
parascenium
in a Greek theatre, the wall on either side of the stage, reaching from the back wall to the orchestra.
part
A character; the portion of the script intended for one character.
parterre
The upper part of the main seating. Usually behind a cross aisle, and almost always steeper than the lower Orchestra.
preferred reading
The interpretation of the script that is stressed by the author or the text itself.
promenade
A performance of a play in which the actors and audience occupy the same space, with no distinction between acting area and audience area. The audience is given the freedom to explore the space together with the performance, and there is generally an element of audience interaction in the play.
prompt
To tell an actor his next line when he has forgotten it. Also the person whose job it is to do this (also called the prompter). It used to mean the side of the stage where the prompter sat. The other side of the stage was called 'Opposite Prompt' or OP.
prop
Property.
property
An object used in the play, from the Middle English proppe, meaning a support, not originally related to property as in ownership; does not include scenery or costumes.
proscenium
Proscenium arch.
proscenium arch
The boundary between the stage and the audience in a conventional theatre; it appears to form an arch over the stage from the audience's point of view. In some cases, it does create an arch over the stage.
protagonist
The main character; the hero or heroine.
pseudomonologue
When only one half of a dialogue is portrayed, especially either just the questions or the answers, wherein the performer is not directly addressing the audience.
raked stage
When the set inclines as it goes upstage. Often used in the past (especially in Shakespeare's time) to force the perspective of the stage picture.
read through
A reading of the entire play or act without blocking.
rehearsal
Practice of the play.
run
Run through.
run through
A practice of an entire play or act.
script
The text of the dialogue and stage directions of a play; to write a play.
sense memory
In method acting, when an actor attempts to recall memories of the physical sensations surrounding prior emotions in order to utilize emotional memory.
signs of character
The various cues that convey a character's personality, emotion or motivation.
signs of performance
An actor's movements, expressions and vocal tones and patterns that contribute to signs of character.
site specific
A play which is created or specifically modified to use the character of the performance space to the greatest advantage. Site specific spaces are usually locations which are not normally used for showcasing theatre, but have another primary function (warehouse, mansion, abandoned military bunker, etc).
social actor
People who portray themselves in a performance, usually previously known to the audience.
sold out
When the number of tickets sold for a performance is equal to or greater than the number of available seats.
soliloquy
A monologue spoken by a character to him or herself or the audience to reaveal his or her thoughts.
SRO
See "Standing Room Only".
stalls
Orchestra.
stage direction
In the script of a play, any instruction for the actors, or setting, or character description.
stage left
The side of the stage on the left when facing the audience.
stage right
The side of the stage on the right when facing the audience.
standing ovation
At the end of a performance, when the audience stands and claps, a higher form of praise than normal applause.
standing room
A space where people can stand to watch a performance, especially if all the seats are filled. (See Gallery.) Most New York houses count standing room tickets in their house counts. The Lion King caused quite a stir when it didn't, and boasted more than 100 percent house counts for months.
standing room only
Admittance to a performance after all of the seats are filled which requires people to stand to watch.
strike
to remove a set piece or from the stage ("Strike that chair.") To "strike the show" is to disassemble the entirety of the set, return all equipment to storage and leave the venue as it was before the show was set up. May be used as a noun to refer to the event at which the show is struck.
stock character
A archtypical or stereotyped character, usually originating in Roman comedy and finding its widest expression in Commedia dell'arte. Stock characters continue to be used, however, in one form or another and examples include the lover, crafty servant, the miser, the clown, etc.
super
Supernumerary.
supernumerary
Extra, walk-on part, most often speaks no words.
supporting cast
Actors who are not playing major parts.
tabs
The curtains separating the stage from the audience.
tech
Techie.
tech
Technical rehearsal.
techie
A general slang term for a member of the technical crew of a show.
technical rehearsal
A rehearsal primarily for the purpose of practicing the technical elements of a play, such as lights and sound.
theater
Building where acting takes place (also a cinema)
theatre
The world of this type of acting, or the world of acting in general; the art itself.
