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© 2012 Copyright MacHenry Churchill machenrychurchill@yahoo.com www.machenrychurchill.blogspot.com 08035533391, 08085784569, 08095644252 ALL RIGHTS RESERVED. No part of this report may be reproduced or transmitted in any form whatsoever, electronic, or mechanical, including photocopying, recording, or by any informational storage or retrieval system without express written, dated and signed permission from the author. DISCLAIMER AND/OR LEGAL NOTICES: The information presented herein represents the view of the author as of the date of publication. Because of the rate with which conditions change, the author reserves the right to alter and update his opinion based on the new conditions. The report is for informational purposes only. While every attempt has been made to verify the information provided in this report, neither the author nor her affiliates/partners assume any responsibility for errors, inaccuracies or omissions. Any slights of people or organizations are unintentional. Estimate of earnings is based on industry standard calculations and do not represent actual figures. Individual results may vary. If advice concerning legal or related matters is needed, the services of a fully qualified professional should be sought. This report is not intended for use as a source of legal or accounting advice. You should be aware of any laws which govern business transactions or other business practices in your country and state. Any reference to any person or business whether living or dead is purely coincidental.

ABOUT THE AUTHOR

MacHenry Czar-CHURCHILL

MacHenry Czar-Churchill is a polymath. Gifted in many different directions, he is a creative artiste – a writer, poet, lyricist, talker, singer, songwriter, guitarist and music producer. He writes copy, designs development courses & curriculums, paints portraits, evolves product/service ideas and develops content for all types of media.

He is also a voice-over artiste, MC/compere, actor, model, photographer and radio presenter. He is skilled in strategic thinking, imaginative marketing, persuasive selling and negotiating.

A graduate of Political Science from the University of Calabar with close to 10 years work experience in daring and uncommon capacities, MacHenry Czar-Churchill has grown thick muscles as a Motivator, Life Coach, Business Development Strategist, Nation-Builder and Social/Impact Entrepreneur.

He started working in TV as a presenter by age 15 and started his career as a model by age 16. By age 17 he entered the university where he started an events management business, working as a show organizer, mc/compere and musician. He was Logistics Manager for an Events Management company by age 18 and participated in hosting Drama Competitions and Beauty Pageants across secondary schools in Lagos. By age 21 he graduated from the university and started a Publishing business, a Music School and a Stage Drama Production company.

Trained as a Political Scientist, Journalist, Broadcaster, Musician, Fashion Model, Actor and Talent Coach, MacHenry Czar-Churchill is a full time entrepreneur, running several businesses. As a Talent Manager, he constantly works with companies, groups, creative artistes and one-on-one with individuals who are ready to ‘Raise the Bar’ & ‘Shift Gears’ in their career, life and performance.

He hosts a monthly, open personal empowerment meeting tagged SURVIVAL STRATEGIES to help people find solutions to their most pressing challenges in daily living.

He presents two weekly live radio programs themed LADDER TO SUCCESS & WINDOW ON THE WORLD on UNILAG 103.1 fm.

He is a prolific writer and online publisher with more than 30 blogs to his credit.

INTRODUCTION

How to Really Become an Actor: The Business of Acting The first thing you've got to remember if you really want to make it as an actor is

that acting is first and foremost a business. Just follow this simple and practical

advice and you'll book job after job. Let's get down to business!

ACTING IS A BUSINESS FIRST

I know, you love the lights, the camera, the action. But don't romanticize what

we're doing here: You're a business first and an artist second.

Many actors and actresses I know would disagree with me. They would say the

craft of acting is first priority.

Don't misunderstand: I'm in this business because I'm an artist, an actor. It is my

first and greatest love.

But in order to get work, the skills and techniques I'm about to share with you are

paramount. So hear me out.

The secret is the right mindset: The powers that be – movie producers and

directors - will see you as a product, as something to sell and make money from.

And you should think this way too. This is true of theatre, TV, film, commercials,

and any other medium you'll work in.

You are an entrepreneur with a product to sell. You're selling you - Your face, your

body, your voice, your acting skills, your singing skills, etc. All working actors

understand this concept.

This may seem dark and dreary, but it's actually a good thing. Why? Because you

realize that it's not personal. It's business.

MARKETING YOUR BUSINESS

Now that we've identified the product (you), it's time to market that product. How

do you get your name out there? How can you get hired? How to become an actor

who's working, getting acting roles and getting paid?

HERE ARE A FEW WAYS TO GET YOUR NAME OUT THERE:

Headshot and Resumé. This is your CV with your pix in it (Passport-like

photo). It needs to look as professional as possible because it's going to

cross the desk of directors, producers, agents, managers, etc. Many actors

do not have this. Prepare one for yourself so you can submit it and look

different from others whenever you go for an audition.

