*ACTORS -If someone asks you why you do what you do…

If someone asks why you do what you do, tell them this:

“Actors are some of the most driven, courageous people on the face of
the Earth. They deal with more day-to-day rejection in 1 year than
most people do in a lifetime. Every day, actors face the financial
challenge of living a freelance lifestyle, the disrespect of people
who think they should get “real jobs,” and their own fear that they’ll
never work again. Every day they have to ignore the possibility that
the vision to which they have dedicated their lives is a pipe dream.
With every passing year, many of them watch as the other people their
age achieve the predictable milestones of normal life – the cars, the
family, the house, the nest egg.”

“But they stay true to their dream, in spite of sacrifices. Why?
Because actors are willing to give their entire lives to a moment – to
that line, that laugh, that gesture or that interpretation that will
stir the audience’s soul. Actors are beings who have tasted life’s
nectar in that crystal moment when they poured out their creative
spirit and touched another person’s heart. In that instant, they are
as close to magic, God and perfection as anyone could ever be. And in
their own hearts, they know that to dedicate oneself to that moment is
worth a thousand lifetimes.”

David Acker

Barbara Kite is a professional acting coach and executive speaking coach based in Portland Oregon www.barbarakite.com

*Mesiner’s Repetition Exercise

THE IMPORTANCE OF MEISNER’S REPETITION EXERCISE CANNOT BE OVERSTATED.

Repetition or the Repetition Exercise or Game was developed by Sandy Meisner to train actors to actively listen to each other and pay attention to their stage partners.

Traditionally actors do not need to listen to each other, they’ve rehearsed the scene in the same way throughout the entire rehearsal process, so they know what’s coming next. This means that their skill must be in pretending to respond truthfully to something they’ve heard hundreds of times.    However, sooner or later, your performance will degrade over time. This might be fine on film but on the stage, where you need to remain spontaneous night after night, it becomes problematic.

In Meisner’s view, actors should listen and should not set their performances in stone, - they should be different every night.   If your performance is to be truly spontaneous and immediate (meaning based on what’s happening here and now rather than copying what happened in rehearsal ad naseum), then you must learn to work off what the other actor is doing in this moment.

Repetition helps you to build the skills to deal with this new spontaneous and immediate style of performance. Repetition is simple. Say something truthful about the other person and then that person repeats from their perspective and continue to repeat what you hear until something happens that makes you change.

For example: You’re unsure I’m unsure You’re unsure I’m unsure You’re unsure I’m unsure You’re unsure I’m unsure You’re unsure I’m unsure You’re unsure I’m unsure Etc etc… There’s no need to do anything, there’s no need to change what you say or how you say it unless you see something new occurring. Simply put: if you see the person fidgeting and biting their lip, you may believe they are nervous, then say it and continue to repeat (until one of you sees some new change occuring) You’re unsure I’m unsure You’re unsure I’m unsure (you see them bite their lip’ You’re nervous I’m nervous You’re nervous I’m nervous You’re nerbus (you hear them err) You made a mistake I made a mistake (they go red) You’re embarrassed I’m embarrassed You’re embarrassed I’m embarrassed You’re embarrassed I’m embarrassed

You do NOT need to change anything on purpose but If you see a change in your repetition partner, then say it, don’t deny it. Remember it’s Invent Nothing, Deny Nothing. There are three rules for repetition: 1) Tell the Truth 2) If in doubt Repeat 3) Dont stop playing the game: keep playing if you get it right, get it wrong, completely fuck it up or a herd of gazelles tramples your classmates. Place your focus on your partner and play the game until you’re told to stop.

You must allow yourself to be influenced by the other actor and to inadvertently (at this stage) influence their behaviour (without attempting to do so). This game has no winner, it’s not a competition, when you make a mistake or get stuck for words just attempt to keep going, your worst mistakes are gifts to your fellow repetition practitioner that will keep the game going. Simply say what you see regardless of social politeness. Meisner used to say ‘Fuck Polite’. He doesn’t mean be rude, he simply means that if you are an actor, you must be open to live truthfully under a wide range of imaginary circumstances and scenarios.

For this reason, the actor must be unrestricted by social niceties in order to prepare to do this. It’s not about being mean to each other, it’s about being open enough to say what you see and respond to it. Over time your repetition skills are integrated into your scene work. From herein it’s just practise, practise, practise.

Adapted from Mark Westbrook’s Acting Blog and from personal experience with the Meisner Technique.

