http://www.actinginthecity.com/ ACTING is the work of an actor or Actress , a person in theatre, film, or any other storytelling medium who tells the story by portraying a character and, usually, speaking or singing the written text or play. From the Latin word agĕre meaning "to do", this is precisely what acting is. In acting, an actor suppresses or augments aspects of their personality in order to reveal the actions and motivations of the character for particular moments in time. The actor is said to be "assuming the role" of another, usually for the benefit of an audience, but also because it can bring one a sense of artistic satisfaction. Actors are generally expected to possess a number of skills, including good vocal projection, clarity of speech, physical expressiveness, a good sense of perspective, emotional availability, a well developed imagination, the ability to analyze and understand dramatic text, and the ability to emulate or generate emotional and physical conditions. Well-rounded actors are often also skilled in singing, dancing, emotional expressiveness, imitating dialects and accents, improvisation, observation and emulation, mime, stage combat, and performing classical texts such as Shakespeare. Many actors train at length in special programs or colleges to develop these skills, which have a wide range of different artistic philosophies and processes. Modern pioneers in the area of acting have included Mani Madhava Chakyar, Konstantin Stanislavski, Jerzy Grotowski, Lee Strasberg, Uta Hagen, Stella Adler, Michael Chekhov, Viola Spolin, Sanford Meisner, Bertolt Brecht, and Maria Ouspenskaya.

]]> Models are frequently used for training art students, but are also employed by accomplished artists. The most common types of art created using models are figure drawing, figure painting, sculpture and photography. Although commercial motives dominate over the esthetics in advertising, its artwork commonly employs models.
Throughout the history of Western Art, drawing the human figure from living models was considered the most useful tool in developing the skill of draftsmanship. In the art school classroom setting, the purpose is to learn how to draw humans of all different shapes, ages and ethnicities, so there are no real limitations on who the model can be. In some cases, the model may pose with various props, (an)other model(s), animal(s) etc., against real or artificial background, in natural or artificial light and so on.]]>
Usually after a successful audition, the actor would be asked to come again for a callback.
An audition is a sample performance by an actor, singer, musician, dancer or other performing artist. It is used in the casting process to demonstrate the level and range of a performers talent, and functions as a job interview for the performing arts. A typical audition involves the performer displaying their talent through a previously-memorized and rehearsed solo piece: for example, a monologue for actors or a song for a singer. Some auditions involve cold reading, or performing a script that the actor is not familiar with. This is similar to many dance auditions, in which the focus is on learning new choreography, rather than showcasing prepared work.

For smaller roles in a large production, mass auditions are held at which many inexperienced or aspiring performers, most without agents or manager show up. These are popularly known as cattle calls, since the hopefuls are often kept together in one large room like a herd. American Idol is doing auditions by using this technique, since there are so many auditions.]]>
These should be obvious, but it is surprising how many actors make a bad impression with something as simple as inappropriate behavior. It can knock you out before you step into the ring. Remember: Casting directors already have the job — you do not. So you need to prove yourself to them, not the other way around.

Other suggestions we heard from CDs: Avoid unnecessary chit-chat. Do not linger in the room for too long after you read. Stay away from using most props. And avoid making physical contact with the casting director during your audition.

A feeling of desperation is another sure way not to get a callback. Never view an audition as nerve-wracking nightmare, or make it look that way. Consider each audition an opportunity: A chance to perform for an audience — albeit a small one. Or walk into the audition saying, "No matter what happens, I will do the best I can today." Remember: The casting director is not here to judge you harshly; he or she simply wants to find the perfect person for the role. That could be you.

Actors sometimes seek out coaching for auditions, but primarily for large film/TV roles, or for admittance to an MFA program. Many believe it is worth the expense — if only for the boost in self-confidence. In last-minute emergencies, actors even resort to phone coaching, although that is not an ideal situation.

However, with or without coaching, one trap to avoid is too much preparation. Read the sides carefully but do not freeze your approach — you may be asked to change it. Longtime coach and acting teacher Craig Wallace says he never sends actors out 100 percent set for the audition. "If you are over prepared, you have no flexibility," he says. "And you do not know what 50 percent of the process is until you walk into the room.