Nothing to put on your CV? Put in any acting you’ve done before, whether in

church, in school, a drama group or if you played a movie extra before,

anything you’ve done in the name of acting.

Networking. One of the best skills you can develop is tuning into what's

happening around you, and trying to get involved. What's more, surrounding

yourself with positive, successful role models is essential. True entrepreneurs

are experts at networking.

And please realize, this isn't the recipe for how to become famous.

KNOWING (AND USING) YOUR TYPE

We'd all love to be Mercy Johnson or Desmond Elliot, playing a wide range of

interesting characters. But the truth is, most actors fall victim to type-casting.

Directors look at you and say, "He's a leading man type," or "She's the best friend

type..."

But here's the good news: You can use type-casting to get more acting work!

Look in the mirror and imagine who you might play in a movie. Are you the girl

next door, the bombshell, the romantic lead, the funnyman? Once you know, you

can tell them how to cast you.

TELL THEM HOW TO CAST YOU

That's right. I said it. Tell them how to cast you.

For example, I'm of average height, thin, and funny. I'm a character actor. So on

my actor resume I don't list roles where I played the lead. I list roles where I

played the bad guy, the goof, or the poet.

When a casting director sees my actor resume, he understands immediately who I

am and what I can do. That makes me marketable. So find out your type and play

into it.

NO EXPERIENCE?

Well, everyone has to start somewhere.

If you have no experience, then go join a drama group in your church or your

community. Or call together a few like-minded friends and start your own acting

group. Or become a movie extra, or waka pass as they call it.

Whatever you do, don't lie on your actor resume. You will get caught. And because

acting is a small industry, you'll be black-listed. Trust me, I've seen it happen.

How you present your experience is also very valuable. Chances are, you've done

some acting somewhere - In school, or an acting class, or a school acting class,

whatever the case. So be proud of your accomplishments. Have confidence in

yourself.

THE AUDITION IS THE WORK

Actors often say to me, "MacHenry, I can't find acting work. I don’t get picked in

auditions. It's so frustrating!" Here's the answer:

I had a professor in the university who told me that until you get hired, the audition

is the acting work. If you don't enjoy going to that audition and showing your stuff,

then why do you want to be an actor?

Use your auditions to hone your craft. Until you get hired to play a part in a

production, your monologues are your acting work. And enjoy it. That's how to

become an actor.

BE PATIENT

Don't you hate it when someone tells you to be patient? Me too. But it's true.

Life is funny. Things happen by chance, luck, happen-stance, and divine

intervention. You must be patient and wait.

But that doesn't mean you can rest on your laurels. I'm about to share with you the

#1 tip on how to really become an actor:

Constant and repeated exposure. Get out there and put yourself in front of casting

directors, agents, producers, and other powers that be, and they'll begin to

recognize you. People do business only with those that they know, like, and

respect. That's how to get into acting.

You need to have a good, solid audition every time. Stay positive. Build your

business. And I promise, you'll be telling others how to become an actor!

GO TO SCHOOL

If you want to know how to really become a good actor, you should seek training.

There are always great acting schools and teachers that can help you improve.

A man who dreams of being a doctor doesn't get off the bus in Lagos and say,

"Well, I'm a doctor now." He goes to school, pays his dues, and gets his degree.

Same goes for the profession of acting. Find one of the best acting schools and

improve yourself.

Acting Techniques and Tips for Actors

Acting techniques are at the heart of every audition. You can't just show up, you

have to be good. And I'm gonna show you how...

Keep in mind, actors spend years and even lifetimes perfecting their craft. So

instead of teaching you how to handle Things Fall Apart, we're just going to tackle

monologues, cold readings (Reading from script or book), and some simple tips &

acting techniques to use for your auditions.

ACTING TECHNIQUES FOR MONOLOGUES

I think acting monologues is harder than acting scenes. Why? Because in a

monologue you have no scene partner. You have to imagine them. An audition is

easier when you are getting feedback from your scene partner. But in a monologue

you act alone, as if you are acting with someone.

Luckily, we humans are blessed with vast imagination. Without it, we wouldn't have

thought of books, the wheel, or story-telling. And actors are story-tellers.

ACTING TECHNIQUES FOR COLD READINGS

Sometimes, especially in auditions for film or TV, you'll be asked to do a

cold reading. They will give you a script and expect you to do it right then. Ninety

percent of the time, you'll get a few minutes on your own to read it over. These few

minutes are extremely important. Spend them wisely.

"But MacHenry! What if I don't get a few minutes alone? What if they want me to

read right away??"

Don't panic. Always ask (politely) if you can have a few minutes outside to read it

over. They'll either say yes or no.

If they say no, then dig in. Be fearless.

