As an actor, you know how exhilarating it is to learn you’ve just landed a part. Moreover, you also know the bitter feeling of being turned down approximately nineteen times out of twenty before you’re hired. Whether you’re a seasoned pro or just a beginner, the fact remains that it’s not always easy dealing with dashed hopes. As a matter of fact, nearly every actor at one time or another falls into the familiar, yet vicious self-esteem trap.

When you begin to derive your entire sense of fulfillment and personal worth exclusively from the outcome of your auditions, then you can be sure you’re in the trap. And you’ll always find ample opportunity there to give in to feelings of inadequacy or depression because the number of rejections to number of jobs actually attained is always larger. In essence, you end up postponing the joy of living by waiting for someone else to give you permission to be happy.

Whenever you find the endless rounds of auditions are starting to wear you down, herding you into the trap, take heart. There’s an effective remedy. And it starts to work once you take the simple sanity test for actors.

This test consists only of one, basic question that you ask yourself: “If the art or craft of acting never even existed, what else would I be doing–what would be my consuming passion?”

If pondered carefully and answered honestly, the response can have amazing effects. Clearly identifying another worthwhile pursuit impels you to grow in new and different ways by summoning additional, unused resources. In short, it effectively galvanizes your potential into action. Instead of lying around, grousing about your “down time” (nothing going on acting-wise) you can set yourself to work on an entirely different but equally stimulating endeavor. Without waiting for permission from anybody, you can jump right into this “other life,” getting involved in a fulfilling, secondary passion.

Besides acting, what is your secondary passion? Is it dancing? Music? Composing? How about even starting your own business? As an example, one actor used his down time rescuing lost pets from the ravines and canyons surrounding Los Angeles. Interestingly enough, he turned out to be quite successful at it. Later, he even founded a society that drew the attention and financial support of many celebrities.

Why not insulate yourself from the self-esteem trap right at this moment? Elect to take the test. Once you’ve identified your other passion, you’ll begin to have insights into fresh plans or activities you can get involved in at a moment’s notice. Thus, when any audition fails to come through as you’d like, you’ll be surprised at how quickly any distressed feelings evaporate as a result of your other pursuit. And, most important, you’ll keep your sanity, never again having to wait for “the powers that be” to say when you’re allowed to feel good about yourself.

by Mark Brandon

Matthew Barry is one of Hollywood’s top rated casting directors. In fact, he is not only a successful casting director, he’s a successful actor. This has awarded him a tremendous amount of experience and knowledge by working both in front of the camera and behind it. His familiarity of the inner workings of this industry makes him the perfect acting coach. If you are interested in acting and learning what it takes to be successful in this business, be sure to check out Matthew Barry’s “Are You Ready for Hollywood” acting course. This traveling acting class may be coming to a city near you.

We caught up with Matthew and asked if he could offer our visitors a few quick tips. Here’s what he had to say:

General Acting Advice
Acting is like any other profession. You have to learn the basics, then expand your knowledge. Too often I hear “I can do that.” Yeah, well, have you ever tried hitting a golf ball? It ain’t easy. Neither is the craft of acting. It is a “craft.” Just like carpentry, being a lawyer, or even working in your local 7-11. You have to know what you’re doing BEFORE you do it.

Classes and Instruction
Each actor has his or her own “method.” Some are stronger in improvisation, some are stronger in comedy, others in drama. The best in Los Angeles I’ve found for Drama is Leslie Kahn, the best for Comedy is Margie Haber and the best for Improv is Second City (many think Groundlings is the best, but it has become too much of a machine over the past few years). BLATANT PLUG: If you’re out of town, come take my affordable ONE DAY course. It will teach you everything you need to get started.

Schools or Colleges
UCLA is aces. Carnegie Mellon and Yale back east.

The Realities of Acting
If you’re acting to become a “movie star” then continue doing what you’re doing now. You’ll be a lot happier in the long run. If you’re becoming an actor because you love acting, then you’ve just taken the first giant step. Like everything in life, acting is a struggle. But don’t give up on your dream. Work hard. As a successful actor and now a successful casting director, I’ll pass along a piece of advice given to me a long time ago: “Every year 10,000 people come to Los Angeles to act. After the 1st year, 1,000 are left. After the 2nd year, 100 are left, and those are the ones that don’t give up and work. You have to understand something. There are 15 Networks (Fox, UPN, WB, CBS, ABC, NBC, HBO, Showtime, FX, TNT, USA, Lifetime, Oxygen, MTV, VH-1) who all cast original programming and many others as well. They need GOOD actors and they are ALL competing for the same talent pool. As casting directors, we WANT you to be good, we WANT you to be the next star. But it all starts with you!

