Acting Tips

If you've ever enjoyed a movie, been hooked on a TV show or been moved by a play, you've witnessed the power of acting. This timeless art form of storytelling has come along way from ancient Greek theater and has ignited many lives with its passion. Whether you're a theatrical tenderfoot or a tenacious thespian ( I enjoy alliteration too much) this, my first instructable will provide you with some tips and tricks for better acting.


Drama class is simply amazing, and while I have a few plays under my belt, I have never stopped learning new and wonderful thing about acting. Acting is difficult, rewarding, painful, and in my humble opinion some of the best fun you can have! Hopefully you learn at least a little from my tips. And they are only tips, if you're interested in exploring and establishing a thorough background or knowledge of acting I suggest you search via your preferred web browser.

Step 1 Building a Character

Watch other people. Don't be a creeper, but seriously spend a day at a mall or park and just observe people and how they go about their merry (or not so merry) lives. You'll soon notice the variety of people and the quirks and mannerisms which really define them. Be sure to see what people do with their eyes and hands as these are very expressive features. Make note of any particular characteristics which strike you, if someone has a particular tick, a jump in their step, or a striking facial expression, then take some time to think about what they did and how you might be able to apply their behavior to create your own particular character.


We are always speaking with body language, often more so than we do with English. What do you think about someone who is always stiff and almost mechanical, or someone who slouches and leans constantly. When a person smiles or laughs a certain way, how do you react? Always realize
that we are constantly assessing one another, moods, status, reputation, esteem (self confidence), intelligence. People certainly can seem wealthier by standing a certain way,
or confident by the way they move through a crowd. How do we know these things? I'm not quite sure, but it just seems to be part of our collective human culture that we associate
certain appearances and actions with traits. A hobo could stand with a posture that make him seem like a king, and a Harvard Alumnus can have a facial expression which makes him/her
seem like a moron.


Keep studying; the more you watch, the more you learn. If anything stand in front of a mirror and practice various poses and expressions and think about how they make you feel and how you would feel seeing someone else doing it.


One key factor that I really find helpful and enjoyable is watching professional actors do their thing. Live theater can a fantastically fun and informative experience. Go see some plays at your local theater or if plays are unavailable, then rent some "classic" movies and just study what the actors/actress do. Don't plagiarize their techniques, analyze how they use their techniques to come across as a "better" actor, body language, voice inflection, volume, etc. Also, be sure to watch "bad" actors, or people who in your opinion didn't do a good job; did they somehow break character? smile or smirk? Look directly into the camera? Try and observe as many examples of both the good the bad to try and asses your personal conception of ways to perform better.

Step 2 C is for Communication

Unless your putting on a one man show and self directing, chances are you'll be interacting with a bevy of dramatic personae, and believe it or not you're gonna have to play nice. Honestly, I find this the easiest and most rewarding part of any cast. Some of my best friends began as casual cast mate acquaintances. If you're gonna put on a great show, or make a great movie, you're gonna have to interact with your fellow crew. 
Simply don't be a jerk and just treat people with respect. Nobody wants to work with an arrogant know-it-all or a timid introvert. I've worked with bad people, funny people, good people, and strange people. Getting to know your cast is essential. If you're cast with your worst enemy, don't sweat, tolerate him/her and treat him/her respectfully so that you can both reach your goal. If you feel that someone is lagging behind or struggling, offer your help and you will both learn something from one another and once again, this will add synergy your performance.


Aside from your fellow thespians, it is also key to communicate effectively with your director. If you're given strict directions--follow them. If your given some improvisational slack--make good use of it. The last thing a director would tolerate is a selfish rebel or a robotic servant. Be yourself, but know when to listen and behave accordingly.

Step 3 Lines!

It's great to read a script, and many are worthy pieces of literature, but when it comes to your own task of getting those precious lines ingrained in your noggin, nothing is better than hearing them out loud and learning with other people!
Remember: every line is important! Everything from a "Hmmm?" to the longest of monologues exists for a purpose and is included to move the plot along and develop your character. Playwrights and screenwriters do not just put filler dialog to add pages to their script. When reading your lines think about who/what you are speaking to (if anything), your motivation to speak, and the goal of your speech. Its a sign of bad acting to throw away lines into mumbling or by ignoring the motives/tactics/goals of speech by your sheer laziness or ignorance.


BEATS!!!!
Certainly one of the greatest and most essential things to recognize when memorizing and rehearsing a script are beats. Beats are shifts in the intention, motivation, etc. and are key to expressing a character as they truly are. Whenever anyone speaks in their daily conversation, they have beats. Beats reflect character goals and actions and can occur several times in a single sentence or may drag on for a page or two. Go through your lines and mark where you think a beat occurs and recognize how this would affect your performance.