Read the script over once or twice. It's usually only a couple of pages, so it

shouldn't take long. Make sure you focus on your lines. This is important because

you'll be looking up from the page in the audition. You don't want to lose your

place.

Then, start making choices. Choices about what?

Relationship: How do you feel about your scene partner? Do you love

them? Do you hate them? Or maybe both?

Notice I didn't ask, "How are they related to you?" It doesn't matter that

they're your mother, brother, sister, cousin, pastor, or your best pal. What

matters is how you feel about them.

Conflict: It's the basis of every story. That's what makes it interesting. No

one wants to watch happy people for two and a half hours. It wouldn't sell

tickets. As an actor, your job is to find the conflict in the scene. You want

something, she wants the opposite. And only one of you can win. Play into

that.

Moment Before: It's true that every scene has a beginning, middle, and

end. But for the character, there's no such thing. So you've got to create a

moment before. What was the character doing, thinking, and feeling right

before the scene started?

Place: Where are you? Whose territory is this? Are there other people

around? Is it well lit, or really dark? Do you feel safe, or threatened?

BEHAVIOR

So why should we make choices about these things? Because the more specific you

can be when answering these questions, the more specific your behavior will be

during the cold reading. And that's acting.

Be specific. Generality is the enemy of art.

Tips to insure that you nail your next cold reading

Being handed a script to read can be one of the most nerve-wracking parts of the

audition. So depending on how you perform, it can make or break your audition.

HERE ARE SOME TIPS TO MAKE SURE YOU SOUND AND LOOK LIKE A PRO DURING YOUR NEXT COLD READ

Remember – once you are handed the script – you are in control. Take a few

moments to read it over. Try to get a feel for the character and the scene.

Determine the emotions that your character should display.

Do your best to remember as much of the script as possible. They will not

hand you a novel – these scripts are usually very short. Most importantly –

do not bury your face in the paper the entire time you are doing the cold

read.

Try to make eye contact as much as possible with the person or persons for

whom you are reading. If you keep your eyes down the entire time, you do

not give the casting director a chance to see your face or expressions.

Before you start your read, take a few deep breaths to compose yourself.

Stand to deliver your lines (unless the character should be sitting). Standing

is important as a timid or nervous person will overlook this and by default

send the wrong message to the director. Casting directors do not want

inhibited actors.

Personality! Do not read in a monotone voice. Use natural speaking inflection

to make sure that your read does not sound like you are simply reading it off

of a piece of paper.

Speak slowly and enunciate your words clearly. Do NOT use local slang.

Research has shown that when reading off a page, people will tend to read at

least 20% faster than they would naturally speak the lines. Be sure to pause

for effect as this will also allow you to make eye contact.

If the director asks you to re-read the script or a part of it and asks you to do

it differently or gives you a suggestion, don’t be offended. This is usually a

good sign. It means that they have seen something in you that they liked. Be

sure to honor their request and give them what they asked for. It shows that

you are coachable and take direction well.

Remember – the casting directors do not expect perfection. They are looking

for personality and presence.

Audition Tips & Tricks for Actors

What do I mean by audition tips & tricks? I mean the small stuff. Stuff you may

never have thought about. But it makes a huge difference.

Over the years, I've been to hundreds of auditions. And every time, I've made a

mistake. But every time, I learned something new. So shave a few years off your

learning curve by following my advice.

THE ARRIVAL

First audition tip: Bring something to do. Do a crossword or read a book.

Anything that occupies your full attention.

Why, you ask? Because you're usually stuck in a room or hall with other actors who

are there to audition, just like you. One of them is going to start a conversation.

Either because they're nervous, or they want to make you nervous.

Listen, I'm all for networking with other actors. It's a great way to find work. But at

an audition, keep to yourself and stay focused.

Also, reading a book will prevent you from pacing the hallways and reciting your

lines. Don't do that either. It will only serve to jitter your nerves. And besides, if

you don't know your lines by now...

HOW TO MEMORIZE

Speaking of your lines, do you know how to memorize them? One of the best

audition tips I can offer: Your lines should be so ingrained into you, that you

could recite them in a coma.

FIRST IMPRESSIONS

Here's a good audition tip: When you walk in the room, be confident. The human

brain makes over 27 judgments about another person within seconds of meeting

them. These judgements are based on your posture, body language, voice tone,

breathing rate, eye contact, etc.

Make a bad first impression, and everything you do thereafter is filtered through

that impression. (Called a cognitive filter.) You'll smile and they'll think you're afraid

and nervous.

If you make a good first impression, you'll smile and they'll think you're relaxed and

confident.

Why is this important? Because acting is a business. And people do business with

those that they know, like, and trust.

THE AUDITORS

The powers that be. The folks behind the desk, eating their snacks, drinking their

water or whatever, and taking their notes. All the while, ignoring you.

