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Acting or Scene Study Classes – What’s the Difference?

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By: Carolyne Barry

It is important to understand the differences between “Acting Classes” and “Scene Study”? Up until recently, because I never really thought about it, I believed they were synonymous. Even the dictionary does not differentiate. But after researching the concept, I now know there is a big difference and you should to.

I believe the major distinction is like the difference between a “house-building” class and a carpentry class. One has an instructor to oversee the construction of the project, and directs the student carpenter on what needs to be done to the walls and railings, etc, -helping direct him/her to build that particular house before moving on to the next one. Whereas in a carpentry class the instructor teaches each student how to master the use of each tool, thus making him a master carpenter first, before empowering him to go off with confidence in applying his skill set on most any project. For the actor, who has no clear set of “tools,” he will eventually be lost without his scene study teacher, who in many cases held the actor’s hand until the scene was brought to fruition, – thus giving actors a false sense that they are ready to tackle countless scenes that have yet to even be written. In contrast, in a good acting technique class, the tools to be a great actor are taught first, and then applied to scenes, making the work more about the growth and creativity of the actor than the fulfillment of the scene as the teacher interprets it. In short, a scene study class may make him or her feel good about their work, but in truth they will learn more about their scene than they do about themselves as artists.

For those more dedicated to developing the building blocks to strong techniques (especially new actors) then “acting classes” are the way to go. I personally recommend starting with an acting class with a teacher who is using established techniques or maybe their version of it (which many do). Training this way gives new actors the foundation and tools to eventually not be dependent on their teachers to create quality auditions and work. This is why I am a fan of new actors as well as some self-proclaimed professionals starting their training with ACTING classes.

How to Select Your Best Teacher

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or waste time and money

by: Carolyne Barry

The teachers you choose to train with will be a major influence in the development of your craft and thus will have a strong impact on your career. But so many actors choose teachers for the wrong reasons: either they select one who is less expensive, offering some kind of deal, located close to where they live, recommended by unqualified sources, they know actors in the class or ONLY because the teacher is or has been a casting director. These are not good reasons for such an important decision. Don’t be one of those reckless actors who wastes money and time going in the wrong direction. Be in control of your career and those you are assembling for your team.

To make your best choice(s), I suggest this plan:

  1. Research
  2. Audit
  3. Ask Questions
  4. Consider your Chemistry with the Teacher

Audit at least three candidates then make your selection of the teacher who can help make you the best you can be and the one you can see yourself staying with till you get everything you need- before moving on. For commercial classes it can be a few months and for acting it can be several years. CHOOSE WISELY.

DO YOU KNOW YOUR TYPE?
I believe one of the big mistakes many actors make is not being clear on their type (or as often referred to as a brand). Most believe that they “are actors and can play many roles”. In a majority of theatre productions, you can because of the distance between the actor and audience. But on-camera, which is more intimate, who you really are and what your look represents is obvious and there is usually no hiding behind character make-up and wardrobe.

Although it can be vital to your success, for booking commercials as well as theatrical work (especially when first starting a career), most don’t give determining their type the time needed to figure it out. When you know your type/brand: you can shoot headshots that better serve you, intelligently describe yourself to your representation, and submit yourself for roles that you have a better chance at getting. Knowing your type can be very important, but how do you determine what it is? It is not easy for most. You may need help from others because it is difficult to be objective about ourselves. Most actors tend to label themselves as more or less than how they choose to see themselves. That is why it is important to investigate.

During your investigation, you must honestly look at your:

  • Age
  • Physical Appearance
  • Personality Type
  • Essence

You might need assistance in labeling your type, so I suggest you put together a concise questionnaire using those four factors. Then question teachers, friends and some strangers. Strangers can often be more objective. Be sure them know that you need honesty. And you must accept what they say (with no comments from you) so they can be truthful.