Get Feedback:


Don't pester your friends and family, but if you see one of them in no particularly busy state, politely ask if they would run your lines with you. More often than not they will oblige if you ask them kindly enough. The other person will usually get a kick out of seeing you act, and you both will get some laughs (well in my experience nearly everything can be comedic, so your experience may differ), you will strengthen your memorization of your lines, and have the opportunity to vocalize them in several different ways.


If said family and friends are unavailable or you prefer the hermit lifestyle, then a microphone will be your replacement buddy. Buy a cheap usb microphone or tape recorder and record and listen to your recording. This may be a preferable practice choice as the recordings can be stored for later use and will be helpful in memorization or specific vocalization such as accents or inflections, plus the recording device will never get bored or hungry and leave you to play video games.

Step 4 Self Confidence

Some people have it, some dont. How to get it, and ways not to lose it:


I'm no psychiatrist, and I certainly can't explain the underlying roots of self-esteem, but I can provide you with some lessons that have gotten me this far.


1. Focus on the objective, not the outcome. People are often very self critical of themselves and worry when it is unnecessary. I'll compare acting to life in general; if you spend all your time worrying or thinking about the future, then you're wasting your present; in acting if you spend too much time thinking or worrying about what people will think of you then your performance will suffer. The key here is focus; your objective here is to give the best performance you can, first for yourself, then for others, not the other way around.


2. Learn from your mistakes! Its painful and difficult, but that's life and it can be just as fun and easy as well. I've gotten stage fright, we all do sometimes. It's horrible, it hurts, and you never want that sinking feeling in your stomach again, but we learn from pain. If you ever burnt your hand in a fire or on the stove as a child, then I'm sure you've never intentionally done it again. The same goes for acting. You make a mistake. You suffer the immediate embarrassment. Then you move on and avoid repeating those past mistakes as quickly as would you pull your hands from scalding water.


3. I won't give you a real third or forth bullet point for the sake or your time and my own. I probably couldn't fully explain confidence if I gave you a thousand bullet points, but my final two cents on it are: never back down and never give up, what I mean is that if your desire to act and give a great performance is greater than you fear of failure then you're on the right track. If not, get comfortable and get interested-- if you are only comfortable acting alone then do so until you can do it in front of someone, then do it in front of a group, then do it in front of a crowd, build yourself up step by step. When it comes to interest, you simply have to be motivated. You can't persuade yourself to be a better actor the same way you couldn't persuade a car without fuel to start; it just doesn't happen. If you lack motivation to dedicate yourself, then it will be a real struggle, if not an impossible feat. 

Step 5 Miscellaneous Mumbo Jumbo

Never eat or drink (yes especially booze) right before a performance as this can impair your ability to perform. I wont get into the messy details, but the only thing that should be spewing from your mouth are your lines, not that over caffeinated energy drink/ultra jumbo cheesy spicy fish taco surprise combo which gave you food poisoning. Don't drink alcohol before a performance either, 'nuff said.


Be sure to keep hydrated. I suggest keeping a large water (yes water and only water) bottle backstage to keep your body (most obviously your throat, to prevent coughing and thirst), and mind hydrated.


Be sure to keep well rested. This is a basic given, you are simply less likely to give your best performance if you are tired!.


Keep full. I mentioned previously not to eat right before a performance, which is extremely helpful, but it is also important to not act on an empty stomach. Once again keep some goodies backstage (and be sure to share, the rest of us actors get hungry too ya know). AVOID SUGARY SWEETS! they may be tasty, but the surging and crashing energy levels they may give you during a performance may impair you once again.


AVOID EXTREME SPORTS!! Its not worrying, its precaution! An injury can not only be fatal to you, but to your performance as well. If you get the part and are in the process of rehearsals, then it would be best to leave that mountain bike on its rack in the garage and your rock climbing gear in its bag. Whatever the potentially bone-breaking adventures you enjoy, put them on hold until your performance is complete. Arm casts and crutches cannot be easily worked into scripts and scenes, and either you may get the boot or the production itself may go under because you "just had to" go bare skin diving with sharks you and lost your pinky toe to Jaws. Dont risk it. 

Step 6 Showtime!

Live theater:

Hold for laughs. If you or one of your fellow thespians cracks a joke or performs a comedic action and the crowd chuckles or erupts into laughter be sure to pause a little until they quiet down; this way your lines don't get lost in the sea of noise.


