Summary of Michael Shurtleff's GUIDEPOSTS. "Auditions: Everything an Actor Needs to Know to get the Part”. 1. Relationships - how to create them on stage. 2. Audition: Everything an Actor Needs to Know to Get the Part. The casting director for Chicago, Pippin, Becket, Gypsy, The Graduate, the Sound of Music and Jesus Christ Superstar tells you how you can find your dream role! In fact, Audition is a necessary guide to dealing with all. THE TWELVE GUIDEPOSTS: TIPS FOR COLD READING AT CALLBACKS. From Audition by Michael Shurtleff. When you are called back for a second audition.

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From the book Audition by Michael Shurtleff. 1. Relationships a. What is my relationship to other characters in the scene? b. Where is the love? c. Love comes in. The casting director for Chicago, Pippin, Becket, Gypsy, The Graduate, the Sound of Music and Jesus Christ Superstar tells you how you can find your dream. Audition [Michael Shurtleff] on *FREE* shipping on qualifying offers . When Streisand, Redford, Vereen, Tomlin, Midler, and Hoffman got their first.

Mother, daughter, son, lover, husband, etc. What do I hate about this person?

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The problem in the relationship is always with other person. Your Fighting For is done in a variety of ways, which are called Actions. An Action is described as an undeniable communication that affects or changes your partner to get what you want. The best actions are physical because they are undeniable.

Some examples of actions: to berate, to infuriate, to surprise, to tease etc, etc. Name the action, then play the action. A strong beginning. Physicalizing the first action is recommended. Do it whenever you can. It connects you with your partner, for example, to tease, to put at ease, to share a laugh with, to deflect pain. An appreciation about the irony of life.

Whatever is true in the scene, the opposite is also true. An opposite is an action that interferes with you getting what you are fighting for. The 3 most obvious opposites—1.

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Action- Screw you, I hate you. Non-Action- I give up. You give up your dream for the moment. Discovery is the moment to moment action.

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What is your partner saying or not saying. The process of searching for the love and defining emotional relationships in every scene helps to relate the character and relationship to real life. I like this idea because it gives reason for every scene. Like Shurtleff said, we all have the choice to leave. There must be a reason for staying and carrying out the scene, and love sounds like the best answer for enduring even the unpleasant exchanges between people.

Conflict Just as in life, there is a purpose and a drive behind every action. Because conflict is round and complex, opposite emotions coexist.

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Also, it is much stronger and effective to fight for something positive than something negative. In an audition the conflict has to be personal and emotions have to start off at its maximum capacity.

The Moment Before Every scene begins in the middle of something. In the middle of an event, exchange, conflict, etc. The moment before the scene begins is not written nor is it provided by another source.

It has to be pulled from a personal experience. Working on the opposite emotion from what is required in the scene can be helpful. I think the moment before is just as important as what goes on in the scene. Therefore, I strongly believe the richer the personal experiences of the person, the better their acting will be. Life is the library from which actors can pull the necessary senses and elements to bring a character to life.

Humor Shurtleff firmly believes humor needs to be in every scene.

He says humor is what keeps us humans from giving up on life all together. Whether he is right or wrong, the use of humor in any scene can add texture and surprise. This guidepost was the most revolutionary of the twelve. It broadened my definition humor and I agree that the actors who have the extra something must be displaying humor in every scene.

However, it may be one of the hardest elements to point out and exemplify, or even write about.

Audition: Everything an Actor Needs to Know to Get the Part

Opposites Opposites are important to achieve in scenes because they are true in life. Shurtleff points out that when extreme opposites are portrayed in a scene, it widens the range and allows the emotions in between to come out naturally.

When putting the use of opposites into practice, it is especially evident that prejudices only limit actors. When actors presume certain behavior and emotions with specific characters it is hard to experiment with different and conflicting emotions.

Discoveries Discoveries come from exploring the subtext. Discovery needs to be in every scene, every time it is performed. Just like in life, people discover things in the middle of talking to someone, doing something, looking at something, etc.

Sometimes the events are so hidden they are almost imperceptible. Changes come in many forms and the more changes you create, the more alive the scene is. For every change you make, there will be several minor changes along the way. Fine actors register these changes which keeps them interesting to us. What changes are made? Guidepost Place Place has to be created by the actor in an audition scenario.

Doing so will help you in creating reality in your reading. Figure out where you are before you come on stage. Place all the objects that would be in the room and figure out where all the other people in the scene would be standing. These are ways of dealing with reality. People play different roles in different situations. It will help the actor to ask himself in each scene what the game they are playing is and what role do you assume to best play that game.


Your answer will depend on the circumstances: What people want from you, what you want from them, what you are offering, and what they are expecting. What are the stakes of this game? You may be willing to play one role if it is asked of you but if the circumstances change you may cast aside one role to assume another.

Knowing the game and the roles will help provoke conflict and drama.She also fight choreographed Steep Theatre's upcoming Pomona. Get passed the stigma that comes with the concept of competition and realize that we as humans compete in everything we do.

What we want to see at an audition is the real you reacting to a remarkable situation in a remarkable and unique way. Be alert to what is happening. I ask an actor. I suppose in the overwhelming nervousness of the audition situation it is hard for an actor to absorb the information given to him, but I suggest that one good way out of the generalized nervousness is for him to listen to what is being said.

Do it whenever you can.

He says humor is what keeps us humans from giving up on life all together. So it's clear, right off the bat, that from any rational point of view, to become an actor is an act of insanity. The life of an actor is a bit easier to take if you admit you're bonkers.

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