Acting Obstacles and Hurdles
Finding an agent, getting the job, keeping in shape - all things you have to do. Mentally and physically. You’re creative, right? Figure out a “creative” way to get yourself noticed. But you had damn well better be sure to have a good product. Once you have a bad reputation, you’re done. Casting directors keep meticulous notes. One agent said “you LOVED them the last time you saw them,” I looked in my computer database, and my comments were “can’t act. period!” - Do you think that actor got another shot in my office?

Please be aware of scams as well. There are TONS of people who claim to be “producers” or “managers” and most of them either want your money… or your body. TRUST YOUR INSTINCTS!!! They’ve gotten you THIS far, why stop now???

Child Actors and Parents of Child Actors
Personally, I’ve seen THOUSANDS of parents who all say “my child wants to act.” NO THEY DON’T!!! The problem is THE PARENTS want them to act! My opinion is, let a child be just that. A child. Don’t do it. Your kid will be happier in the long run. Just look at Michael Jackson.

Legal Info
When in doubt - contact a lawyer.

Work Averages and Payment
SAG daily Scale rates are around $630.00 per day and weekly is slightly under $3,000.000 per week (check www.sag.org for proper rates). Non Union pays less and who knows what those rates are.

The Casting Process
We send out a “breakdown” which tells the agents what we as casting directors are looking for - we’ve consulted with the director and producer so we know who to cast. Then the agents submit who they think is right based on what we’ve asked for. Then we’ll weed through all the pictures and resumes and choose the ones we “think” will be able to do the job - then we call them in to audition. If we like them, most likely they’ll get a “callback” for the producer and director. If they like you, a deal is made through your agent, and you’re on your way!

Acting Technique and Warm-Ups
Get together with friends. Read plays. You can buy plenty on www.samuelfrench.com. Hey, if Tiger Woods can hit 500 golf balls a day, you can read and perform plays with your friends.

Audition Advice
Be prepared, or you will die!!! ASK QUESTIONS!! So many actors don’t and I wish that they would. BE PREPARED TO ADJUST - This biggest mistake actors make. My partner and I always have our actors stand (the energy is better), but many of them have rehearsed SITTING DOWN! Guess what? If a producer does this to you and you can’t adjust, what makes him think that you can adjust on the set? Say “thank you” and leave. Don’t be insecure and say “can I try that again?” or “that was awful” - Do the job. Leave. It’s like ANY job interview. Oh, and PLEASE show up on time. In our office, if you’re late, we re-schedule you or let everyone else go ahead of you. Don’t waste our time, we won’t waste yours.

Cold Reading Instruction
I have the single best exercise, but I can’t do it in written form, you’ll have to take one of my classes, but I guarantee, you’ll be 250% better at cold reading than you were the hour before you did this exercise.

Wardrobe Info
You do NOT need to dress like a doctor when playing a doctor. However, if you’re a gang dude, don’t wear a suit.

Fun Acting Stuff
Hell, you’re acting for someone today! You SHOULD have fun! Learn IMPROV! Many comics are landing lead roles in films and the other actors had BETTER be able to IMPROV. I do it in my office as well. The scene may be over, but I’ll keep going just to see what you can do.

by Matthew Barry

The phone rings. It’s your agent! YOU GOT THE JOB!!! Yeah!!! Oh it feels great. You hang up and immediately call someone you’re close to, and after that phone call, you will call the next family member, friend, or mentor, and the next, and so on.,You are a working actor, it’s exciting and you want to spread the good news. Someone might even invite you out to celebrate.

Later while looking at your script, someone returns a call that you haven’t talked to yet, and so you tell them. You call your agents again, make sure the money is settled, and find out who else is in the project.

You do get some good study time in, and then try to get a good night’s sleep before the big day. The alarm rings, and you are ready. You get to the location, and the A.D. shows you around, gets you in make-up and wardrobe, hands you contracts to fill out, and asks what you’d like for breakfast. Wow, they treat you good.