Don't rush when you don't need to. Once I was backstage holding glass of wine my character was drinking, I hurried too quickly for my entry and collided into an unfortunately placed sub woofer, which caused me to spill the drink onto my costume. Thankfully the stain was conveniently unnoticeable on my wine-colored toga, and the sub woofer was unharmed, but I got lucky. Take your time, to avoid injury and possible set damage!

On the spot: If you find yourself in a situation where your cast mate or yourself has forgotten a key line its time to improv! Perhaps the cheapest but fastest way to get someone else back on track is to add a reassuring line , that is if their missed question line was "What are you doing?!" you might fill in the silence with a quick "Are you interested in what I'm doing?" or if their missed line was a statement such as "Wow, she's beautiful" then you might fill the void with "Don't you think she's beautiful?" and if your partner is really drawing blanks then you might potentially have to skip their lines up to a point where someone else speaks so as to maintain continuity. When it come to your own memory loss, always remember to STAY IN CHARACTER. breaking character during a performance is theatrical suicide and you must keep your calm. stay in character and respond in a way that your character would respond not the way you would respond to a situation. Hopefully, you will recognize your cue and the lines will come back and all will not be lost.

DON'T LOOK AT THE AUDIENCE! Unless it is in the script, never look at the audience. You setting is the only location your character is aware of, you, on the other hand are the only one away of all those people staring at you.


Remember, this is a one shot deal, there are no bloopers allowed during a play and no one yells cut.

Filming:

Due to the magic of editing, all your flops and follies can be cut out of the final production, but they should still be avoided for the sake of time. When you're in front of a camera a lot of people are spending time and money to be there, so every moment is precious and you should still strive to do your best every take.

Step 7 Exeunt

I hope you enjoyed my 'ible. There is a great deal more to learn about acting, but heck, I learned a lot myself and I continue to learn about acting every single day. It takes a lot of time and effort to act, but it is by far very much worth it. Just remember that no great actors are born, they all started somewhere and built themselves up, you can do the same.

MONOLOGUES

AUDITORS ARE NOT SCENE PARTNERS

Never directly engage the auditors in your monologue. They are not there to perform, you are. In an actual performance, you would not normally look an audience member directly in the eye while delivering your lines. The same is true in an audition. Remember that auditions are like your own mini one man- or one-woman show. Instead, create a scene partner for yourself if necessary. In your rehearsals, imagine this person very vividly so that you can bring him/her into the audition with you. Have him or her sit just behind your auditors. If you’re not comfortable with playing off someone who isn’t there, deliver your monologue to your auditors, but use an atypical focal point such as their ear or the tops of their heads.

CHOOSING A MONOLOGUE

Nothing is more important than choosing the right monologue for your type and skill level. Remember, monologue auditions are your moment to shine. They are perhaps the only time an actor has complete control of a situation. Find monologues that play up your strengths as an actor. While reading through plays and screenplays, pay attention to monologues that seem to get you in the gut; these are the pieces to which you will most likely be able to bring true emotion and passion.

Try to seek out material that has not been overdone. Think of the poor auditors! Imagine a day full of actors reading Hamlet’s “To be or not to be” soliloquy or Juliet’s “Romeo” speech! Be a little more original and consider your audience. What might they enjoy hearing?

GIVING A PROFESSIONAL AUDITION

When you arrive at the audition, hand over your acting headshot and resume (if the auditors don’t already have it) then take your position to begin reading. Do not talk to the auditors unless you are asked a question. Most likely they will ask you your name and what you will be performing. It seems obvious, but have this answer ready. Announcing your piece is part of your professionalism.

At the end of the audition, most auditors will simply say thank you. Return the thanks and leave. Do not linger, do not ask questions, do not compliment their previous work, do not tell them you have a common friend, etc. Stay open and polite. If you are asked some follow-up questions, feel free to answer them, but be brief. A little respect for their time will go a long way.

GOING UP

Forgetting your lines is every actor’s nightmare. In the business, this is called “going up” on your lines...and it happens to everybody at some point or another. Of course you should always be prepared, know your monologue inside and out, be able to recite it in your sleep, backwards, on cue, etc. But on the occasion that you go up in an audition, do not panic. Act professionally. If you are doing a piece no one has heard of, improvise a few lines until you get back on track. If your piece is well-known, then pause a moment to gather yourself, but stay in character. This is vital. The auditors are looking at you as an actor. Actors stay in character when they are on stage or on screen. Your audition should be no different.

MOVE!