theatre in the round
Any theatre where the audience is seated on every side of the stage. (See arena.)
thrust
A stage that extends out into the audience, so that the audience is seated on three sides of it.
typecast
When an actor becomes associated with only one type of role or character, often based on physical appearance.
understudy
An actor familiar with another actor's role so that he or she can substitute in an emergency.
upstage
Towards the back of the stage; the half of the stage that is farthest from the audience; to outshine another's performance, especially when the other has a larger part or is more well-known. (The third meaning derives from the simplest means of "upstaging" another actor: to walk "upstage" of an actor, thereby forcing the other actor to turn his or her back to the audience while the "upstage" actor can stand full front, facing the audience. For the origin of the former two meanings, see raked stage)
verisimilitude
The trait of seeming truthful or appearing to be real, from the Latin veri similis, "like the truth."
viewpoints
An directing technique championed by Anne Bogart. Originally it was a dance and movement technique extended to apply to the movement of actors and manipulation of a stage image by a director. It was also later extended as an acting technique.
walkdown
Curtain call.
wardrobe
Costumes, or the people responsible for them.
wardrobe mistress / master
The person in charge of the costume department.
wings
The "backstage" or parts of a stage off to the left and right not seen by the audience
2.12 SECRETS EVERY ACTORS SHOULD KNOW
12 Secrets & Some Advice
Every Actor Should Know!
1. Mail your headshot/resume every 4-6 months to the Casting Directors.
Make sure you have something short, sweet and specific to say in your cover letter; that you are in a show and you would like to offer them Professional Comps, or that you just finished a great class, or that you are doing a student film. Casting Directors sometimes call in actors directly for projects…so make sure you are staying in their “mental filing cabinets.”
Don’t assume that your agent is doing this kind of a mailing for you.
“Remember when you work your agent gets 10% and until then, we work for free! “
Bob Schroeder, Agent -Grossman and Jack Talent
2. If you have agent representation but are not auditioning, there may be several reasons.
Your agent doesn't think you are appropriate for any of the auditions coming across their desk.
Your agent doesn't think you are “ready” to submit you on certain auditions.
Your agent IS submitting you for auditions and the casting director is not interested in seeing you.
“It is your job to talk to your agent and find out which of the above is true, so that you can work on making yourself more submittable!”
Rachael Patterson - ASC
3. Performing in theatre is the best way to get casting directors to call you in.
Mickie Paskal of PR Casting
4.One thing actors don't realize is that whenever they go on auditions, they are not only auditioning for the project they are called in for, but for future auditions as well.
What that means is that if someone gives a bad performance on a project that they are not excited about, it means they may not be called in for something really amazing/
When breakdowns are sent out, often actors call us and say "I am not right for that project." The actor should consider that the casting director and their agent never want to waste anyone's time and if they are called in to audition it is for one of the following reasons:
Breakdowns change and evolve during the casting process, but the written document is always updated.
Dawn Gray of Gray Talent Group
5. Age is a funny thing.
There is Disney 16 and Gossip Girl 16. Mama Mia tends to cast 30 year olds to play 40 year olds. I can't tell you how many 30 year olds said I am too young to have a daughter that age. But it is an opportunity to audition for Tara Rubin and a Mamma Mia audition can lead to a Mary Poppins audition or Jersey Boys audition. You are in the business of acting and that means being something different than what you truly are. So if you have the opportunity to morph into something else, take the audition and be brilliant and it will help you get called in for the project you are mean to get.
Dawn Gray of Gray Talent Group
6. Actors who simply appear to want to be in the audition room with us, with our clients, looking like they are where they WANT to be, doing what they WANT to do, goes a very, very long way….and is APPRECIATED.
Mickie Paskal of PR Casting
7. Instead of trying to be what you think others are looking for, be yourself. You are more marketable trusting yourself and who you are...it's what makes you different from all the others.
