Aspiring actors studying the Meisner acting technique must develop and learn a unique auditioning technique as well. Learning how to audition will make the most threatening aspect of acting, a life of auditioning and constant rejection, not only manageable but, a worthwhile, necessary part of the process. Consistently turning in your very best, deepest, most thoughtful performances when you audition is part of the craft and developing an auditioning technique that highlights your strengths as an actor is critical.
Any actor that has spent time studying the Meisner acting technique can not only manage the stress of auditions, they can harness and use the emotions and energy of the process itself to become an even better actor. Learning how to audition not only minimizes the impact of consistent rejection, it allows the smart actor to make positive use of every experience to deepen their skills and expand their network of contacts. In the end of course, the ultimate auditioning technique is one that allows you to quickly and consistently churn out deep, thoughtful energetic performances every time.
Forget trying to discover who's who or what their role is. Focus instead of being open, respectful to everyone. More importantly use your Meisner technique to good use and put yourself into their shoes. Remember that there is a whole lot riding on the choices they make. Before you get miffed that they are eating a sandwich or playing with their cell phones as you read, remember that they have probably been there many, many more hours seeing and hearing dozens of actors run the same lines over and over again. They have likely heard many less than stellar performances and as such have low expectations. Allowing yourself to be angry or frustrated will only block out the emotional channels that you will need to have wide open to access the emotional life of the character you are reading for. Better yet, get a quick read on where they are emotionally. Are they bored, discouraged, nervous? Tune into that and use it in the reading and you will draw them in, and bring them to a place where they are interacting with you rather than passively watching another flat performance.
Auditions are a great time to take calculated risks and here's why. The room you are in is filled with writers, producers, casting directors, musical directors, choreographers, ad agency executives, corporate marketing executives...the list goes on. Each and every one of these individuals has a vested interest in making a great choice. Some of them find the process of auditioning tedious but, necessary. Chances are by the time you are ushered in they have spend many, many hours seeing dozens of "okay, but not great" actors, perhaps a few that "would do." You must become more than that. In an instant you must be "the one" who makes them see this as no ordinary job, not "just a commercial" not a preconceived character that they have dreamed up. You must be the one who takes their idea of what they thought they wanted and turns it into a surprising, exciting "something else."
Make certain you can modulate your voice to suit the size of the venue. Many a good role has been lost due to simply not being heard in a large space or being overwhelming in a small one. Lighting, especially in theatre, is important. You will have no control over the lighting, so quickly assessing it and placing yourself properly is important. You will need to be seen to communicate and project appropriately to be heard. Practice different modulations and tempos until they become second nature. That way you will have experience projecting your voice correctly and be able to focus on the reading itself rather than the practical details.
The most resilient actors who have put in year after year of auditioning will tell you that they have simply accepted auditioning as part of the work. Part of their auditioning technique is to see all auditions as an opportunity, albeit a brief one, to act. They treat it as a part, not a chance. In fact, they treat it as the role of a lifetime each and every time.
Any actor that has spent time studying the Meisner acting technique can not only manage the stress of auditions, they can harness and use the emotions and energy of the process itself to become an even better actor. Learning how to audition not only minimizes the impact of consistent rejection, it allows the smart actor to make positive use of every experience to deepen their skills and expand their network of contacts. In the end of course, the ultimate auditioning technique is one that allows you to quickly and consistently churn out deep, thoughtful energetic performances every time.
Forget trying to discover who's who or what their role is. Focus instead of being open, respectful to everyone. More importantly use your Meisner technique to good use and put yourself into their shoes. Remember that there is a whole lot riding on the choices they make. Before you get miffed that they are eating a sandwich or playing with their cell phones as you read, remember that they have probably been there many, many more hours seeing and hearing dozens of actors run the same lines over and over again. They have likely heard many less than stellar performances and as such have low expectations. Allowing yourself to be angry or frustrated will only block out the emotional channels that you will need to have wide open to access the emotional life of the character you are reading for. Better yet, get a quick read on where they are emotionally. Are they bored, discouraged, nervous? Tune into that and use it in the reading and you will draw them in, and bring them to a place where they are interacting with you rather than passively watching another flat performance.
Auditions are a great time to take calculated risks and here's why. The room you are in is filled with writers, producers, casting directors, musical directors, choreographers, ad agency executives, corporate marketing executives...the list goes on. Each and every one of these individuals has a vested interest in making a great choice. Some of them find the process of auditioning tedious but, necessary. Chances are by the time you are ushered in they have spend many, many hours seeing dozens of "okay, but not great" actors, perhaps a few that "would do." You must become more than that. In an instant you must be "the one" who makes them see this as no ordinary job, not "just a commercial" not a preconceived character that they have dreamed up. You must be the one who takes their idea of what they thought they wanted and turns it into a surprising, exciting "something else."
Make certain you can modulate your voice to suit the size of the venue. Many a good role has been lost due to simply not being heard in a large space or being overwhelming in a small one. Lighting, especially in theatre, is important. You will have no control over the lighting, so quickly assessing it and placing yourself properly is important. You will need to be seen to communicate and project appropriately to be heard. Practice different modulations and tempos until they become second nature. That way you will have experience projecting your voice correctly and be able to focus on the reading itself rather than the practical details.
The most resilient actors who have put in year after year of auditioning will tell you that they have simply accepted auditioning as part of the work. Part of their auditioning technique is to see all auditions as an opportunity, albeit a brief one, to act. They treat it as a part, not a chance. In fact, they treat it as the role of a lifetime each and every time.
About the Author:
Stop by the Maggie Flanigan studio where you can learn more about the Meisner technique. Maggie Flanigan was nominated as the Favorite Audition Technique Teacher in New York City.
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