Some actors make the mistake of staying rooted to the floor when they give a monologue audition. Don’t do that - it’s rather boring to watch. And never give a monologue sitting down unless it’s implicit in the script (i.e., your character is in a wheelchair). Play the room. Move around. Work believable stage business into your monologue. Think of the entire 1-2 minutes you are performing as a mini play. You don’t need to come in full costume or have a bag of props (in fact, this is not recommended), but do stay mobile in a natural way. Take the time to have a director or acting coach work out some blocking with you.

TAKING A STAND

When delivering a monologue, position yourself close to your auditors, but not in their laps. The auditors certainly want to get a good look at you, but if you are too close the fourth wall (that imaginary wall between actor and audience) may be compromised. Your auditors will generally be sitting behind a desk, so use the desk as your centering point. Stand about 10 feet away (or as the space of the room permits) to begin your piece. If you’re on a stage, don’t hide yourself so far upstage that the auditors can’t see you move properly or hear you clearly.

WHAT IS A MONOLOGUE?

A monologue is an excerpt of a longer piece written for stage or screen. For audition purposes, you should select monologues that run 1-2 minutes in length. Do your best not to exceed this length unless requested by the audition notice. Auditors may have hundreds of people to see, and if you take up more time than they expect, it will certainly go against you no matter how great your monologue is. Typically you should have one or two classical (pre-20th century) and contemporary (20th century) monologues prepared. This way, you have flexibility in your material and can alternate them to keep auditions fresh.

TELEVISION ACTING

CAMERA 1? CAMERA 2?

On a television set, there are typically several cameras angled at the set. Actors who are new to on-screen acting can get confused about which camera to look into. (This is not so much a problem for sitcom and dramatic television actors as it is for broadcasters and commercial actors.)

Each camera has a light at its top. Depending on the camera, the light can be red, green, white, or yellow. When the camera is "live" or "hot," the light will go on, indicating that this is the camera now capturing what is on the set.

CAN YOU HEAR ME NOW?

Many on-camera actors and performers will have to encounter lav mics (Lavaliere Microphones) at one time or another. These are the tiny little black buds you often see stuck to people's lapels in talk shows (or ripped away before they storm off the set when the interview gets too heated).

If you need to wear one, wear it professionally: Slip the mic underneath your shirt so that the mic tip (the head where the sound is picked up) merely peeks out of the edge of your collar. If you're wearing a suit jacket, tuck the cord under your jacket flap. Keep the tip away from any clothing that might ruffle against it and interfere with clean audio.

COMMERCIAL ACTING

When acting in a television commercial, remember that you are there to sell a product. In these instances, it is not so important to have motivation for your character, do a detailed breakdown of his/her character. Instead, focus on the product you are promoting; it is the star.

If you are reading your own copy, be sure to give a little more emphasis to the name of the product or service. This technique can be called either “punching” or “warming” a word or phrase, depending on the mood of the ad. Be sure not to overdo it. Advertising is a subtle art. You want the audience to believe you, not feel pressured by you.

JOINING THE UNION

If you plan to work professionally in television, you will most likely need to join AFTRA at some point in your career. AFTRA stands for the American Federation of Television and Radio Artists. Along the with benefits of being paid the union-enforced day rates for performers, you are also eligible to join the sister union SAG, under certain circumstances.

New members must complete an application and pay a one-time initiation fee and dues for the current dues period. The initiation fee is $1,300 and, as of November 1, 2004, minimum dues are $63.90.

SITCOM ACTING

Acting in a sitcom (situation comedy) is a very specialized talent. It’s something like being in a comedic play, but without the need for vocal projection and larger-than-life body movements. Sitcoms are known for their “laugh-a-minute” standards, so they are fast-paced. Comedic timing is key.

Actors wishing to break into the world of sitcoms should read a few tips on acting in the comedy genre as well as take a few comedy acting classes. Sketch comedy and stand-up are best, since they teach the fine art of timing. Watch as many sitcoms as you can stomach – good and bad. Familiarize yourself with what works and what doesn’t.

TELEVISION ACTING TERM: FRAME

The term frame refers to the area that the camera's lens is capturing. You must learn what this is at any given point when you're on-camera, or you may just go wandering off the screen entirely. Camera frames usually cover close-ups (head), medium shots (head and shoulders), and long shots (full body).

To give an example of how these frames are used, sitcom ensembles typically encounter scenes with long shots (whole groups) and medium-shots (2-3 people). Close-ups are used to focus on one particular character when s/he is speaking.