Sam Samuelson, Agent - Stewart Talent
8. If a theatre calls you in for an audition there’s a good chance that the casting director and director have already had a discussion about you being “right for the role.” When you ask to read for a different role you may actually be hurting your chances!
Adam Belcuore, Casting Director - Goodman Theatre
9. I always just tell actors they should think of the audition as the ‘win.’
In this city- if out of 1000 actors -you are on the list being seen, you are doing something right.
What happens after that is out of your hands so do your homework, be prepared, be in the moment and present as soon as you walk in.
And think of the audition as your 10 minutes to act today.
After that, it’s anybody’s ballgame and comes down to things outside of your control.
Erica Daniels, Associate Artistic Director – Steppenwolf Theatre
10. It's a great idea for actors to have personal websites.
It's a great place for headshots, resumes, reels and reviews to live and is a useful tool when a director or casting director wants to see more of an actor.
Donna Simon Dunn, Agent –Grossman and Jack Talent
11. In an industry where so many things are entirely out of the actors’ control, it is important to take control of the things that you can.
Know your conflicts. Be it product conflicts for commercials or dates that you are not available to work. Know those product conflicts/dates and communicate them clearly with your agent.
Check dates of callback and production/shoot before confirming your audition appt. Even if you think you know you're available for the dates, double check. Your agent can't keep track of everyone's personal schedules, so it’s better to double check than to confirm an audition and then turn around and cancel. Casting typically doesn't respond kindly to cancellations
Check your email and phone frequently throughout each day. Your agent works hard for you and the faster you respond to phone calls/emails, the more flexibility there may be in scheduling. Your agent will learn quickly who is an efficient responder and who needs to be called three or four times before getting an audition confirmed.
Mike Theissen, Agent – Gray Talent Group
12. Casting directors ALWAYS want actors to succeed.
Mickie Paskal of PR Casting
1. Mail your headshot/resume every 4-6 months to the Casting Directors.
Make sure you have something short, sweet and specific to say in your cover letter; that you are in a show and you would like to offer them Professional Comps, or that you just finished a great class, or that you are doing a student film. Casting Directors sometimes call in actors directly for projects…so make sure you are staying in their “mental filing cabinets.”
Don’t assume that your agent is doing this kind of a mailing for you.
“Remember when you work your agent gets 10% and until then, we work for free! “
Bob Schroeder, Agent -Grossman and Jack Talent
Make sure you have something short, sweet and specific to say in your cover letter; that you are in a show and you would like to offer them Professional Comps, or that you just finished a great class, or that you are doing a student film. Casting Directors sometimes call in actors directly for projects…so make sure you are staying in their “mental filing cabinets.”
Don’t assume that your agent is doing this kind of a mailing for you.
“Remember when you work your agent gets 10% and until then, we work for free! “
Bob Schroeder, Agent -Grossman and Jack Talent
2. If you have agent representation but are not auditioning, there may be several reasons.
Your agent doesn't think you are appropriate for any of the auditions coming across their desk.
Your agent doesn't think you are “ready” to submit you on certain auditions.
Your agent IS submitting you for auditions and the casting director is not interested in seeing you.
“It is your job to talk to your agent and find out which of the above is true, so that you can work on making yourself more submittable!”
Rachael Patterson - ASC
Your agent doesn't think you are appropriate for any of the auditions coming across their desk.
Your agent doesn't think you are “ready” to submit you on certain auditions.
Your agent IS submitting you for auditions and the casting director is not interested in seeing you.
“It is your job to talk to your agent and find out which of the above is true, so that you can work on making yourself more submittable!”
Rachael Patterson - ASC
3. Performing in theatre is the best way to get casting directors to call you in.
Mickie Paskal of PR Casting
Mickie Paskal of PR Casting
4.One thing actors don't realize is that whenever they go on auditions, they are not only auditioning for the project they are called in for, but for future auditions as well.
