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Last post I described COLD READING techniques, keeping it simple. Those 3½ Directives are what you should be deciding on and doing. 

1) What is your want? 

2) How do you feel toward that other character(s)?

2½) What do you feel about them RIGHT NOW?

3) Turn the tables on them (change your want), and do it soon.

~1 Your character always wants something from the other character(s).

~2 Your overall feeling: Do you, LOVE them, DESPISE them, LIKE them?

~2 ½ You’re feeling for them right NOW: ANGRY, HURT, JEALOUS, 

     DESIROUS, AMUSED, ATTRACTED?

~3 Change your WANT suddenly (do it soon). Change back, or again to 

     something different.

NOTE: The above directives are essential even when you are 

working on script in advance, either for a prepared audition 

or for a production. (These are basic, the minimum)

‘BEATS’ & ‘CHOICES’:

BEATS: When either the ‘topic' the ‘situation’ or the 

'emotion/feeling/mood’* changes, it's a new BEAT.

• NOTE that emotion/feeling or mood is entirely arbitrary - depending on what you're experiencing in that moment. The other two are obvious.

CHOICES: CHOICES** are all the different ways you attempt/use to get 

what you “WANT” (the No.1 decision). These choices should always be 

thought of in terms of ACTION,  more specifically ACTIVE VERBS: e.g., to 

tempt, to threaten, to charm, to belittle, to seduce, to mesmerize... etc., etc. 

This is because it is ACTION that we play. 

Yes, we have and use feelings/emotions, but we use them to influence 

the CHOICES of ACTION that we make. CHOICES should always be driven

by ACTIVE VERBS. 

**However, for a “cold reading” (which we will define as any side or scene

you’re given for the first time and have less than an hour or so to look over)

planning specific CHOICES is risky. The lack of familiarity with the script

and being somewhat nervous (as most of us are at auditions), focusing on 

pre-planned choices for the ‘BEATS,’ will tend to prevent you from “being in

the moment,” and your delivery could come off forced and false. However, 

seeing where BEATS change can be extremely useful. They will at least

alert you to change your CHOICE (your VERB), your attempt to get what

you’re after. 

More on FEELINGS next time.

Richard

www.rzractblog.blogspot.com

www.rzract.com

richardz.ross@gmail.com

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AUDITION TIP, COLD READING: MY 3&1/2 Directives for cold reading auditions.
Keep it simple.
1) WHAT IS YOUR WANT? Decided what you want from the other character(S).
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.
2) WHAT DO YOU FEEL TOWARDS THE OTHER CHARACTER(S)? Do you love them, hate them?
2&1/2) WHAT DO YOU FEEL ABOUT THEM NOW? I'm angry, I desire them, I'm hurt by them, etc.
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
the time. Do this very soon into the scene, you never know how long they will let you read.
These 3&1/2 directives will help spark a variety of 'CHOICES' (a course of actions). That's the
major thing a director wants to see; an actor who makes choices and takes risks.
I will discuss this in further detail next post.
Break a leg,
Richard
www.rzractblog.blogspot.com
www.rzract.com
richardz.ross@gmail.com