TO JOIN OR NOT TO JOIN

Be aware that once you join a union like AFTRA, you are no longer eligible to work non-union jobs. If you are just starting out in your career and need to make money, you may wish to hold off on joining a union. Many smaller companies offer work to non-union actors (at a lower rate of pay than union actors). Once you are a member of a union, these jobs essentially become off-limits to you. There are certain exceptions to the rule, but you must research what they are before you accept non-union work. Failure to do so could result in you being dropped from the union.

TV ACTING TERMS: COPY, TELEPLAY, SIDE

Copy refers to the lines you will speak. In sitcoms and television dramas, “copy” comes in the form of a teleplay. In commercial advertisements -- whether on-screen or in voice-over work -- the words you speak are called copy, but the form in which they come to you is called a side. Sides are also what are given to you for an audition. In this case, almost any excerpt of a longer script can be referred to as a side.

RESUMES, HEADSHOTS + PORTFOLIOS

BE HONEST!

Just like any other job, your resume should reflect your talents and highlight your skills. When putting together your acting resume, only include truthful information. While the industry is big, it isn't that big. People talk and network, so there’s a very good chance that someone with whom you have an audition knows someone who knows someone who knows all of your previous work. No one expects a young actor to have a stellar resume. In the end, it is your audition that will land you that job. A small, credible resume is much more effective than a large one padded with lies. It’s better to earn your credits the hard way. In the end it will pay off.

THE RESUME RULES

Want to land an acting job? Follow these basic resume rules:

1. Your resume should never be more than one page long.
2. Never make the font on your resume smaller than 10pt. It is difficult to read in any situation, whether it's in a well-lit office or a darkened theater.
3. Staple and trim your resume to fit the headshot, or even better, print it directly to the back of your headshot.
4. Don't staple clippings or reviews to your resume; they will just get in the way.
5. You should have an email address created specifically for your acting resume. It should be your first and last name, whenever possible (i.e. janesmith@yourserver.com)

SELECTING A HEADSHOT PHOTOGRAPHER

When selecting a photographer, use one who specializes in headshots. Portrait artists may make you look great, but without insight into the industry, the photos may be overlooked. Research several different photographers, and ask your contacts in the industry for recommendations. Ask to see a portfolio of the photographer's previous work. Use a photographer with a permanent studio; mobile studios are less trustworthy. Negotiate rates beforehand and get an agreement in writing before shooting begins.

Also find out if a make-up artist will be available to you. If so, pay the extra money and hire him/her. It’s well worth the cost to have someone making sure you look your best you during the entire shoot.

THE HEADSHOT AND RESUME COMBINATION

Since you'll be handing your resume over with your headshot – the two are rarely, if ever, separated – you need to have the resume attached to the back of your photo. Many photo printing companies offer the service of printing your resume directly to the back of your photo. If this option is in your budget, take it; it is the preferred method of casting directors. If not, neatly glue your resume to your photo. If gluing is too messy, staple your resume to the back of the photo. Be sure to staple each corner to the photo. Never use paper clips, as they snag on other photos and resumes in a casting director's pile. The last thing you want is for your photo and resume to be separated; one without the other is useless!

TYPES OF HEADSHOTS

There are two basic types of headshots: commercial and theatrical.

Commercial: These should be attractive, warm, and open. Always smile for these shots, with teeth showing, if possible. (You never know if you’re going to be up for a toothpaste ad.)

Theatrical: These can be more “natural,” and should try to represent your characteristics as a person.

The format for headshots varies throughout the country –- from close-ups to 3/4 shots, from bordered to borderless. Make sure you use the preferred format for your area of application. It’s not a bad idea to have one of each taken so that you can submit to all types of jobs.

The general rule is that television and commercial work receives the commercial shot, theater and film receive the theatrical shot. If you're in a showcase, you can present either, depending on the industry professionals who may be present at the event.

YOU AND YOUR HEADSHOT

Casting directors use headshots to get a feel for an actor's type. The headshot should embrace your best qualities. Don’t dress or use make-up that covers your true nature; let the shot be true to you. And by all means, get new headshots if your look changes drastically and/or after a few years have passed. Misrepresenting yourself will only lead to trouble later in auditions. Remember, headshots aren't glamour shots. The look should be natural, open, and compelling. Many times, you will be judged by your headshot even before you are called in to have an audition. Let your photo speak for you and your abilities by being professional yet accessible.

YOUR MAILINGS

Enclose your headshots in an envelope that is easy to open. That way, the casting director doesn't have to struggle with your materials. A simple clasp envelope sealed with a small piece of tape should be sufficient. Consider attaching a small note to your headshot; it could gain you a few extra moments of the casting director's time. Although they are popular, it’s not advisable to use the envelopes with clear covers. The idea behind these envelopes is that the casting director would not even have to open the envelope to see your picture. However, this can go against you; s/he may not warm to your photo and could toss the envelope out without even opening it to read your resume.

