"Self-Defense" Acting

Unfortunately...

an actor, during his or her career will more often-than-not deal with a bad director. Whether it be total incompetence, lack of vision, or... whatever; many times an actor can be literally left out to dry by bad, or inept direction. Of course, bad directors usually don't know they're bad...there lies the paradox.

Ironically, it is the better directors who are the ones that seem more inclined to not only be open to allow their actors' process and ideas to express themselves, but they also possess the quiet confidence to be available to consider the possibility that they may not have all the answers (or, that there may be answers that are more clearly defined, or perhaps...just better ones). All this openness they possess allows for building a solid ensemble and wonderful collaboration, while staying true to their clear, thought-out concept or vision. They never lose their ability to set aside ego, always keeping the vision in mind - allowing the journey and discovery process to bear its often unexpected fruit. We should be lucky enough to have the opportunity to work with such directors at least once, during our careers.

There are also other directors who know what they want, see it clearly, and the vision/concept is brilliant... almost savant-like. However, their skill in communicating that vision may be their short-coming. A smart actor should be able to pick out these types as well. These types of directors are also rare....but they are out there.

With the benefit of experience, an actor should begin to develop the skill of identifying what type of director with whom they happen to be working.

In addition, a smart, experienced actor should develop the skills for not only protecting oneself from the bad director, but you should also be able to remain open for when the good direction is presented to you (a broken clock is, after all, right twice a day!); even if it means taking their "bad" direction and translating into something  "good" or "actable" for yourself.

Quite often this disconnect can be a mere conflict in communication, as stated before.

Said another way, some people express themselves differently; their vision and/or concept may be fantastic; they are just unable to express it clearly.

Lastly, there are those directors that can be so incompetent, so "bad," that it challenges the actor to seriously question, "Why am I doing this show?"

That can be a very valid question.

If you are at this point, you must consider it very carefully....very carefully.

A good director learns how to communicate with their actors - each one, individually.

A bad one - well, doesn't.

"So what do I do when I am working with a bad director?"

Good question!...so glad you asked.

The 1st thing you DON'T want to do is presume you have a bad director just because you disagree with him or her! We as actors must ALWAYS be open to the possibility that the issue may lay within us. Perhaps we're uncomfortable with the material? or the circumstance of a particular scene? Maybe it all hits too close to home? 

Who knows?

It is a mistake to leap to the presumption that there is a problem with the director.

How do we know?

Well, here are some questions you can ask yourself:

1) Are rehearsals run in a professional, organized manner?

   i.e. on time, breaks observed and respected, time not wasted

2) Overall attitude seems to be positive

3) Director is open and receptive to questions and/or ideas

  *This does not mean an actor bombards a director with every question or concern that comes to them. Remember, they have a great deal to think about and account for. Babysitting insecure actors is not one of them. But when faced with a legitimate question, are they responsive? or does a glossed look of confusion cross their face? Or is there an impatient exhale of "why is this person bothering me?" let out? Big Difference

4) Are notes clear? helpful? If no, again, is the director responsive to clarification?

5) Does the director watch rehearsal?

  *Sounds like a "duh" point, but I have encountered this

6) Is the director, directing?

 See point 5

The list can go on....but these are some basic starter questions to help you diagnose potential concerns.

I'd say if your answers are in the negative for more than half of the above questions, you then have some serious things to consider.

Leaving a show should always be the LAST OPTION.

Unless one's personal safety is at risk, the professional actor must always seek to find a way to endure. Because if an actor leaves a show, the possibility of ever working with that company (or group of people) will become non-existent.

...so prepare yourself for those consequences if leaving a show becomes your decision.

Personally, I've never done it. I couldn't bring myself to do it...yet. 

I've considered it, twice. Both times I found myself considering the people involved in the production and how my decision would effect their lives. Again, I found myself not wanting to risk severing relationships I had grown to appreciate.

All I'm saying, it's a big decision.

Perhaps there is something to be said for sticking it out and ending up with good battle stories.

As a wise cast-mate once told me, "Good shows open, so do the bad ones. Good shows close, and so do the bad ones."

Technology, part 2

Mind you, technology is not all bad:

Technology brings to the actor added responsibility.
How?

Well, whether it be acquainting oneself with the style of a TV show, or the period in which a play is set - we now have access to so much information.

Hulu, or YouTube provide the actor with a wonderful resource to gain insight into any show's style, plot-points and setting.