What that means is that if someone gives a bad performance on a project that they are not excited about, it means they may not be called in for something really amazing/
When breakdowns are sent out, often actors call us and say "I am not right for that project." The actor should consider that the casting director and their agent never want to waste anyone's time and if they are called in to audition it is for one of the following reasons:
Breakdowns change and evolve during the casting process, but the written document is always updated.
Dawn Gray of Gray Talent Group
5. Age is a funny thing.
There is Disney 16 and Gossip Girl 16. Mama Mia tends to cast 30 year olds to play 40 year olds. I can't tell you how many 30 year olds said I am too young to have a daughter that age. But it is an opportunity to audition for Tara Rubin and a Mamma Mia audition can lead to a Mary Poppins audition or Jersey Boys audition. You are in the business of acting and that means being something different than what you truly are. So if you have the opportunity to morph into something else, take the audition and be brilliant and it will help you get called in for the project you are mean to get.
Dawn Gray of Gray Talent Group
6. Actors who simply appear to want to be in the audition room with us, with our clients, looking like they are where they WANT to be, doing what they WANT to do, goes a very, very long way….and is APPRECIATED.
Mickie Paskal of PR Casting
Mickie Paskal of PR Casting
7. Instead of trying to be what you think others are looking for, be yourself. You are more marketable trusting yourself and who you are...it's what makes you different from all the others.
Sam Samuelson, Agent - Stewart Talent
Sam Samuelson, Agent - Stewart Talent
8. If a theatre calls you in for an audition there’s a good chance that the casting director and director have already had a discussion about you being “right for the role.” When you ask to read for a different role you may actually be hurting your chances!
Adam Belcuore, Casting Director - Goodman Theatre
Adam Belcuore, Casting Director - Goodman Theatre
9. I always just tell actors they should think of the audition as the ‘win.’
In this city- if out of 1000 actors -you are on the list being seen, you are doing something right.
What happens after that is out of your hands so do your homework, be prepared, be in the moment and present as soon as you walk in.
And think of the audition as your 10 minutes to act today.
After that, it’s anybody’s ballgame and comes down to things outside of your control.
Erica Daniels, Associate Artistic Director – Steppenwolf Theatre
In this city- if out of 1000 actors -you are on the list being seen, you are doing something right.
What happens after that is out of your hands so do your homework, be prepared, be in the moment and present as soon as you walk in.
And think of the audition as your 10 minutes to act today.
After that, it’s anybody’s ballgame and comes down to things outside of your control.
Erica Daniels, Associate Artistic Director – Steppenwolf Theatre
10. It's a great idea for actors to have personal websites.
It's a great place for headshots, resumes, reels and reviews to live and is a useful tool when a director or casting director wants to see more of an actor.
Donna Simon Dunn, Agent –Grossman and Jack Talent
It's a great place for headshots, resumes, reels and reviews to live and is a useful tool when a director or casting director wants to see more of an actor.
Donna Simon Dunn, Agent –Grossman and Jack Talent
11. In an industry where so many things are entirely out of the actors’ control, it is important to take control of the things that you can.
Know your conflicts. Be it product conflicts for commercials or dates that you are not available to work. Know those product conflicts/dates and communicate them clearly with your agent.
Check dates of callback and production/shoot before confirming your audition appt. Even if you think you know you're available for the dates, double check. Your agent can't keep track of everyone's personal schedules, so it’s better to double check than to confirm an audition and then turn around and cancel. Casting typically doesn't respond kindly to cancellations
Check your email and phone frequently throughout each day. Your agent works hard for you and the faster you respond to phone calls/emails, the more flexibility there may be in scheduling. Your agent will learn quickly who is an efficient responder and who needs to be called three or four times before getting an audition confirmed.
Mike Theissen, Agent – Gray Talent Group
Know your conflicts. Be it product conflicts for commercials or dates that you are not available to work. Know those product conflicts/dates and communicate them clearly with your agent.