You get to the set, rehearse once or twice, when you are starting to realize this is REALLY happening, and they are just about to film YOU, and boy is this going fast. You need a few moments to gather yourself, but you need to be there and can’t just walk off, so you feel a bit trapped. Just as you’re composing your thoughts, the director comes up with notes for you to adjust; you have a question, but the make-up artist needs to do their job, and starts patting your face with powder, and the director of photography comes over to check your lighting. You really haven’t had a chance to talk with the other actor, and or clarify the director’s notes: ACTION! Your chance was there and you weren’t able to free yourself up enough to do what you know you could easily do.

Actors are actors because of our imaginations. The beauty we strive to create can also turn ugly if we don’t know how to harness and focus this powerful “Beast” in our care. I have been in situations where the Beast has won the battle. There was a period of time I wasn’t able to loosen up and trust myself. I love to act, and I felt like I had been robbed of a precious gift. It took a lot of work to solve the problem. I researched psychology, stage fright, meditation, mental illness, vitamins, herbs, minerals, the art of Zen, etc… They all helped I might add. The fun of acting has been back for years.

We actors have many things going on at once. When we are on the set, there is a lot going on that’s outside of our relationship with the characters we create. Especially on our first day. Everybody gets nervous on the first day of a job, not just actors. It is just that actors have so many first days. We ask ourselves questions like, “Are they going to be fun? Will they like me? Will they get my work? Is anyone going to be on a power trip?” These are normal questions for any occupation, but us actors have something else to do at work. We have to open up our deepest secrets, and share them in front of a bunch of people we don’t know, and have them filmed and shown all over the world. It normally takes months to create trust, and we have to do it as soon as we get there, and make it look natural.

There are so many distractions while trying to create the reality of a character that you must be extremely prepared before you get to work. Be aware of the distractions coming up, and whatever technique you use, make sure you have done your homework. In the quiet time of preparation we get in touch with our deepest feelings, and we need to understand that’s where we need to be at the moment of performance. In the quiet time we are free enough to try different things, and we need this relaxation and flexibility when we are on the set when it counts.

While calling friends, family, and loved ones is fun, and relaxing in the moment, it could easily take away our true study time.

I try to make study time as quiet, relaxed and creative as possible. I make sure the light is good on my work. The space is peaceful, and no one can interrupt me. I have at hand anything that I might want to go get, such as water, fruit, more pencils or pens, and so on.

I get all my cerebral stuff out of the way during the first few reads, like figuring out the literature of the piece, the conflict, the theme, and where my character fits in. I constantly tinker with it, and never put a limit on my creativity, but I make sure I have a solid base from which to play. The more I work, the more I get into what I call the creative or subconscious level. My instincts in rehearsal take me to beautiful places, so I need to find what will trigger them the quickest on a set. This takes work.

There have been really emotional parts that I’ve played, where I needed to stay away from the words, because just whispering them could take me away. If something hits you that strongly, you can burn it out before you get to the set. It might change from the audition to the performance, so instead of rehearsing it over and over because it is so much fun, you need to honestly understand what shoots your heart. Let that pain drive the scene, and the control here is staying away from it. In order to learn your lines, you can try repeating them rapid fire with no emotion attached. They will be at the tip of your tongue, and at your command when the time comes.

Whenever I think I am done with creating a character, I keep going, because I know what’s in store at an audition or a set. Know what you want. This is hard because you are going to want to please others. Trying to please everyone will only create anxiety. I only try to please myself (this includes doing what the director asks, and giving to my fellow actors). I am never afraid to talk with a director if we differ. I want to see it their way, for they are in charge of the big picture, but I also want my understanding to be honest. Each director is obviously different. Some may not speak to you like you prefer. Don’t let this shut you down. Keep open, and keep creating. Translate what they are saying into words that you like to hear. I try never to take it personally if a director doesn’t want to use my choice, for I am creating, NOT being perfect.

