All that's important that'll fit on one page.

 

DRAMA 1­2 NAME _________________________

Student Guide Unit 6 PERIOD _____ DATE _____________ SCENE STUDY AND AUDITIONING (Page 1 of 2)


DESCRIPTION

During the next two weeks you will read at least eight scenes from various sources and keep a written log of your readings, plus a log of the performances of your fellow students. This will give you a background and familiarity with the scenes and sources for the coming semester. You will participate in simulated prepared and cold-reading auditions. You will continue building your acting skills with theatre games and improvisations as well as focusing on the "method" approach to acting.

ACTIVITIES

Performance

  1. Working with various partners and/or groups, read eight scenes from various sources and log them on the provided sheets. You must READ ALOUD at all times, selecting 2 modern comedy, 2 modern dramatic, 2 classical/historical, 1 musical or screenplay, and 1 experimental or absurdist scene. You must read each scene twice: once sitting down with partner(s) and a second time walking through it. You can work with the same partner for only two scenes. (Scenes must be signed off by student auditor.)
  2. Participate in a simulated prepared-reading audition by selecting a mini-scene, blocking it, rehearsing it, and walking through it with script in hand before an audience (classmates.)
  3. Participate in a simulated cold-reading audition with provided material.

Workshop

  1. Participate in warm­up exercises each day.
  2. Participate in cold reading exercises.

Academic

  1. Maintain a log for the eight scenes you will read.
  2. Maintain a log for the performances of your fellow students.
  3. Read and study handout on auditioning.
  4. Read and study handout on method acting
  5. Define the following terms and hand them in at appointed time:

v Magic if   v Prepared audition   v Casting   v Cold audition

v Sense memory   v Method acting   v Stanislavski   v Lee Strassberg

Extra Credit

  1. Read 30 pages from a book on method acting and write a summary and reaction.
    2.  
  2. Read 30 pages from a book on auditioning and write a summary and reaction.
  3. Lead warm­up exercises for one day (sign up on calendar.) Select students to perform an improvisational sketch of your own creation.
  4. Perform one of the "object exercises from Uta Hagen's book, Respect for Acting.
  5. Write and perform an autobiographical serious sketch using sense memory to heighten the experience.

DRAMA 1­2 NAME _________________________

Student Guide Unit 6 PERIOD _____ DATE _____________

SCENE READING LOG

Scene Title ______________________________ Type of Scene ________________________

Book Taken From _________________________ Partner ______________________________

Characters (Name, Age, Brief Description)

Setting (Where, When)

Plot Precis

Scenic Tone

Reaction

Reading Sign Off

Scene Title _______________________________ Type of Scene ________________________

Book Taken From _________________________ Partner ______________________________

Characters (Name, Age, Brief Description)

Setting (Where, When)

Plot Precis

Scenic Tone

Reaction

Reading Sign-off ________________________

DRAMA 1­2 SCENE STUDY AND AUDITIONING

Student Guide Unit 6

TEN SUGGESTIONS FOR AUDACIOUS AUDITIONS

1. DON'T PLAY IT SAFE! Choose a specific attitude and go for it.

  • Read the part as if you are happy, angry, depressed--in some particular emotional state.
  • If you pick a specific emotion, your reading will be different from others, and you are more likely to be remembered.
    •  
  • However, be prepared to take a different attitude on a second reading to show you can be flexible and take direction.

2. LEARN TO USE YOURSELF!

  • You don't have time to craft a whole character in a first reading. 
  • Settle for the real you--reacting to a remarkable situation in a remarkable and unique way.

 

3. YOU MUST BE SEEN; YOU MUST BE HEARD!

  • Learn to find the light on the stage. Adjust your voice to the space--big space, BIGGER VOICE.

4. YOU MUST PROJECT, "I'M EASY TO WORK WITH; I TAKE DIRECTION!"

  • Before and after your reading, you need to project that you are a team player.
  • The slightest hint of "attitude" may scare off a director.
  • No matter what happened on the way to the audition, you must act the part of an ideal cast member: businesslike, open, and charming.
  • NO EXCUSES!
  • Don't burn any bridges behind you. It's a small world.

 

5. WEAR WHAT'S APPROPRIATE!

  • Clothes should suggest the part, but also be something you are comfortable in.
  • Comfortable clothes will help you do your best, and something that evokes the character may help the director see you in the part.
  • If you are called back, be sure to wear the same clothes at the second reading.
  • Your aim is to be remembered.

6. THE FIRST MINUTE IS EVERYTHING!

  • Get in character immediately.
  • You don't have time to grow into it because most directors have made up their mind in the first minute.

 

7. DON'T ASK TO START OVER!

  • Even if the audition is going badly, stay with it.
  • Focus on the script. Go for it!

8. A READING IS A READING--DON'T MEMORIZE THE LINES!

  • No matter how fast you are, if it's a play you haven't seen before, use the script.
  • Trying to remember the lines may add to your tension.
    •  
  • The director assumes you can memorize if you get the part and wants to see what you bring to it.

9. BRING A PICTURE AND A RESUME!

  • Professionals see so many people they need the resume and picture to remind them of who you are.
    •  
  • It's also a good way to get into their files.

10. NEVER SAY NEVER AGAIN!

  • If you can't take rejection you shouldn't be in this business.
    •  
  • This business is about dealing with rejection and coming back for more.
  • Everyone, EVERYONE gets rejected far more often than they get the part.

(11. MUSICAL ACTING IS STILL ACTING!)

  • Don't forget all you've learned about acting, just because it's a musical.
  • Even if it's highly stylized, your actions need to be motivated and believable.

TEN GOALS FOR AN ACTOR'S TRAINING

1. Development and training of the actor's "instrument": his body and voice.

2. Personal psychology: the actor must learn to isolate himself "in a circle" and not be distracted by the audience.

3. Invention: the actor's recreation of a situation in terms of his own impressions,associations, and memories.

4. Complete immersion in the situation of the play.

5. "Naivete": the ability of the actor to have absolute belief in what he says and does.

6. Contact with other actors when they are in their roles.

7. Memorization of common emotions in order to recall them at any time in any role.

8. Rhythm of the role and of the play.

9. Mastery of the intrinsic personality or "kernel" of the character.

10. Awareness of the point of the character: to be able to show in the performance what the character wants and why. .

Note: These ten acting goals are commonly held "method" acting principles first developed by the great Russian director, Konstantin Stanislavski, who advised actors to ultimately go beyond his method to create their own personal method. 

Act! Act! Act! Seek every opportunity to market and share your skills.