Check dates of callback and production/shoot before confirming your audition appt. Even if you think you know you're available for the dates, double check. Your agent can't keep track of everyone's personal schedules, so it’s better to double check than to confirm an audition and then turn around and cancel. Casting typically doesn't respond kindly to cancellations
Check your email and phone frequently throughout each day. Your agent works hard for you and the faster you respond to phone calls/emails, the more flexibility there may be in scheduling. Your agent will learn quickly who is an efficient responder and who needs to be called three or four times before getting an audition confirmed.
Mike Theissen, Agent – Gray Talent Group
12. Casting directors ALWAYS want actors to succeed.
Mickie Paskal of PR Casting
Mickie Paskal of PR Casting
3. RULES OF ACTING
Acting: Get That Part!
8 Rules Every Actor Should Know
By Phil Breman
There are thousands upon thousands of actors in Los Angeles alone -- each one hoping for that one big break that will launch their career. The sad fact is that only a few people ever make it as actors and even fewer make it beyond a few “b” film roles and television appearances.
So, what can you do to help your chances of success?
For all the things you can’t control (how you look, how you sound, etc.), there are a few things you can do that might just make the difference between getting the part and continuing to work as a waiter. Here are a few tips to keep in mind:
- Learn Your Craft: Too many people think that acting is easy. Just like any art form, acting is a craft and must be mastered. Take acting classes, watch other actors and take the time to hone your craft. There are a number of top tier actors who make a point of working with acting coaches to be sure they remain at the top of their game. You can never know too much.
- Never Be Late: This might seem obvious, but there are hundreds if not thousands of actors out there who simply can’t tell time. Casting sessions are usually just a few minutes and are scheduled at odd times like 7:25 or 6:50 on purpose. Be early or don’t bother showing up. Patience weighs thin at a casting session and few things will hurt your chances more than being late.
- Know Your Lines: Again, this might seem obvious, but there are too many actors who learn a few of their lines and then try to “wing it” and fail miserably. Spend time preparing your lines. Prepare not only what you’re going to say, but how you’re going to say it.
- Don’t Rewrite Your Lines: Never, ever, ever say something other than what’s in the script. There’s no better way to offend a writer then to come up with your own lines. If you want to write your own dialogue, then become a writer.
- Listen, Listen, Listen: I repeated this one three times because I’m hoping you’re listening. Listen to what you are being told. Sometimes the casting director or writer or director will give you a bit of direction prior to the audition or during the audition on a particular line. Listen to what they’re saying and take the time you need to process it. If it’s during an audition, more often than not, they will be happy to give you a few minutes to incorporate the new direction into the lines. So ask for it if you need it.
- Make Sure Your Headshot is Accurate: There are few things more annoying then getting a headshot that looks nothing like the actor who shows up. Be sure your headshot accurately portrays who you are now. If you’ve gained weight, cut your hair, gotten a few years older then make sure your headshot shows this. Your headshot won’t be the one getting the job and you certainly won’t either if you look completely different than what people were expecting to see.
- Commit!: Actors who genuinely commit to a reading are fun to watch. They literally transform themselves into a character. By committing fully to the reading, you will not only dissolve any nervousness, you’ll show the decision makers that you should be considered because you can play the part with a genuine passion.
- No Excuses!: So, you couldn’t learn your lines because you lost your power? Too bad. You were an hour late because you were stuck in traffic? Aw, sorry. You had to rush your dog to the vet and didn’t get the script? Better luck next time. The fact is no one cares that you had any of these incidents crop up. Life happens and sometimes things go wrong and in a normal world, this might be taken into consideration. But know that no matter what excuse you think you have to get you out of a particular situation, there are dozens of other people happy to take your place.
Being an actor is not the easy life it may seem. There are often long periods of financial insecurity, huge amounts of competition along with multiple forms of rejection that make the overall process that much more difficult. But many actors will never succeed simply because they ignore some of the most basic elements and can’t get out of their own way. Give yourself the best chance at success by following these eight simple rules and you’ll quickly find that you’re already ahead of the game.
By Phil Breman
There are thousands upon thousands of actors in Los Angeles alone -- each one hoping for that one big break that will launch their career. The sad fact is that only a few people ever make it as actors and even fewer make it beyond a few “b” film roles and television appearances.
