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Dedication | |
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Acknowledgments | |
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Introduction | |
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Auditioning and the Craft of Acting | |
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Acting Is a Craft | |
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An Audition is Not a Performance | |
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Choose Obtainable Goals | |
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Auditioning and Performing Are Two Different Things | |
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Audition Philosophy | |
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Truth in Numbers | |
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Free Yourself by Removing Expectations | |
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Offer Your Gift | |
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Chances of Booking the Job | |
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A Casting Director's Process | |
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The Decision-Makers | |
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The Human Element | |
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The Role is Up for Grabs | |
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First Audition | |
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Type A: The Audition and Meeting | |
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Showing Potential is the Key | |
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Theatrical Preparation versus Audition Preparation | |
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An Audition is Not Workshop Time | |
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Memorization | |
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Type B | |
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The Callback | |
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Type 1 | |
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Type 2 | |
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Don't Change Your Choices | |
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How to Make Progress from Potential | |
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Your Callback Audition for a New Role | |
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The Perception of You Changes | |
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Callback Memorization | |
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The Screen Test | |
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The Business Side | |
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The Screen Test Day | |
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From Auditioning to Performing | |
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Screen Test Memorization | |
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On the Clock | |
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General Audition Information and Advice | |
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Make Specific Choices and Fill in All the Blanks | |
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Asking Questions | |
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Sit or Stand; It's Your Choice | |
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No Blocking | |
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No Props | |
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No Miming | |
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The Audition Technique | |
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Beats and Beat Changes | |
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Beat Changes Are in the Script | |
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Write on Your Sides | |
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Don't Overthink the Beat Changes | |
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Major Beat Change | |
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Determining the Major Beat Change | |
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Indicating the Major Beat Change | |
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Significance of the Major Beat Change | |
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Subject Word | |
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Example Subject Words | |
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Write the Subject Words Down | |
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A Reference Point | |
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Feeling Word | |
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Determining the Feeling Words | |
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Justify Your Choices | |
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Variations to Your Choices | |
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No Indecisive Feelings | |
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Summary (So Far) | |
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Notes to the Test Are on Your Sides | |
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Major Objective | |
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Major Objective and Major Beat Change Are Connected | |
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Take Action | |
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The Major Objective is about What You Want for You | |
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Major Objective Creates a Natural Level of Subtext | |
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Keep It Simple | |
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Remind Yourself of the Major Objective before You Begin | |
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Don't Forget to Be an Actor | |
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Dictate the Pace | |
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Pick up Your Cues | |
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Don't Blame the Reader | |
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Think and Feel on the Lines | |
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Don't Anticipate | |
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Use the Beat Changes | |
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Avoid Subtext | |
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Negative Use of Subtext | |
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Literal Sincere-Feeling Lines | |
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The Right Approach, the Right Attitude | |
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Three Minutes of Joy | |
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Be Confident | |
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Beginnings and Endings | |
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Opening Line | |
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Tag Line | |
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High Stakes and Urgency | |
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The Audition Scene Is Important | |
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Spontaneity and Listening | |
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Voice and Speech | |
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Natural and Conversational Tone | |
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Spatial Relationship | |
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Don't Project | |
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No Word Is More Important than Any Other Word | |
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Charm, Personality, and Passion | |
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Don't Fake It | |
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Passion | |
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The Acting Part | |
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Don't Forget to Breathe! | |
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How to Remind Yourself | |
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Use Your Feeling Word | |
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The On-Camera Audition | |
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Do I Look at the Camera? | |
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You Have to Pop off the Screen | |
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Slating | |
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What to Wear | |
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The Cold Reading Audition | |
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How to Break It Down | |
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Under-5 and Background Work in Daytime Television | |
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Take the Work and Get the Experience | |
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You Never Know What Can Happen | |
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Under-5 Work | |
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You Are Protecting a Career You Do Not Have Yet | |
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The Under-5 Audition | |
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Technique | |
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I Wouldn't Do That If I Were You | |
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Do's | |
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Don'ts | |
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Get In and Get Out | |
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Don't Forget Your Props and Stuff | |
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Building a Relationship with the Casting Director | |
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The Follow-Up and Staying in Touch | |
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How to Begin That Relationship | |
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No Tricks, Please | |
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The Business of Acting and a Career | |
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Learn the Craft | |
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Talent Is a Guarantee of Nothing | |
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The Business | |
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Getting an Agent or a Manager | |
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Go to School | |
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Write to the Assistant | |
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Get a Friend to Help You | |
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Headshots and Resumes | |
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Look Like Your Picture | |
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One Shot Only, Please | |
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Daytime Actor Interviews | |
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Aubrey Dollar | |
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Jordi Vilasuso | |
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Daniel Cosgrove | |
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Agent and Manager Interviews | |
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Michael Bruno | |
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Jill McGrath | |
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Rhonda Price | |
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Casting Director Interviews | |
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Daytime Casting Director Interviews: Mary Clay Boland, Marnie Saitta | |
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Primetime Casting Director Interview: Andra Reeve-Rabb | |
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The Workbook | |
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Make the Workbook | |
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Write Down the Questions | |
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Track Your Progress | |
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Sample Workbook Submission | |
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Final Advice | |
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Your Obligation and Commitment | |
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Entitled to Make a Living | |
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The Television Audition Technique | |
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Look Yourself in the Mirror | |
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The Core Truth | |
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My Casting Director Perspective | |
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Good Luck | |
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About the Author | |
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Index | |