I have worked very hard at NOT being perfect. Perfection is so hard to achieve that one would constantly feel like a failure if they repeatedly didn’t reach it. I used to go over and over why I wasn’t perfect on my way home from a set, and this left me dreading going to work the next time. I realized how bad this was for my self esteem. Now, on the day of the filming, or each night in a play, I try looking for something new, like light on an actor’s face, or a new image in my mind, or a new way something is said, by me or a fellow actor. These new things become a goal, and when I see them, or hear them, I know that my aesthetic eye is alive and well and in the moment. This search has become so enjoyable that I can’t wait to find the unknown on the next set.

There is a creator and a critic in each of us. When it is time to perform, we must ask the critic to take the day off, because they will only get in the way; reminding us of every little thing we do wrong, keeping us in judgment of ourselves, and pushing perfection. They are good to have around during rehearsal, but not during performance. The critic takes no risks. The creator is always taking risks. Be the creator.

When you are at and audition, on stage, or on a set, make sure you know why you are there. Are you there to get another project? Are you there to meet a good friend? Are you there to be nice to others? Are you there to portray a living, breathing soul?

People will want to talk with you. That is fine, it could even loosen you up if you are prepared. I have seen great actors hit themselves on the head because right before a take they were talking to someone about a really good recipe, instead of preparing their moment before.

The phone rings. It’s your agent! YOU GOT THE JOB!!! Yeah!!! Oh it feels great. You are a working actor, so it’s time to get to work. Your focus is to have fun on the set, and you need to do everything you can to make that happen. You exercise, eat right, get your sleep, and make sure prepare properly. Once you are in command of the work, you will have fun on the set. Afterwards you can treat yourself to something special, and of course call your friends to tell them when and where they can see you.

By Joe Marinelli

Acting is an imitation of reality, or a reflection of reality, or a heightened reality, or whatever metaphor you choose, but reality is almost assuredly connected to your definition.

In learning how to imitate reality some of us learned from the “outside - in,” while others learned from the “inside - out.” The choice of the style you use probably had to do with your success at it. What works for one actor, may not work for another. This choice is largely due, I believe, in each actor’s individual sense of reality, matched with their specific teacher’s view of reality.

I have noticed that many actors can break down a scene, know what they need to know about the situation their “character” is in, and perform with incredible insight into the human condition. I have also noticed that while most actors can use their respective techniques to break down the reality of a scene, they don’t always reverse the direction and use their own acting… or reality… or philosophical techniques in their own life.

In the next few paragraphs I am not promoting any acting style, merely using my own choice of acting as the example. Please feel free to insert your own techniques and apply them.

For me, one of the strongest approaches to a scene is figuring out where I am, where I am going, and what I want. Now what I want is a wish which might not come true, so I also ask myself, “What is the opposite?” and there is the conflict.

Studying opposites has become quite a journey for me. It has lead me to research atoms, which have a positive charge (the proton), and always an equal negative charge (the electron). If all matter is made, and governed by these principles, it seems to follow that other forms of reality should too. I became friends with Peter Hofstee, a professor at Cal Tech, at the time this theory came into my consciousness. His father is a psychiatrist in Holland, and Peter told me that his father would ask his patients questions, and when the answers were given he would write them down along with the opposite of each answer. In this manner he would map out their minds, and have a more three dimensional view of them.

Peter and his father gave me tremendous confidence, for these intellectuals used a similar approach. I use to spend so many nights lying awake in bed, tossing and turning, while wondering if I would ever work again. My mind was a roller coaster manufacturing more fear as it went around each corner. My blood could not settle into slumber. Finally one night while looking out my window at a beautiful crescent moon, I looked back at myself as a character in a play and asked, “What’s the opposite of never working again?” I laughed out loud, and couldn’t remember much more as I fell into a deep sleep. That I night I had a powerful dream that I was a planet hanging in the heavens. The sphere symbolizes totality. I was one, and three dimensional. Since that night I have always used my acting technique to calm my soul, or help me make serious life choices.

When I was young I thought I was studying acting, but later I learned I was studying life. Many of us don’t realize this. Our job is to understand our world, or our reality, but unlike a philosopher we act it out instead of just writing about it.

The reason I am compelled to share this, is because I love actors, and I see so many of us reach the boiling point. We get down on casting directors, the way auditions are run, the way we are treated, and on, and on. This builds a negative internal life when we don’t use our own problem solving techniques on ourselves. Odd but it works. Your own study applied to yourself works. It is your answers to your reality questions, and when it does work you realize your acting is even stronger because you will be more confident in your approach to reality. This will give you a positive internal life making you stronger for yourself, thus stronger to help the world around you.

