Ryan's Acting Tips

Here are a few tips on acting from a student of mine at Family Theatre Warehouse. Ryan is seventeen and is currently in rehearsal on his third musical with us. He has also spent quite a bit of time in the tech booth this last year with three technical director credits! I encourage you to share your experience with us too. Send your article to Markrmorris2@sbcglobal.net for consideration.

Three things I have learned about acting by: Ryan Pennington

I believe that acting reflects life and the way people feel about their emotions in every day life. Standing on stage and expressing feelings that can deeply impact and audience, that is what acting is to me. If you want to become an actor, or are just curious, here are some things I have learned that may help you.

1. Let everything come naturally. When on stage , or delivering dialogue, see in your mind how the character would react to the situation. If the character is frustrated, take your hand and run it down your face and throw in a stressful sigh. What I do sometimes is watch movies and picture myself as that character, then reenact that scene later in the middle of my living room. This may help improve your acting skills.

2. ALWAYS listen to your director (no I swear I {Mark} did not pay him to write this), If he or she gives specific instructions on what they want to see, do not ignore what they have said.

3. For some people stage fright is an issue, but what I have learned is that it is something to get over. I want to give an exercise you can do at home. Pick the biggest room in your house. Stand and imagine that the whole room is filled. This way it might make you feel more comfortable when it is time for you to perform.

That’s all I have for now, I hope whoever is reading this will feel more confidant than before.

All the world is a stage and all the men and women are merely players-William Shakespeare

God Bless
Ryan Pennington
Performing as Albert Peterson in Bye Bye Birdie

Things to avoid in professional auditions!

Things Not To Do At An Audition

by ActorPoint.com

Until you've been auditioning for a while, it's usually difficult to find your own way and style of conducting yourself at the audition. We all have made mistakes and kick ourselves later when we realize how unprofessional or inappropriate it might have been. Hey, that's the only way we learn what not to do again! I've outlined 3 basic things not to do at an audition. These may seem obvious but I've held and sat in on many auditions and you'd be surprised how many actors continue to do them.
Never walk up to the casting director and initiate a hand-shake. If they already have your headshot and resume simply walk in the room, say hello, and find your mark (the place where you'll be delivering your monologue or side from). If you need to hand the CD your headshot and resume when you enter the room, do so but only extend your hand if he initiates it. Some CDs see a few hundred actors in a day and don't feel the need to shake each actor's hand. It's nothing personal, it's just the way it is.
Never deliver your monologue directly into the casting director's eye (or any other person's eye behind the table, for that matter). Pick a spot slightly above or to either side of the CD and focus your attention to that point, as if it's the character you are talking to. Nothing is more awkward than an actor "making" the CD the character in their monologue. It's just like going to see a play. The CD should feel like an outside audience member who is watching an actor who isn't breaking the fourth wall. He also needs to be able to write notes, review your resume, or discuss things with his associates while you're auditioning. If you make him the other character, how difficult will it be to stay focused when he suddenly sips on a cup of coffee?! You get the point.
Never end your monologue by saying "scene." It's a typical actor stereo-type, but a stereo-type nonetheless. When you reach the end of your monologue, hold the last moment for a few short beats then break character and look at the casting director to indicate you're finished. Sometimes actors will take "dramatic pauses" in the middle of their monologue and continue on. Once you're finished, wait for the CD to speak first. He may ask you to make an adjustment and do a portion again, ask what play the monologue is from, ask a question about your availability or simply say "thanks." In any case, you've done your job, reply with a cordial "thanks for your time," "good luck with the project," or "take care" and leave with a big smile on your face because you did the best you can.
When you leave the audition room, focus on what went well and what didn't go so well. Learn from the parts that didn't go so well but don't beat yourself up over these. And finally, leave the audition behind. Don't wait by the phone for the next month. Go back to the drawing board, get your headshots and resumes out there and prepare for your next audition.

Find more great articles here: http://www.actorpoint.com/features/

Great warm ups = great acting!

Picture this: an Olympic gymnast walks out to the bench to warm up. She bends halfway at the waste and grunts, There, finished! How happy would the coach of a world class athlete be with a warm up like that? Not very! Yet as actors we give our warm up that kind of halfhearted, this is a waist of my time, kind of attitude.

