When to Leave Your Acting Teacher

Tips on When to Leave Your Acting Teacher

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Too often students leave their acting teachers either too early or too late, no matter how good or bad the teacher—whether it’s for money, insecurity, lack of time and/or commitment, or maybe a desire to be in a class with a friend somewhere else. On average, for every 20 students who start a class, in about a year, eight will still be studying with that teacher or anyone. I suggest that whether you stay or go, you do so for the right reasons.

The first way to help you not waste time and money is to do your research and audit several teachers, as well as techniques before you enroll. I have an article on Backstage and a video on my YouTube channel that can help guide you to make a better teacher choice.

If you are in a professional class with an empowering teacher and you see your improvement and that of the other students, then you should stay put for at least a year or two before quitting the class and/or starting up with another teacher.

Here are a few reasons you might want to quit training with your acting teacher, and suggestions as to how to handle the situation.

  1. If you want to quit because you can’t afford it, here are my suggestions:

    Ask the teacher if you can be an assistant for that class or a personal assistant for him or her to earn your training.
    Don’t start until you have the money or an income source that will pay for that class for at least six months (probably a year).
    Maybe get a small loan from a family member that you have a great relationship with.

  2. If you want to drop out because you are nervous or insecure:

    Realize that good acting training is emotionally challenging.
    Talk to the teacher and let him/her know what is going on.
    Take an improv class at the same time. For most, good, professional improvisation teachers build confidence and makes new actors more willing to be challenged.

  3. If you’re finding yourself with a lack of commitment or interest:

    To me, this often means that students are more turned on to the idea of being an actor but don’t want it bad enough to do the work. If this is the case, it maybe is a good reason. Own the realization then you can never look back on your life and have regrets that you never gave acting a try.

  4. If you’re finding yourself with a lack of time:

    You know that if you want something bad enough, you make the time. Often lack of time is really lack of commitment.

  5. If you find yourself wanting to study with a friend at another teacher’s facility:

    Really? You will make new friends in your acting class, but that is not why you are there. Realize that your friend’s teacher may not be a match for what you need for your talent development. Pick a teacher that works for you.

The following reasons are what I believe are acceptable ones for leaving your acting teacher:

  1. You don’t feel great about the acting technique. There are lots of acting techniques, so do audit several before choosing. But sometimes, after three or four months the technique doesn’t make sense or feel like a fit. In that case, start the research and audit process again for another teacher.
  2. You don’t like the teacher’s style, instruction, or attitude. Again, after you have participated for at least three or four months, are not inspired, feeling the improvement, or now dislike the teacher, it is probably time to leave. This way you know you have given it the time needed to make an informed decision and an opportunity to work through the discomfort of being in a new training environment.
  3. You don’t respect the other students or teacher policies. If this is the case, you should move on to another teacher. When you research and audit always ask about the policies.

If you decide to leave make sure you have audited other teachers so you have others to compare your class. Make your choice and have a start date before you quit your class. This way you won’t have down time in your training.

Booking TV Commercials

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How does one book TV Commercials? Well, you’ve got to start with training and become a good actor! Master Talent Teacher Carolyne Barry has compiled this video to help take you through the process.

Casting Insider Tips, Part 2 - The Audition Room

Insider Casting Tips to do Your Best Auditions – Part 2

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The Audition Room

Inside the Audition Room is where all your training as an actor and your preparation come together so that you can do your best and hopefully book the job – OR NOT.

What the heck happens in there that often inhibits us from doing our best? The following audition pointers were formulated from personal audition experience, teaching thousands of students and observing actors who have auditioned at my casting sessions. I truly believe these tips will serve your auditions for commercials as well as TV and film:

  • * As you walk into the audition, don’t think about anything you worked on. Let it all go. Be present to whatever happens.
  • * Be respectful, positive and professional without losing your personality.
  • • Give full attention to the person who is directing you: Don’t be distracted by anyone or anything.
  • • When you are being given direction, don’t be figuring out how to do what they are saying. Just listen otherwise, you might miss information.
  • • If clarification is needed, ask questions. Questions are only irritating when they are unnecessary. Their answers will help you to do a better audition for them.
  • • If they talk to you or ask questions, don’t second-guess what they want to hear. Just talk to them as opposed to trying to impress.
  • • If the session director or CD is rude, short-tempered, rushed or seems ambivalent, do not take it personally. Remember, when “the powers that be” watch your video audition, they will only see you, not the irritating session director.
  • • Don’t allow yourself to be rushed. Before you start your audition, “get centered.”
  • * Breathe, take one or two seconds before beginning or find your own way to “get centered”.
  • • Do not speed through your audition. On the other hand, don’t speak really slowly or take long pauses between the lines.
  • • Stay focused and don’t allow unexpected incidents to upset you and or put you “in your head.” No matter what happens, go with it and adjust quickly.
  • • Motivate toward camera. In on-camera improvised and scripted scene auditions, when possible, find a way to “motivate out” your face, actions and/or dialogue at least fifty percent of the time to maximize your facial exposure.
  • • Look into camera when auditioning with a reader and told to do the dialogue looking into the camera, don’t look back and forth between the two.
  • • During the read, trust and commit to your instincts. Unless given a specific direction, don’t consciously perform anything you rehearsed or that you have learned. Don’t interrupt your instinctive interpretation trying to perform rehearsed choice. Allow for your read to flow – you will most likely organically do most of what you rehearsed.
  • • Have fun. Getting auditions is what you have trained and worked for – now enjoy the experience.
  • • When you feel your solo audition was lacking or if you have another interpretation that you would like to do, politely request, “If you have time, I would like to do it again” or “do another interpretation.” If they refuse, say “thank you (mean it) and leave. They may have loved what you did and don’t need or have time for a second version.
  • • Don’t ask “needy” questions, e.g., “When are the callbacks or bookings? Should I wear this outfit if I get a callback? Should I keep the script?” Needy inquiries make actors look insecure.
  • •Don’t be overly grateful or acknowledging. A simple “thank you” or “it was a pleasure reading for you” is sufficient. Much more might make you look desperate.
  • • Unless they insist you leave the audition material, take it. Build a library of sides, copy and scripts that you can use for practice.
  • • Let it go. When you finish the audition, those in charge will say “great” or “thank you,” which is your signal to leave. Just do your best, and when you leave, let it go.

Who is there in THAT audition room to help direct actors? Your guide, the person who can help you do your best audition is the Session Director. Watch my video featuring two top session directors and you will learn their insider “do’s” and “don’ts”.

Commercial Audition Callbacks, Part 2

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There are dozens of audition technique tips I have given in previous articles and can be found on my partner page on Master TalentTeachers.com that would be really beneficial but right now the most valuable information I can offer to help you to do your best callbacks is offer some insights on Commercial Callback Anxiety.

Commercial auditions can be challenging for actors but callbacks are a cause of anxiety for most. The pressure is on because the decisions-makers are in the room, you know that everything little thing you do is being carefully judged, changes of direction are sometimes made at the last minute giving actors very little time to be secure with the adjustments, the money that you can make if you booked the commercial is often needed, and because it is a callback, the pressure you put on yourself to do well can be problematic.

Every audition especially callbacks are a precious opportunity to work, make money, create contacts and fans and move a career forward. When actors fixate on these expectations before auditioning, it normally creates anxiety and pressure. Don’t focus on disempowering thoughts and questions, such as:

Did I wear the right outfit? Maybe I should have done something different with my hair. Did I work on the material enough? I hope they don’t notice that my skin is broken out. How many people will I be auditioning for? Who are they? Will they direct me before I read? What will they ask me? What should I ask them? Will they think I am physically right for the role? I wonder if the reader is going to be any good? I haven’t seen this CD for a few months – maybe she doesn’t like my work. How will I do? Will they re-direct my reading? Am I right for the role? What will they think about my audition?

Many of these thoughts flash quickly through almost every actor’s mind and especially those who are new. These are the same types of concerns that people usually have interviewing for any job. At callbacks, because the stakes are raised, the concerns get more intense for most. Actors who are unfazed at the initial audition often have callback anxiety. Now, the thoughts are

They must like me; now the pressure is really on. It’s only betweena few others and me; I have to be great. Will my agent (or manager) dump me if I don’t book this job? What did I do that made them call me back? I really need the money. My competition must be good. I hope I don’t “blow it” now. And so on.

This “brain-noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. You must learn how to alleviate, use or quiet them, or they will take their toll on your work. I know great actors who can’t get out of their heads at interviews (and refuse to do anything about it), and their work suffers. I also know less talented ones who shine because they have very little “noise” and are excited to be auditioning.
What you think influences how you feel, and how you feel impacts your audition. With time and experience, actors usually figure out how to alleviate the self-imposed stress. In the meantime, work on your audition anxieties whether it is with self-help books, hypnosis, audition classes, coaching, therapy, talking with friends or teachers and/or developing a sense of humor about your disempowering thoughts – the sooner the better.

SUGGESTION: What you think produces feelings. The feelings are real but the thoughts you created are not real. So be careful what you are saying to yourself.