Moreover, for that last minute audition, Wikipedia can even give an actor the broad-strokes regarding period, history, or biographical points needed to prepare a solid, thought-out audition.
(yes, I believe Wikipedia can be helpful - notice the use of the term "broad-strokes." Any more detail requires more in-depth research).

It's all out there, at your finger-tips.

I confess, moments before a manager meeting, I used my IMDb app on my iPhone to look up their client list, so I could reference one or two if I needed.

It's endless the resources that are out there...

We as actors no longer have an excuse for being ill-prepared or unaware of the world in which we are working.

Technology and the Actor...

I've had this posting in my edit bay for sometime, but today's New York Times article (Fashion & Style section) provided me the kick in the ass I needed to post...

Keep Your Thumbs Still When I Talk to You - discusses how we, as a society, are becoming quite rude due to technology. It is a sad truth, we tolerate more and more; losing the ability to connect on that most primitive, intimate level. In fact, as I observe in my classes, that kind of connection is not only uncomfortable, but now completely foreign.

There is a cost in the acting world as well...the artistic one, too. Imagine an actor in a general or audition, and in middle of his or her conversation with the CD or director, the actor checks his or her hand-held. Brave choice, I guess...think they got the part? It has happened. And we know it happens the other way - It was not long ago that a tweeting scandal broke out when a prominent New York casting director was found to be tweeting not only during actor auditions, but also was commenting on their performance. Remember the debates? How did you feel?

Don't get me wrong, technology is pretty amazing! We have unprecedented access to information and entertainment. I know my train rides have become less arduous thanks to the numerous podcasts that I listen to, Angry Birds, and YouTube vids on my iPhone. It's all pretty astounding!

But there is a flip-side to that coin, especially for the Actor/Artist. I am falling victim to it myself...
We are slowly becoming less and less engaged with the world around us. We, as actors are at risk of numbing those senses and instincts we have trained and worked so hard to hone. We need to be open vessels - making available all our senses to take in and interpret (later) the world around us.

What scares me as a teacher (at several universities), I see the attention spans of our youth becoming shorter and shorter to almost nothing. Yes, I realize that I must adapt as an educator - I won't dispute that. But when the youth of today can't sit still for more than 20 minutes, or retain a bit of information given to them 15 minutes prior....there's a problem. Technology, in addition to the "Mtv" nation are contributing to these issues. What do I mean by that?
Watch a network television show: count the seconds between cuts.
Now watch any of the great films to come out of the 70's (yes, the 70's were good for something!). Notice the long, static shots - agreed, they might not be as exciting as the latest Michael Bay film. But each of of them is rife with something those films can't sustain for a scene - humanity. I think of The Deer Hunter, Deliverance, All the President's Men, Klute -the humanity depicted in these films is immeasurable. It is impossible to be without it on the stage.

All that aside however, for the actor, the cost for such technology goes much, much deeper. As is the goal of Uta Hagen's, Object Exercises; we, the actor have to maintain and sustain our sense of awareness and observation, both inward AND outward. Art and Acting require us to maintain and sustain consistent levels of concentration and focus that is slowly becoming more and more extinct.
A set of earbuds constantly attached to us provides a great risk to those disciplines.

We as artists, and actors must be in-tune to the world around us - for better or worse. BUT also we cannot  allow ourselves to be enslaved by it either.

Knowing when to say "when"

I recently had to make a tough decision:
I have resigned from a theater company with whom I worked for the past 18 months.

While this was a tremendously difficult choice, it was also a huge learning experience for me.

Why am I writing about this? No, not to gossip, dish, nor gripe. (I still wish the best for them, hope for their success and would welcome an invitation to work again)

No, I am writing because I learned quite a bit about not only what I can tolerate from people with whom I work, but also what I deserve as someone who works as hard as I do (yes, I'm giving myself that one - thank you!)

Without getting too juicy in the graphic details of what went on, and how I was led to my decision, the bottom line was - I didn't fit the mold they were trying to create. I am trying not to think of things in "right and wrong" because little growth comes from such narrow and close-minded thinking.

No, but as a company member, I realized quite quickly that there were fundamental differences, crevasses in philosophy and attitudes that could not be bridged. As a result, regular conflicts were occurring, mounting disappointments and frustrations built up, and friendships were being strained (perhaps beyond repair - that will be known as time passes).