So, what can you do to help your chances of success?
For all the things you can’t control (how you look, how you sound, etc.), there are a few things you can do that might just make the difference between getting the part and continuing to work as a waiter. Here are a few tips to keep in mind:
- Learn Your Craft: Too many people think that acting is easy. Just like any art form, acting is a craft and must be mastered. Take acting classes, watch other actors and take the time to hone your craft. There are a number of top tier actors who make a point of working with acting coaches to be sure they remain at the top of their game. You can never know too much.
- Never Be Late: This might seem obvious, but there are hundreds if not thousands of actors out there who simply can’t tell time. Casting sessions are usually just a few minutes and are scheduled at odd times like 7:25 or 6:50 on purpose. Be early or don’t bother showing up. Patience weighs thin at a casting session and few things will hurt your chances more than being late.
- Know Your Lines: Again, this might seem obvious, but there are too many actors who learn a few of their lines and then try to “wing it” and fail miserably. Spend time preparing your lines. Prepare not only what you’re going to say, but how you’re going to say it.
- Don’t Rewrite Your Lines: Never, ever, ever say something other than what’s in the script. There’s no better way to offend a writer then to come up with your own lines. If you want to write your own dialogue, then become a writer.
- Listen, Listen, Listen: I repeated this one three times because I’m hoping you’re listening. Listen to what you are being told. Sometimes the casting director or writer or director will give you a bit of direction prior to the audition or during the audition on a particular line. Listen to what they’re saying and take the time you need to process it. If it’s during an audition, more often than not, they will be happy to give you a few minutes to incorporate the new direction into the lines. So ask for it if you need it.
- Make Sure Your Headshot is Accurate: There are few things more annoying then getting a headshot that looks nothing like the actor who shows up. Be sure your headshot accurately portrays who you are now. If you’ve gained weight, cut your hair, gotten a few years older then make sure your headshot shows this. Your headshot won’t be the one getting the job and you certainly won’t either if you look completely different than what people were expecting to see.
- Commit!: Actors who genuinely commit to a reading are fun to watch. They literally transform themselves into a character. By committing fully to the reading, you will not only dissolve any nervousness, you’ll show the decision makers that you should be considered because you can play the part with a genuine passion.
- No Excuses!: So, you couldn’t learn your lines because you lost your power? Too bad. You were an hour late because you were stuck in traffic? Aw, sorry. You had to rush your dog to the vet and didn’t get the script? Better luck next time. The fact is no one cares that you had any of these incidents crop up. Life happens and sometimes things go wrong and in a normal world, this might be taken into consideration. But know that no matter what excuse you think you have to get you out of a particular situation, there are dozens of other people happy to take your place.
Being an actor is not the easy life it may seem. There are often long periods of financial insecurity, huge amounts of competition along with multiple forms of rejection that make the overall process that much more difficult. But many actors will never succeed simply because they ignore some of the most basic elements and can’t get out of their own way. Give yourself the best chance at success by following these eight simple rules and you’ll quickly find that you’re already ahead of the game.
4.How to Memorize Lines
Memorization Tips for Actors and Actresses
By Wade Bradford
How do those actors and actresses memorize hundreds of lines? How does someone commit all those fancy Shakespearean lines from Hamlet to memory? Memorizing lines takes practice and constant repetition. However, there are a few ways to make the memorization process run smoothly and quickly.
Read Out Loud (And Repeat, Repeat, Repeat):
For most performers, there is no short cut to memorizing lines. To learn lines, an actor must recite the play out loud, over and over again. Most rehearsals encourage this by “running through the lines” or having a “read through.”
By the time opening night arrives, most actors have spoken their lines hundreds of times. In addition to constant repetition, consider these supplemental techniques:
Listen to Your Cast Members:
Sometimes inexperienced or poorly trained actors spend rehearsals staring blankly at fellow performers, waiting patiently to say their next line. Instead, they should be listening attentively, responding in character at all times.
