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Bad Auditions by Bad Actors: A Hilarious (and Instructive) Look Behind the Curtain
Have you ever witnessed an audition so spectacularly bad it left you speechless? We have. Countless times. While we champion the power of perseverance and the magic of transformation in the acting world, there's a certain morbid fascination with watching – or perhaps, enduring – truly awful auditions. This blog post dives headfirst into the cringe-worthy world of bad auditions delivered by bad actors, exploring the common pitfalls, the comedic mishaps, and, surprisingly, the valuable lessons to be learned from these spectacular failures. We’ll dissect the key elements that contribute to a disastrous audition, offering insights for both aspiring actors and casting directors alike.
The Anatomy of a Bad Audition: What Goes Wrong?
The cringeworthy moments in bad auditions often stem from a confluence of factors. Let's break down some of the most frequent culprits:
1. Lack of Preparation: The "Winging It" Disaster
This is the cardinal sin of auditioning. Walking into an audition without having thoroughly prepared the material – whether it's a monologue, a scene, or even a simple introduction – is a recipe for disaster. Unsure lines, mumbled delivery, and a general lack of engagement all point to insufficient preparation. Bad actors often confuse "winging it" with natural talent; in reality, it's a surefire way to bomb.
2. Ignoring the Sides: A Case of Misinterpretation
Casting directors provide sides (specific scenes or monologues) for a reason. Ignoring the nuances of the character, the context, or the overall tone of the provided material shows a lack of respect for the process and the casting director’s time. A bad actor might completely misinterpret the character's intentions, delivering a performance that's jarring and incongruous.
3. Poor Character Choices: The "Type-Casting" Trap (and Missing the Mark)
Choosing an inappropriate character for your skill set is a common mistake. Bad actors might attempt to embody roles far beyond their abilities, showcasing a lack of self-awareness. They might misunderstand the character's motivations, resulting in a performance that's unconvincing, forced, or simply bizarre.
4. Technical Flaws: Voice, Body, and the Unforgivable Monotone
Vocal issues, such as poor projection, mumbled lines, or an overly dramatic (or conversely, monotone) delivery, are immediate red flags. Similarly, physical issues like distracting mannerisms, awkward movements, or a lack of connection with the scene partner all contribute to a bad audition. These technical flaws often overshadow any potential talent.
5. The "Me, Myself, and I" Syndrome: Lack of Connection & Presence
A truly bad audition often lacks any sense of connection with the material, the scene partner, or even the casting director. The actor seems entirely self-absorbed, focusing solely on their own performance rather than engaging with the story. This lack of presence leaves the audience feeling disconnected and unimpressed.
Learning from the Mistakes: Turning Bad Auditions into Valuable Lessons
While observing bad auditions can be entertaining, they also offer a wealth of knowledge for aspiring actors. Learning what not to do is often just as important as learning what to do. By studying these mistakes, actors can identify their own weaknesses and work towards improving their technique, preparation, and overall audition approach.
Analyzing the Fails: What to Avoid
Take the time to dissect what went wrong in these bad auditions. Pay attention to the specific choices made by the actor that contributed to the negative outcome. This critical analysis can provide valuable insight into your own performance habits.
Seeking Constructive Feedback: The Path to Improvement
Don't shy away from constructive criticism. If you're fortunate enough to receive feedback from a casting director or acting coach, use it to refine your skills and address any shortcomings in your technique.
Practice Makes (Almost) Perfect: The Power of Preparation
The most important lesson to take away from bad auditions is the importance of preparation. The more you practice, the more confident and comfortable you'll become in front of the camera or in the audition room.
Conclusion: Beyond the Cringe
While the cringe factor of bad auditions is undeniably high, there's significant value in analyzing these performances. By understanding the common mistakes and learning from the failures of others (and ourselves), we can cultivate more polished, engaging, and ultimately, successful auditions. The path to becoming a successful actor isn’t paved with effortless brilliance, but rather a commitment to continuous learning and improvement, even amidst the occasional spectacularly bad audition.
FAQs:
1. Are all bad auditions due to lack of talent? Not necessarily. Many factors contribute to a bad audition, including nerves, poor preparation, and misinterpretations of the material. Talent is only one piece of the puzzle.