Despite it all, work was getting done. However, being honest, the work was getting done on the backs of 4 core members. One can easily deduce, I was one of them - and it was getting tiring. I had reached my breaking point about a month before I took action.

Why had I stuck around?
2 reasons:

1) I had made a commitment to my friend and playwright, Wes. That wasn't so difficult as his play was a joy to live in.

2) Revelation! I remained involved with this group out of fear.

THIS is the reason for this post. My fear was based on, "Well, at least I'm working. I don't know when something else will come around."
Don't get me wrong, I did believe in the company. But at my core, in the face of my constant struggle within the company, the underlying drive that kept me there was the desire to work.

And there's the rub. In a subtle way, I was undervaluing my talent and abilities. That statement above carries with it the implication that I believed (this does not feel good to realize) that I was not going to have other opportunities to work.
No more.
Which is why I came to the conclusion that I did.

To all those out there who might be considering working with me - know this: in a working environment -
I am ABOUT the work.
I AM about the WORK.
I am ABOUT the work.

get it?

To me it is very simple, but to others, apparently, that attitude (or the perception of that) can be very unnerving.
Why?
Because apparently, the truth can get uncomfortable. That fact, coupled with the attitude (mine) that it is not our job to make people comfortable, can throw off the people who need constant assurance and validation. What do I mean? when I am around people with whom I work who either do not step up and do shit, or don't follow through on what they say they're gonna do...I am not going to tell them, "no problem, it's OK." Because it isn't. I will behave accordingly. Mind you, that does not mean that I am rude or discourteous - No, I always remain cordial... period. But no more. And it was that belief and behavior that caused me to be perceived as "negative."
It came down to very differing philosophies, not "right and wrong."
We tried to make it work. We couldn't.

In that environment, I no longer felt safe to fully express myself, or the freedom to be me as I constantly felt scrutinized. It was time to go.

Ironically enough, a day before I followed through on my decision, I was invited to be in another Theater Company.

Fate?

The Rehearsal Process...

I have observed in my years different actors tackle the rehearsal process in many different ways.

The one rule that we must adhere to is this: In Rehearsal (mind you)

No one cares about your process!


We, as actors, are tools of the theater, yes we are artists as well - but we must be mindful, or at least aware of the bigger picture. Yes, rehearsal is about exploration, trial and error - but there is a balance of which the actor should be mindful.


Here's the thing, while a good director might be aware of an actor's needs and work with them - bottom line - it is not their job to do so...


Furthermore, directors work in different ways. As Robert Brustein explains in his wonderful book, Letters to a Young Actor:

"First, dear Actor, you must recognize the existence of at least three distinct species of directors, each of whom regards you as a different type of prey. There is the interpretive director, whose primary obligation, at least in theory, is to understand the intention of the playwright and realize it through the medium of the actor's performance. Then there is the conceptual director, dedicated to reinterpreting and refreshing existing works, primarily the classics, and so making them more immediate to the present day. And third, there is the auteur director, who is generally concerned with inventing his or her own texts in a production almost totally controlled by one imagination."

If you gleen nothing else from the above passage, note the lack of attention to the actor's process in the description of director styles and goals. 

Process work is for the classroom, that is why it is important for Actors to be in class constantly when they are not working. Work, is work. 

Show up, do the work, take your notes, apply them, go home. 

Starting a Theater Company

They're all over the place, EVERYONE seems to have one, many seem to just disappear.

Upstart Theater Companies

Why?

Well, let's face it. We are in a business that requires us to be seen, and quite often, whether or not that happens depends on someone else. So...why not give yourself that control for a change?! Having your own theater company can certainly provide you a venue in which to showcase you and your colleague's talents.

Now, don't get me wrong - there's a lot I still don't know about this, but as I'm working with several at the moment....I have learned a few things.

1st step - be sure to surround yourself with people whom you admire and respect both personally and professionally. THIS IS A MUST. You are going to be spending a great deal of time with these people...think about it - do you want to spend time with those you DON'T admire or respect? Well, then...there it is.

2nd step - DO STUFF.

What is my type?

This can be one of the most challenging issues an actor has to face. In almost no other profession does a person have to regard, so overtly, how others perceive them. It can be disheartening, and frightening for some. This requires a significant amount of strength and confidence most people “in the real world” I feel, do not possess (watch any reality show – if you feel my opinion is inaccurate).