For additional insights and tips, check out my book Hit The Ground Running @ www.hitthegroundrunningbook.com and for more information on Commercial Acting Classes: http://carolynebarry.com/workshops/commercial/

Commercial Audition Callbacks, Part 1

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DEAL WITH CALLBACK ANXIETY and BOOK TV COMMERCIALS

There are dozens of audition technique tips I have given in previous articles and can be found on my partner page on Master TalentTeachers.com that would be really beneficial but right now the most valuable information I can offer to help you to do your best callbacks is offer some insights on Commercial Callback Anxiety.

Commercial auditions can be challenging for actors but callbacks are a cause of anxiety for most. The pressure is on because the decisions-makers are in the room, you know that everything little thing you do is being carefully judged, changes of direction are sometimes made at the last minute giving actors very little time to be secure with the adjustments, the money that you can make if you booked the commercial is often needed, and because it is a callback, the pressure you put on yourself to do well can be problematic.

Every audition especially callbacks are a precious opportunity to work, make money, create contacts and fans and move a career forward. When actors fixate on these expectations before auditioning, it normally creates anxiety and pressure. Don’t focus on disempowering thoughts and questions, such as

Did I wear the right outfit? Maybe I should have done something different with my hair. Did I work on the material enough? I hope they don’t notice that my skin is broken out. How many people will I be auditioning for? Who are they? Will they direct me before I read? What will they ask me? What should I ask them? Will they think I am physically right for the role? I wonder if the reader is going to be any good? I haven’t seen this CD for a few months – maybe she doesn’t like my work. How will I do? Will they re-direct my reading? Am I right for the role? What will they think about my audition?

Many of these thoughts flash quickly through almost every actor’s mind and especially those who are new. These are the same types of concerns that people usually have interviewing for any job. At callbacks, because the stakes are raised, the concerns get more intense for most. Actors who are unfazed at the initial audition often have callback anxiety. Now, the thoughts are

They must like me; now the pressure is really on. It’s only betweena few others and me; I have to be great. Will my agent (or manager) dump me if I don’t book this job? What did I do that made them call me back? I really need the money. My competition must be good. I hope I don’t “blow it” now. And so on.

This “brain-noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. You must learn how to alleviate, use or quiet them, or they will take their toll on your work. I know great actors who can’t get out of their heads at interviews (and refuse to do anything about it), and their work suffers. I also know less talented ones who shine because they have very little “noise” and are excited to be auditioning.

What you think influences how you feel, and how you feel impacts your audition. With time and experience, actors usually figure out how to alleviate the self-imposed stress. In the meantime, work on your audition anxieties whether it is with self-help books, hypnosis, audition classes, coaching, therapy, talking with friends or teachers and/or developing a sense of humor about your disempowering thoughts – the sooner the better.

SUGGESTION: What you think produces feelings. The feelings are real but the thoughts you created are not real. So be careful what you are saying to yourself.

For additional insights and tips, check out my book Hit The Ground Running @ www.hitthegroundrunningbook.com and for more information on Commercial Acting Classes: http://carolynebarry.com/workshops/commercial/

Do Your Best Commercial Auditions

Insider Casting Tips to do Your Best Auditions – The Waiting Room

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No matter how good of an actor you are or how well you have prepared, once you enter the waiting area and then the audition room, if you don’t know how to “be” in that war zone then your audition work could suffer. Sitting in the holding area with a dozen or more actors, waiting up to an hour or being rushed in with little or no preparation and sometimes getting confusing direction can be very disconcerting and are not usually conducive to actors’ doing their best. Here are several actions that can be taken to help you feel confident, prepared and empowered.

Arrive early: Never be late or even on time because you won’t have options if the session is running on schedule. Be early so you can get settled and focused and have time to adjust your hair, makeup and/or wardrobe, and prepare the audition material. When you are early, you have options.

Ask questions: When you need clarification on the material or what is expected, ask the assistant who is supervising the sign-ins in the waiting area so that you can get the most from your preparation. If you are not sure how to pronounce a word or the product name, ask. If something doesn’t make sense, ask. It’s better to ask questions before rehearsing than to get corrections from the session director in the audition room and have to adjust your work right before auditioning.

Find Out the “Tone”: Every commercial has a style or “tone” that should be factored into the preparation. You might get answers like natural, comedic, quirky, over-the-top, fun/playful,serious, warm, upscale, authoritative, vulnerable, earthy, edgy, over-the-top, understated, etc.

Do your audition preparation: If you haven’t obtained your copy in advance, do your preparation: investigate, motivate, and find your connection and interpretation. If you did receive the copy and worked on it in advance, review your choices and work on your connection. Find a place where you can rehearse in a full voice.

Rehearse with your partner: When you are doing scene auditions, either the casting assistant will assign you a partner(s) or you should check the sign-in list and determine the actor(s) with whom you will probably be paired. This is especially valuable when auditioning with children. Rehearse with your partner(s) or, if there is no dialogue, spend time getting comfortable with them.