A good warmup can make a mediocre performance good and a good performance great! How? Check this out for a complete response to that. For this article suffice it to say, it just can! Here are some warmups I use with my students all the time.

Begin with a little stretching, anything you like you learned this in PE back in grade school, just limber up a little.

Now, find a spot on the floor and lay flat on your back. Starting at the tips of your toes relax your body focusing on each individual joint as you move up to the ankles, the calf muscles,the knees, the thighs. Think of being able to sweep away all of the tension, all of the stress and allow each muscle group to completely relax, no flexing no motion.

Work up the body all the way to the shoulders then sweep your way down each arm, up the neck, up and over the scalp ending with the facial muscles, especially the jaw and the throat where the voice is produced.

Once you have accomplished the relaxation of the body move internal to the mind. While staying physically relaxed, I want you to imagine yourself standing in the center of a large room. Surrounding you are all of the things you could be thinking instead of focusing on your performance, arguments with parents, dog needs to be fed, new shoes, math test, Christmas, whatever! Let each of these things call out to you! Now imagine you have a box with a timed lock on it. Open that box and let it pull all of your distractions in, close the box and set the timer for after your rehearsal or performance.

Now its time to focus. Imagine a power cord coming from your belly button, plug it in to an imaginary plug in and....Just try it! This is nothing like the face exercise, trust me! (this is the point at which all bu the most serious of my students usually protest but I promise there is a payoff if you give it an honest shot) Plug it in and allow your brain to reboot. Imagine you have cleared the decks and you are now focusing all of your mental energies on this one project, playing your part.

Okay now create for yourself an imaginary neon sign with the title of your show, class, or performance piece in bright letters. Plug yourself into it and imagine it lighting up as you focus all of your creative talent into this one project just for little while. (I am not suggesting anything religious here, I make it clear to my students that the one thing that should never be considered a distraction is your conscience, never give up your ability to make moral choices for any reason)

Some of you may think that some of those "distractions" are a darn sight more important than acting, maybe they are, bu the subconscious is a very powerful thing and it will continue working on any problems you might have. In fact you may find that after coming back to these things after taking a break from them they will present their own solutions.

Once you have finished the routine above sit up and stand slowly to your feet, time to energize! Lets start with the voice. Starting deep make a siren sound rising in pitch all the way to the top of your range and back down, repeat! Now move on to the facial exercise found here. Now try these diction and projection exercises.

say this aloud

Articulatory agility

is a marvelous ability,

Manipulating with dexterity

The tongue

The teeth

and The lips

Repeat this several times standing with your feet shoulder width apart, hands at your sides, breathe deep. You should focus on pronouncing each syllable as clearly as possible, exaggerate a little.

Now try this one and as you get it down try saying it while marching in a circle with arms swinging

What a to do to die today

At a minute or two 'til two

A thing distinctly hard to say

Yet harder still to do

For they'll beat a tattoo

At twenty 'til two

Rat-a-tat-tat-a-tat

Tat-a-tattoo

And the dragon will come

When he hears the drum

At a minute or two 'til two today

At a minute or two 'til two

Here's one more

Around the rugged rock

The ragged rascal ran

Use these in good health, I have no claim to them I pass them on to you as they were taught to me and and my teachers learned them from theirs etc.

The important thing is to establish a warmup routine and get into it. A good warmup will include: 1 relaxation 2 focusing 3 energizing. Try it on for size I think you'll be amazed at how good it looks on you!

Why you need a warmup routine

Static! Gotta love it! Nothing better than listening to that radio station that won't quite tune in. Or having your digital cable pixellate into meaningless squares right at the climax of your favorite movie,yeah, good times!

We as actors frequently give static to our audiences. What do I mean by that? When you drop out of character, that's static. When your facial expression doesn't match up with what you are trying to say, that's static! When you enter the stage to play the one scene you are in and you stand like a bump on a log until it's time to deliver your three lines and then become overly animated, that's static!

Static is any and everything that actor's do to interfere with what they should be communicating to their audience. It's when the stress of your life shows through your acting. It's when you are obviously thinking about what you will do after the show instead of being in the moment, and just like you love to listen to static on the radio audiences just love it when you check out in the middle of a performance! Not!