To not only be completely comfortable in one’s own skin, but also accept whatever that “skin” is; realizing all at once, what it is that dictates your market, as well as possessing the ability to separate oneself and acknowledging that that “skin” does not define you as a person.

Does that make sense?

FOR EXAMPLE: I have come to learn that I have a propensity to playing “Assholes” quite well, and easily for that matter. Moreover, I may also have a vibe that some might call “creepy.” (NOt always - it all is a matter of opinion, but I do know certain CD's, directors, etc see me this way) However, if I am to work, I must not take offense that label, embrace it, and use it to my benefit. After that, I must be confident enough to have awareness of that type, and embrace that they neither describe, nor define me as a person (though there are many that would probably agree with the label of “asshole” but I digress).

Take a real, hard look at what you are usually cast as.

The friend?

The villain?

The boy/girl next door?

Gay?

Creep?

Be Honest.

You also may want to start asking trusted friends/mentors WHO ARE INVOLVED IN THE BUSINESS somehow. People outside this industry don’t quite understand how this works.

One great exercise I participated in was in Los Angeles, at The Actor’s Network. They hosted “Typing” seminars. All you did was sit in front of a group of strangers (usually all actors). Based on how you dressed that day (you would decide how you would present yourself), the group would circle different words that best described you:

Professional

Flirty

Dirty

Sexy

Fun

And the list goes on.

You would then collect all of them at the end of the event, and count how many times certain words were circled…you’d be surprised how many people (who did not know each other) perceived the same thing!

If you can find something like that, I believe that is the best way to find out what your type is.

Now the hard part – embrace it, and proceed accordingly!

The Audition, part III

You gotta let it go.

You've had the audition and you KICKED ASS!

or

You've had the audition and you HUMILIATED YOURSELF! (fact is, you probably didn't, BTW)

either way...when it's over - You GOTTA LET IT GO.

It's out of your hands, and whether you get it or not - bottom line: it usually has NOTHING TO DO WITH YOU.

Does this make sense?

Maintaining emotional, financial and creative health...

An Actor's life can be a challenging one (or any type of artist for that matter). It can be one of the most hardest, thankless, spirit-draining quests a person can hope to pursue. Not to sound negative, but in no other profession does a person deal with more obstacles, rejection, and self-doubt than any other (admittedly, the latter is often a result of the previous two!).

Thankless? yes... depending on your point of view.

If you are able to pursue your art without the need for attention, praise or recognition, then you're half way there. Otherwise, if you are seeking those things with your art-you might be faced with some difficulty. Maintaining your health is paramount: Emotional, Spiritual, Financial as well as Creative health.

Emotional:

Find yourself a support system. No one can do it alone. Whether it be family, or close friends, it is important to surround yourself with a small, trusted selection of people whom you trust to not only be there for you, but also be a source of trusted feedback and advice. There will be times when doubt rears its head. It is during those times that your support system will be the most necessary; to be a sounding board to vent your frustrations, to laud your disappointments, etc. BUT, don't be hard on them when/if they call you on your own bullshit. That's why they're there. That's why you trust them. Embrace the tough love when/if it comes. It's all part of the process.

You might consider joining a class, your some type of club for no other reason than to meet new people; to expand your social circle - or create a new one.

Of course, emotional health is very much connected to your physical health. As I am no certified medical practitioner, nor nutritionist, etc. I'll refrain from giving the health advice. All I'll offer is the one is connected to the other. Make whatever deductions you will from that.

Spiritual:

I'm not talking clutching bibles and quoting scripture, here (unless, that happens to be your thing). What I'm saying is, it is important to have some type of connection to whatever higher power that you believe in , so as to achieve a type of perspective in life. It's easy to lose focus on the things that are truly important, what really matters. A connection to some type of spiritual belief system helps maintain perspective in life, especially when things seemingly are not going your way. There may be something "else" at work.

If nothing else, if you believe in none of these things (and that is OK), one should at the very least, be grateful for what it is they have. Sometimes, the mere focus on what one has, rather than what one doesn't have can be enough.

Financial:

Gotta bring home the bacon! What I work to achieve is pursuing a 2nd career that can be fulfilling at the very least, if not somehow connected to my primary passion. That 2nd career, for me, is teaching. I have been very fortunate to be teaching for the past 5 years now. It brings me much joy and fulfillment. Find that other thing that can help you maintain your financial responsibilities.

