tag:blogger.com,1999:blog-55443803198793963842024-03-13T22:40:27.833-07:00THE ART OF ACTINGRichard offers acting workshops for
the NOVICE and the EXPERIENCED actor,
and PRIVATE COACHING by appointmentRichard Zane Ross, MA, CGP, LMHC, LP ~ Teacher/Coach, Director, Actorhttp://www.blogger.com/profile/03583634848283699036noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-5544380319879396384.post-34914151960293689312020-04-17T15:13:00.001-07:002020-04-17T15:13:41.253-07:00Richard Zane Ross, MA, CGP, LMHC, LP ~ Teacher/Coach, Director, Actorhttp://www.blogger.com/profile/03583634848283699036noreply@blogger.com0tag:blogger.com,1999:blog-5544380319879396384.post-38113886722856624122012-04-10T15:09:00.000-07:002012-04-10T19:14:56.090-07:00<br />
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<span class="s1"><br /></span><br />
<span class="s1">Last post I described <b>COLD READING</b> techniques, k</span><span class="s1">eeping it simple. Those 3½ Directives are what you should </span>be deciding on and doing. </div>
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1) What is your want? </div>
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<span class="s1">2) How do you feel toward that other character(s)?</span></div>
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<span class="s1">2½) What do you feel about them RIGHT NOW?</span></div>
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3) Turn the tables on them (change your want), and do it soon.</div>
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<span class="s1"><b>~1 Your character always wants something from the other character(s).</b></span></div>
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<span class="s1"><b>~2 Your overall feeling: Do you, LOVE them, DESPISE them, LIKE them?</b></span></div>
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<span class="s1"><b>~2 ½ You’re feeling for them right NOW: ANGRY, HURT, JEALOUS, </b></span></div>
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<span class="s1"><b><span class="Apple-tab-span"></span> DESIROUS, AMUSED, ATTRACTED?</b></span></div>
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<b>~3 Change your WANT suddenly (do it soon). Change back, or again to </b></div>
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<span class="s1"><b><span class="Apple-tab-span"></span> something different.</b></span></div>
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<span class="s1"><i>NOTE: The above directives are essential even when you are </i></span></div>
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<span class="s1"><i>working on script in advance, either for a prepared audition </i></span></div>
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<span class="s1"><i>or for a production. (These are basic, the minimum)</i></span></div>
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<span class="s1"><b><br /></b></span><br />
<span class="s1"><b>‘BEATS’ & ‘CHOICES’:</b></span></div>
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<span class="s1"><b><i><br /></i></b></span><br />
<span class="s1"><b><i>BEATS:</i></b> When either the ‘topic' the ‘situation’ or the </span></div>
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<span class="s1">'emotion/feeling/mood’* changes, it's a new BEAT.</span></div>
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<li class="li1" style="text-align: left;"><span class="s1"><i>NOTE that emotion/feeling or mood is entirely arbitrary - depending </i></span><i>on what you're experiencing in that moment. The other two are obvious.</i></li>
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<span class="s1"><b><i>CHOICES:</i></b> CHOICES** are all the different ways you attempt/use to get </span></div>
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<span class="s1">what you “WANT” (the No.1 decision). These choices should always be </span></div>
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<span class="s1">thought of in terms of <i>ACTION,</i> more specifically <i>ACTIVE VERBS: e.g., to </i></span></div>
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<span class="s1"><i>tempt, to threaten, to charm, to belittle, to seduce, to mesmerize... etc., etc. </i></span></div>
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<span class="s1">This is because it is<i> ACTION</i> that we play. </span></div>
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<span class="s1">Yes, we have and use feelings/emotions, but we use them to influence </span></div>
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<span class="s1">the CHOICES of ACTION that we make. CHOICES should always be driven</span></div>
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<span class="s1">by <i>ACTIVE VERBS.</i> </span></div>
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<span class="s1">**However, for a “cold reading” (which we will define as any side or scene</span></div>
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<span class="s1">you’re given for the first time and have less than an hour or so to look over)</span></div>
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<span class="s2">planning</span><span class="s1"> specific CHOICES is risky. The lack of familiarity with the script</span></div>
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<span class="s1">and being somewhat nervous (as most of us are at auditions), focusing on </span></div>
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<span class="s1">pre-planned choices for the ‘BEATS,’ will tend to prevent you from “being in</span></div>
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<span class="s1">the moment,” and your delivery could come off forced and false. However, </span></div>
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<span class="s1">seeing where BEATS change can be extremely useful. They will at least</span></div>
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<span class="s1">alert you to change your CHOICE <i>(your VERB)</i>, your attempt to get what</span></div>
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<span class="s1">you’re after. </span></div>
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<span class="s1">More on FEELINGS next time.</span></div>
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<span class="s1"><span style="color: blue; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"><i>Richard</i></span></span></div>
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www.rzractblog.blogspot.com</div>
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www.rzract.com</div>
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richardz.ross@gmail.com</div>
<br />Richard Zane Ross, MA, CGP, LMHC, LP ~ Teacher/Coach, Director, Actorhttp://www.blogger.com/profile/03583634848283699036noreply@blogger.com0tag:blogger.com,1999:blog-5544380319879396384.post-47363381842134536072012-03-06T03:00:00.001-08:002012-03-06T23:58:55.860-08:00THE ART OF ACTING WORKSHOPS<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-s3AkAvw_nMA/T1cPMwZPqqI/AAAAAAAAABY/dsjQG5toXaM/s1600/Com+-Trage+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-s3AkAvw_nMA/T1cPMwZPqqI/AAAAAAAAABY/dsjQG5toXaM/s1600/Com+-Trage+1.jpg" /></a></div>RICHARD OFFERS ACTING CLASSES & WORKSHOPS & PRIVATE COACHING.<br />
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AUDITION TIP, COLD READING: MY 3&1/2 Directives for cold reading auditions.<br />
Keep it simple.<br />
1) WHAT IS YOUR WANT? Decided what you want from the other character(S).<br />
If you can't get it from the page or two of sides (scene) you were asked to read from, MAKE SOMETHING UP. (The director doesn't know what your thinking). It will provide an action for you to play.<br />
2) WHAT DO YOU FEEL TOWARDS THE OTHER CHARACTER(S)? Do you love them, hate them?<br />
2&1/2) WHAT DO YOU FEEL ABOUT THEM NOW? I'm angry, I desire them, I'm hurt by them, etc.<br />
3) TURN THE TABLES ON THEM. Suddenly change your WANT. Go for something very different, or opposite, from what you started with. And switch it back to your original WANT, if you get <br />
the time. Do this very soon into the scene, you never know how long they will let you read.<br />
These 3&1/2 directives will help spark a variety of 'CHOICES' (a course of actions). That's the <br />
major thing a director wants to see; an actor who makes choices and takes risks.<br />
I will discuss this in further detail next post.<br />
Break a leg,<br />
Richard<b><b></b></b><br />
www.rzractblog.blogspot.com<br />
www.rzract.com<br />
richardz.ross@gmail.comRichard Zane Ross, MA, CGP, LMHC, LP ~ Teacher/Coach, Director, Actorhttp://www.blogger.com/profile/03583634848283699036noreply@blogger.com0