Audition by michael shurtleff1/2/2023 ![]() 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!Ībsolutely everything an actor needs to know to get the part is here: What to do that moment before, how to use humour create mystery how to develop a distinct style and how to evaluate the place, the relationships and the competition. The complete book on how to audition for the theatre. Kurt Naebig gives an exciting seminar, once each session, to introduce our new students to the language and philosophy of Shurtleff’s Guideposts, our core methodology at Acting Studio Chicago.About the Book What Stanislavsky was to acting, Michael Shurtleff is to auditioning. Have a secret – keep it a secret, but let it add drive and intensity to your scene. Wonder about your partner and your situation. For example, a teacher’s role with students in college classroom setting is different than later if they meet later at a cocktail party. Game Playing and Role Playing is a way dealing with reality, not escaping it. It ‘s not insincere-it’s very true to life and reality. Guidepost 11: Game Playing & Role Playing For example, deal with the trees or flowers in the park. ![]() What’s your emotional connection to this place? There may be a possibility of third area focus. Where are you? What’s around you? Are you indoors outdoors, on your own turf, your partner’s or neutral. Otherwise, nothing will happen–the scene will be dead. See if your partner is aware of what’s happening between you. Guidepost 9: Find the EventsĮvents equal changes, especially in the relationship. Add “I” – if you don’t nobody will listen to you. ![]() It has to be important or the scene falls flat. Today is the day I fight, where formerly I fled. ![]() This is not everyday life, but a day of crisis. Celebrate your wins and mourn your losses. If you are alert and aware you will discover wins and losses in your communication and competition. You must send and receive both Emotionally and Physically. What are you sending and what is your partner receiving. Action comes right on the tail of discovery something which you may have suspected is suddenly confirmed. You must make discoveries or your scene will die. If you miss the events, nothing will happen. You must make discoveries or you’ll miss the events. Listen and be affected.Talk and effect change. Be attentive, alert, sensitive, aware of what’s happening in the scene. What is your partner saying or not saying. What’s new? Discovery is the moment to moment action. An opposite is an action that interferes with you getting what you are fighting for. Whatever is true in the scene, the opposite is also true. In life, a fundamental truth about ourselves is that at some level we want something and at another level, we don’t want it. It connects you with your partner, for example, to tease, to put at ease, to share a laugh with, to deflect pain. It’s a way of coping with the absurdities or sorrows of living. Remember, you are also carrying into the scene the personalized history you have made up for yourself, which are facts or inferences you’ve made from the script. Physicalizing the first action is recommended. Your Dream, plus your Fighting For focused into a first action seeking conflict. Some examples of actions: to berate, to infuriate, to surprise, to tease etc, etc. The best actions are physical because they are undeniable. An Action is described as an undeniable communication that affects or changes your partner to get what you want. What is my dream and can I do to my partner so that this person can make my dream come true today? Your Fighting For is done in a variety of ways, which are called Actions. What is the problem with my partner and what can I do/ give to my partner to solve my problem in order to get my dream today?” Guidepost 2: Conflict Important to Remember: “This is a play about me in love relationship. The “I’m Okay, You’re Screwed Up” Approach. What’s your history with this person? Ask the question: “If you loved me you would…” What do I love about this person? What do I hate about this person? The problem in the relationship is always with other person. Who is the other person in the scene in relation to me? Mother, daughter, son, lover, husband, etc. The 12 Guideposts Guidepost 1: Relationshipįind the love in the scene for example, the presence of love, the absence of love, betrayal of love etc. Using the guideposts leads to a specificity of choice mastering this method leads to dynamic work ON CAMERA, ON STAGE & ON MIC. As a strong, practical approach to personalizing scripts, creating importance in a scene, and making clear, unique choices, The Guideposts are the heart of what we teach in our classes. At Acting Studio Chicago we teach the 12 Guideposts, based on Michael Shurtleff’s book, Audition.
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