Bottom line: you need a job to pay the bills. There's no escaping it. As with your artistic life, why not make it something you enjoy? Look for those jobs that may prick the creative spurs in other ways. Maybe there's something else that you are interested in learning? The are also resources out there to help artists work when things are slow on the creative front.

Check out: The Actor's Work Fund, Playbill.com, ArtSearch, and others. Google them.

Creative:

For the actors specifically-when things are slow - get a group of friends/actors and do a reading. Read plays. Shoot your own shit. My God, with Flip Cameras, iMovie, and all other sorts of digital tools out there, it is increasingly easier to make your own projects. Begin to write! Draw...whatever! I suspect you don't need me to tell you this stuff...it's just nice to get the friendly reminder.

In these tough times, it's easy to think you're the only one going through the self-doubt and pessimism.

All I'm saying is...

You ARE NOT alone.

Be kind to yourself, and take care of yourself by maintaining your health, in all ways.

Finding the Agent

It's the never ending circle:

I need an agent. But I can't get one till I work more. But how can I work without an agent!

It's all timing folks. Timing and persistence.

How do I start? How do I get seen? How do I get someone interested?

Here are options that worked for me in the past:

1.A specific, targeted mailing. Let me repeat - SPECIFIC, TARGETED mailing. Did two words jump out at you? They should have, because they're the important ones. SPECIFIC and TARGETED.

Ok, what does that mean?

Go to Drama Bookshop and look in their career section. There you will find several weekly, and monthly (or Bi-monthly) listings of agencies (and managers - we'll deal with them later). Find one that appeals to you, and grab a highlighter and start reading. What you will be looking for is a compiled list that breaks down what each agency is looking for (i.e. "fresh faces under 25," or "a variety of ethnicities with significant theater experience"). Every agency that is looking for "your type," you highlight, and so on...

What then?

After you have collected no less than 5, and no more than 15 target agencies (you need to keep it to a number you can realistically manage, as this will become a steady project), start your cover letters (we'll get to them, too!). Keep them brief, personal and specific. Who are you? what do you have to offer (your "type" and talents)? and why THAT SPECIFIC AGENCY IS RIGHT FOR YOU! (and vice-versa) Do your research! KNOW something about that agency and mention what drew you to them, etc.

Now here is a personal rule - and do with this information what you like. I ONLY correspond to my industry contacts if I have something to tell them!

i.e. "My show,_______, has been running to rave reviews! Please come."

or

"I have a new film that has just been accepted in _________Film Festival! Check it out."

"Please let me know when you'd like to attend, and I can arrange tickets for you." (notice I didn't use the word "if." ALWAYS presume in the positive! Implies confidence.)

and so on....

Then, whenever you have another event to advertise: send them a postcard with your headshot on it, and the event details on the other side. This may take a while (a few months, a year), but in the end, if it gets you an agent...what do you care? My belief is, you send your mug across their desk enough times advertising the work you're doing, they;ll start to presume at lest two things:

This actor is a hard worker and I won't have to babysit them.

Wow, this actor works A LOT!

Trust me, nothing is more uninteresting, and kind of off-putting than the standard, "I'm looking for an agent" letter. Yea? you and the whole world is looking for an agent!!!!

Why you? Well, come and see me in this, and find out!!

2. Acting Seminars. Same as above - be specific and target those agents who might be looking for your type.

Now, this is a rather new industry that has been gaining in credibility. I admit, during it's genesis, I was skeptical, perhaps even disgusted. Why should I pay an industry professional for something their already paid to do?

Over the years however, this new industry has not only grown, but it has also proved itself credible. More often than not, I have heard of actors who have been called in by both Agents and Casting Directors.

So, why not?

I won't mention specific houses by name, but comment to this post, and I'll answer questions, if you have them, about what companies are out there.

Now here's the thing about this avenue. As I have worked at one of these firms for a period of time, and I encountered this A LOT!

It is imperative that you view these seminars as OPPORTUNITIES, rather than AUDITIONS. What do I mean by this?? These seminars are a way to make contact with industry professional you wouldn't otherwise meet for a long time. Don't be discouraged if they don't call you right in after meeting you. Don't forget, you now have made contact with an agent you wouldn't have met otherwise! You now have what's called a "hot-lead!" Now, when you book your next show, you can send them a postcard to invite them, and they know who you are!!! Remember folks, this journey is a marathon, not a sprint. Also, remember, it's not that you weren't "Mr. or Mrs. Right," you just weren't "Mr. or Mrs. Right NOW!" So, by keeping up with the contacts that you make through these seminars...the persistence will pay off.

