By Rob Decina

There are an overpowering variety of books available in the market approximately appearing, auditioning, the enterprise, and so on. it's tough to understand what to learn, and what to trust.

Trust this booklet. Rob Decina has written from his adventure as a casting director, and you'll inform it additionally comes from his event as a compassionate individual. He is aware the nerves that could plague actors, how it relatively feels to be sitting within the ready room ahead of an audition, the confusion over doubtless small judgements (such as even if to take a seat or stand throughout the audition) that may reason us to stumble.

He has additionally visible tens of millions of auditions in his occupation. He understands what works and what does not, and most significantly he has taken the time to determine why the alternatives that paintings do, and why the alternatives that do not paintings do not.

The e-book outlines a particular audition process that's designed to paintings together with your different appearing education - no longer opposed to it the way in which a few concepts can once they jumble you up and get within the approach of the traditional offerings you could make. The booklet additionally solutions the most important questions like: Do I sit down or stand in the course of my audition? Do I convey my own assets in with me or go away them within the ready zone? Do i exploit props? should still I memorize or carry my script? and so on. operating actors can let you know, those logistical concerns can relatively journey you up. it's a aid to have transparent solutions with considerate factors to deal with every one one.

Plus i am a complete convert to the procedure during this booklet simply because I booked a role at my moment audition after beginning to use it. probably that is the greatest advice of all!

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Those feelings need to be appropriate to the tone of the audition material. This creates levels in the reading. Pay specific attention to what I am about to write, as it is a valuable distinction you should understand before we get into the main technique part of this book. Casting directors are not specifically looking for technique, but rather the results of the technique itself. I am never observing an actor and trying to analyze what specific technique he is using. The truth is, there are so many techniques and variations of the same technique that I would go crazy trying to determine that.

Does he look like what I like to call a “thinking, feeling, and living being”? These are characters that have sincere and simple thoughts, accompanied by legitimate feelings. Those feelings need to be appropriate to the tone of the audition material. This creates levels in the reading. Pay specific attention to what I am about to write, as it is a valuable distinction you should understand before we get into the main technique part of this book. Casting directors are not specifically looking for technique, but rather the results of the technique itself.

You may never know the true backstory if you are not right for the role and never get a callback. This does not hinder your ability to make choices and show potential. chapter 09 04/30/2004 4:29 PM Page 42 42 ■ T h e A r t o f A u d i t i o n i n g The point is to fill in the blanks. Make the choices you need to do an audition, and do it well. If the backstory is not given, make a simple and specific decision about who the characters are and what has previously happened to him that now allows the present scene to take place.

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