It will probably take more than what I prescribe here but this is a good beginning. What you learn about yourself during this investigation into typing should be of great benefit to you personally and to your career. Have fun learning how others perceive you.

Insider Tips for Doing Your Best Commercial Auditions and Book Jobs – Part 2

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Commercial auditions are challenging for most actors. Audition material or scenarios are at the most 20 seconds, which means you need to be up to speed right away. No time to get into the material. You are only in the audition room, on an average of 5 minutes. Just a few minutes to get comfortable, answer questions, take direction, hopefully get a rehearsal, slate and do one or several takes.

I believe that the following audition pointers that I formulated from personal audition experience, teaching thousands of students and observing actors who have auditioned at my casting sessions, will serve well 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 and trust that you got it: otherwise, you might miss input.
  • If clarification is needed, ask questions. Questions are only irritating when they are unnecessary. Those running the session won’t think less of you because you request answers. Their input will help you to do a better audition for them.
  • While being recorded, if they talk to you or ask questions, don’t second-guess what they want to hear. They probably want to get to know you and see your personality. Just talk to them as opposed to trying to impress.
  • If the session director or CD is rude, short-tempered or seems ambivalent, do not take it personally. It may be their nature or they may be dealing with problems or previous actors who tested their patience. Stay pleasant, positive and do your work.
  • “Get centered” before starting your audition. Breathe, take one or two seconds before beginning or find your own way to “get centered” but don’t take a self-indulgent period of time to begin. Don’t be influenced by the anxiety or negative energy of those running the session.
  • Do not rush your audition. When actors are nervous or “in their head,” many speed up the dialogue or their improvised scenarios. When actors are connected and focused, they don’t rush. On the other hand, don’t speak really slowly or take long pauses between the lines.
  • Stay Focused. Whether you are auditioning for one person or a group, reading 
into a camera or speaking to an actor or a few actors, auditioning with a bad actor or a great one, in a small room or a large theatre, 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 Out. For improvised and scripted on-camera scenes, when possible, find a way to “motivate out” your actions and/or dialogue at least fifty percent of the time to maximize your facial exposure. Most new actors constantly look at their partner(s), which keeps them in profile and they are upstaging themselves. Don’t cheat out. Learn out to “Motivate out.”
  • 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. It makes you look nervous.
  • Use the cue cards when needed. Most actors feel they will do better if they memorize the audition dialogue. That is true for many but if for one millisecond you are not sure of it, LOOK AT THE CUE CARD. It is there to help your audition. If you are convinced you know the copy and are stubborn about looking at it then you will go in your head to try to remember and will often loose the flow of your audition.
  • During the read, trust and commit to your instincts. Unless given a specific direction, don’t consciously perform anything you rehearsed. Some of the choices that you rehearsed might not feel right in that moment. Don’t interrupt your instinctive interpretation trying to perform them. Allow for your read to flow – you will most likely organically do most of what you rehearsed. When you are connected and “out of your head,” you are open to instinctive moments that are often better than those you planned.
  • Ask to do it again. 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.” It is not a foul to ask. If they refuse, say “thank you” (mean it) and leave. It’s worth asking.

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/

Great Commercial Audition Preparation Tips – Part 2

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Auditions can be tough to come by.  You want to do well to have a better chance at booking the job as well as leave a favorable impression so that you will get more auditions with the casting director.  Unlike theatrical auditions where you know you will normally be reading a script with a reader or sometimes another actor, there are many types of commercial auditions: dialogue, one-liners, monologue copy, short scenes, longer scenes, two or more person scenes, improvisation, reactions, skills, questions, etc. etc.  Some auditions require no preparation.  But most require a little and some a lot.

Audition preparation differentiates the professionals from the amateurs. Here is what professionals do:

Get correct information: When you receive an audition call, text or e-mail, note ALL the data. You don’t want to prepare for the wrong role or go to the wrong address.