This will not only generate a better performance, it will also help the actor learn his lines because the context of the dialogue is absorbed. Pay attention and the other person’s lines will serve as a cues or “memory triggers” during the performance.
Record Your Lines:
Because there is often not enough rehearsal time, many performers find ways to listen to the play’s dialogue during everyday activities. Turn your work-outs, chores, and recreational activities into a “read through” with the help of your headphones or your i-pod. Aside from constant rehearsals, this method seems to be the most popular way to memorize lines.
Use a tape recorder or better yet an MP3 player to capture the lines from each relevant scene. Some actors prefer to record the lines of all the characters, including their own. Then, they not only listen intently, but they speak all of the lines. Others opt for recording the lines of fellow cast members, but they leave a blank space so that they can insert their dialogue while listening to the recording.
Monologue While Motoring
Personally, I have found the freeway to be to best place to memorize lines. I mastered all of my Shakespeare monologues driving back and forth on Highway 128. If your commute to work is twenty minutes or more, then your automobile can become a makeshift rehearsal space. For one, it’s a nice private place to listen to your recorded dialogue. Then, when you have the basic dialogue and monologues down, you can perform as your putter your way through traffic.
The acoustics in your car might be lousy; however, it’s a great place to guffaw, growl, or shout your lines, getting them nicely solidified in your memory banks. Hopefully, your carpool group won’t mind!
Get Up and Move!
Whenever possible, incorporate your stage directions while you say your lines aloud. According to a scientific study conducted by psychologists Helga and Tony Noice, the combination of movement and speech strengthens a person’s ability to recall the next line.
Here’s how Ms. Noice explains it: “Memory is aided by physical movement. In one study, lines learned while making an appropriate motion — e.g., walking across a stage — were more readily remembered by actors later than were lines unaccompanied by action.” So, during the early stages of learning the script, make certain your join the words with appropriate movements and gestures. Of course, this tip might not be helpful if you are playing the paralyzed protagonist from Whose Life is it Anyway. But for most roles, the Noice team has provided excellent advice!
Think Positively and Don’t Panic!
Don’t let the butterflies in your stomach torment you too much. Most thespians experience stage fright minutes, hours, even weeks before opening night. While a certain amount of nervousness can get the adrenaline going, too much anxiety over lines might hinder an actor’s performance.
Actors forget lines now and then. It happens. When it happens, however, most of the time the audience never notices. Forgetting a line is only disastrous if the performer breaks character.
So, if you forget a line in the middle of your performance, don’t freeze. Don’t get flustered. Don’t look out to the audience. Don’t call out, “Line!” Stay in character. Keep the scene going to the best of your ability, and with the help of your fellow cast members you will get back on track.
Take solace in the fact that if you forget a line once, you will probably never forget that line ever again! Sometimes embarrassment is the strongest and toughest method of memorization!
By Wade Bradford
How do those actors and actresses memorize hundreds of lines? How does someone commit all those fancy Shakespearean lines from Hamlet to memory? Memorizing lines takes practice and constant repetition. However, there are a few ways to make the memorization process run smoothly and quickly.
Read Out Loud (And Repeat, Repeat, Repeat):
For most performers, there is no short cut to memorizing lines. To learn lines, an actor must recite the play out loud, over and over again. Most rehearsals encourage this by “running through the lines” or having a “read through.”
For most performers, there is no short cut to memorizing lines. To learn lines, an actor must recite the play out loud, over and over again. Most rehearsals encourage this by “running through the lines” or having a “read through.”
By the time opening night arrives, most actors have spoken their lines hundreds of times. In addition to constant repetition, consider these supplemental techniques:
Listen to Your Cast Members:
Sometimes inexperienced or poorly trained actors spend rehearsals staring blankly at fellow performers, waiting patiently to say their next line. Instead, they should be listening attentively, responding in character at all times.
Sometimes inexperienced or poorly trained actors spend rehearsals staring blankly at fellow performers, waiting patiently to say their next line. Instead, they should be listening attentively, responding in character at all times.