PURSUING AN ACTING CAREER

ACTING AND YOUR MONEY

In order to become an actor or become an actress, you must first have a passion and drive to learn your craft. However, many young actors make the mistake of not realizing that there is much more to living the actor’s life. A key part of beginning (or transitioning into) your acting career is insuring your financial stability. Before you begin, you should have a supply of cash in place. If you’re moving to a city like New York, Los Angeles or London, you’ll need to factor in the higher costs of urban living. Spend some time researching banks and credit unions in the city, noting interest rates and checking fees. Search for affordable housing. Keep in mind that this could take some time as well as trial-and-error situations. Commit yourself to a reasonable budget; you don't want unpaid bills delaying the start of your career.

BE A STUDENT FILM STAR

There are plenty of opportunities for actors to find work throughout the year. Not all acting jobs are commercial acting jobs! Acting in student films is a valuable way to gain both experience and exposure. Each spring, New York's film schools offer numerous opportunities for working in student films. Participating actors get to work with the industry's up-and-coming directors. A role in a student film allows you to practice your acting skills while enhancing your resume. Student films are often shown at international film festivals, providing a valuable opportunity to display your acting talent. An additional bonus is that more often than not, student directors will hire non-union actors, so you won’t need to worry about having to join SAG to get film acting credits on our resume! Keep in mind that you probably won’t get paid on a student film. You will generally receive free transportation and food as well as copies of the film on DVD or VHS as payment.

BEING A WORKING ACTOR

Technically, a working actor is someone who is paid to perform dramatic (or comedic) works. In order to call yourself a professional actor, you must be paid for your work. Keep in mind that a working actor may have a steady stream of jobs, but not be able to support him-/herself by acting jobs alone. The sad truth is that most actors are never really able to settle into a long-term job. There is always the next audition, the next gig...

The important thing is to keep getting out there and keep being seen. In the meantime, look into joining a temp agency to earn extra money. Temp agencies are geared toward people in the workforce who cannot commit to full-time jobs and need flexibility. Some temp agencies are even geared specifically toward actors, placing them in temp jobs related to the industry.

ONLINE NETWORKING

There are two primary websites that handle networking online in New York City, a must for the acting careers of budding thespians:

Actor's Access allows you to submit yourself for projects within the city as well as Canada and the West Coast.

NYCastings allows you to submit headshots and resumes directly to casting agents and casting directors through their electronic database.

Both websites allow actors to submit and host their own video portfolios. There are also plenty of online groups that allow you to network with other professionals. A quick search in any search engine will bring a number of results you can sort through to find the most appropriate community for you.

TAXES AND THE ACTOR

Once you start your acting career, one of the smartest things you can do for yourself is to hire an accountant. It may sound daunting, but a good accountant may be able to save you money year after year. S/he will be able to tell you which of your expenses are tax deductible. For example, did you know that any money you spend on your acting business -- your headshots, postage for mailings, trade magazines and newspapers, classes, and even transportation to and from acting school and/or auditions -- are all tax-deductible? Keep careful records of your expenses and save receipts. Taxes can be audited up to three years after you file them, so hang on to all paperwork even after tax season.

THE ACTOR'S LIFE

Your foray into life as an actor will be made much smoother if other aspects of your life are in order. If you're moving into a new city, spend some time setting up a comfortable apartment. Even if you share a space, be sure you have an area that is quiet enough for your private time. If possible, set aside part of your living space for your work as an actor. This “office” will help to create a physical focus for your budding career.

You may also consider joining a gym. Keeping your instrument in good shape is always important. If you have the time, involve yourself in the local community, especially in the arts. The more people you network with, the more enriching your career will be.

THE DIRECTOR IS GOD

If you want to know how to keep your acting career going, heed these words: The director is God. The director will have final say in any play, program, or film your work on. So if you're going to take on an acting job, be sure you share your director's vision of the role you've been given and of the production as a whole. Check your ego at the theater door (or studio gates, as the case may be). There will inevitably be points of disagreement between you and your director, but don't waste the director's, crew members', and other actors' time by getting into argument on stage (or set). Should you need to address any conflicts, try to speak with the director after the day's work is done.