Getting and keeping an audiences attention is a skill that is essential in any acting career. Getting their attention is not hard at all, just give them something interesting to look at or listen to, make them laugh or cry or scratch their heads. Keeping their attention is just a matter of getting their attention continually. But the hardest thing to do in live performance is to win an audience back once they check out!

Once you lose an audience's attention due to static it is very hard to win them back! So, you ask, what does this have to do with warmups? Everything! As human beings we are constantly communicating. Your brain processes enough information to fill eight sets of encyclopedias every sixty seconds, in your sleep! That's right! So as an actor your job is to purposely communicate only what you want them to see, hear or understand! How?

Well, figuring out how to communicate the right thing is easy! The trick comes in where eliminating all of the other things (the argument you just had backstage, the birthday coming up next week, your math test on Tuesday) from showing up in the way you move, talk, sing, and dance onstage! Audiences see this stuff! That's where a good warmup routine comes in.

By taking your mind away from the outside world for a time and focusing in on the world of your character you eliminate your excess communication. This can't happen as you make your first entrance, it must take place before that, and it has to be on purpose. Just like an athlete getting ready for the big game, you need to learn a good warmup routine!

Check out this article for a series of great warmup exercises I have been using with my students for years. Use what works for you! Remember, tune in! Eliminate that static!

The Main Thing

What is the one thing that sets the truly great actor apart from everyone else? Is it talent? Is it skill? Classes, experience and good looks might top the list but as a director the one thing I wish for all of my students is the same. It is the one thing that will make all of these other elements work together to move you forward in your talent and it begins with this simple exercise.

With a partner sit facing each other in chairs or on the floor. Now I want you to imagine a box the size of a matchbox at the end of your nose, got it? Now squeeze your face into that box, just push your face down into the tightest ball you can, now hold it for a count of five. Next imagine yourself riding on the back of a motorcycle at two hundred miles per hour, the wind stretching your face. Pull it back, open your mouth and eyes, stretch your face out to the fullest extent possible, really open it up. Now squish it back down, now open it, back down repeat!

Continue to do this, take turns watching your partner and then doing the exercise while they watch. Continue until you feel ready to read the next paragraph.

Congratulations! You have just experienced the most valuable of all acting lessons, never be afraid to make a fool of yourself! (also this is a great facial exercise to add to your warmup routine)

Now that you are over the humiliation lets talk. Why do I say this is the first and most important thing any actor needs to learn? First: acting is a public expression of private emotion and thought processes. Carrying the fear of what an audience will think of your performance onto the stage with you is nothing short of disastrous.

Second: Being able to commit to a character to the point that you will do whatever it takes to accurately portray that character is the secret to great acting. Everything else can be learned, but it is this uninhibited abandoned commitment to your performance that will allow you to rise above the competition! This is something YOU must choose. It can not be taught, most of us are not born with it, you must choose it!

So the next time you feel that surge of adrenaline and are tempted to succumb to "stage fright" just remind yourself of this little exercise, take a deep breath and go for it! Commit to making the most of your performance and be surprised by how far that determination will take you!

hunting for the perfect monologue

Searching for the perfect monologue can be like hunting Bigfoot or the Loch Ness monster. You keep hearing rumors that they exist but every time you think you’ve found it, you hear the actor ahead of you deliver it better than you ever could.

While the perfect monologue may not it exist, it is certain that many good ones do. Your chore as an actor is to try on as many as it takes to find several that fit. If you are new to acting you may want to try your local library or bookstore for a book of prepared monologues to get you started. Or a web site such as: http://www.mvhsdrama.com/contemporarymonos.htm

When working with prepared monologues I recommend finding those that are cut from one act or full length plays. If you are a seasoned veteran try cutting your own from the script of one of your favorite plays or musicals. Many novels and other prose can also be a good source.

Be sure to prepare at least one comedic and one dramatic monologue as part of your repertoire. In preparing your monologue for performance make sure to find out if there are time constraints. In an audition setting directors frequently ask for a certain length of monologue. Be prepared to make adjustments.