And, finally...

3. Your friends! If you have a friend who is represented by an agency you like. Ask them to vet you to them. Or, ask if you may drop their name in a cover letter. It's called "networking," folks. And so many people don't know how to properly do it.

Now here's a little piece of advice. To preserve any friendships you wish to keep, I suggest remembering this little gem:

The deal with ASKING someone (specifically a friend) for anything, or a favor - you HAVE to be OK with the possibility that the answer will be "No." Asking is not demanding, nor should it be. Some people get weird about this. But some actors are very provincial about their careers, or there could be some other reason you couldn't possibly fathom. My point is, if they say "no," it very well may have nothing to do with you. Or, quite possibly, they're trying to help you without you knowing it.

Perhaps, you friend has a bad relationship with his/her agent, and doesn't want to subject you to that mess. Or, perhaps they're new at that agency, and just feels uncomfortable asking just yet, it could be anything. If you encounter a "no" or resistance...move on. Is this worth jeopardizing a friendship? That is a question you must ask yourself.

Of course, the answer could just as easily be, "Of course!!! Bring me your stuff, and I'll drop it off." Then the rest is up to you.

You have options, I have presented 3 solid ones...I'm sure there are others. Be creative, bold and persistent. If you want it bad enough...it'll happen.

Promise.

The Audition, part II

Very often, your booking the job, or not, has occurred before you have spoken your first line.

What?

Walking in the door and taking your space is almost more important than the actual audition itself.

How is your posture? Are you confident? Are you apologizing for being there?

TAKE THE SPACE. It is YOURS for those few minutes. Be unafraid at presenting the best YOU you can be, while still maintaining a sincere, professional connection with others in the room.

Shaking hands: Do you? or not?

My rule: LET THEM dictate.

What do I do? I enter the room with a warm, friendly, sincere, "Hello" and a genuine smile. If they (and this is where our observation skills as actors pay off) move towards you and offer their hand to shake it? TAKE IT.

If not? DON'T

...and move on.

Now here's the thing...if they DO NOT shake your hand...you CANNOT take it personally! Think about this: in these times of OCD, SARS and Swine Flu...some people are just a little uncomfortable with physical contact, OR, maybe they have something they don't want to give to you.

Bottom Line:

Don't make it a big deal if the shake doesn't happen. It's about the work, and NOT the hand shake. Don't let it rattle you. Be confident, show your work, be you.

It's funny, I have overheard actors bitching about how rude an agent, or a CD was because they chose NOT to shake the actors hand.

"I couldn't believe how rude they were! I held out my hand and they said to me, 'I'm sorry I don't shake hands.' - DO YOU BELIEVE THAT!? I didn't know what to do. That ruined my audition. (S)He's a jerk!"

really?

All that?

Cuz of a handshake?

Don't let the little things distract you from why you are really there, and what you are looking to accomplish.

And you may have to ask yourself a hard question: Are you LOOKING for something to blame? In other words, fear of success can rear it's head in strange and unusual ways. By finding some insignificant thing to blame your "botched" audition on releases you of the responsibility of presenting your best work. DON'T DO THAT! Be responsible for the amazing work for which you are capable!

Focus, and let nothing steer you from a successful audition.

The Audition

Yes, the dreaded audition...

If you have an agent-you've gotten the call: this is the show, this is what you're up for, here are your sides.

If you don't have an agent-you've probably found out this information already on your own, and just heard back from from those to whom you submitted. You have the audition.

Now what?

You've prepared (we'll talk about that later), and you head into the room, ready to go! You've worked so hard, you're anxious to show how much of a dedicated actor you are, you WANT the job, and you can taste it. You head on in, just gearing to nail it, and GET THAT JOB!!!

But it doesn't quite go as you planned...it kinda felt like it fell flat...what just happened?

OR...

It went fantastic! they were laughing...you had them in the palm of your hand, you NAILED IT! But...then, why did I get the part?

Here's what I've learned: Don't think about the "getting the job." It's the last thing you should do. Don't count on getting it. I'm not being negative, I'm not saying you CAN'T get it...all Im saying is, release yourself from that specific expectation during your audition. Focus on the work, in the moment! Because the harsh truth is: there are so many other factors at play that influence your getting the job, it's mind-boggling. And here's the most important thing-all those other factors? are TOTALLY OUT of your CONTROL. So why waste your energy on them? right?