FILM ACTING

BACKGROUND ACTORS

A great way to enter the world of film acting is to work as an extra on film sets. (Although you won’t be called an “extra” on-set; instead, you will be referred to as “background.”) You can find calls for extras on the Internet as well as in publications like Backstage, Hollywood Reporter, and Variety. Background casting calls are also sent out by agencies that specialize in background casting. You can find these agencies listed in Ross Reports or online. Doing background work or taking a small role in a student film is another excellent way to cut your teeth. Any university with a film department will have postings announcing casting. When you get a background job, find out if you need to bring your own clothing/make-up. Also, be sure to arrive on time for your call and/or your pick-up location. Unless you are told otherwise, plan to stay on location all day. If you have any other appointments that day you should either reschedule them or do not take the background job. PAs (Production Assistants) will be your main contact for the day, and are not interested in hearing about anything else you have to do besides their film!

EXTRA TIME

When you are doing background work, be prepared to do a lot of waiting. Some background talent may get booked for a day and end up spending 15 hours in “holding” usually a large hall or space that serves as a waiting room/dining hall/lounge/dressing room. Sometimes, background actors wait all day long and are never called to work. You’ll still get paid; don’t worry. Two important tips:

1. Bring a book or knitting or something to do while you wait. Don’t sleep; if you get called, you’ll need to be up and energetic at a moment’s notice.
2. When you are on-screen, remember you are background. Do not call attention to yourself. Keep your movements at a minimum, even your facial expressions.

HIT YOUR MARK

One of the most important tips about film acting is “hitting your mark.” It can also be the hardest part to learn. Unless you’re in film that’s being shot with a handheld camera that is following you around, you will need to learn this important skill.

Before cameras begin to roll, your spot for the scene will be marked on the floor, usually in a n X or T formation with some glaring piece of colored tape. When you enter the scene, your job is not only to walk directly to that spot and stay put or you’ll wander off screen and make the director very unhappy. On top of that you need to look natural doing it! See why it’s hard? If you have a video camera and tripod, try setting up shots for yourself at home as practice.

ON BEING "NORMAL"

Film acting is very appealing to many performers because it allows them to be “normal.” There is no need for over-the-top physicality as stage acting requires. Sets are actual places, not made of wood and canvas. There is no immediate audience; your only concern are your scene partners. (Of course, you have tons of crew, equipment, lights and camera in your face, but when you’re living in a scene, these factors all away.) Actors are able to delve into the roles they play as though putting on the suit of another person’s body. When they appear in front of the camera, they are not acting the characteristics of that person, they are that person. Actually, it’s the most abnormal thing an individual can be! There can be a danger in this dissolution of self into the role you are playing. Remember that once the cameras stop rolling, you have a life – your own life. You must respect it and take care of yourself. If you don’t, you will inevitably be unable to tap into your resources to bring life to future characters you play since there won’t be anything there to tap into.

PULLING BACK

There is a misunderstanding about what it means to “pull back” in film acting. Let's clarify: by no means does it refer to lowering your energy or the strength of your character on screen. It does, however, refer to pulling back on your physical gestures. Watching someone wriggling around gesticulating wildly is more than distracting on screen. If you must move, make sure your movements are in-character and germane to the scene. Even if your character has a twitch, choreograph it so that you are not distracting from the other actors who share the scene with you.

SAG

SAG is the Screen Actors Guild – the union for professional screen actors. In order to join SAG, you must have performed in a SAG film, television program, videotape, or commercial. You can also join by having worked as background on a SAG film as long as you were paid SAG rates and worked a minimum of three consecutive days. Members of affiliated performers’ unions such as ACTRA, AEA, AFTRA, AGMA or AGVA can also apply for membership once they have been in their union for one year in good standing (i.e., paid dues) and worked at least once as a principal (lead role) on-screen or in voice-over work. Rates and benefits of being a SAG member can be found on their website atwww.sag.org.

SHHHH!

When you are on stage, projecting your voice is essential. On film, however, the set is full of audio recording devices from lav mics to booms – all designed to pick up your tiniest finger-tap. A dead giveaway that an actor has transitioned from stage to screen with no additional training is when s/he appears to be yelling lines. There is no need. In fact, film is designed to be true to life, so the same vocal level you use to talk to anyone in your daily life is the same you’d use on a film set.

STAGE ACTING

FINDING YOUR LIGHT

Much like finding your mark in film, finding your light on stage is a tricky technique. Unlike film, where a mark is set up specifically for an actor, lighting in a stage production is set up more generally – to light the scene. It’s up to you to find your light. The easiest way to do this is by feeling the light on your face and in your eyes. Stage lights are set from above, so when you step into your spot, per your blocking, feel where the light shines on you. Ideally, you should feel the heat of the light on your face and if you were to look up, you’d see the light angled at around your forehead. Be careful of standing directly under a hot light, however, as you will get “washed out” by the light’s glare.