When I walked in the room, I used to think I was at their mercy for two minutes.

Now I walk in and think the exact opposite. They're at my mercy for two minutes. I

can make them laugh, cry, or at least yawn. Whatever the case, I'll be having fun.

A little known audition tip: Think of them as potential business partners. Equals.

You're selling, and they're buying. Treat them with respect and courtesy, and they'll

do the same.

But don't ask who they are. Introductions waste time, time you could use for

showing off your acting chops.

And don't use them in your monologue. (Unless they ask.) They're there to observe

and evaluate, not engage.

THE ROOM AND THE SPACE

I've auditioned in all sorts of places. Living rooms, kitchens, rooftops, you name it.

But typically, it's either in a theatre or a studio space.

Wherever it is, don’t go too close to the auditors, and stand at the middle where

they can see you clearly.

Why? Because the auditors get nasty when you're too close. (I had a teacher in

school who would throw a pen at you if you came too close to the table.)

But don't stay rooted in a spot. Remember, the space is yours for the time being.

So feel free to move around.

THE SLATE

Another great audition tip: After you come forward and stand in front of them,

tell them who you are. This is called slating. There's the good slate, and the bad

slate.

The Bad Slate: "Hello, my name is so-and-so, and I'll be doing Okonkwo from

Things Fall Apart."

Boring! Imagine how many times a day the auditors must hear that. It'll go in one

ear and right out the other.

The Good Slate: "Good evening, I'm so-and-so and this is Okonkwo in the first act."

That has class and distinction. Or what about this? "Hi everyone, my name is so-

and-so and this piece is from Things Fall Apart."

Now they're listening! (Just remember to keep it simple.)

THE TIME LIMIT

If you prepared a monologue or a song, you (usually) get two minutes starting from

your first line. And two minutes is plenty. (In fact, the auditors will have made their

decision in about 30 seconds.)

So as to be respectful of everyone's time, cut down your monologue or song.

Rehearse with a stopwatch to measure how long it is. Then when you get to the

audition, you won't be rushed.

And if they cut you off, don't take it personally. It doesn't mean you're bad, it

means they're renting by the hour.

EYE CONTACT

Actors love to stare. Especially in auditions. They think it makes them look ultra-

concentrated on their scene partner. The end result looks like someone who might

be slightly deranged. And who wants to hire that?

One of the best audition tips: make eye contact but don’t stare sheepishly.

Auditioning for an Acting Role: What to

Expect When you're called in for an acting audition, the people present at the audition will

include you, the casting director, and maybe a handful of other complete strangers.

Some of these other people may be the producer, a camera operator (if they're

taping the auditions), the casting director's bored friend or relative, a

representative from the advertiser (in the case of a commercial audition), or a

dance choreographer or musical director (in the case of a musical). No matter who

is in the room, treat everyone in the room with respect. If someone looks like a

sloppily dressed janitor, that person could actually be the producer, so play it safe

and treat everyone with courtesy.

By the time it's your turn to audition, the casting director has probably seen

hundreds of other people ahead of you, which means the casting director and

anyone else in the room is likely to be tired, bored, and irritable. Make the

director's job easy and you increase your chances of having a successful audition.

Make the job harder (by not being ready, talking too much, and so on) and you

may seriously kill any chances of getting any role.

After brief introductions (and make sure you keep them brief), someone may ask

for your headshot and resume if you haven't already handed one in. (Don't be

afraid to pass out multiple copies of your headshot or resume.) At some auditions,

someone may take your picture with a digital camera, so the casting director can

review all the people who auditioned that day. Be sure to smile and look your very

best. If your picture doesn't look anything like your headshot, you need to get a

new headshot.

In the world of commercials, the way you look is extremely important because

you'll be considered a salesperson for a product. To get a good look at you, the

casting director may ask you to pose for a look at your front and side profile.

Next, someone tells you where to stand, which is usually a mark on the floor so the

casting director and everyone else in the room can see you clearly.

If you're auditioning for a TV commercial, the casting director may start by asking

you to slate, which simply means to state your full name clearly.

When you slate, you may just say your name or your name followed by the agency

that represents you.

The casting director then tells you to start. (Sometimes they say, "Action!" and

other times they'll just say, "Go," "Start," or some other monosyllabic grunt of

exasperation.) At this point, you're supposed to start acting the role.

If you're auditioning for role in a movie, TV show, or theatrical play, your audition

may require you to sit in a chair, walk around, or stand still, depending on the part

of the script the casting director asks you to read from.

Whenever you audition, expect the unexpected, and be ready to work with unusual

situations at a moment's notice. To help prepare for the unexpected, many actors

take improvisation classes. With these lessons, actors learn to quickly improvise

their way out of any acting situation and still remain in character.

