Art of Auditioning Techniques for Television

ISBN-10: 1581153538

ISBN-13: 9781581153538

Edition: 2004

Authors: Rob Decina

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Book details

List price: $19.95
Copyright year: 2004
Publisher: Skyhorse Publishing Company, Incorporated
Publication date: 6/1/2004
Binding: Paperback
Pages: 224
Size: 5.75" wide x 8.75" long x 0.75" tall
Weight: 0.792
Language: English

Rob Decina is the Emmy-nominated casting director for the daytime drama Guiding Light. His other casting credits include the independent film, A Tale of Two Pizzas, and casting searches in New York for Dawson's Creek, The Scorpion King, and National Lampoon's Van Wilder. Before Guiding Light, he was the associate casting director at Warner Bros. Television in New York, where he was involved in the casting for The West Wing, Third Watch, and more than forty other primetime television pilots.

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