Work on several interpretations: Locking in only one way of doing an audition can be problematic. First, it usually creates a fairly shallow interpretation. Second, if the session operator wants a different approach, it can be hard to shake the work you have locked in. Finally, if asked to do the copy or scenario a second or third way, you won’t have it. Work on several approaches.

Deal with your nerves: Every audition is a precious opportunity to work, make money, create contacts and fans and move a career forward. When actors fixate on these expectations before auditioning, it normally creates anxiety and pressure. Don’t focus on disempowering thoughts and questions This “noise” is normal. How you deal with your questions, concerns and expectations will determine how much power those thoughts have. What you think influences how you feel, and how you feel impacts your audition.

Stay relaxed and focused: After you have done a thorough preparation and while you wait, don’t continually run your lines and review your choices, either out loud or in your head. It’s been my experience that when actors do this, they create anxiety and make themselves insecure. Don’t let the frustration of having to wait negatively affect your mood, energy or mind-set. Do whatever works to keep you focused, confident and positive, e.g., meditate, sit quietly, read, laugh, walk around by yourself, etc. Don’t chat with other actors unless
rehearsing or getting comfortable with them. When you know that you will be next, review your choices, lines, objectives, motivations, etc. – but only once or twice more.

Energize and prepare to commit to your choices and instincts and to enjoy the audition. It’s your time to be an actor.

Being a commercially represented actor

Commercial Agents: Being A Represented Actor

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Many new actors are not really clear about what it takes to have a good working relationship with their commercial agent. It is very beneficial to understand what is expected. So here are the responsibilities and expectations as it pertains to most commercial representation.

Upon signing with your commercial agent, there will be tasks for you do:
• If your agent doesn’t love your photos, he/she will expect you to shoot new pictures.
• You might be expected to redo your resume.
• If you have not taken a commercial or Improvisation workshop they may strongly suggest you take one or both to do better auditions.
• You will be told to sign up for one or two of the casting websites.
These actions must be completed before submitting new clients for auditions.

Once you start auditioning, your agent(s) have lots more expectations.

Clients must:
• Have a cell phone with voicemail
• Have appropriate wardrobe for the types of roles they will be auditioning for.
• Keep agents supplied with current pictures and resumes
• Update their profiles on the casting networks with new photos and resume’ changes.
• Always return agents calls within a few hours to confirm auditions
• With a few hours notice, be available for auditions
• Show up for auditions
• Book out with the agency if going out of town or for any reason are unavailable.
• Be on time for auditions.
• Let the agency know if you make or plan to make any changes to your physicality (i.e. large weight gains or loses, braces, hair color or major style changes, etc,).

Signing with representation doesn’t guarantee that you will always be with that agency. After a year, agents often drop clients if: they don’t get a good percentage of callbacks or booking; are not available for auditions or bookings; if they miss confirmed auditions; act unprofessionally at auditions; or are a problem client.

RELATIONSHIP WITH YOUR AGENT
Most actors want to create a relationship with their agent(s) but are not sure if they should visit, call, send emails and if so, how often. Your relationship at least for the first year or two is just business. If you are going to visit, call or email, have a business purpose, i.e. to show video of acting work, to select new pictures, get direction on which workshops to take, invite them to a show you are in or to watch a TV program you are on, report any major changes that affect your availability or physicality, etc. Agents are busy working for you and their other clients. They don’t really have the time to hold your hand or hang out with you. If you do have a valid reason then making contact once every six or eight weeks is appropriate for many commercial agents. If you have been with your agent for at least a year and you have booked a few jobs through them, then inviting them out to lunch or giving them a small gift for the holidays would be amenable to most.

LEAVING YOUR AGENCY
If you are unhappy with your commercial agency because you are not getting out on many auditions, the auditions you get don’t feel like a fit, your agent is always unavailable for conversation, – first, try to talk with your agent before you make a move to leave. And only if your issues are not addressed should you drop the agent (only after you have interest from a new one).

To get more info about how to have the best relationship with your agent(s), check out my FREE video BEING A REPRESENTED ACTOR at mastertalentteachers.com in which three top Los Angeles agents talk about what they expect from thier clients.

If you missed the first two articles in this Commercial Agent series, you will find them and the accompanying videos in the archive on my COMMERCIAL page at mastertalentteachers.com.

There is a lot involved in learning to do your best at commercial auditions. For additional insights and tips, check out my book Hit The Ground Running @ www.hitthegroundrunningbook.com and for more information on Commercial Acting Classes: http://carolynebarry.com/workshops/commercial/