SPEAKING YOUR AUDITION LINES When auditioning for a role in a TV commercial, you read from cue cards. Cue cards

are like large flash cards that have an actor's script printed on them in big letters. If

a TV performer forgets the lines, she ever-so-subtly looks at the cue cards and

reads from them. The viewing audience doesn't see cue cards because the person

holding them is standing next to (not in front of) the camera.

When auditioning for a role in a movie, TV show, or theatrical play, you read from a

script. Keep the following script etiquette in mind when auditioning:

If you just received your copy of the script moments before your audition, it's

okay to ask for a little time to study the role (just don't take too much time and

inconvenience the casting director).

Don't be afraid to read directly from the script while acting. The important part

is to see how well you can interpret the part, not how well you can memorize a

script on short notice.

Try to say the words of the script correctly, but don't be too worried if you

mispronounce a word or two. If you completely mess up your lines, it's okay to

ask if you can start from the beginning again.

During an open casting call or casting audition, another person may read lines with

you. This person could be anyone from the casting director to another actor to the

man who just delivered a snack to the casting director for lunch.

Many times, the person reading with you is not a professional actor and, therefore,

may not give you much to work with. Don't let any acting inadequacies bother you;

stay focused, and give your best audition. During a callback, however, you may be

asked to audition and read lines with an actor who already has been cast. The

casting director wants to see how you look and sound next to an actor who has

already been assigned a role.

To avoid confusion and a messy audition, find out where you should focus your

attention when you're reading the script. Requesting this information is a good idea

if you're not reading with someone or if you have no camera to look at.

In general, you want to look near the casting director (so he can see your face) but

not directly into the casting director's eyes (so he can evaluate your performance

without feeling the need to acknowledge or react to your acting).

You may be asked to read the same script several times with the casting director

giving you suggestions to be angrier, more forceful, softer, and so on. This direction

is a good thing! You want the casting director's attention because it means he (or

she) is interested in you.

MINDING YOUR AUDITIONING MANNERS A lack of courtesy shows disrespect, no matter where you are in life. If directed

toward the folks running the audition, however, acting like a spoiled brat can kill an

acting opportunity faster than you can say, "Exit stage left." Keep the following

pointers in mind whenever you try out for a role:

Never touch the casting director or any of his or her possessions, such as the

notepad, laptop computer, food, and such. Doing so is rude and definitely works

against you.

Never smoke or chew gum during your audition. If you must smoke, do it

outside where no one can see you and where your smoke won't interfere with

others.

If you bring a small tape recorder to record and then later evaluate your

performance in the comfort of your home, hide the device so that it doesn't

distract from your performance. Otherwise, the casting director may be looking

at your tape recorder rather than watching you. Don't ask for permission to

tape record because it will take time and distract the casting director. Just hide

it in your pocket or purse and let it run.

Some casting directors frown on actor's tape recording their auditions while others

don't care. So if you're going to bring a tape recorder, be aware that its discovery

could work against you.

MAKING YOUR EXIT After you complete your audition, thank everyone (the casting director, the camera

operator, the receptionist who helped you check in, and anyone else who may be

sitting in the room). If you read from a script, be sure to hand that script back to

the casting director or his assistant.

In general, you want to leave the room exactly the way it appeared when you

arrived. Before leaving the audition, you may have to sign out and record the time

you left.

HOW TO PASS THE AUDITION “How do I pass the Audition” will be the next question on the tip of your tongue,

and the answer is simple: work out what the audition panel is looking for and

deliver it (I know; easier said than done!).

I believe that the panel will be looking for three things:

1. Your engagement with the character. Don’t “mask” your acting by adding

things like costume, accents or funny walks. Interpret characters by

demonstrating your acting ability, not your “showmanship”.

2. How well you work with others. No casting director wants to deal with a

prima donna every day, so do your best to listen and creatively engage with

others in the audition.

3. Your commitment to the course. Are you punctual? Do you have everything

prepared? Do you know your theater? Be prepared for the panel’s questions.

Have you already had your audition? What surprised you and what worried you?

Previous experience is an invaluable commodity, so learn from your past mistakes.

Top 14 Things You must Do To Pass An Acting Audition Or Casting

You have made it into the acting audition, congratulations, this is your first

successful step towards landing an acting job. Next you have to impress the

director enough to get the part, how do you do it?

This is how I do it...

I tap into my talent, skill and a few tricks I have picked up along the way, let me

tell you about them.

This how-to will show you a method that is guaranteed to help you land roles in

theatrical and movie productions, and is a proven technique taught in theatre

departments in colleges and universities across the country!

Here is a quick list of things you MUST do to pass an acting audition or casting;

STEPS 1. Note that the first step to an audition is having confidence. The assessors

aren't looking for someone who fidgets and doesn't want to be in front of people.