"You can not have the piece controlling you. You have to leave room for the circumstances of where you are going to be."]]>
These should be obvious, but it is surprising how many actors make a bad impression with something as simple as inappropriate behavior. It can knock you out before you step into the ring. Remember: Casting directors already have the job — you do not. So you need to prove yourself to them, not the other way around.

Other suggestions we heard from CDs: Avoid unnecessary chit-chat. Do not linger in the room for too long after you read. Stay away from using most props. And avoid making physical contact with the casting director during your audition.

A feeling of desperation is another sure way not to get a callback. Never view an audition as nerve-wracking nightmare, or make it look that way. Consider each audition an opportunity: A chance to perform for an audience — albeit a small one. Or walk into the audition saying, "No matter what happens, I will do the best I can today." Remember: The casting director is not here to judge you harshly; he or she simply wants to find the perfect person for the role. That could be you.

Actors sometimes seek out coaching for auditions, but primarily for large film/TV roles, or for admittance to an MFA program. Many believe it is worth the expense — if only for the boost in self-confidence. In last-minute emergencies, actors even resort to phone coaching, although that is not an ideal situation.

However, with or without coaching, one trap to avoid is too much preparation. Read the sides carefully but do not freeze your approach — you may be asked to change it. Longtime coach and acting teacher Craig Wallace says he never sends actors out 100 percent set for the audition. "If you are over prepared, you have no flexibility," he says. "And you do not know what 50 percent of the process is until you walk into the room.

"You can not have the piece controlling you. You have to leave room for the circumstances of where you are going to be."]]> 2) Make sure not to eat at least two hours before your call time.
3) Try not to talk with anyone in the audition room. Kindly ask them not to disturb your preparation. No, it is not rude, it is necessary.
4) When you come into the audition, it is strongly recommended to arrive as the character. Remember that this is why you are here for. Your own persona can come out only after the casting director thanked you for coming.
5) If you require to bring your own monologue, always choose something that feels familiar to you. Do not take inaccuracy risks when you auditioning. Leave the risks in your acting class.
6) Choose a strong piece that do not exceed 5 minutes. A good efficient length would be 2-3 minutes.
7) Remember that there was some action before the character begun to speak. Think what happen before your character speaks its first line. It will help you get into the character faster and most likely eliminate some disturbing butterflies.
8) Don not rush your lines. Even if you feel you lost it. You are not a mind reader, and therefore do not know what the casting director is looking for.
9) Many times the casting director would tell you to say your name to the camera. Sometimes this is the only thing you have to do in your audition. Do not take this thing lightly. It is the way you present yourself, even with one line that can get you the audition.
10) BELIEVE.]]>
Method acting is thought of as an American form of acting, but it was a Russian theatre director named Konstantin Stanislavski who wrote books on the subject in the 1930s. Around the same time, one of Stanislavski’s students, Richard Boleslawsky, opened an acting school in New York. Boleslawsky began teaching Stanislavski’s basic principles of acting.

In the 1940s and 50s, method acting was popularized and taught at the legendary Actors Studio in New York City by famed acting teacher Lee Strasberg. Another school in New York, called the Actors Group, also taught the method under the coaching of Stella Adler. Acting students came from far and wide to learn this new technique.

Popularity of the Method grew with the work of actors such as Marlon Brando and James Dean. Their style of acting, or non-acting, was considered a breakthrough in the acting world. Compared to old style actors such as Clark Gable, theirs was an acting of previously unseen raw emotion and sensitivity. Other famous actors who have studied the Method are Al Pacino, Paul Newman and Robert DeNiro.

Method acting is thought to one of the most difficult techniques to learn. There are no technical forms or lessons that can be practiced to learn it. There are numerous versions of the Method, taught by different teachers. Most of the techniques are based on the sense or emotional memory process. The actors have to fully immerse themselves in the character in order to sense all of the experiences the character would.

Stella Adler, who taught method acting to both Marlon Brando and Robert DeNiro, studied method acting with Stanislavski. Her teaching methods involved using memories or an incident from the actor’s own life to enhance his or her acting. By doing this, actors can use real emotions in portraying their characters.

Although method acting is thought to be the most realistic of techniques it can sometimes present a minor irritation to other actors. Dustin Hoffman once went without bathing and sleeping for two days in order to immerse himself in a role. On seeing Hoffman’s condition, Laurence Olivier his co-star in the film, famously asked him, "Why don’t you just act?"]]>