Follow your Bliss.

By Joe Marinelli

If you’re thinking about becoming a professional actor (or if you already are), you need to know how to promote yourself. The competition for roles, especially in large cities, can be staggering, so the more you know about self-promotion, the easier it will be for you to get your name and face in front of the people who matter.

Self-promotion begins with the right marketing “tools”, which you’re probably already familiar with: the headshot and resume (if you need more information about these, keep reading articles on this web site). Once you’ve got a headshot that you’re proud of, and checked your resume to make sure that it has no errors, you’re ready to send this “calling card” off to promote yourself. How do you send it? And who do you send it to?

The answer to the first question is to prepare a cover letter to send along with your photo/resume. The letter should be brief and to the point. Introduce yourself and state your purpose for contacting this person. A simple cover letter might read like this:

Dear Mr. Hireme:

My name is (your name here) and I’m new to the Los Angeles area. I’ve relocated here from New York City, where I studied at HB Studios, and appeared for three years as Sammi on the daytime soap “It’s a Fun Life, Isn’t It?”.

I’d enjoy meeting with you for an interview or audition, at your convenience. I also have a videotape of clips from my performances as Sammi. If you’d be interested in viewing it, I’d be happy to drop it by your office.

Thank you for your consideration, and I hope to hear from you soon.

Sincerely,

Your Name

You’ll want to personalize the letter in whatever way you can because agents and casting people get so many submissions from actors. You want yours to stand out but keep your tone professional and clear (i.e., don’t get too weird). If you can be funny, so much the better - everyone loves a little humor. You’ll probably refine the letter over time, as you grow and gain experience. Don’t be afraid to experiment, to change it until you feel you’ve got a great letter.

Now that you’ve got a letter ready to use, who do you send it to? If you’re in one of the larger cities, check newsstands for the weekly theatrical newspaper (in New York, “BackStage” is the best; in L.A., it’s “BackStage West”). If you’re in a smaller city, look in the phone book under “Theatrical Agents,” check the local paper’s arts listings for auditions, and visit online casting webs sites.

Keep track of the people you’ve sent photos to, and follow up with a flyer for the next show you’re in, inviting them to come (offer them complimentary tickets to the show). Once you’ve made a start on your “mailing list,” send flyers and photo postcards to those same people every time you’re in a good show or film. Persistence is all-important: you need to keep your name and face in front of the people who matter, because they’ll eventually begin to recognize you, and one day they might give you a call to come in and audition for a great role. Good Luck!

by Katherine Mayfield

If you’ve been “buying in” to the ageless tradition of the starving actor, then there’s only one question for you: Why?

Being an aspiring actor does not necessarily equal being miserable. Nevertheless, countless actors will argue the point, saying that struggling and going hungry is all part of the package; that it’s an accepted, or guaranteed reality. This kind of sad logic is not only self-defeating, but ironically enough, completely unnecessary. (Henry Ford once said that if you argue for your limitations, then sure enough, they’re yours!)

In any event, the seemingly elusive solution is remarkably simple. Once you identify what actually perpetuates this useless myth in the first place, you’re on your way to eating better, paying your bills on time, and all the while pursuing the artistic love of your life.

So what’s the “villain” here? It’s merely trying to audition for practically everything at once. No ifs, ands or buts–that’s it! Most actors could escape this self-chosen predicament of poverty if they just stopped for a moment and examined how acting jobs are ordinarily divided up into two categories, each one having its own time frame of operations.

As an example, you’ve probably noticed that plays generally go on at night. Even the rehearsals are normally conducted in the evenings. Of course, we’re speaking of the norm, as there can be occasional exceptions. Be that as it may, most theatrical work takes place around or outside business hours. Therefore, the evident solution lies in having a nine-to-five job that will guarantee a constant paycheck but give you the freedom at night to go after stage work.

Many actors get into trouble by jeopardizing their day job. With evenings free to concentrate on theater, they remain unsatisfied with just stage work. Finagling time off during business hours to also attend film and TV auditions, they foolishly risk losing their only dependable source of income.