This will not only generate a better performance, it will also help the actor learn his lines because the context of the dialogue is absorbed. Pay attention and the other person’s lines will serve as a cues or “memory triggers” during the performance.
Record Your Lines:
Because there is often not enough rehearsal time, many performers find ways to listen to the play’s dialogue during everyday activities. Turn your work-outs, chores, and recreational activities into a “read through” with the help of your headphones or your i-pod. Aside from constant rehearsals, this method seems to be the most popular way to memorize lines.
Because there is often not enough rehearsal time, many performers find ways to listen to the play’s dialogue during everyday activities. Turn your work-outs, chores, and recreational activities into a “read through” with the help of your headphones or your i-pod. Aside from constant rehearsals, this method seems to be the most popular way to memorize lines.
Use a tape recorder or better yet an MP3 player to capture the lines from each relevant scene. Some actors prefer to record the lines of all the characters, including their own. Then, they not only listen intently, but they speak all of the lines. Others opt for recording the lines of fellow cast members, but they leave a blank space so that they can insert their dialogue while listening to the recording.
Monologue While Motoring
Personally, I have found the freeway to be to best place to memorize lines. I mastered all of my Shakespeare monologues driving back and forth on Highway 128. If your commute to work is twenty minutes or more, then your automobile can become a makeshift rehearsal space. For one, it’s a nice private place to listen to your recorded dialogue. Then, when you have the basic dialogue and monologues down, you can perform as your putter your way through traffic.
Personally, I have found the freeway to be to best place to memorize lines. I mastered all of my Shakespeare monologues driving back and forth on Highway 128. If your commute to work is twenty minutes or more, then your automobile can become a makeshift rehearsal space. For one, it’s a nice private place to listen to your recorded dialogue. Then, when you have the basic dialogue and monologues down, you can perform as your putter your way through traffic.
The acoustics in your car might be lousy; however, it’s a great place to guffaw, growl, or shout your lines, getting them nicely solidified in your memory banks. Hopefully, your carpool group won’t mind!
Get Up and Move!
Whenever possible, incorporate your stage directions while you say your lines aloud. According to a scientific study conducted by psychologists Helga and Tony Noice, the combination of movement and speech strengthens a person’s ability to recall the next line.
Whenever possible, incorporate your stage directions while you say your lines aloud. According to a scientific study conducted by psychologists Helga and Tony Noice, the combination of movement and speech strengthens a person’s ability to recall the next line.
Here’s how Ms. Noice explains it: “Memory is aided by physical movement. In one study, lines learned while making an appropriate motion — e.g., walking across a stage — were more readily remembered by actors later than were lines unaccompanied by action.” So, during the early stages of learning the script, make certain your join the words with appropriate movements and gestures. Of course, this tip might not be helpful if you are playing the paralyzed protagonist from Whose Life is it Anyway. But for most roles, the Noice team has provided excellent advice!
Think Positively and Don’t Panic!
Don’t let the butterflies in your stomach torment you too much. Most thespians experience stage fright minutes, hours, even weeks before opening night. While a certain amount of nervousness can get the adrenaline going, too much anxiety over lines might hinder an actor’s performance.
Don’t let the butterflies in your stomach torment you too much. Most thespians experience stage fright minutes, hours, even weeks before opening night. While a certain amount of nervousness can get the adrenaline going, too much anxiety over lines might hinder an actor’s performance.
Actors forget lines now and then. It happens. When it happens, however, most of the time the audience never notices. Forgetting a line is only disastrous if the performer breaks character.
So, if you forget a line in the middle of your performance, don’t freeze. Don’t get flustered. Don’t look out to the audience. Don’t call out, “Line!” Stay in character. Keep the scene going to the best of your ability, and with the help of your fellow cast members you will get back on track.
Take solace in the fact that if you forget a line once, you will probably never forget that line ever again! Sometimes embarrassment is the strongest and toughest method of memorization!
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