Audition: Everything an Actor Needs to Know to Get the Part by Michael Shurtleff, Bob Fosse

By Michael Shurtleff, Bob Fosse

The casting director for Chicago, Pippin, Becket, Gypsy, The Graduate, the Sound of Music and Jesus Christ Superstar tells you the way you will discover your dream! completely every thing an actor must understand to get the half is the following: What to do this second ahead of, tips on how to use humour; create secret; the right way to increase a special variety; and the way to judge where, the relationships and the contest. actually, Audition is an important advisor to facing the entire "auditions" we are facing in lifestyles. this is often the bible at the subject.

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Additional info for Audition: Everything an Actor Needs to Know to Get the Part

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It's a waste of time. It's called a reading, so do a reading. Don't waste your valuable time memorizing a script, when that time can much more valuably be spent in exploring the guideposts. Except in rare instances, no one expects you to have learned the script. On the contrary, for you to appear onstage without your script might cause the auditors to judge your audition in terms of performance rather than reading: you're not ready for that. No matter how easily you memorize, the chances are great that you'll forget a line, or that your concentration will be spent remembering lines instead of dealing with the really important considerations of a reading.

It gives him a chance to try on the role, to show his stuff, to practice his craft, to give himself a high, to experiment and take a risk, to meet a challenge the way a mountain climber views a new mountain. The guideposts that follow may help you to do that. 2 The Twelve Guideposts Guidepost 1. Relationship Creating relationship is the heart of acting. It is basic. It is essential. Start with the question: What is my relationship to this other character in the scene I am about to do? Facts are never enough, although they will help you begin.

Because you can keep up a mail campaign indefinitely, getting more and more imaginative as you do. Enough in-person visits or phone calls and they get to loathe the sight of your face and the sound of your voice. I sent David Merrick a letter a week for seven months before he called me in to see him. I never complained in any of those letters; I wrote about his work and my interest in it and reactions to it. Finally he saw me. I got the job I wanted that way. Because it's a more considerate way to woo the auditors.

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