Like stage work, the majority of film and television jobs fall primarily into the other time frame–the daytime hours. Thus, if you aspire to film and television roles, you naturally have to get a late afternoon or evening job. And if possible, ask for weekdays off so you’ll be working weekends, leaving two successive days totally free sometime between Monday and Friday.

The key is to decide upon which single genre–stage or film–you wish to concentrate on for the time being. Then, simply structure your job hours to coincide with your choice.

by Mark Brandon

Here are five simple ways every actor can improve their next audition.

Preparation
Seems obvious but I don’t mean learning your lines. You don’t need to be “off book” ( have it totally memorized ) just be comfortable and familiar with the words so you’re not searching for them and you can be present and responsive. Bring water, something to amuse yourself in case you have to wait, quarters for the meter. Look up the credits of who you’re going to meet. Every audition is an opportunity to meet someone new or show someone you already know how your work has progressed.

Material
Do your best to read the script, they’re often posted and even if you only have 30 minutes you can at least get a quick impression of the tone and setting of the piece. Don’t be the person who goes to an audition and asks “Is this a comedy?” What that says is “I haven’t given this much thought”.

Homework
Read through the sides you’ve been given as if you’re reading a story. There is often so much information about the character even in a two page scene. When you’re reading the material feeling anxious and thinking what am I going to do with this, you’re not open to what is right there on the page. Just relax and read it through a few times without acting it out in your head. Open yourself and pick up on the clues. Then use what you’ve discovered to make it yours.

Focus
You are at your audition to work as an actor. Every audition is an opportunity to perform for an audience. No, it is not a “performance” but it is still acting. Forget about who is in the waiting room, the quality of the reader, the response in the room. Focus on what you can control - your work. Do the best job you can with what you have, your material and your work in the moment. Forget about whether or not they shook your hand. That is not important. Focus on this little moment in time and the opportunity to act.

Finish
Say thank you and leave. Do keep a record of who you read for and the projects they have you in for - it’ll help you next time you’re in for them. But don’t waste a lot of time wondering when you’ll hear, why you didn’t get it. Again, that’s not in your control. You need to focus on your next audition.

by Nicole Arbusto/Casting Director & Acting Coach

The moment you say that you are considering acting as your career, you see a lot of quizzical eyes and raised eyebrows. This is not without reason of course. In any other profession, you go to a school, get education, and on completion of which there would be a job you can step into. For example, if you want to become a doctor you have to go to a medical school, followed by a residence program and on successful completion you can become a doctor. Similarly, if you want to become an engineer, you need to go to an engineering school, follow it up with internships and projects and there would be an engineering job waiting for you.

In acting, the career path is not as clear as in the other professions. But there is no denying that there is a career for the discerning. You may get bogged down by the people around you because they think acting is not a serious career and that it is a career for a special kind of people.

The only problem in pursuing a career in acting is that most people don’t know where to begin. For those of you who are ready to ‘face the odds’ as seen by your peers, here are a few ways by which you may get some clarity about acting as a career path.

Start at the beginning.
To begin with, you need an impressive acting resume. You may wonder who would give you opportunities as a beginner, but don’t worry, there are ample acting jobs all around the place. In any job, you may have to start at the bottom and work your way up to the top. The same applies for a career in acting. You start with doing small acting jobs that sometimes don’t even pay and slowly work your way up to bigger roles.

Work locally.
Now let’s not move straight to Hollywood and try to get added to the already bustling crowd of actors, hoping to make it big there. It makes better sense to start with any large city in the United States close to your town. You may get acting roles in plays, theater, TV commercials and sometimes even feature films.

Earn acting experience.
Community theater and student films might not earn you great money, but it earns you a rich experience which you may use on your resume. If you are considering acting as a career out of greed for making big bucks and fame then you are in for a let down and may consider community theater a let down, too. You can make it big only if you see acting as your passion. This way you would act and keep acting in any role that comes your way and soon you would see that you are noticed by people who would recommend you to some bigger roles they have heard of.

Make your own big breaks.
While on plays and student films you may learn a lot of necessary traits required for becoming a successful actor. You will learn to be patient, sociable and a person who is fun to work with. Once your resume looks impressive enough with such roles you may consider trying for movie extras in the big budget movies. As an extra you get to learn and understand what really happens in the filmmaking process and you are also in the vicinity of producers, directors and talent agents who may just discover your talent and send your career rocketing up. Only remember that you should not disturb these busy people, you may want to get their attention by exhibiting your talent on the job and not by bragging or showing off.