Barbara Kite is a professional acting coach and executive speaking coach as well as key note speaker residing in Portland Oregon. www.barbarakite.com

*The basis of all good Acting – EASE

David Mamet’s famous dictum offers us a great way to discover ease in our work. “invent nothing, deny nothing, accept everything”.

Do not push, do not try to hard, do not invent.

 But be open, be vulnerable, be willing to see and seize opportunities that arise, do not deny what happens or what you feel.

Denying will lead to inner stress and outer manifestations of tension.

Go with The Flow.

Lastly accept everything, decide what is within your control and what is not. Focus on those things that you have power to change and influence and you will be happier and more at ease with yourself.

from Mark Westbrook’s Acting Blog http://acting-blog.com/

Barbara Kite is an executive speaking coach and a professioal acting coach in Portland Oregon

*SHAKE it up

How about  a change of perspective? 

My Acting Coach would say you need to get their attention, shock them and change their perspective.

And although this clip doesn’t shock, I found it reminded me that I’m playing it safe and moved me to remember that in America we avoid the big emotions.  What else do we stay away from?

http://www.youtube.com/watch?v=0gQ31m4Yt0s&feature=related

Chavela Vargas – La Llorona (Video Clip)

Just another reminder through art, that I need to daily shake myself out of my every dayness.

Just another reminder that as artist I’m not using all of me and I should be re-examining and challenging myself daily.

Barbara Kite is an executive speaking coach and a professional acting coach, as well as a keynot speaker, based in Portland Oregon. www.barbarakite.com

*CHARACTER & Script Analysis

QUESTIONS TO HELP ANALYZE THE WORLD OF THE PLAY AND YOUR CHARACTER

1. What kind of behavior gets rewarded?

 2. What kind of behavior gets punished?

3. What draws your attention?

4. What makes you respect someone?

5. How do you respond to attempts at seduction?

6. What makes you feel put down?

7. How frightened are you of physical force?

8. What is sexy?

9. What turns you off?

10. What frightens you?

11. How do you react when frightened?

12. Do you have a sense of humor?

13. What is fun for you?

14. Do you like to have fun? To be seen having fun?

15. What do you like in people?

16. What makes you trust people?

17. Do you treat your fiends well?

18. Do you fear eloquence?

19. Do you admire it?

20. What is your span of verbal attention?

21. What kinds of words do you use?

22. What kinds of syntax?

23. What makes someone socially aceptable?

24.What is fashionable?

25. What would you be saying/wearing/doing to be fashionable?

26.What is old fashioned?

 27. What is your apprarent moral code?

28. What is your real moral code?

29. What is rude?

30. What is polite

31. What would constitute a scandal?

NOW THERE ARE OTHER QUESTIONS THAT ARE SINGULARLY OBVIOUS TO THE PLAY YOU ARE REHEARSING. FOCUS ON THEM.

Barbara Kite is a professional acting coach and an executive speaking coach based in Portland Oregon. www.barbarakite.com

*THE BRAVE ARTIST – quote from Michael Chekhov

“The longing for knowledge makes the real artist brave. 

He never adheres to the first image that appears to him, because he knows that this is not necessarily the richest and more correct. 

He sacrifices one image for another more intense and expressive, and he does this repeatedly until new and unknown visions strike him with their revealing spell.”

“Haven’t we noticed that the less talented the person is, the earlier he forms his “convictions” and the longer he tenaciously clings to them?”

Michael Chekhov

from ON THE TECNHINQUE OF ACTING

Barbara Kite is an executive speaking and professional acting coach, actress and director living in Portland Oregon visit www.barbarakite.com for more informatoin.

*MARLON BRANDO screen test Rebel Without a Cause

 

Amazing

the talent

the beats

the focus

the presence

 

Worth studying

 

www.youtube.com/watch?v=j2lRdkNGDcY

 

 

 

Barbara Kite is an executive speaking coach and professional acting coach as well as a professional actress and director.  www.barbarakite.com

*HOW to audition for commercials

How to Audition for Commerials

By feliciakamriani

There are a variety of scenarios that occur at commercial auditions. No two are ever the same. The most important thing is to be yourself and be open to whatever comes your way. Often times the casting directors aren’t sure what they are looking for so never take rejection personally. You may not be right for one role, but perfect for the next!