2. How can I avoid looking unprofessional in an audition? Thorough preparation, punctuality, professional attire, and respectful interactions with the casting team are crucial for projecting professionalism.
3. What if I forget my lines during an audition? Take a deep breath, pause, and try to recover gracefully. Don't panic; casting directors understand that nerves can affect memory.
4. Is it okay to ask for feedback after a bad audition? Absolutely! Politely asking for feedback can provide valuable insight into areas for improvement.
5. Can bad auditions actually help my career? Indirectly, yes. Learning from mistakes, analyzing failures, and refining your technique based on constructive criticism will make you a stronger and more resilient actor in the long run.
| bad auditions by bad actors: Bad Auditions by Bad Actors (full-Length) Ian McWethy, 2014-04-02 Newbie director Carol has one day to find the leads for a community theater production of Romeo and Juliet. But what seems like a simple task proves impossible when the pool of auditioners includes extreme method actors, performers who just don't know how to channel their rage, and one woman who may or may not think she's a cat. This hilarious comedy will bring you to the last place you'd ever want to be...behind the doors of a casting session. (A one-act version of this play is also available.) |
| bad auditions by bad actors: Bad Auditions Julia Duffy, 2018 |
| bad auditions by bad actors: When Bad Things Happen to Good Actors Ian McWethy, Jason Pizzarello, 2016-01-01 A simple one-act production of The Wizard of Oz gets derailed by missed cues, forgotten lines, and a renegade sound board op who refuses to play anything but dinosaur noises. A comedy that proves, when it comes to live theatre, everything that can go wrong, will go wrong, and it will be hilarious. Comedy One-act. 25-30 minutes 10-30 actors, gender flexible |
| bad auditions by bad actors: The Real Life Actor Jeff Seymour, 2014-05-02 There is a sense that permeates most acting classes which promotes the idea that acting is hard and you need to do a bunch of traditional steps if you're ever going to get anywhere. The flame of this concept is kept lit for two reasons. One is tradition. Successful actors and teachers in our theatrical history supposedly believed in or espoused such ideas and two; it is easier for teachers and actors to follow a path that is well worn. Actors feel intimidated to challenge the ideas and teachings of past masters. But isn't that exactly how every field of endeavor evolves? Think of where we'd be in science or medicine or sports if no one questioned past methods or tried to discover new ones. This book will show you an approach that is direct and to the point, an approach that will be far easier to remember and utilize. We'll use real life. We call it acting only because people are watching. If you're an actor, this book will restore your sanity. Steven Pressfield, Author: The War of Art, Turning Pro, The Legend of Bagger Vance |
| bad auditions by bad actors: The Power of the Actor Ivana Chubbuck, 2005-08-18 In The Power of the Actor, a Los Angeles Times bestseller, premier acting teacher and coach Ivana Chubbuck reveals her cutting-edge technique, which has launched some of the most successful acting careers in Hollywood. The first book from the instructor who has taught Charlize Theron, Brad Pitt, Elisabeth Shue, Djimon Hounsou, and Halle Berry, The Power of the Actor guides you to dynamic and effective results. For many of today’s major talents, the Chubbuck Technique is the leading edge of acting for the twenty-first century. Ivana Chubbuck has developed a curriculum that takes the theories of the acting masters, such as Stanislavski, Meisner, and Hagen, to the next step by utilizing inner pain and emotions, not as an end in itself, but rather as a way to drive and win a goal. In addition to the powerful twelve-step process, the book takes well-known scripts, both classic and contemporary, and demonstrates how to precisely apply Chubbuck’s script-analysis process. The Power of the Actor is filled with fascinating and inspiring behind-the-scenes accounts of how noted actors have mastered their craft and have accomplished success in such a difficult and competitive field. |
| bad auditions by bad actors: Auditioning Joanna Merlin, 2001-05-08 Theater veteran and acting teacher Joanna Merlin has written the definitive guide to auditioning for stage and screen, bringing to it a valuable dual perspective. She has spent her career on both sides of the auditioning process, both as an award-winning casting director who has worked with Harold Prince, Bernard Bertolucci, and James Ivory, and as an accomplished actor herself. In this highly informative and accessible book, Merlin provides everything the actor needs to achieve self-confidence and artistic honesty–from the most basic practical tips to an in-depth framework for preparing a part. Filled with advice from the most esteemed people in the business, such as James Lapine, Nora Ephron, and Stephen Sondheim, and charged with tremendous wisdom and compassion, this indispensable resource will arm the reader to face an actor's greatest challenge: getting the part. |
