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The Art of Auditioning : Techniques for Television - Rob Decina

The Art of Auditioning

Techniques for Television

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An Emmy-nominated network daytime casting director highlights the difference between the craft of acting and the business of auditioning and how those two worlds meet in television! In a step-by-step format, this practical and specific guide reveals to actors how they can empower themselves as they begin to audition for television work and start mapping a career. Readers will learn proven-effective preparation techniques, including asking the right questions, making specific acting choices, sitting vs. standing, finding beats and beat changes, establishing objectives, dictating pace, finding a sense of urgency, using spontaneity, and much more. This volume offers interviews with top daytime casting directors and actors, advice on headshots and resumes, an examination of the difference between audition preparation and theatrical preparation, and more. Also included are insights into casting decisions for both small and major roles, as well as under-five and background work on daytime TV. No actor serious about working on television can afford to be without this treasure chest of advice.  

Dedicationp. iii
Acknowledgmentsp. ix
Introductionp. xi
Auditioning and the Craft of Actingp. 1
Acting Is a Craft
An Audition is Not a Performancep. 3
Choose Obtainable Goals
Auditioning and Performing Are Two Different Things
Audition Philosophyp. 7
Truth in Numbers
Free Yourself by Removing Expectations
Offer Your Gift
Chances of Booking the Jobp. 13
A Casting Director's Process
The Decision-Makers
The Human Element
The Role is Up for Grabs
First Auditionp. 21
Type A: The Audition and Meeting
Showing Potential is the Key
Theatrical Preparation versus Audition Preparation
An Audition is Not Workshop Time
Type B
The Callbackp. 27
Type 1
Type 2
Don't Change Your Choices
How to Make Progress from Potential
Your Callback Audition for a New Role
The Perception of You Changes
Callback Memorization
The Screen Testp. 33
The Business Side
The Screen Test Day
From Auditioning to Performing
Screen Test Memorization
On the Clockp. 37
General Audition Information and Advicep. 39
Make Specific Choices and Fill in All the Blanks
Asking Questions
Sit or Stand; It's Your Choice
No Blocking
No Props
No Miming
The Audition Techniquep. 49
Beats and Beat Changesp. 51
Beat Changes Are in the Script
Write on Your Sides
Don't Overthink the Beat Changes
Major Beat Changep. 65
Determining the Major Beat Change
Indicating the Major Beat Change
Significance of the Major Beat Change
Subject Wordp. 73
Example Subject Words
Write the Subject Words Down
A Reference Point
Feeling Wordp. 79
Determining the Feeling Words
Justify Your Choices
Variations to Your Choices
No Indecisive Feelings
Summary (So Far)p. 93
Notes to the Test Are on Your Sides
Major Objectivep. 95
Major Objective and Major Beat Change Are Connected
Take Action
The Major Objective is about What You Want for You
Major Objective Creates a Natural Level of Subtext
Keep It Simple
Remind Yourself of the Major Objective before You Begin
Don't Forget to Be an Actor
Dictate the Pacep. 101
Pick up Your Cues
Don't Blame the Reader
Think and Feel on the Linesp. 105
Don't Anticipate
Use the Beat Changes
Avoid Subtextp. 107
Negative Use of Subtext
Literal Sincere-Feeling Lines
The Right Approach, the Right Attitudep. 111
Three Minutes of Joy
Be Confident
Beginnings and Endingsp. 113
Opening Line
Tag Line
High Stakes and Urgencyp. 117
The Audition Scene Is Important
Spontaneity and Listeningp. 119
Voice and Speechp. 121
Natural and Conversational Tone
Spatial Relationship
Don't Project
No Word Is More Important than Any Other Word
Charm, Personality, and Passionp. 123
Don't Fake It
The Acting Partp. 125
Don't Forget to Breathe!p. 127
How to Remind Yourself
Use Your Feeling Word
The On-Camera Auditionp. 131
Do I Look at the Camera?
You Have to Pop off the Screen
What to Wear
The Cold Reading Auditionp. 135
How to Break It Down
Under-5 and Background Work in Daytime Televisionp. 137
Take the Work and Get the Experience
You Never Know What Can Happen
Under-5 Work
You Are Protecting a Career You Do Not Have Yet
The Under-5 Auditionp. 141
I Wouldn't Do That If I Were Youp. 145
Get In and Get Out
Don't Forget Your Props and Stuff
Building a Relationship with the Casting Directorp. 149
The Follow-Up and Staying in Touch
How to Begin That Relationship
No Tricks, Please
The Business of Acting and a Careerp. 153
Learn the Craft
Talent Is a Guarantee of Nothing
The Business
Getting an Agent or a Managerp. 157
Go to School
Write to the Assistant
Get a Friend to Help You
Headshots and Resumesp. 159
Look Like Your Picture
One Shot Only, Please
Daytime Actor Interviewsp. 161
Aubrey Dollar
Jordi Vilasuso
Daniel Cosgrove
Agent and Manager Interviewsp. 175
Michael Bruno
Jill McGrath
Rhonda Price
Casting Director Interviewsp. 183
Daytime Casting Director Interviews: Mary Clay Boland, Marnie Saitta
Primetime Casting Director Interview: Andra Reeve-Rabb
The Workbookp. 193
Make the Workbook
Write Down the Questions
Track Your Progress
Sample Workbook Submission
Final Advicep. 199
Your Obligation and Commitment
Entitled to Make a Living
The Television Audition Technique
Look Yourself in the Mirror
The Core Truth
My Casting Director Perspective
Good Luck
About the Authorp. 203
Indexp. 205
Table of Contents provided by Ingram. All Rights Reserved.

ISBN: 9781581153538
ISBN-10: 1581153538
Audience: Professional
Format: Paperback
Language: English
Number Of Pages: 224
Published: 1st May 2004
Country of Publication: US
Dimensions (cm): 22.23 x 14.61  x 1.91
Weight (kg): 0.36
Edition Number: 1