By releasing yourself of that specific expectation, you no longer may appear as that dreaded word, "desperate." You can smell it a mile away, and it's the last thing anyone wants to deal with. By releasing yourself of that specific expectation, you also open yourself to present a relaxed, skilled actor that has something unique to offer.

So, again-focus on what you are there to do. Present yourself and your work in the best light possible. If this is the first time meeting a specific agent or casting director - all the more better. This then becomes your "1st impression." You now have established the other important thing is this business - you've started a relationship. Relationships are currency in this industry-we never stop building them.

If you end up NOT getting the job, that does NOT mean you weren't good enough. Conversely, the most talented actor is not the one who got the job. Factors such as height, weight, hair color, ensemble dynamic, etc. are many times more important than talent (unfortunate, but true).

You may have "killed" that audition, but the harsh fact is, you may resemble too closely the lead, OR because the the lead is 6' they can cast anyone taller than that, or shorter...you get the idea.

In other words - you served up a delicious lobster, but they were hungry for a steak! That simple.

So, by releasing yourself of those extraneous expectations, you will open yourself to have a more relaxed, and perhaps even "fun" audition. And, look back through this entry and remind yourself of all the positives that still come out of an audition, whether you have booked it, or not.

Why should you read this...?

Ok, here we go.

WELCOME everyone!

I am starting this blog in the hopes that this may serve as a resource for aspiring and established artists. Perhaps a place where we can learn from our mistakes, and/or victories, in efforts to achieving our creative and personal goals.

I've been working in this business long enough to know a few things. And when I say, "I know what I'm talking about ," I mean "I've witnessed the benefits and consequences of what I speak. I have witnessed and observed actors "kill it" in auditions, and also "shoot themselves in the foot." By that I mean: a killer audition can be often sabotaged by an actors insecurities. i.e. invading personal space, not knowing when to leave a room, apologizing , etc.

How do I know these things? and why?

Well...long story short. I've been around. Plus, my experience OUTSIDE the industry has benefitted me just as much as my experience WITHIN it.

I am a professional actor, coach and teacher, based out of New York City. I recently received my MFA in Acting from Mason Gross School of the Arts at Rutgers University. I am also a graduate of the American Academy of Dramatic Arts, in Los Angeles, and studied at Oxford University in the U.K.

Being only 2 years out of Grad School, I have already been privileged to work with several of New York’s Off-Broadway theaters, including: The Actors Company Theatre, Ensemble Studio Theatre, The Bridge Theatre Company, and at The Neighborhood Playhouse. I have also worked with many prominent Los Angeles area theatres such as, A Noise Within, International City Theater, South Coast Repertory Theater, and The Pasadena Playhouse. I worked in film, national commercials, and t.v. Most recently: The Unusuals, All my Children and Guiding Light. I just completed shooting several Independent Films: Jason’s Big Problem, Forged, and Experiment 7. Look for them in the coming year in a festival near you!

I coach privately, and teach acting, speech, and dialects at the University level (currently at Rider University, and have taught at Rutger's University, at both New Brunswick and Newark campuses). 
 In addition, I've worked at seminar companies, served as readers for prominent casting houses, and just kept my eyes open and watched the "Actor-Condition" at work (not quite the "Human-Condition" as we, actors, can often be a sub-species of our own - come on now...we all know this to be true).

Before I began my pursuits as an actor, I was a registered Lobbyist in Washington, DC. A parallel world of sorts, and the lessons I learned in that environment, also apply to ours. In fact, I remember the distinct sensation of gratitude for my time in our nation's capital shortly after I moved to Los Angeles. I found I possessed a savvy I didn't know I had...I can only attribute it to the experience I had in DC. Or, maybe it's all just common-sense. Who really knows, or cares...

So, here it begins. Each entry will be addressing a specific issue we artists face in our daily lives. I hope these entries can serve as lessons from which we all may learn. Whether it be from my own personal experience, or those observed of others, we all can deepen our craft, work a little harder and better ourselves as we press on undaunted in the quest to achieve our goals. I hope these entries may also serve as a basis of knowledge for which actors may empower themselves to give their very best when working and/or auditioning. Let's start removing all the reasons for not working.

To learn more about me, visit: www.christopherhalladay.com

Here we go!