| bad auditions by bad actors: Audition Psych 101 Michael Kostroff, 2019-05-15 Based on the popular workshop of the same name, Audition Psych 101 takes a detailed, unvarnished look at the mental gremlins that can make auditioning stressful. With frankness, humor, and a pro-actor sensibility, professional working actor Michael Kostroff (The Wire, The Deuce, Luke Cage, The Blacklist, Law & Order: SVU, etc.) explodes commonly accepted mythologies and offers a fresh, more logical, and more effective approach to the whole process. Speaking directly to other professional actors, Kostroff pulls each step into slow motion, shining a light into the dark corners in search of those little snags that can screw us up. It has completely changed the way I view auditions. — Chad Manuel, Chicago Want to learn why we constantly get in our own way before we even set foot in the room? Michael has made a detailed, brilliant study of the most common traps, and how to avoid them. — Peter Van Norden, Los Angeles Michael’s expertise, sense of humor, and just old-fashioned good sense does the impossible: It actually makes the actor comfortable with the audition process. — J. R. Orlando, San Jose I’m a psychotherapist who specializes in working with creative artists. Among many other issues, we always talk about their audition anxiety. In Audition Psych 101, Michael Kostroff has validated everything I believe about the audition process. Let him save you a lot of disappointment and frustration. — Lee D. Kassan, psychotherapist/psychoanalyst It brought the joy and fun back into the audition process, which ultimately has allowed for more callbacks and many more bookings. — Mick Guire, New York City I can’t wait for my next audition. (Holy mackerel, did I just write that?) — Deborah Linehan, New York City |
| bad auditions by bad actors: Confessions of a Casting Director Jen Rudin, 2013-12-17 A must-have for any aspiring actor or stage parent––the definitive guide to breaking into film, television, theater, and even YouTube from a top casting director Packed with information that aspiring actors clamor for, this up-to-the-minute advice from a true expert is essential reading for anyone pursuing an acting career. Longtime casting director Jen Rudin demystifies the intimidating and constantly changing audition process, sharing insider tips on how to prepare for every type of audition, from musical theater, television (including reality TV), and film to voice-overs, animated movies, and even Web series. In this comprehensive guide, Rudin covers everything that today's actor needs to succeed on subjects like: finding an agent or manager, using technology to your advantage, understanding the world of child acting, living in New York versus L.A., turning a callback into an offer for the role, and many more. Every actor should walk into an audition room feeling confident and prepared, and this book is full of the dos and don'ts and surefire tricks to help turn rejection into that first big break. Complete with checklists, easy-to-follow game plans, and advice from successful actors, agents, and industry professionals, Confessions of a Casting Director is like having a private audition coach in your back pocket. |
| bad auditions by bad actors: 15 Minutes of YouTube Fame Ian McWethy, The one where a kid falls on his butt and becomes a viral video a la Charlie Bit My Finger. A biting satire that explores the bizarre world of being a celebrity in the Internet age. Comedy One-act. 25-30 minutes 10-30 actors, gender flexible |
| bad auditions by bad actors: Breaking It Down Nicole Hodges Persley, Monica White Ndounou, 2021-07-15 Everyone involved in the performing arts, from professors to casting directors to actors to students, especially those just starting out, should read this eye-opening work. Library Journal, Starred Review A practical guide that shows BIPOC actors how to break down the audition process rather than being broken down by the entertainment industry and its practices of exclusion and bias. Working in an environment that often stereotypes or attempts to “universalize” experiences, it’s more important than ever that actors consider how culture, race, ethnicity, gender, sexuality, and ability are inseparable and important parts of their identity that should not be minimized and can instead enhance their work. In Breaking It Down: Audition Techniques for Actors of the Global Majority, Nicole Hodges Persley and Monica White Ndounoushare real-world audition strategies that centers the experiences of actors of color. They combine practical advice, cultural studies, Black feminist perspectives, and lived experiences to offer intersectional approaches to auditioning. The ten steps outlined in this book aid actors across racial lines seeking to develop the necessary skills to break down a character and script while affirming their full selves into the audition to book the role. Building on the momentum of the #BlackLivesMatter, #MeToo, and Time’s Up movements, Breaking It Down emboldens actors of the global majority to embrace every aspect of their identities rather than leaving themselves behind in an effort to gain entry and access to the entertainment industry |