Things You’ll Need:

• Headshot & Acting Resume

1. Step 1

   Its very important to arrive a few minutes early. You never know when it will be difficult to find parking or if you may have to use the restroom. The last thing you want to do is arrive stressed, frazzled or late! This will also give you the opportunity to see the character breakdowns, review sides (ie, copy or lines) if any or see the storyboards. Casting directors usually explain the scene setup anyway, but do your part to prepare yourself ahead of time be reviewing the material.

2. Step 2

   Your agent will always give you guidelines on what to wear. Nice Casual means different things in different cities, so ask for clarification if you’re not sure. In LA, Nice Casual could be jeans and a shirt or it could be a tee and a skirt. Always err on the side of looking nice rather than too casual. If they want casual, then walking shorts and a tank top would be good. Casual doesn’t mean gym clothes. If they want athletic wear, they will say athletic wear. Business casual means slacks/skirt and a collared shirt- something you’d wear to an office on a casual day. If the director wants to see you in a suit, you will get those specific instructions. Most importantly, if you show up and you clearly were given the wrong wardrobe information because everyone else in the waiting room is in tennis wear and you are in a suit- DON’T WORRY. Its not a big deal! Casting directors know that actors go to several auditions in one day and its more important to show up on time with a good attitude than to fret about what you are wearing. If they like you, they’ll book you regardless of your outfit.

3. Step 3

   I recommend to sign in after reading the sides, using the restroom or viewing the storyboards. This eliminates the possibility of the casting director calling you in right away, before you’ve had ample time to review the materials. Of course, if your audition is at 11 and its 11, you should sign in because it is important to demonstrate punctuality. Casting directors are rare birds-they remember everyone- so if you’re late, they will remember that and will assume that you’ll be late if you book the job. So make a good impression and be on time. If you are going to be late, call your agent and have them give the casting director the heads up. Sometimes its no problem, however it is possible that they may not be auditioning your role after a certain time and if you show up after that, they will already be on to kids roles. This is not necessarily a good thing because when the are reviewing the tape of kids roles and you pop up, they may have already cast the parent role and you weren’t even considered because you were on the wrong tape!

4. Step 4

   Be aware of who is ahead of you on the call sheet so that you are ready and responsive when your name is called. Always have a smile on your face as you walk in the room. It is the first impression that the casting director gets. Never assume the camera operator is just an assistant. Sometimes, he/she is a decision maker. Always greet everyone in the room with eye contact and a smile.

5. Step 5

   Sometimes you will get called in alone, sometimes with 3 or 4 other actors, or sometimes they will pair you up as a couple or family. Regardless, the initial routine once you get inside is the same. They will give you instructions on the scene and ask you to SLATE and give PROFILES. This means, when the camera is on you, you say your name (clearly) pause, and then your turn to your right, hold your profile, then turn back to camera and turn to your left, and hold your profile, then back to center. Sometimes they ask to see your hands, so you hold up your hands next to your face- but not in front of your face- palms backwards and then flip them to palms facing forwards. (A good reminder to be well manicured.) Then, if there are others in the room, everyone will slate and do profiles and they will end with a wide shot of the group- or if you’re alone, a long, full length shot of you.

6. Step 6

   Then you will go directly into the scene. Its important to be yourself and be natural and say the lines or do the actions as you would normally do them. They will give you adjustments. Sometimes they will have you do a run through off camera and give you adjustments before shooting. It depends. If there are other people in the room, try not to copy what they just did, be creative, do something a little differently. Be spontaneous and open. If someone took your idea and went first. Think of something new and fresh. If thinking on your feet is not easy for you or doesn’t come naturally, take an improv class.

7. Step 7

   The storyboard gives a pictorial of the scenes. Sometimes you will do the range of scenes in the storyboard, sometimes you will only do reaction shots. If there is a lot of copy (lines) there will be a sheet in the lobby for you to review (or your agent will send you the sides ahead of time) and then once inside, there will be a white board next to the camera where you will be able to see the lines. Its great if you can have them memorized, but if not, use the white board! That’s why its there. The most important thing is to say the lines naturally and not read them.

8. Step 8

   If there is copy, they will instruct you on whether to give the lines into camera or to the camera operator or to another actor. Obviously listen to the directions and follow them. If they have you do the scene/lines again with new direction, look at it as a good thing. You get more opportunity to be on camera and show your talent. NEVER look at it as they didn’t like what you just did. Often times they want to see how well you take direction and make adjustments. Again if you are open and malleable, then you have more opportunities to show them more sides of you.