2. Understand that in passing an audition for a play or film, you will be

expected to dedicate an enormous amount of your time and energy to the

project. If you work full time, have other major projects, go to school, (if you want

to do this full time, homeschooling might help), or a family to take care of, this may

not be the best time to pursue a role in a production. If you have the time (usually

around 3-4 hours a night) for rehearsals, fittings, and performances, you should be

okay. Don't forget that in addition to that 3-4 hours at night, it takes loads of time -

outside of rehearsing - to memorize a play, monologues, and stage direction. You

should always be prepared, mentally and physically, to give the project more than

just rehearsal time.

3. Be aware of play types. We all know there are dramas and there are

comedies, but within those, there are many others. Classics - Shakespeare,

Chekov, and the Greek playwrights, sometimes use a very complex language

structure, characterized by very long passages of text. Don't be discouraged or

frightened by that aspect; it will eventually get easier, once the director gets

involved and you've had time to go over the play.

4. Make sure you are a team player. Other actors don't take kindly to anyone

who has an ego the size of Greenland, who projects an attitude that says, "I'm the

star." Especially in a community or university theater environment, there is simply

no room to think you're better than anyone else. After all, this is supposed to be a

fun learning experience, and since no one is being paid (much at least) to be there,

no one owes you anything, even if you do get the lead role.

5. Recognize that there are big differences between the styles of

auditioning for films and auditioning for stage plays. Film tends to stray more

towards intimate acting, close ups, headshots, and more realistic movements. Also

film auditions tend to focus on interactions and scenes, rather than long

monologues.

For stage plays, the auditions usually start out with monologues, and if the director

thinks you may fit in their production they may make you do scenes with the other

auditioners for the callbacks. So know what you are preparing for, if you don't have

a large stage presence or can't project, theater may not be for you. And if you can't

emote in close-ups, or have the will to stand around while the techies set up the

shot, then film might not be your cup of tea. So be aware of the different styles

before you go through all the trouble of preparing.

6. Audition Notices: So now you know what it is you are going to be involved in.

We'll mainly be focusing on the stage play style of auditioning because the method

can be adapted to fit a film audition. After you've decided to commit yourself, find a

production to audition for. Usually you can find audition notices in National Theater,

Winnies in Surulere, other places where actors hang out or find your local

community center and see if any directors have posted a call for actors. On

occasion they may advertise in the local paper (usually in the entertainment/arts

section) or community magazine. For films, auditions are usually held in large cities

(mainly Lagos).

Some production companies will advertise them on the Internet, usually through

casting call websites.

7. Understand that some of the film auditions will require you to send in a

headshot/resume. This is normal, because they often base on appearance first,

and talent second. Unfortunately, that's the way it goes in "Nollywood", but nobody

said this was a fair business. Also be aware that for auditions and productions (film

or stage) you may have to travel a considerable distance. So be prepared to travel

if you get cast. In a worst case scenario (mainly film) you may have to relocate to

the area of the production for the period of shooting.

8. Find an agent. On occasion you can find agencies in major towns and they will

have larger connections than you might. But remember, agents take 10% to 30%,

so if you get a paying job, you will probably take a pay cut if an agent found it for

you.

9. Understand that if you find a call for actors, to look at the character

types and see if you fit. If you are a 20-year-old male, you probably won't fit into

a role for a 40- to 45-year-old male. So be aware of the character types.

Sometimes directors may make concessions for actors (such as if you are younger

and they can't find enough older people to fill roles, or you are a good enough actor

to fill the role, etc). If you are "close" then don't be afraid to audition. Make sure

and write down all information (contact numbers, play name and author, directions

to audition, etc.) so you aren't scrambling to find out information at the last

minute. It is a professional courtesy not to take down audition notices until after

the audition has happened, so please leave the audition flyer where you found it,

don't take it with you (unless there are many in the area where you found them).

Now it's time to prepare.

10. Prepare to prepare: Read the audition's requirements. Most notices will tell

you what you need for the auditions (physically and performance-wise), Such as

headshots, resumes, dance clothes and what to do for the audition. Usually for

contemporary productions, the requirements are two contrasting monologues

(comedic and dramatic). Aside from that, the notice will tell you what else you

need: A song, a devised piece, etc. Be sure to follow these things to the letter.

11. Find a monologue: This may be one of the most difficult steps in this process.

For the monologues you need, you will need to scour over many different plays and

anthologies to find the right one. Most of the time, the best course of action is to

find a monologue that is similar to the play you are auditioning for. This will enable

the director to see how well you can play in the style and not have to envision how,

for example, a Shakespearean actor fits into a more contemporary style. For help in

finding monologues, ask a local theater buff, a theater professor, or talk to the

director of the production. These people will be able to help you the most, and will

probably have the resources from which you can draw. If all else fails, go to the

library and just begin reading plays that take place in the same time period as the

production for which you are auditioning. On the flip side, if you already have your

monologues, then you've already won half the battle.

