BOOK OF THE MONTH

12.06.2008

BOOK OF THE MONTH

Smart Actors, Foolish Choices: A Self-Help Guide to Coping with the Emotional Stresses of the Business by Katherine Mayfield

Here is the first and only book entirely to the emotional side of the performing arts. Smart Actors, Foolish Choices is a resource for anyone who needs to know how to deal with ego-bruising rejection, with anxiety and fear, and with the numerous other challenges of staying happy--and sane--in the turbulent world of show business.

UPCOMING WORKSHOPS

Eight-Week Scene Study for Beginners - Saturdays beginning January 24 - March 7, 2009 $200

No matter what the medium, acting principles are the same, and scene study is the place to learn them. This is the Mother Ship, the arena where you work on acting as a craft and art form, developing acting techniques you will be able to use anywhere. Actors are assigned scenes which they rehearse outside of class for presentation in class. Stage plays comprise the primary source material. This workshop also presents a good opportunity to prepare monologues that you will need to use in the industry. At the end of this eight-week course students present their scenes and monologues at our public STUDENT SHOWCASE.

On-Camera Workshop - Introduction to Acting for the Camera - Saturday January 17, 2009 12-7pm $200

Learn how to audition for and break into the local commercial and industrial industry. If you already have an agent but want to increase your "Bookability" this workshop will give you the edge over your competitors! This workshop will give you experience with the actual audition/filming process. You'll work on-camera all day doing both prepared and cold readings, and receive plenty of feedback from instructor Richard Mason

Acting for Film - Saturdays beginning January 24 - March 7, 2008 $200

This intermediate level class, ideal for actors who have some training and/or previous experience, offers a focused introduction to the process. Actors work, stage, and shoot several film scenes during the eight-week session.

Go to: http://actingincolumbus.net/page008.aspx for more information

Strong coaching is at the heart of many successful careers. The focus and excellence of one-on-one coaching has proven over time to be the ultimate form for training successfully and “according to the times.” Individual one-on-one training provides actors and performers with the unparalleled experience of having a master coach thoroughly custom-tailor a program matching their level of skill, talent & ability.

Developing talent has been Acting in Columbus' true competitive edge. I believe a truly competent coach is someone who not only cares but keeps his eye on the unfolding of your talent. You provide the will and appetite to succeed, I provide the expert guidance and thorough processes to develop your technique and refine the choices you make. I cover essential skills and techniques and deliver them through a variety of proven methods and processes.

**MFA and BFA candidates: I have a 90% success rate of my private students being accepted into the program of their choice.

$65.00 per hour– two hour minimum on your first session

Contact: richardmason@actingincolumbus.net

WHAT IS AN AGENT?

An agent is an actor's representative. Once an agent Represents you, you are his or her "client." They will submit you for roles and try to get you seen by casting directors. They will take 10% union - 20 % non-union and print work, of your gross pay once you book a job. They will negotiate your fees and your contracts, and are your greatest professional advocate.Agents represent lots and lots of wonderful actors. They're busy, and they may not even be looking for new clients. Getting any agent is hard enough, so how do you go about getting a great one?

There are three basic ways an actor gets an agent. They are:1. The agent sees your work and calls you in for an interview.2. You are recommended to the agent by a casting director, director, producer, acting teacher or fellow actor who is a client of that agent.3. The agent calls you in for an interview because of your P/R (photo and resume), which he or she received in the mail.Getting an agent to see your work is the best way to get representation, because they really need to get to know your work before they can represent you to the best of their ability. Even if you get an agent interested via another route, they'll probably want to see you have some training and/or experience before they'll represent you.

The most basic way to approach agents or managers in your entertainment career is of course the mailed-in submission, which consists of a cover letter, résumé, and headshot(s). You may also include a reel, if you have one. When it comes to assembling your packet, it's generally best to keep things simple. After all, agents and managers have seen every gimmick in the book - from food to party favors - and these gimmicks usually end up in the trash. But if you're in a play or showcase that spotlights your talent particularly well, invite reps to see you.

Acting in Columbus recommends you should only work with a "FRANCHISED" Talent Agent. What are SAG and AFTRA affiliated agents? Talent agents that are recognized by the acting unions because they follow the rules and regulations and code of conduct set forth by the acting guilds are called "franchised talent agents". How important are franchised agents? Very! A talent agent can be an actor’s greatest ally, strongest supporter and best business partner. Franchised agents place the interests of their actor clients above their own. They do more than just seek out work opportunities for their clients. They also make sure actors are paid a decent wage, assist the actor negotiate and sign union contracts and help make the workplace a safe environment. Choosing a franchised talent agent is one of the most important choices a performer can ever make.

Ask any casting director what matters most when an actor shows up to an audition. Most will say, "They need to be prepared." (Showing up on time can't hurt either.)

Avoid unnecessary chit-chat. Don't linger in the room for too long after you read. Stay away from using most props. And avoid making physical contact with the casting director during your audition. A feeling of desperation is another sure way not to get a callback from casting auditions. Never view an audition as nerve-wracking nightmare, or make it look that way.

Consider each casting audition an opportunity: A chance to perform for an audience — albeit a small one. Or walk into the audition saying, "No matter what happens, I'll do the best I can today." Remember: The casting director is not here to judge you harshly; he or she simply wants to find the perfect person for the role.

That could be you.

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Acting in Columbus Newsletter | The Audition Issue

12.06.2008

BOOK OF THE MONTH

WELCOME TO ACTING IN COLUMBUS

WHY ACTING IN COLUMBUS

Photo: Private student Ms. Hanani T.

UPCOMING WORKSHOPS

PRIVATE COACHING

HOW TO GET AN AGENT

WHAT IS AN AGENT?

Photo: Chris P.

....MORE AUDITION TIPS

TO REGISTER FOR CLASSES OR FOR MORE INFORMATION