I work the script of a play from front to back, with actors working off-book, in seven page chunks.
When auditioning or acting with small children or animals, stay close because all eyes will be on them.
Our little granddaughter, future leading lady, helps Pawpaw with the Tip of the Day: Always put talent and ability over a desired look or physical qualities when carin casting.
When working on a show, be it stage or film, always build good relationships.
If you have set an audition time or made a commitment to be there, honor those who are expecting you by showing up.
Study people and find traits to incorporate into your own characters.
I have a note to directors on simplicity for sound and lights in scene changes.
The Director is your friend.
Actors should know their range and find ways to show it at an audition.
Although the exact circumstances may be different, write from moments and experiences that have moved you.
Don’t be too quick to throw away a “mistake”.
Preparation and risk-taking are important in auditions.
Plays and films are made up of moments. Savor them.
The main thing is not what the words say or don’t say, but how you feel. People want to “see” how you and other actors feel.
A demonstration with actors illustrates how to get into a strong position in a scene.
It’s a great help to actors to get into costume as soon as possible. Even if the whole costume is not ready or acquired yet, get them into what they have and work through putting costumes together as rehearsals progress.
You may not be acting in New York City, but wherever you are it is valuable work. Many actors on and off Broadway started in community and regional theater.
Getting “in place” to study and make contacts will advance your career.
Nervous or excessive movement is not good in an audition or a performance.
Not only do you need a script with depth, and depth in direction and all performances, you need a set that speaks it from the moment your audience enters the performance space. Highs and lows, close up, mid range and farther back, heavy or dark, and light.
In film and video, the director just sets up the shot he wants his audience to see. On stage, focus or the audience’s eye, must be manipulated with blocking (positioning) and movement. The audience must not be confused about where to look. You tell them where to look by the action and placement of everything and everyone on stage.
Always be mindful that your audience, that farthest row back, needs to hear you, even though your scene partner may be right next to you.
In preparing for a role it is important to “do your homework”, which includes making a history. Start with what is “given” in the script and then get creative from there. Make your choices specific, important, and extreme.
October 12- November 4
Whether in an audition or performance, it is important to develop an instinct for finding the light and getting in it.
In any acting situation, but especially an audition, make your choices which influence your emotional levels VERY IMPORTANT.
In any production, everyone has a very specific job to do. Focus on doing yours. More than anything else, that alone will bring appreciation and respect from all those with whom you work.
Actors should take advantage of moments where they can create mystery or tension. Here is a tip on how to do that.
The love is there, look for it.
Is your intensity high enough?
Comedy can’t be sloppy. It must be precise.
Knowing when to ‘hold’ (or wait to speak your next line) during comedy.
It’s not all about your next line!
Bill talks about writing and how he keeps a flow going from one session to the next.
What is the most important aspect of acting?