9. Step 9

   Sometimes there is no scene or lines and after the slate, they ask everybody in the room a question. Sometimes its the same question and sometimes its different than the previous question. The whole point is to see your personality. It doesn’t matter what you did this past weekend- whether you spent all day rollerblading at the beach or vegging in front of the tv, the important thing is to give an answer that has enthusiasm. Paint a picture that is colorful and vibrant. If you had a dull weekend, describe a something fun you wish you had done, something that makes you smile and shine. Commercials are always happy and upbeat. So don’t complain about your family who came to stay with you or your friend who bailed on plans. When directors play the audition tape, they aren’t necessarily listening to what you say, they are looking at your expressions, your personality, your energy. They want someone who is going to light up the screen. So even if you’re having a bad day, you’ve got to bring it for those few minutes you’re on tape.

10. Step 10

    Sometimes there will be furniture- a table and chairs for example- that will get moved during the scene. They will have to re-set up the furniture after your audition for the next person/people. 99% of the people just say thank you at the end of the audition and walk out. Be that 1% who actually helps reset up the furniture before leaving. You can either offer help or just do it. They always remember the people who help reset.

11. Step 11

    After the audition is over, thank the casting director or camera operator and leave. Don’t stay to chit chat, unless they engage you. Sign out and stay in the waiting room a few minutes. Sometimes, if they are pairing up actors and there is a mismatched number of men and women, they will ask you to stay and partner with someone new. Always take advantage of the opportunity to audition again!! Be spontaneous, new and fresh for the second round.

12. Step 12

    Never beat yourself up after an audition! Always let it go and move on to the next one. If you don’t get a call back or booking, it doesn’t mean you weren’t good so don’t take it personally. They may have been decided to go with someone of a different height, race or build. Always do your best and be proud of your efforts. Everybody flubs lines, if you reaction is upbeat and easy going, you will be remembered. But, if you get frustrated and annoyed with yourself, they will remember that too! Each audition brings new opportunities to learn and grow. The most important thing is to enjoy the process and have fun!

Barbara Kite is an executive speaking coach and professional acting coach as well as a professional actress and director.  www.barbarakite.com

*BALLS to Talent

From Mark Wesbrook’s Blog

Balls to Talent!

I recently read an article all about talent and acting, and I didn’t know whether to laugh, cry or scream and shout.  Acting is based around being human, we all have that capacity, you don’t need to be extremely gifted,  you need the basics and a passionate commitment to it.  From there, it’s about getting enough practice to make you good enough.  The line between awful and awesome is often very wide, but it’s also sometimes very thin.  Because viewing acting is highly subjective.  So, I say BALLs to talent, I’m not interested in it.  Yeah, of course, I’ve got many talented students and have taught many ‘talented’ people.  But what really appealed to me the most about them? What REALLY impressed me? They worked hard, they did what they were asked to do, they went away and did more work than was actually necessary to prepare and then they gave it all 100% without moaning.

So, I say BALLs to talent, talent is not a useful thing, it’s an intangible, useless, invisible thing.  Yes, some people are very good at something, that’s a talent.  But others can learn to do it too.

Talent is just a way of telling other people to get lost.  You’re not TALENTED enough, and frankly, it’s crap.  You don’t need talent.  You need skill.  Skill is far more interesting than talent and skill can be nurtured, developed, matured and trained.  Talent is impossible, you can’t touch it and you can’t train it.

If anything, I agree with Stella Alder who says ‘You’ve got to have a talent for your talent’.  If you like, you need to know how to DO something with what you’ve been given – regardless of what level of ability that is.

Acting is about being human, we can all do that.  Those who believe it takes some higher gift, well, they need it to be thus bestowed.

Graft hard.  Don’t give up and balls to TALENT!

To You, The Best!

Mark Westbrook is a Professional Acting Coach and runs Acting Coach Scotland, a private acting studio offering acting classes in Glasgow, masterclasses, workshops and audition coaching for actors at all levels. His acting studio is based in Glasgow, Scotland, although he teaches all across the United Kingdom. All Blog Posts © Mark Westbrook 2009

Barbara Kite is an executive speaking coach and professional acting coach as well as a professional actress and director.  www.barbarakite.com

*THE primitive dynamic of voice

FROM ABOUT.COM: SHAKESPEARE

Lyn Darnley Photo © RSC / Ellie KurttzSponsored Links Shakespeare Theater Tony Award-Winning Festival in OR. 