| bad auditions by bad actors: The Good, the Bad, and Me Eli Wallach, 2005 The author recounts his early years in Brooklyn, struggles to become an actor, work with such stars as Marlon Brando and Marilyn Monroe, and role as one of the earliest members of the famed Actors Studio. |
| bad auditions by bad actors: Audition Room (English) Manoj Ramola, 2015-11-21 Audition Room is a book about casting process and auditioning techniques from point of view of an Indian casting director. This book does not teach acting skills, but it will help you prepare for a good audition and how to get noticed in the Indian Film Industry. It will provide you in-depth perspective about casting in Films, Television Serials and Advertisements in Bollywood. With the initiative 'Audition Room', Author, Manoj Ramola has certainly opened a new path for the actors, who strive to enter the film industry but lack proper guidance. The book will surely work towards reducing the existing communication gap between an actor and a casting director, which will add to the value of both the professions. |
| bad auditions by bad actors: The Complete Idiot's Guide to Acting John Malone, Paul Baldwin, 2001-06-01 You're no idiot, of course. You've got tons of talent, but when it comes to bringing it centerstage you feel like you're just winging it. You love the smell of the greasepaint and the roar of the crowd, but you're not sure how to follow your dream. Don't overreact! 'The Complete Idiot's Guide to Acting' will help you hone your thespain skills and step into the limelight! In this 'Complete Idiot's Guide', you get: -Auditioning etiquette and tips on making a strong impression. -Rehearsal rigor, from read-throughs and blocking to taking stage directions and dealing with backstage gossip. -Tips on balancing theatrics with other obligations like school, work, and your family. -Tons more reasons why acting is important, from how it affects your everyday life to how it could help get you a scholarship or a promotion. |
| bad auditions by bad actors: I, Chorus Ian McWethy, 2019-01-01 College-drop out Elle is lost and trying to find her place in the world until she meets a Greek Chorus completely devoted to each other and speaking in unison. And doing other things in unison. Like getting a job a Walmart and going on a date. To join them, Elle has to give up everything and everyone she knows, but maybe this is exactly what she has been looking for... Comedy/Drama One-act. 35-40 minutes 18-30 actors, gender flexible |
| bad auditions by bad actors: Last Day of School (one-act version) Ian McWethy, 2016-01-01 On the final day of classes at Rochester High School, a renegade student takes over the morning announcements and proposes that everyone do something bold. Or unexpected. Or brave. Or stupid. The point is, you may not have another chance, so now's the time to stop being a wallflower and kiss the girl (or guy!). To let your enemies know that you have always hated their guts. Or to do something as simple as climb the rope in gym without throwing up. Through a series of interconnected scenes, misconceptions, grudges, and secret crushes come out into the open in hilarious and surprisingly touching ways. A comedy with a lot of heart, and no regrets. (A full-length version is also available.) Comedy/Drama One-act. 40-45 minutes 4-12 actors, gender flexible |
| bad auditions by bad actors: The Actor Speaks Patsy Rodenburg, 2002-08-17 In The Actor Speaks, Patsy Rodenburg takes actors and actresses, both professional and beginners, through a complete voice workshop. She touches on every aspect of performance work that involves the voice and sorts through the kinds of vexing problems every performer faces onstage: breath and relaxation; vocal range and power; communication with other actors; singing and acting simultaneously; working on different sized stages and in both large and small auditoriums; approaching the vocal demands of different kinds of scripts. This is the final word on the actor's voice and it's destined to become the classic work on the subject for some time to come. |
| bad auditions by bad actors: Bury the Dead Irwin Shaw, 1963 In an unnamed war, six dead soldiers refuse to allow themselves to be buried in the trench dug by two of their buddies, causing consternation among the army's generals. |
| bad auditions by bad actors: The Day the Internet Died Ian McWethy, Jason Pizzarello, 2017-01-01 On a sunny day in the town of Bloomington, a devastating occurrence happens. No, it’s not famine, or floods, or loss of your basic rights. The internet has gone down! And it will continue to be down! For a week! A whole week! Pandemonium! In a world that is so dependent on the internet for shopping, mailing, and posting pictures of cute babies, how will society function? Not well as it turns out. The Day the Internet Died hilariously explores how inept we are at dating, research, and basic human interactions when we don’t have a screen to look at. Comedy One-act. 30-35 minutes 10-50 actors, gender flexible |