Confirm appointments: Call, text, e-mail or respond via the casting sites to whoever contacted you to confirm your audition. If you don’t confirm in a timely manner they will assume you are not going and will assign another actor the time that was delegated to you.

Obtain the commercial copy in advance: Before most dialogue commercial auditions, CDs post the copy on submission websites for the auditioning actors. Join these sites so you have access.

Prepare material: material when posted. Ask your representation if there is copy. If there is, arrange to get it. If it’s not up on one of the sites, ask your agent or manager if it can be e-mailed or faxed. If not, get to the audition early. When there is copy, the more time you have with it in a quiet environment, the better your preparation.

Investigate, motivate, find your connection and make choices. Prepare several interpretations.  Professionals usually approach theatrical auditions working with a “who,” “what,” “where,” and “why.” Yet many don’t consider using these acting basics for commercials. If they work in every other medium, why would they not be of value for commercials? – especially now when the tone for most of them is underplayed, natural and realistic. Many actors feel that all they have to do is memorize the material to be prepared.  Memorization can be helpful but finding your own connection to and interpretation of the role and material, I believe is much more valuable.

I strongly believe that if you prepare with these basic acting tools they will help you to do better auditions.

Select wardrobe: Wardrobe helps define the character for the actor and offers a visual image for “the powers that be.” On the casting breakdown, in the script, or from your representation, ascertain what kind of wardrobe you should wear.

Don’t be on time: – BE EARLY

When you are early you have options.  If you arrive at the audition early and there a lots of actors waiting then go ahead, sign in and go prepare.  If you get there early and there are just a few actors, look at your script or story board, prepare and relax yourself for a few minutes then sign in on time.  You work too hard to get auditions, you never want to feel hassled so you can’t do your best work in the audition room.

I recommend that you leave plenty of time (when possible) to travel to your commercial auditions so that even with traffic, maybe getting lost and finding parking, you can be early.

Walk around while rehearsing at your audition: With dialogue, while you are preparing, walk someplace close by to rehearse in your full voice.  When some actors sit and rehearse quietly, it is sometimes tricky to go on-camera and switch to their full voice. Some even speak in an “airy” voice which can be disempowering to their audition.  Also, walking around and speaking in your full voice helps maintain a good energy. Be sure to keep an eye on how the session is running so that they don’t have to go looking for you.

Stay focused: While waiting in the lobby, prepare (or if you have already done so) then review your choices and put yourself in a relaxed, positive and confident state of mind. Focusing yourself this way, I believe can really make a difference for most actors.  If you see friends at the audition, feel free (if there is time) socialize for and few minutes then go back to relaxing and focusing your energy.

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/
 

Great Commercial Audition Preparation Tips – Part 1

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Auditions can be tough to come by. You want to do well to have a better chance at booking the job as well as leave a favorable impression so that you will get more auditions with the casting director. Read more

Commercial Audition Techniques: Profiles

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PROFILES: IN MOST EVERY ON-CAMERA COMMERCIAL AUDITION, AFTER SLATING, AN ACTOR WILL BE ASKED TO TURN SIDEWAYS AND SHOW THE LEFT AND RIGHT SIDES OF HIS/HER FACE AND BODY SO THAT THOSE WATCHING THE VIDEO AUDITIONS CAN SEE WHAT THEY LOOK LIKE FROM THE SIDE.

The reason “Profiles” are done is so that those doing the casting can get a clean look at the side views of the actor’s body. Most auditions especially those with dialogue are done facing the camera but in many commercial, actors move sideways or are working or speaking in profile.

So, the “creatives” need to see if actors are: Round shoulders, have a large or small chest, have a belly, receding chin, big nose have tattoos, the length of their hair, the shape of their head, etc..

If actors have any body issues that can be perceived as a distraction in the TV commercial, doing “profiles” will reveal them and that is why those making the casting decisions require them.

The profiles are done after the “slate.” The “slate” is done in a close-up or medium close-up then the camera zooms out as the actor does their “profiles.” Simple enough, right? It should be but many rookies don’t always understand what is needed.