12. Before the audition: Now that you've found the monologues you need,

memorize them. There is no set way to do this; it is just something each person

does on his or her own. Just make sure they are fully memorized.

Most directors won't cast people who flub badly during their monologues or read off

of a script during their first audition (unless they saw something in you that they

really liked or need). So once memorized, keep practicing until the day of the

audition. When the audition comes, take a few hours beforehand to prepare. First:

Dress for success. It won't look good if you get up on stage and look disheveled.

If you have to dance with your audition, bring a spare set of clothes so as not to

ruin your nice ones before you do your acting audition. Also, get there early. Most

productions will have you fill out forms detailing your past experience, vital

statistics, and availability. They may also have time slots for you to sign up to do

your audition. The earlier you arrive, the more slots you can pick from. Arriving

early also gives you time to warm up. Do vocal exercises, stretches, and tongue

twisters. Don't botch your monologue just because you didn't stretch out your

tongue. Last, be friendly to all those around you. Don't be confrontational. If you do

get cast and they also get cast, you'll be around them for the whole duration of the

production and they're going to remember if you were unkind during the audition.

13. During the audition: So the audition has started and you've done all the

paperwork and all your prepping. Sit quietly and wait your turn.

Make sure and listen; in some auditions the Stage Manager or Director will give you

added instructions that weren't on the notice. Those may be vitally important, such

as time limits on monologues, or the procedure in which they will audition. Wait for

your name to be called and then proceed to the stage. Before saying anything,

make sure that you have their full attention. You don't want to begin while they are

still writing or talking to one another about the previous actor. Wait til you've

achieved eye contact with all of them so that they can listen to you from the very

beginning. Then, make sure and SLATE for the director, regardless if they know you

from prior contact. Now, do your monologue. After you do your monologue, the

director may ask you some questions or ask you to do a part from your monologues

again. Be patient, answer all questions truthfully, and do the requested part to the

utmost of your ability. It may pay off when the director makes their final decision.

Once finished, take a small bow and say thank you, and exit so the next person can

audition.

14. Post-Audition: This is probably the toughest part of the audition, even more

so than monologue hunting. This is the time when you feel most helpless - your

fate, at least for this role - is now out of your hands.

After the audition you can either stick around or leave; just make sure you know

where the call back list will be posted or, if there are no callbacks, where the final

cast list will be posted and when. If you need to leave, be courteous to the other

actors and leave quietly. Once home, don't stress about the audition. Most times

actors post-audition will psyche themselves out by analyzing each and every part of

the audition, then agonizing until they see the cast list.

One word: DON'T. Sometimes there will be many days in between audition and final

casting, and sometimes there is even a second audition for call backs to narrow

down the field. If that's the case, then be prepared to work with other actors in

scenes from the play, and possibly even read for characters you don't want the

roles for. But whatever you do before the cast list goes up, don't stress out. It's out

of your control, and if you don't get cast, it's not because you are a bad actor. A

more likely reason is that the director couldn't find a place for you in his or her

vision of the production. Don't get upset with anyone there. This is no time to start

blaming anyone for anything, including yourself. Things simply didn't work out.

After the cast list is posted, it's perfectly fine to ask the director what you need to

improve upon or could have done better.

Directors are usually very gracious about this because they can analyze it from a

3rd person's point of view and tell you exactly what it was they were looking for.

But be careful not to be rude. Don't start slinging accusations and don't be upset

with them because you weren't cast. But, if you were cast, congratulations, you

made it and hopefully this guide helped you do it! Good luck out there!

TIPS

Before auditioning, you may be inclined to contact the casting director. They

may probably have left an email address or phone number for that purpose.

If you are calling them please follow this script:

-Director: "Hello, this is Leslie"

-You: "Hello. My name is (first and last name). I read your audition posting

in the (place) for the movie (movie name) and I have just one quick question

for you if you have the time now.

-Director: "Go ahead"

-You: (Quickly and clearly, state your question. Make sure that it is not a

stupid question; don't ask something that was clearly stated in the

advertisement etc. Also, make sure you have a real question. Some people

take this pre-audition contact as an opportunity to get more face time with

the casting director. It is very annoying to have someone call and say,

"Um..er...uh...uh..can you ah..give me a little more info about it"?)

After she/he answers your one question say, "Thank you very much for your

time Leslie. I look forward to meeting you on the (date of audition).

Goodbye."

Always read the play before you audition for it. The director may ask

questions during your first audition and it is always good to have answers to

those questions. It also makes callbacks easier because then you won't be

reading the play for the first time.