| bad auditions by bad actors: Audition Michael Shurtleff, 2009-05-26 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! Absolutely 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. In fact, Audition is a necessary guide to dealing with all the auditions we face in life. This is the bible on the subject. |
| bad auditions by bad actors: Laughing Wild Christopher Durang, 1996 THE STORY: In the first section of the play, a Woman enters and embarks on an increasingly frenetic (and funny) recital of the perils and frustrations of daily life in urban America--waiting in line, rude taxi drivers, inane talk shows and the selfi |
| bad auditions by bad actors: The Actor's Life Jenna Fischer, 2017-11-14 Jenna Fischer's Hollywood journey began at the age of 22 when she moved to Los Angeles from her hometown of St. Louis. With a theater degree in hand, she was determined, she was confident, she was ready to work hard. So, what could go wrong? Uh, basically everything. The path to being a professional actor was so much more vast and competitive than she'd imagined. It would be eight long years before she landed her iconic role on The Office, nearly a decade of frustration, struggle, rejection and doubt. If only she'd had a handbook for the aspiring actor. Or, better yet, someone to show her the way—an established actor who could educate her about the business, manage her expectations, and reassure her in those moments of despair. Jenna wants to be that person for you. With amusing candor and wit, Fischer spells out the nuts and bolts of getting established in the profession, based on her own memorable and hilarious experiences. She tells you how to get the right headshot, what to look for in representation, and the importance of joining forces with other like-minded artists and creating your own work—invaluable advice personally acquired from her many years of struggle. She provides helpful hints on how to be gutsy and take risks, the tricks to good auditioning and callbacks, and how not to fall for certain scams (auditions in a guy's apartment are probably not legit—or at least not for the kind of part you're looking for!). Her inspiring, helpful guidance feels like a trusted friend who's made the journey, and has now returned to walk beside you, pointing out the pitfalls as you blaze your own path towards the life of a professional actor. |
| bad auditions by bad actors: Audition Ryu Murakami, 2010-01-18 Since the death of his wife seven years ago, documentary maker Aoyama has not dated anyone else. Now even his teenage son, Shige, thinks that he should remarry and his best friend Yoshikawa comes up with a plan: to hold fake film auditions from which, he can choose a new bride. Of the thousands who apply, it is a beautiful ballerina, Yamasaki Asami, who captivates Aoyama. Infatuated by her fragile nature and nervous smile, he ignores his increasing sense of unease, putting aside his doubts about his new love, until it may be too late... In Audition, Ryu Murakami delivers his most subtly disturbing novel yet, confirming him as Japan's master of the psycho-thriller. |
| bad auditions by bad actors: Acting Now Edward Vilga, 1997 Those interviewed address artistic challenges in the real world, the practical difficulties of a career, and the ways the modern entertainment industry shapes an actor's artistic path. |
| bad auditions by bad actors: Book of Days Lanford Wilson, 2001 THE STORY: When murder roars through a small Missouri town, Ruth Hoch begins her own quest to find truth and honesty amid small town jealousies, religion, greed and lies. This tornado of a play propels you through its events like a page-turning mys |
| bad auditions by bad actors: Hello Again Michael John LaChiusa, 1995 THE STORY: Ten nameless characters pair up in ten different scenes of sexual pleasure and/or despair. One character from each scene moves on to the next, seemingly dumping his old partner in favor of new prey. The play begins in 1900 with a Prostit |
| bad auditions by bad actors: How To Audition On Camera Sharon Bialy, 2016-10-07 In How to Audition On Camera, Casting Director Sharon Bialy answers the twenty-five questions actors ask most frequently about how to nail an audition. What is the casting director looking for? If you mess up, can you start over? What is the most common mistake experienced actors make? Should you audition off book or can you look at the page? Should you dress in character? How much can you improvise? Actors—both novice and professional—are often misled by myths and outdated prescriptions. This guide replaces such misinformation with concise and accurate advice from someone who is in the room helping to make the decision on who gets the job. Bialy gets readers started immediately on the road to screen acting success. |