Lyn Darnley is Head of Text, Voice and Artist Development at the RSC, and initially worked in the theater as an actor and as a broadcaster and television presenter. In this interview she shares her love of Shakespeare’s language and reveals why Shakespeare’s writing has been so enduring.

Q:   Why is it important to approach Shakespeare from a voice perspective?

Lyn Darnley: There’s a real need for voice and text work because we don’t live in an aural culture anymore. Instead, we live in a visual world where children are educated through the eyes from primary school onwards. In Shakespeare’s time, you would go to “hear” a play, not “see” one – and those listening skills are in decline. And so the actor needs to develop his or her ear because the conventions of entertainment have changed.

Q: How do you go about helping Shakespearian actors rediscover this?

Lyn Darnley: We go into rehearsals and work as part of the creative team supporting the director and actors by allowing them to explore these physical and aural dynamics of language. I think that language is becoming very cerebral and we are now separating ourselves from its primitive dynamic. Today, we tend to ask “what does that word mean?” rather than “what does that word do to us when we speak or hear it?”

The power of the spoken word is something that goes back to the Greeks and Romans in an age before technology. The most powerful thing is the spoken word. So my work is about going back and looking at the real visceral energy of language and what its prime purpose is. And that requires a fair amount of dexterity and physical technique because we’re much less engaged with language now. Speech is less engaged. We don’t speak with the same muscularity, energy or dynamic like people did before there was a visual back up for communication.

Shakespeare uses the power of language – and so, an actor must use his language actively and expressively to drive the play. The thing about Shakespeare’s plays is that they weren’t driven by scenery, they were driven by the language and it’s really important to get back to that idea.

Q: What do actors learn about Shakespeare by approaching the text from this perspective?

Lyn Darnley: They learn that he has incredible insight into human behavior way before the word psychology was invented. Shakespeare has a real understanding of how language bubbles through the subconscious and displays character. So an actor can actually use the language to find the character. They don’t have to do what modern actors do like finding out what the character had for breakfast and so on! In Shakespeare, it’s the language that gives you the motivation.

Actors should start with Shakespeare’s words, use them and make them active. Spoken language is primarily a vibration capable of physically impacting upon us in the same way music does. So, Shakespeare’s language conveys much more than its literal meaning because it’s layered with sound, dynamic, explosion – language is actually very violent. Sometimes actors need to find that violence in the language.

Q: So the sound and rhythm of Shakespeare’s language helps create his characters?

Lyn Darnley: Yes, absolutely. You can physically feel it when consonants collide or when vowels are open, long, short or squeezed. If you look at Ophelia from Hamlet, you can feel those tight vowels in her sound which ultimately translates into performance. We also help actors discover the structure of Shakespeare’s language. If you look at the Julius Caesar’s rhetoric you begin to understand the way the man thinks. The way in which he chooses to persuade others through his rhetoric gives us an insight into the way his mind is working. Shakespeare’s characters are not always bullish in their approach – they often take a more subtle approach. What does that say about them? What does the imagery they use say about them? What does the lexicon they use say about them?

Q: Is iambic pentameter as scary as it seems?

Lyn Darnley: Yes, it’s very scary! And professional actors find it scary too! But here’s the thing: the English language is naturally full of rhythm, full of stressed and unstressed sounds. Iambic pentameter is simply an unstressed sound followed by a stressed one repeated five times. It’s very close to the natural rhythm of the English language, so it works very well. Ten beats coincides nicely with the length of a thought. But Shakespeare becomes really exciting when you break that iambic pentameter rhythm. The energy in performance comes from when you go against the iambic. You don’t need to study iambic pentameter – you just need to feel it, which will come naturally from speaking and listening to the text.

Q: What advice would you give to newcomers to Shakespeare?

Lyn Darnley: I would say don’t expect to get everything the first time you see a Shakespeare play because the format is different. For example, the word order is very different, but you get used to this very quickly. The more you subject yourself to the language, the more you will understand. Perhaps start by reading some of the sonnets or some of the inspiring speeches from the plays – like “Now entertain conjecture of a time,” from Henry V when Shakespeare takes us to the portside in Southampton and the chorus speaks about the ship sailing off. But I think that the most important thing is to speak Shakespeare, not read it. This is because you need to get it into your body. The words need to affect you though the sound and through the muscular activity in the mouth. The words can’t do that on the page!

Barbara Kite is an executive speaking coach and professional acting coach as well as a professional actress and director.  www.barbarakite.com