RESPIRO E MOVIMENTO®

DISCOVER YOUR REAL POTENTIAL

ACTORS

How to Bring a Scene to Life and Captivate Your Audience

By · Follow us: Facebook · Twitter · Instagram · YouTube

The-Wolf-of-Wall-Street

It’s up to you to BRING THE SCENE TO LIFE for it to be believable.

How do you do that?

You need to believe it yourself.

Research.

Read and re-read your script until you know every single detail and then research the hell out of your character. Find out what makes them tick, why they react in certain ways, what their beliefs are and what experiences have led up to this point.

Imagine.

If it’s not given to you by the script, imagine the rest. The more detailed you can make it, the better. Make strong choices.

Relax.

When you are relaxed, your creativity will open up and you’ll be more able to act on instinct.

Visualize.

Step into your character’s body and see the world through their eyes. As you prepare for your scene, visualize what is happening immediately beforehand- this will help you find the right energy, pace and feel of your scene.

Focus.

Focus on what is going on in your imaginary world, on the other characters and on what you (as your character) NEEDS.

Do not focus on whether or not your audience are enjoying it, and whether the director is happy with your performance or not.

Then…

Get lost in the world you have created in your imagination.

 

(via)

Why Surprise Is The Secret of Theatrical Success

By · Follow us: Facebook · Twitter · Instagram · YouTube

Startlingly brilliant … Jesus Christ Superstar at Regent’s Park Open Air Theatre, in London. Photograph: Jane Hobson/Rex Shutterstock
Startlingly brilliant … Jesus Christ Superstar at Regent’s Park Open Air Theatre, in London. Photograph: Jane             Hobson/Rex Shutterstock

Surprise often comes with the shock of the new, partly because too much expectation about a show dulls the senses. I’m thinking of seeing the unknown Gregory Burke’s electrifying Gagarin Way, or stumbling across 1927’s Between the Devil and the Deep Blue Sea at Edinburgh in 2007, or watching Jonathan Harvey’s Beautiful Thing at London’s Bush theatre in 1993. There’s an exhilaration in being part of an audience that has seen something really special, something that most of the world still doesn’t know about. After seeing Black Watch in 2006, I recall how the audience could hardly contain their excitement as they left the Traverse in Edinburgh. Complete strangers were beaming at each other.

(via)

Jeff Bridges on Creating a Character

By · Follow us: Facebook · Twitter · Instagram · YouTube

jeff-bridges-hell-or-high-water

Bridges has made a career out of playing cowboy-like characters despite his Los Angeles roots. He gives credit to his father, actor Lloyd Bridges, for getting him interested in westerns. He explains:

Well, the first thing that pops into my mind when it comes to playing cowboys is my father, Lloyd Bridges. When I was a little kid I loved to dress up like a cowboy—put on the boots, hat, and walk around. He was in a lot of westerns and my Dad loved to ride. We’ve had a ranch for almost 40 years now in Montana, so I’m around a lot of western guys. And also another thing is my stand-in, Loyd Catlett, we’ve done close to 70 movies together and we met onThe Last Picture Show back in 1970. Since we’ve been working together, we’ve become friends all these years, and he’s from Texas and was hired not only as an actor on that film but also to teach us California kids what it’s like to be a kid from Texas. I owe a lot to him when I do my western characters, especially.

But for me, as I guy who loves to go to movies, I find a movie like ours orStarred Up, that was made for a couple hundred thousand bucks, or Once, which was made for nothing, as far as being entertained, those surpassed many superhero movies that I’ve seen. So I think the fact that we do have these big, multimillion dollar films—there’s a backlash to it, and you also have very inexpensive movies that are pushing the envelope in a different direction. I just saw a movie called Tangerine, a whole movie shot on iPhones. The state of Hollywood is in an interesting place.

(via)

“Scam” Paid Auditions vs. Legitimate Acting Classes

By · Follow us: Facebook · Twitter · Instagram · YouTube

Differences Between Paid Classes With Industry vs. Paid Auditions

Classes / Workshops:

A class for actors is one that is either held over an extended period of time (several weeks or several months) or in an evening. Beneficial acting-career skills are taught to the actor, and during that learning process constructive feedback is given to the actor by the instructor and/or invited entertainment executive(s). Entertainment executives may include: casting directors, talent agents and managers, directors, or actors with well-established careers.

Paid Auditions:

Actors pay a fee to be seen by an entertainment executive or panel via a monologue, or a hurriedly put-together scene. No feedback to the actors is offered. The session for each actor lasts several minutes. The session for the executive(s) is a duration of several hours as the actors are presented like cattle at an auction. These studios often herald in their advertising, or via email blasts, that the studio is responsible for every career advancement made by each actor who shuffled through their system no matter how long ago the actor was herded through the studio’s chute. Often the studio has no association with, or influence on, the actor’s toil in procuring the booking(s). Some of these studios now advertise “exclusive rights” to a casting director or talent agent as attending only that studio’s sessions. “Tisn’t morals, ’tis money that saves…”

Are Paid Auditions Valuable?

A good number of actors have formed professional relationships with agents and/or casting directors from these scenarios. More actors though have found the one-night stand paid auditions to be a frustration. The feeling disenfranchised actors are the most vocal in opposition to what is perceived as a paid audition.