| bad auditions by bad actors: The Disaster Artist Greg Sestero, Tom Bissell, 2014-10-07 In 2003, an independent film called The room ... made its disastrous debut in Los Angeles. Described by one reviewer as 'like getting stabbed in the head,' the six-million-dollar film earned a grand total of $1800 at the box office and closed after two weeks. Ten years later, The room is an international cult phenomenon ... In [this book], actor Greg Sestero, Tommy's costar and longtime best friend, recounts the film's long, strange journey to infamy, unraveling mysteries for fans ... as well as the question that plagues the uninitiated: how the hell did a movie this awful ever get made?-- |
| bad auditions by bad actors: The Actor's Script Charles S. Waxberg, 1998 The Actor's Script offers a clear, concise, and easily assimilated technique for beginning scriptwork specifically tailored to actor's requirements and sensibilities. |
| bad auditions by bad actors: Acting as a Business, Fifth Edition Brian O'Neil, 2014-04-08 The essential handbook for actors—a modern classic—in a newly updated edition. Since its original publication, Acting as a Business has earned a reputation as an indispensable tool for working and aspiring actors. Avoiding the usual advice about persistence and luck, Brian O’Neil provides clear-cut guidelines that will give actors a solid knowledge of the business behind their art. It’s packed with practical information—on everything from what to say in a cover letter to where to stand when performing in an agent’s office—including: -- Tactics for getting an agent, including preparing for the interview -- How to research who will be casting what—and whether there is a role for you—well in advance -- Examples of correspondence to agents and casting directors for both beginning and advanced professionals -- A detailed analysis of the current trend of paying to meet industry personnel -- How to communicate effectively with an agent or personal manager -- Creative ways to use the internet and social media O’Neil has updated Acting as a Business to keep up with the latest show-business trends, making this fifth edition a reference no actor should be without |
| bad auditions by bad actors: Houston, We Have a Narrative Randy Olson, 2015-09-15 Communicate more effectively about science—by taking a page from Hollywood and improving your storytelling skills. Ask a scientist about Hollywood, and you’ll probably get eye rolls. But ask someone in Hollywood about science, and they’ll see dollar signs: Moviemakers know that science can be the source of great stories, with all the drama and action that blockbusters require. That’s a huge mistake, says Randy Olson: Hollywood has a lot to teach scientists about how to tell a story—and, ultimately, how to do science better. With Houston, We Have a Narrative, he lays out a stunningly simple method for turning the dull into the dramatic. Drawing on his unique background, which saw him leave his job as a working scientist to launch a career as a filmmaker, Olson first diagnoses the problem: When scientists tell us about their work, they pile one moment and one detail atop another moment and another detail—a stultifying procession of “and, and, and.” What we need instead is an understanding of the basic elements of story, the narrative structures that our brains are all but hardwired to look for—which Olson boils down, brilliantly, to “And, But, Therefore,” or ABT. At a stroke, the ABT approach introduces momentum (“And”), conflict (“But”), and resolution (“Therefore”)—the fundamental building blocks of story. As Olson has shown by leading countless workshops worldwide, when scientists’ eyes are opened to ABT, the effect is staggering: suddenly, they’re not just talking about their work—they’re telling stories about it. And audiences are captivated. Written with an uncommon verve and enthusiasm, and built on principles that are applicable to fields far beyond science, Houston, We Have a Narrative has the power to transform the way science is understood and appreciated, and ultimately how it’s done. |
| bad auditions by bad actors: Yellow Face (TCG Edition) David Henry Hwang, 2009-11-01 “A thesis of a play, unafraid of complexities and contradictions, pepped up with a light dramatic fizz. It asks whether race is skin-deep, actable or even fakeable, and it does so with huge wit and brio.” -TimeOut London “A pungent play of ideas with a big heart. Yellow Face brings to the national discussion about race a sense of humor a mile wide, an even-handed treatment and a hopeful, healing vision of a world that could be” –Variety “It’s about our country, about public image, about face,” says David Henry Hwang about his latest work, a mock documentary that puts Hwang himself center stage. An exploration of Asian identity and the ever-changing definition of what it is to be an American, Yellow Face “is by turns acidly funny, insightful and provocative” (Washington Post). The play begins with the 1990s controversy over color-blind casting for Miss Saigon before it spins into a comic fantasy, in which the character DHH pens a play in protest and then unwittingly casts a white actor as the Asian lead. Yellow Face also explores the real-life investigation of Hwang’s father, the first Asian American to own a federally chartered bank, and the espionage charges against physicist Wen Ho Lee. Adroitly combining the light touch of comedy with weighty political and emotional issues, Hwang creates a lively and provocative cultural self-portrait [that] lets nobody off the hook” (The New York Times). |
