site
stats

How to Practice Self-Care While Visiting Your Hometown This Holiday

Photo Source: Margaux Quayle Cannon

By Marci Liroff

Wow, it’s been quite awhile since I’ve blogged. Life has surely gotten away from me – but still not a good excuse. I’m grateful that you all have been here, reading my articles for years.

For those of you who aren’t aware, I’ve been coaching actors on their upcoming auditions and jobs. One-on-one private coaching is a critical part of auditioning and it’s always good to get another set of eyes on your performance before you take it into the room. Just reach out through email, (liroffcasting@sbcglobal.com) and we can set up a date and time to work together in person or through Skype or Facetime. I assist working actors only.

Here come the holidays. For some actors, family time triggers dread. You may be barraged by the litany of questions actors love, like, “What are you working on?” Trying to justify what you do to those who don’t quite “get it” is not only tiring, it can be psychologically traumatizing. For me, it wasn’t until my parents saw my name on the big screen that they finally had a modicum of understanding of what I do for a living.

I want to help you combat the psychological fatigue in these situations. Go into these gatherings from a secure emotional place. Of course, that’s easy to do when you’re working. But what about when you’re not working? How do you explain to someone who’s not in the business what your day-to-day life is and that you don’t get as many jobs as you have auditions?

You’ll have to quiet that vulture that sometimes crawls up on your shoulder to squawk at you. You know the one. The vulture that tells you you’re not talented and you’ll never get a job. The one that says you’re wasting your time. You’ve got to come to terms with your inner vulture before you can begin to deal with those around you. Self-doubt can be a killer—especially over the holidays. Remember that what you’ve chosen to do is be an artist, a storyteller. If earning a living was a quantifier for how talented you are, most famous artists would have never even picked up a paintbrush or a pen to write history’s greatest works.

Go back to the reason why you got into this in the first place. Spend a little time in that mental space and remember everything you get out of your chosen path, and own it. Yes, own it. These small changes in your mindset will help you deal with others, because if you feel comfortable about yourself and your choices, their opinions won’t matter as much.

Another issue over the holidays is feeling guilty about leaving Tinseltown (or your given acting market). Some say that a sure-fire way to get a job is to buy a plane ticket. Yet, we constantly feel the need to stay in town just in case we get an audition. With self-tapes becoming the norm, all you need is your cellphone and a willing scene partner. (Please don’t use your grandmother, unless she’s an actor!) There’s a great resource called WeRehearse, where you can find a reading partner and also record your audition on the site. All you need is a fast internet connection on both ends.

But let’s dig deeper: You have to get out and give yourself some downtime. If you’re not refilling your well of life experiences, you’re not living fully. Actors need to experience the good, the bad, and the ugly so that they can draw on them firsthand. You need to get out there and see your family and friends; unplug as much as possible. Identify what the important things are for you and plug into them. That could be as simple as volunteering your time, spending more time with your kids or pets, or helping your elderly parents.

From the bottom of my heart, I’m wishing you all a blessed holiday season!

Make sure to check out my online course “How To Audition For Film and Television: Audition Bootcamp”. You can view it on your laptop or your mobile device and your subscription gives you lifetime viewing privileges for this course. I’ll be adding lectures throughout the year.

Warning: I grant permission to share my blog as written with no additions or deletions. Posting my blog is in no way an endorsement of another site unless you obtain my written consent.)

Like this story? Help spread the word! Click to tweet!

What You Need to Know Before Considering an Acting Coach

Illustration courtesy of Nick Bertozzi

If you’re in the Los Angeles area in April, my Spring Audition Bootcamp classes have just been announced.
April 10, 17 & 24, 2018. Please click here to read the description and apply. If you apply and are confirmed before March 26, get 10% off!
I look forward to working with you.

******

I get this email about 20 times a week: “Hi, Ms. Liroff. My wish is to be an actor. I’ve always wanted to do it but I don’t know how to get started. I have no experience at all, but my dream is so big, I can’t let that stand in my way. I’ve read all your articles and I think you’re the perfect coach for me. When can we get started?”

While I would never squash anyone’s dream, this is a perfect example of putting the cart before the horse.

You’ve got to learn the fundamentals of acting before you start working with an acting coach.

For instance, a gymnast trains extensively and then gets a coach. You need to be in weekly classes. When you’re in classes, you’ll be able to get up and work every week in front of a room full of people. Not only will you learn from your teacher, you’ll get to witness some great (and not-so-great!) actors and learn from their victories and defeats.

When I’m working with an actor, I can immediately see if they’ve had no training because they do not even know how to stand. They don’t know what to do with their hands, they’re not in touch with their body. Movement classes will help you connect with your instrument.