UNPROFESSIONAL SLATES
Turning just your head (not your body) is technically a “profile” but is not what is needed at commercial auditions. Turning your head only to a 45 degree angle to camera doesn’t give the “creatives” what they need to see (which is the full body in profile). Other rookies profile mistakes that sends a very negative message is when actors are: Being ultra cutsey, turning too fast ore too slow, fidgeting, looking angry, confused, bored or has an attitude. Profiles done any of these ways make the actor look like an amateur. Why would those casting even bother to take the time to watch the audition work of an actor who can’t even do simple profiles in a professional manner.

GOOD PROFILES

To do a Professional “Profile: Be relaxed with a positive and confident energy. Turn your body to the right at a 90 degree angle, stand for a second, face the camera then turn you body to the left at a 90 degree angle, hold for a second face the camera then turn toward camera and smile. Although you are relaxed, be sure to stand up straight- shoulders back and tighten your stomach muscles.

SIMPLE IS PROFESSIONAL

You might be thinking, “how boring”. Well, it is regimented for an important purpose. Your personality and essence will be present in your slate and your audition. The profile just needs to be done simply and professionally then it will send the right message about you.

You probably assume that now that you have read this article that you understand how to do it and will have no problem with doing your “Profiles.” Just to be sure, I suggest that you video yourself doing your “Profiles.” If it is not clean, practice a few times and record yourself once again. To see how to do professional PROFILES watch, my FREE video, PROFILES 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/

Commercial Auditions: Slating

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At the start of an on-camera commercial audition, actors are requested to “slate” their name – a “slate” is the actor introducing himself or herself to the camera before beginning their audition. Saying your name seems so simple, which is why many give it no real thought. This can be a mistake because the slate provides important information about you. It depicts confidence or lack of, essence and personality and often gives those making casting decisions a reason to watch or not watch your audition.

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/

On most initial commercial audition videos there is usually a minimum of 50 to 200 actors per day who are viewed. It is about two and a half hours worth of auditions that the powers-that-be who do the casting will watch in an average of just 30 to 45 minutes. So more than half the actors are not thoroughly viewed or seen at all. Granted, actor’s looks are a strong determining factor in getting callbacks and bookings, but their presence and how they connect on the slate also has influence. Because normally during those few seconds that it takes to do the slate, those watching will determine whether they will view that actor’s audition or skip it. There is no second chance to make a first impression. This is especially true for commercial auditions. So SLATING is important.

From years of casting and teaching, I have seen most of the ways that actors make bad first impressions with their slates. When actors are:

• too perky or “cutesy” or if they have a forced smile on their slate, it appears that they are trying to be “commercial” or working too hard to be likable, which makes them seem insincere, insecure or badly trained
• moody, sullen or arrogant, it gives the impression that they are going to be a problem
• slick or uptight, they appear unbelievable or unlikeable
• not making eye contact with the camera, they seem afraid, shifty or inexperienced
• working hard to be interesting, they look amateurish
• too fast or softly, it makes them appear nervous
• too slowly, it often comes off as patronizing or monotone
• too loudly, it suggests they have done more theatre than film work or that they are trying to reach the camera with their voices, which makes them appear inexperienced.

Although the camera is ten to twenty feet in front of the auditioning actor, it is framing, for most auditions, from the actor’s chest or neck to the top of their head – so the image and the audio will appear as if the camera were just three feet away. Therefore, projecting vocally is not a necessity; in fact, it is a distraction and can make actors look amateurish. Those who have done a lot of theatre tend to speak loudly.

Most actors don’t knowingly choose to do their slates any of these disempowering ways. It is usually an unconscious act, habit or a manifestation of their nerves. If you have been told or feel you are not authentically introducing yourself on your slate, then you should give it some attention.

Bottom line, a slate is a positive introduction, not a presentation, announcement or line reading.