| bad auditions by bad actors: Every U.S. Election Ever! Ian McWethy, Presidential elections got ya down? Feel like they used to be respectful and dignified and not such a mess? Well you're wrong! In this madcap play you'll get to see every presidential election this country has ever had with all the dirty tricks, low blows, and unqualified candidates the U.S. is known for! With songs, parodies, and a dancing Richard Nixon! A comedy that proves politics can be educational and entertaining! (This is an updated version with a new post-Election ending!) (A one-act version is also available.) Comedy Full-length. 75-90 minutes 6-40 actors, gender flexible |
| bad auditions by bad actors: Every Novel You Read in High School (in 25 Minutes or Less) Ian McWethy, The one where a theater group attempts ATTEMPTS to present all those novels you read in high school before school lets out for the summer. Pray for them. They're gonna need it and so are you. (If you like Shakespeare Abridged… consider Every Novel You Read in High School.) Comedy One-act. 25-30 minutes 10-30+ actors, gender flexible |
| bad auditions by bad actors: Self-management for Actors Bonnie Gillespie, 2009 Guiding actors through the process of taking control of the business side of their careers, the author maintains there is no secret method for joining the Working Actor's Club. What does exist is a simple, self-management concept that doesn't eliminate one's ability to be a creative artist. |
| bad auditions by bad actors: Acting in Film Michael Caine, 2000-02-01 (Applause Books). A master actor who's appeared in an enormous number of films, starring with everyone from Nicholson to Kermit the Frog, Michael Caine is uniquely qualified to provide his view of making movies. This revised and expanded edition features great photos, with chapters on: Preparation, In Front of the Camera Before You Shoot, The Take, Characters, Directors, On Being a Star, and much more. Remarkable material ... A treasure ... I'm not going to be looking at performances quite the same way ... FASCINATING! Gene Siskel |
| bad auditions by bad actors: Acting -- Make It Your Business Paul Russell, 2010-06-02 Acting: Make It Your Business, written by an award-winning, veteran casting director, puts the power to land jobs and thrive in any medium - stage, film, TV, or the Internet - directly into the hands of the actor. This blunt, wise, and often hilarious guide overflows with cutting-edge audition, marketing, and networking strategies, combining traditional techniques with those best suited for the digital age. Well-known actors and powerful agents make cameos throughout, offering newcombers and working professionals alike a clear-eyed, uncensored perspective on survival and advancement within the entertainment industry. Huorous and witty . . . Actors everywhere who are trying to succeed in the business, young or old, on stage or on camera, in New York or anywhere in the world, take note: This is your road map. - Bernard Telsey, casting director (Rent, Sex & The City: The Movie, Wicked) All the right questions asked and answered . . . and with a generous portion of good humor. - Suzanne Ryan, casting director (Law & Order) Paul's book made me proud to be a part of the acting community in this business we call 'show.' - Karen Ziemba, actress, Tony and Drama Desk Award Winner From the Trade Paperback edition. |
| bad auditions by bad actors: The Singing Athlete Andrew Byrne, 2020-06-23 If you are a singer, you are an athlete. And the athletic skills that make you a great vocalist come from one source: your brain.The Singing Athlete is the first book of its kind: a view on voice training through the lens of both the physical body and the nervous system. As one of the top teachers of professional Broadway performers, Andrew Byrne has developed a unique synthesis of athletics and neuroscience that will guide you to higher levels of performance. In addition to his work on Broadway, Andrew is devoted to studying the training methods used by Olympic athletes as a Master Practitioner of Z-Health functional applied neuroscience. He has taken thousands of hours of research and boiled it down into an easily digestible form that will help you unlock amazing new vocal skills. When you buy The Singing Athlete, you're not just picking up a book. You're getting a complete training system. With your purchase, you get lifetime access to The Singing Athlete Video Guide, a companion website that includes over 150 training videos. You'll learn the correct form for every drill, explore awesome bonus content, and download PDFs to track your progress. Through the fully illustrated book and the accompanying videos, you