I’m seeing too many actors who do not know how to use their voice effectively. They’re not breathing correctly, which leaves them without power. They aren’t enunciating properly, which makes gorgeous dialogue turn to mush. Voice classes will give you insight on how to use your instrument properly.

Once you’ve got your foundation set with acting classes, it’s important to understand how to work with the camera. There’s a very specific skill set that you need to master before you’re going out for auditions.

Some of the issues you need to know are:

In TV and film, always connect with your reader. If there are other people in the scene, you can place them just to the right of the camera, not off to the far left.

Being off-book is now a given. There is no point coming in and reading your sides; we call people who do that “reciters.” If you don’t know the material inside and out, you will not be able to take direction and connect with your reader.

I get emails from parents saying they want to get their kids into acting, and then ask me to coach them. They don’t know if their child even likes acting. Get your kid into classes first and see how she responds. My friends with kids who think they want to be actors say no year after year until they feel the child really means it and is truly ready.

Your acting coach helps tweak and shape your work and gives you confidence and another set of eyes on your performance. But you must have a performance to begin with! Coaches are not meant to be acting teachers—that’s what acting classes are for.

Make sure to check out my new online course “How To Audition For Film and Television: Audition Bootcamp”. You can view it on your laptop or your mobile device and your subscription gives you lifetime viewing privileges for this course. I’ll be adding lectures throughout the year.

Warning: I grant permission to share my blog as written with no additions or deletions. Posting my blog is in no way an endorsement of another site unless you obtain my written consent.)

Like this story? Help spread the word! Click to tweet.

How to Avoid the One-Note Performance

Artwork courtesy: Nick Bertozzi

Howdy! I’ve been such a busy bee, I haven’t blogged in months! No excuses! I’m just going to get back on track and send out my blogs more regularly.

If you’re in the Los Angeles area in April, my Spring Audition Bootcamp classes have just been announced.
April 10, 17 & 24, 2018. Please click here to read the description and apply. I look forward to working with you.

************************

Have you ever worked on a scene and given it your all, only to get the comment “Eh, it felt very one-note”? What does that even mean? It reminds me of the iconic scene in “Amadeus” when, after Mozart plays his new composition, the emperor responds, “Too many notes.” How many notes is too many? How many is too few?

Let’s say you have a scene where you find out your boyfriend is cheating on you. What I often see in auditions is actors playing one emotion; let’s choose anger. Think about it for a moment: If you found out your significant other was being unfaithful, you would probably have a deep well of many emotions—betrayal, loss of trust, embarrassment, resentment, shame, paralysis, disbelief. Why play only anger? Beyond the fact that it’s boring to watch, it’s not how you’d act in real life.

When you play the scene, we want to see all the colors wash over you. Even if it’s a short-lived moment, there’s so much you can play between the lines. Every bit of information that your partner is giving you should result in a different expression of emotion. Yes, they can all be rooted in anger, but there are so many different ways to show it—it shouldn’t be your interpretation’s only driving force.

Finding all the possible emotions will make your performance more nuanced and rich.

As an exercise, write down all the possible responses to the action of your scene in the margin of the script. Try to play them all until you find the most authentic and honest reactions.

That said, if you’re all over the place emotionally (“too many notes”) we’ll find it hard to follow you because your performance will feel unfocused. The audience is most moved when they can latch onto something and relate to you. And there’s a fine line between losing yourself in a scene and a sloppy performance.

This is where rehearsing with a partner before your audition is vital. I can always tell when an actor comes in to audition for me and they haven’t read the scene with another human being yet. Your audition should not be the first time you’re reading these words aloud with a scene partner. Rehearsing with another person will help you in several ways. First, there is a natural conversational rhythm within the scene that you can’t find unless you read it with someone else. You also need to find the moments between the lines and between the words that will elicit genuine emotion. You can’t do that on your own in a vacuum.

I recently found a great website, WeRehearse.com, where you can set up your profile for free, then hire someone to run lines with you before an audition. That person can even be your scene partner when you self-tape. I wish I’d thought of it!

Make sure to check out my new online course “How To Audition For Film and Television: Audition Bootcamp”. You can view it on your laptop or your mobile device and your subscription gives you lifetime viewing privileges for this course. I’ll be adding lectures throughout the year.

Warning: I grant permission to share my blog as written with no additions or deletions. Posting my blog is in no way an endorsement of another site unless you obtain my written consent.)

Like this story? Help spread the word.

 

 

1 2 3 4 5 6 7 8 9 10 11 12 ... 36 »