Though there is some confusion on where to begin when you are considering acting as your career, once you’ve tackled this hurdle, you’re in the game and you will find that you can easily overcome such teething trouble to become a successful actor.

by Sarah Bennett

“How can I tell if I have what it takes to be an actor?”

First, a warning: be very clear not to confuse this question with “How do I know if I will be a success?” “Have what it takes” refers to ability to act. Ability may or may not lead to success.

A story before we dive into “what it takes” vs. “success.”

A young child raised in the rural south dreamed of singing opera. Life just didn’t quite work out that way. But the dream persisted and the self yearned to sing its song. Then, years later all alone in a spotlight on a darkened Off-Broadway stage, sitting on a “boulder” night after night, she sang an exquisite song about the birds in Ireland. The dream was filled. The self was filled. No, not Casta Diva or Lucia’s Mad Scene. But her song. The idea of “success” was not compromised. It was just allowed to change. Let the self dictate the meaning of success. Not money and fame but the joy of the action.

The simple truth is you can’t tell if you have the ability. To repeat what has been said in these articles a dozen times: talent is not the sole element that determines success. You may have enough talent to be an actor, but even great talent cannot guarantee success.

Success is a fickle mistress. There are many working or even wealthy actors who really cannot act. There are many brilliant actors who never get work. The most anyone can say is that there are basics that are usually required in order to be an actor.

If this sounds like hedging, you are absolutely right. Why? Most of us are not going to make the Fortune 500 list by acting. Statistically the odds are stacked against anyone becoming a star, or even making a good living in this profession. Yes, we all know inspiring success-against-all-odds stories. But we know those stories precisely because they are the exceptions.

Wisdom dictates that if there is anything else in the world that interests you, then do that instead of acting. If on the other hand, acting is a passion, something you must do, then you almost have no choice. Let the joy of acting be the payment, if you never sign a million dollar film contract. Money almost doesn’t matter if the passion for the art is a volcano.

After all that tip-toeing, let’s now look at what I personally think it takes to be an actor. (Remember, this is just one person’s opinion.)

1. A GOOD EAR
Yes, to me this is the most important requirement. In order to make a sentence that someone else wrote sound real, an actor must be able to hear what people sound like when they talk naturally.

A good ear will eventually pull you up and whisper, “Hey, that sounds actory. This line needs to be said in a different way.” Yes, yes we all know about dipping inside oneself to search for emotions. But some of the best “dippers” do not sound real.

Sounding real demands a good ear and the good sense to know when what you have said doesn’t sound “right.” The minute a student says to me, “That didn’t sound right,” then I know there is hope that that person has the ability to become a good actor.

2. THE ABILITY TO READ, AND AN ACTIVE IMAGINATION
No, no, no–not read “Pat the Fat Cat” or “War and Peace.” The reading referred to here consists of seeing implications when you read, of seeing what a character is really like–based on evidence from the script, text, book. Learn to read!

Become dedicated to reading the words, phrases, the text and mining them for the gold that is there. Too many times we bump into an unknown word in the script and do not bother looking it up. Too many titles or even the names of characters are not Googled.

Subtleties are lost because a reader/actor without a knowledge of plays, poems, myth, novels, satire, allusions, themes, imagery, language connotations cannot deliver a line with all the undercurrents in his voice. Something as basic as parallels and opposites are missed, leading to misdelivery of a line. The inability to read/understand a line inevitably leads to a superficial line reading. Every day you hear on TV, on film, in rehearsals, in performances, an emphasis on the wrong word, the direct result of not knowing what is being stated in the text. Learn to read. Learn to research.

The very best undergrad training for an actor is to major in English and minor in drama. Your advanced courses in literature will both teach you about people and about feelings AND teach you how to read the undercurrents of what is not being written. Poetry will heighten your sense of language and rhythm, two essentials for an actor. The imagination, loosened by lots of reading, then helps you to see new possibilities in the meaning and delivery of a line in a script. Reading for implications, reading beneath the surface, stretches the imagination.

3. THE ABILITY TO HANDLE REJECTION
Depression, rejection, and insecurity reign in this profession. We do not get up every morning and have a secure job to go to. Some people thrive on that freedom and luxuriate in that insecurity. Most of us don’t.