You may find it helpful to retype the text of your monologue into a screenwriting template or program which will lay it out in standard format which equals approximately one minute per page. Here is an excellent resource for a free opensource screenwriting and preproduction tool I use all the time
http://www.mvhsdrama.com/contemporarymonos.htm

Once you have selected a variety of pieces try them out on an audience. Even family and friends, while the may not tell you if you’re bad, will be able to honestly say which piece they like most. (or, hate least as the case may be) Narrow it down to two and commit them to memory. Don’t just familiarize yourself with it. Memorize it so you could do it waking from a dead sleep.

Okay now you are ready to block your monologue. Remember less is more in this endeavor. Keep your movement confined to a reasonably small area. You never know when you may be asked to audition in a makeup trailer! Once you have your monologues memorized and blocked you are ready to go.

Don’t forget, as you learn new tricks and techniques brush up your blocking and acting choices in your monologues. Keep them fresh. Don’t waste all that time and money on classes and neglect to update your best calling card to show what you can do.

Audition skills you can build on!

Auditions today! Those two words have been striking fear into the hearts of would be actors everywhere. As a twelve year veteran director and actor with over fifty directing credits I am here to tell you that it need not be that way.If you follow a few simple rules auditioning can become just another part of the acting experience.
First, always think of the audition as a performance, after all its all acting. Your time in the spotlight begins the minute you walk in the door resume in hand with a smile on your face.
Second, remember that those directors are just people doing a job, not gods. They genuinely want to find people that entertain them and that they will enjoy working with. And don't cheat the little people, you never know when that script supervisor may turn out to be second director, or the directors significant other,etc.
Third there are very few essential elements in a quality acting performance, get them right and you'll go far. Be seen: This entails using appropriate facial communication, body language and gestures. You would do well to take a class or two in improv, or ballet, learn grace of movement even if you are a skater, "Dude", you still have to look good, Think these things through. Be heard: actors who neglect the culturing of their voice very rarely have decades long careers in any medium. Develop pitch, rhythm, pace, diction. In short all the things your junior high choir director harped on. Be understood: whether it is a memorized monologue or a cold reading make sure you find out what this character wants and communicate it clearly. Keep it simple, and remember you have lots of choices in interpretation, for example two actors both known for playing hostile characters brilliantly with two very different approaches: Jack Nicholson "I'm Back!", and Clint Eastwood "Do you feel lucky?" Remember that last guy's good choice is not necessarily the best.
Last but not least: practice! Audition every chance you get, especially for stuff that seems too simple or that you are completely wrong for. By putting yourself into an audition for a part you have no stake in you give yourself a chance to analyze your own audition skills. Besides, who knows what will happen? The only sure fire cure I know for "stage fright" (which is not your friend no matter who tells you it is) is practice!

here are some audition listings from online, (we are in no way endorsing these opportunities or vouching for the legitamcy of the people or productions represented) http://www.auditions.net/ http://www.auditions.com/
here's a sight with audition tips for dancers

How not to cry on cue!

How to cry on cue.
The title alone is enough to strike fear into the heart of many amateur actors and even more directors. the concept of real tears onstage is a controversial one to say the least. As a director I have often been faced with a baffled actor attempting to produce copious amounts of saline at the drop of a hat. My question is always why? Most scenes call for true emotion to be portrayed carefully which rarely includes breaking down in gales of tears.
Instead of all the mechanical tricks of the trade, the dry eyes, the hemorrhoid cream on the tissue, and the old vaudeville classic the cut onion, may I suggest another tack?
Play against the emotion. That's right, try with all your might to maintain your composure. Make a valiant effort to avoid breaking down in front of that nefarious character who is the source of your tears, or play it strong in the face of tragedy for your young children, be brave!
You see, in real life there are precious few opportunities to let it all hang out, and believe me no one wants to see you really lose it on stage, it makes us uncomfortable, which may be edgy, but it ain't good acting.In real life most situations that bring us to tears generally make us wish that we could hold them back, ergo play against the emotion.
You may find that if emotion is properly paced and the rise of the emotion is well directed to the necessary level, that real tears may be unnecessary, even uncalled for.
Film of course is the exception, but there is always glycerin or saline. Remember that acting is 90% mental and 10% physical. Give me an actor who handles emotion carefully and thoughtfully over gallons of fluid any day.