HAVE A VOICE

A thespian’s voice is one of the most precious possessions s/he has. Here are a few ways to keep it safe and warmed up:

• Only drink water that is room temperature or warm. Cold water will constrict your vocal cords.
• Before a performance and between scenes, sip hot water with lemon.
• Slippery elm lozenges are a great quick-fix for scratchy throats.
• Support your voice by using your diaphragm, not your throat, to control your breath and vocal cords.
• In between shows, keep your jaw loose. Bette Davis used to walk around her apartment with a wine cork held loosely between her upper and lower front teeth. Try it, it works!

LEARN YOUR DIRECTIONS

Acting on stage requires the knowledge of a new kind of navigation. When you are on stage, directions are oriented to you as the actor. (Conversely, House Left (HL) and House Right (HR) refer to directions oriented to the audience.) In a script, you’ll see blocking that may read any of the following: SL, SR, DSL, DSR, USL, USD. Here’s what they mean:

SL: Stage Left – Your left when you are standing on stage.

SR: Stage Right – Your right on stage.

DSL: Downstage Left – Moving toward the audience, to your left.

DSR: Downstage Right – Moving toward audience to your right.

USL: Upstage Left – Moving to the back of the stage, left.

USR: Upstage Right – Moving to the back of the stage, right.

Downstage and Upstage refer to the old days of theater -- think Shakespeare -- when stages were "raked," or sloped. When you moved toward the audience you were literally moving in a downward direction and upward when you moved to the back of the stage.

STAGE ACTING TERM: BLOCKING

Blocking is the term used to describe where and how an actor moves on the stage during a play. Most playwrights incorporate basic blocking into their scripts. Since stages come in different sizes and may have different special needs, the director will draft out his/her own blocking before rehearsals begin. Blocking includes elements such as where an actor takes his place at the beginning of a scene, “crossing,” when an actor moves across the length of the stage to another actor or part of the set, and any action that asks an actor to employ the use of a prop.

In musical theatre, blocking becomes especially important, particularly when choreography is introduced. It's imperative that every actor is in the right spot on stage before and after a musical number. Oftentimes, this positioning becomes a cue for the orchestra or for other actors' entrances.

STAGE COMBAT

Stage combat, quite simply, is fighting on stage. Of course it is more complex than that. In order to stage a fight, actors must look convincingly as though they are fighting – whether hand-to-hand or with swords (generally rapiers or broadswords). Fight directors are hired to actually choreograph moves for any fight you see on stage or on screen. It’s a serious business; no one wants injuries! Once the actors learn their fight “dance,” it is up to them to bring the final element to the scene: the acting. It’s one thing to see an exciting wrestling match, punchfest, or duel, but the scene is raised to a higher level when the actors deliver the emotion of the moment with each blow.

STAYING OPEN

Oftentimes, novice actors make the mistake of “closing” themselves off to the audience. In physical terms, this means you have positioned your body on a slight diagonal so that the side facing the audience is blocking the rest of your body. This is also calling “upstaging yourself,” as you have essentially shoved half of your body upstage, toward the back of the stage. Many young actors do this unconsciously, as a way to protect themselves from the very vulnerable position of being in front of an audience.

It’s important to remain open, both physically and emotionally when you are on stage. In terms of your body positioning, always angle your body out toward the audience if you’re not facing them outright. Any movements that require you to turn, always turn in the downstage direction. If you need to cross furniture, cross in front of it whenever possible. And as every actor knows, never leave your back turned to the audience. As many directors say, “They’re paying to see your face, not your behind.”

THE SCOTTISH PLAY

One of the biggest faux pas any actor makes is to utter the name of one of Shakespeare's most incredible plays, "Macbeth" under the roof of any theater. It's an old superstition that has lasted many years, and it's one many young actors are not aware of.

The superstition goes back to several accounts of terrible things happening to actors and sets alike, from the first performance of "Macbeth," when Shakespeare himself had to play the role of Lady Macbeth since the boy who was to play her suddenly died. King James hated the show so much, he shut it down. Over the years, there have been tales of injuries, bad luck, and even death at performances.

In order to reverse the bad luck, the person who uttered the word must exit the theater, spin around three times saying a profanity, and then ask for permission to return inside. Other variations require spitting over your shoulders or simply spewing a lot of curse words. The best thing to do is not say the word at all. If you must refer to the play, call it “The Scottish Play.”

Don’t say you haven’t been warned.