So we need to have or to be taught to find a still, solid, total belief in self. Ego. Confidence. Self-assurance. Presence. Call it what you wish. But to survive we must have some shield to protect us from the constant rejection. The difficulty is to stay in touch with the inner self while protecting that inner self from attack in the form of rejection.

We have written many times of the need for energy, joy, vitality–all these find their roots in a solid ego. That ego, that belief in self, is the third element in the triad which determines if one has what it takes to be an actor.

GRAB BAG REQUIREMENTS:
These are almost self-explanatory, but deserve mentioning.

Be reliable (on time for appointments, interviews, auditions, rehearsals).
Be responsible (memorize your lines).
Learn to control your temper. In other words, be pleasant in spite of…
Don’t be “high maintenance.”
Take care of your health.
Eat and sleep properly.

Get out of relationships that drain and destroy. If your parents are sore spots, get over it.

If there are physical things about yourself which you don’t like, fix them or learn to live with them gracefully. Get in touch with your intuition and learn to trust it. Get good training and if the class or teacher makes you feel awful, get out of it!

Surround yourself with people who have hope and happiness.

Develop the traits mentioned above and you increase the possibilities of being a success because you have what it takes.

Well, as the great American philosopher Porky Pig said, “That’s all, folks!” Now who would have thought a stuttering pig would become a star?

PS: To repeat: You can have none of these requirements and be successful (not likely, though, but possible). You can have all of them and never be a star. The question should not be, “Do I have what it takes?” It should be, “How powerful is my drive to succeed?” And that answer comes from the face in your mirror.

by Ruth Kulerman

Film and theater auditioning, like any other performance, requires careful planning and preparation. Before you attend your very first acting audition, you should have a strong understanding of the central casting process. With a little knowledge, understanding, and the following audition tips and guides, you should have no trouble at your next acting audition or casting call. The following tips will make auditioning much easier for you. Implement these tips to make a strong first impression. They are meant to give you some background on what you would face during your audition and some do’s and don’ts where general auditioning is concerned.

Before your audition begins, you’ll no doubt have to wait for your audition turn in a holding area or waiting room. While waiting for your audition time, it is better not to chat with other people there. This would diminish your concentration and that is certainly going to influence your performance.

You might be asked to perform what is called a “cold reading” from a given play or a commercial or even a movie script. At some places, you might be given what they call “sides” which is nothing but a small section of a script which could vary from one to even ten pages. And yes, when you are told to perform the audition after going through that script, I would advise you to find a comfortable and comparatively quieter place to prepare for your performance.

One thing that you must always understand is that you need intensity and concentration to perform at your best potential and that couldn’t be found in any waiting room chatting away with people present there. You need to concentrate and not divert your mind. It is human nature to indulge in gossips and talking in groups but if you are serious about your future as an actor, avoid this.

Now, here are a few audition tips and some auditioning ‘do’s and don’ts.’

• As the saying goes, it is all about attitude. You need to be a professional. Charm can’t solve everything. And the casting directors, casting associates, producers and directors are not the ones who are going to be bowled over by your charm. The only thing that matters is your work and your professional attitude.
• Your audition is generally conducted in someone’s office, theatre or studio. When you enter there, you should politely acknowledge everyone present in the room but remember one thing. You need to be focused on your work.
• There are times when the audition will be videotaped. And then you might be asked to “slate.” Well, it’s nothing. What it means is that you should look directly into the camera lens and state your name and if you are there courtesy some talent agency, and then name that agency. When you finish the “slate” you need to start your performance.
• We are only humans so mistakes can be expected. If you lose your concentration or cannot perform as per your potential or if you feel like showing another interpretation of the piece, you could always ask to be allowed to do it again. But if you are not given a second chance, thank them politely and wish them good luck with the project and politely leave the room.
• The only thing that matters ultimately is your performance. So, when you have performed your best as per your expectation, it is always a good idea to chill out and forget about audition. Worrying would get you nowhere. It’s not advisable to call anybody and ask about your performance. What matters ultimately is your own performance and that is what you should concentrate on. Try to keep improving and learning and wait for the next opportunity.

These were a few tips about auditioning. If you keep these tips in mind, you would find your task at hand getting easier.

by Joy Mason