Try not to wear dark colors to the audition. Try to wear something that

stands out but is also sensible.

Some auditions that have time limits on monologues will most likely have the

stage manager giving you time signals from somewhere in the audience. Be

aware of what these signals are and when they are given. It is the worst

feeling if your time runs out in the middle of your second monologue and

they cut you off.

Always carry spare resumes at the audition. You never know who will be

there or who will want one.

Read beyond the scope of the play if you have the time and effort. Read

some of the other playwrights' works, perhaps learn about the time period

they were writing in. Trust me, it helps in the long run.

Make sure and be relaxed going into the audition. If you are calm, cool, and

collected, you will do a better job than if you were wound up like a clock.

Know your theatre terminology. Here are some definitions:

Monologue: A short speech taken from a play. Usually no more than two or

three paragraphs long.

Slate: An Introduction. Usually consists of, "Hello, my name is (your name

here) and today I will be performing (character name) from (play name) and

(2nd character name) from (2nd play name)."

Good luck at your auditions! Have fun and remember if you don't make it

there will always be another chance for another play.

WARNINGS

NEVER pay to audition, no matter what they tell you. Paying to audition is

almost always a scam. Usually "pay to audition" production companies are

actually nonexistent companies which have no intention of putting on an

actual production or completing a film.

HOWEVER, some small community theatre groups and drama groups do

require people auditioning to purchase a membership if cast. This is not

necessarily a scam, but still make sure they don't have an "exclusivity

clause".

Be wary of production companies with exclusivity contracts (i.e. you can't

work for other production companies for six months even if you get fired)

Don't arrive late, make a lot of noise, or generally be rude. It doesn't fly well

if you disrespect their craft, even if you don't mean to.

If you aren't cast, there are many reasons. You may not have fit the right

type, or you simply were not what they are looking for. Move on.

Do anything to take your mind off of the fact that you are in consideration for

a role. It will prevent you from going crazy with anxiousness before the cast

list is posted, and prevent you from being horribly depressed and

disappointed if you don't get cast.

You cannot decide that you don't want a role at the last minute. If you've

been cast, you've made a commitment (unless it's for a major role and you

specifically asked for a smaller one because you couldn't put in the time a

major role needs) and that commitment means that you don't say no to that

role unless you have a very good reason.

Please be aware that the Acting world is extremely competitive. People may

not follow the above rules and still get cast; they may be completely rude

and still be liked by the director, etc. There are a number of variables that

you simply cannot control when you are auditioning, and there are no real

specific unions to enforce rules of fairness. And if you thought life was unfair,

everything is about ten times worse when you decide to be an actor. Be

aware that you're in for disappointment, as well as frustration. Take it all in

stride. That's acting, and it's what we love.

Don't lie about your acting experience, or even stretch the truth too much. It

is better to admit to having no experience than to lie about experience you

don't have. In fact, some producers like to have someone with no experience

because they are more likely to "take direction" (basically follow orders).

Don't be afraid to audition at a later date for a producer who didn't cast you

in a previous production (unless, of course, you were rude in your departure)

Open Casting Calls: Finding Acting Auditions

What are open casting calls? Simply put, they're auditions that anyone can show up

for. So everyone gets a shot. It's a beautiful thing.

So does that mean there are auditions that are not open to anyone? Yes. Directors

will hold invited calls, contacting only a short list of actors they would like to work

with.

Open casting calls are the best way for aspiring actors to get noticed. If you attend

a lot of auditions, casting directors will begin to recognize you, and are more likely

to take a chance and cast you.

So attend every open casting call you can. Why not? It's free. Go get noticed!

FINDING AUDITIONS

A good place to start in looking for auditions is places where actors frequently

gather. This is where you usually find audition notices. Another place to look is your

local newspaper. It's especially helpful if you haven't built a network of connections

yet.

Which leads me to my next tip: Networking is the absolute best way to find out

about an acting audition. So go meet people, ask them what they're doing, and

offer your services. You'll be shocked at how effective it is.

BREAKDOWNS

When looking for professional acting auditions, make sure you're right for the part.

Most audition notices will come with a breakdown. A breakdown does exactly what

it sounds like: It breaks down the roles available, briefly describing each one. Facts

like gender, age, and social status might be important.

GETTING AN AGENT

Most beginning actors assume their path to stardom begins with finding an agent. If

only they had an agent to send them on auditions, they'd be famous in a hurry.

Let me tell you, it ain't that easy. Most of these agents have their hands full, with

more actors than they can handle. This is not to say it’s not advisable to get an

agent. If you can get one, then perfect. But don’t let the absence of an agent deter

you from going out there to help yourself.

So what's my advice? Get out there and make a name for yourself. You can get into

almost any audition even without representation. Then, when the time is right,

they'll come find you.