will learn to: Breathe correctly for stress reduction and optimal vocal support Exercise your tongue, jaw, and throat in ways that lower threat in your brain Use your ears and eyes to improve vocal range and stamina Heal any scars that might be holding you back Eliminate reflux, tinnitus, sinus problems, and other vocal stumbling blocks Move better, feel better, and sing better FAQs How is The Singing Athlete different from other vocal training systems? When you study voice, your instructor is always practicing neurology--either accidentally or on purpose. A lot of voice systems can tell you about the anatomy of the voice, but The Singing Athlete provides a crucial missing piece--how to train your brain. Once you understand how your nervous system is in charge of your singing, the way you practice will shift forever, and everything your teacher says will make more sense. I'm an instructor of a certain style of vocal training. Can I integrate The Singing Athlete into what I already do? That is one of the greatest strengths of this system; this material can fit in seamlessly with almost any style of training. The Singing Athlete is designed to complement what you already do, providing a new framework to expand and focus your thinking. Lisa Rochelle (NYC Singing Voice Specialist) says it this way: The Singing Athlete negates no other system, no other technique, and no other pedagogy. It can be used to meet a singer where they are. How will I know if this training is working? The process in The Singing Athlete (known as Assess and Reassess) will you show you precisely what kind of exercise your voice appreciates. With The Singing Athlete, there is no guesswork and you will be sure you are doing the right drills. I'm not a Broadway singer--I sing other styles (pop/country/R&B/classical, etc.) Can I get good results from this book? The Singing Athlete is independent of vocal style. You can apply these exercises to any vocal style, from heavy metal to grand opera. Whether you want to sing Quando m'en vo or Call Me Maybe, Andrew has got you covered. How does The Singing Athlete Video Guide work? Learning movement is a visual process. To get the most out of the exercises, Andrew has shot a video of each drill. This will allow you to make sure you've got the form right, as well as learn details about how to use and tweak the drills. Once you've purchased the book, you can get lifetime access to the Video Guide at thesingingathlete.com. (Plus, there are some cool songs there, too.) |
| bad auditions by bad actors: The Actor and the Target Declan Donnellan, 2006 |
| bad auditions by bad actors: An Actor's Guide: Your First Year in Hollywood Michael St. Nicholas, Lisa Mulcahy, 2015-07-14 For every actor beginning a career in Hollywood, this indispensable guide will lay out a clear and comprehensible path with tried-and-true advice. Up-to-date resources and new interviews with recently established actors experiencing the current movieland scene—as well as the timeless voices of established actors and industry pros—make this a rich compendium of Hollywood know-how. Delve into the industry with the support from An Actor’s Guide: Your First Year in Hollywood and discover with confidence how to: Find work through a variety of sources Deliver stunning auditions Join SAG-AFTRA Get a great headshot and put together a stunning resume Build your credentials and gain exposure Hone your craft with professional training and classes Snag a top-notch agent Utilize the power of social media From settling into Los Angeles and sticking to a tight budget, to adventures in reality TV and landing the breakthrough parts you came to Hollywood for, any actor eager to learn will get his or her fair share of insider knowledge with this manual and will discover how to create a positive experience while launching an exciting career. Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers. |
| bad auditions by bad actors: The Screen Combat Handbook Kevin Inouye, 2020-04-02 The Screen Combat Handbook is an essential guide to navigating the unique challenges of putting combat on screen. Explore the process from the early stages of preproduction planning all the way through to editing and sound design, and everything in-between. This book uses practical instruction, examples, interviews, and illustrations to show how to plan, shoot, and assemble safe and effective fight sequences. It includes sections on thoughtful and practical design choices in set, wardrobe, props, and effects, preproduction planning, on-set protocol, fight choreography and coordination, shot planning and technical tricks, acting choices, effective cinematography, and impactful editing and sound design. It provides an invaluable resource for all those involved including directors, fight coordinators, actors and stunt players, and any filmmaker attempting to shoot an exciting action scene safely. Whether working on a no-budget indie production or on a professional set, this is your ultimate guide to screen combat and fight choreography. |
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