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Topic: Etiquette!!!( Topic Closed) | |
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chelserin
Lead Joined: 3/02/08 Location: United States Online Status: Offline Posts: 47 |
Posted: 11/25/08 at 7:41pm |
When the props are set, do not touch unless it is your prop and you are taking it onstage. When you are done with a prop put it back in it's place.
Always check your own props are set. Don't just "trust" that they'll be there. (I've got a thing about props. When in "Fantastiks" I was the mute, one night I was running late and my friend set my props for me. During the show I looked in and didn't see one I would need in the next scene. Internal freak out, had to figure out a way to get off stage to get it. Turns out it was in the trunk, but not were I usually put it. Moral: I was never late again and always made sure to check my own props. Now I'm known at our theatre as the prop nazi. "No prop for you!")
When auditioning, if the director asks you to try something different with a reading, do it. They are not only looking at your acting, but if you can take direction.
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Linda S
Celebrity Joined: 4/16/05 Location: United States Online Status: Offline Posts: 312 |
Posted: 11/26/08 at 12:59pm |
I've always wanted to put up a big sign that reads,"Your audition starts the minute you walk through the door." I just didn't cast someone who gave a brilliant audition because she was condesending and rude to everyone but me. I wonder if she thought I couldn't see or hear her talking to other people, or that they wouldn't say something?
Linda
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pdavis69
Celebrity Joined: 3/26/06 Location: United States Online Status: Offline Posts: 437 |
Posted: 11/26/08 at 1:38pm |
One suggestion that I always tell people who are not well known in the group for which you are auditioning is to wear the same outfit if there are more than one audition date. This helps the casting group (who may not know you) remember who you are from night to night. Of course if you really stank the first night, maybe you should change.
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Patrick L. Davis
Fort Findlay Playhouse |
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GElliott
Lead Joined: 3/05/07 Location: United States Online Status: Offline Posts: 33 |
Posted: 11/28/08 at 5:58pm |
One major one for me is actor’s nervousness and bad attitudes. Sometimes actors come into auditions with a chip on their shoulder. I think they feel like they are being negatively criticized. I never believed it from theatre veterans when they would tell me this, but the directors and producers DO want you to do well. They are sitting there cheering you on, hoping for your best. Once I got on the other side of that table it would kill me to see actors come in with a self defeatist attitude. On the other hand, when actors come in with a smile, have confidence, and genuinely have a good time, those are the guys you want to cast and work with. Remember, you’re not only auditioning for the part in the show, you are asking to be hired to work with the company. If you come off as being moody or having an attitude, you are probably not going to get the part. |
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23cal
Walk-On Joined: 1/04/09 Location: United States Online Status: Offline Posts: 0 |
Posted: 1/04/09 at 9:17am |
One of the things considered good etiquette at our theatre is that EVERYBODY participates in set srike and theater clean-up after a show. Very bad form to put yourself above doing your fair share; clean-up is just part of the package.
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Nikki Adams
Walk-On Joined: 1/05/09 Location: United States Online Status: Offline Posts: 7 |
Posted: 1/09/09 at 8:16pm |
As for how to behave at rehearsals ... Here's something I've used over and over and over again, every show I direct has this as the cornerstone of the first rehearsal. Actors in my area know my by reputation, which is pretty good, so I have that going for me as far as their listening as I read this. The vibe in the room sometimes goes a little quiet (and gets quieter when I assign their required reading, etc!), but I can tell you that there has only been one time in a dozen shows, since using this document, that I had any issues that it addresses. I had one actor under-directing me in one production, and I did exactly what I promised I would do, and the under-direction stopped dead with no attitude repercussions from the actor in question. It works! If anyone wants a soft copy of this, drop me an email and I'll send it right to you! president@bcfootlighters.com
(If anybody comes up with something I missed, drop me a line, so I can add it!) < ="Content-" content="text/; charset=utf-8">< name="ProgId" content="Word.">< name="Generator" content="Microsoft Word 12">< name="Originator" content="Microsoft Word 12"><> ... “GREAT
EXPECTATIONS”... TO THE CAST: An ounce of prevention equals a pound of cure,
so here's an outline of what we'll expect from you and what you can expect from
us. Come to every
rehearsal you are scheduled for prepared to work - physically, mentally and
emotionally. Bring your script and bring a pencil. Write down all of your
blocking and the notes we give you after rehearsals. Be prompt. We will
start without you if you are late. If you know you will be late or must
unavoidably miss a rehearsal, contact me. If you are consistently late or
absent we may not be able to continue to work together. When we’ve stopped a
rehearsal to fix a line or a piece of business or blocking, begin again by
repeating the cue line or lines just before the one(s) corrected so the change
can be rehearsed. When you are given
blocking it is meant to feel and look natural. Feel free to counter cross and
dress the stage without being told! Stay in character
throughout rehearsals. If you forget a line, remain in character and call
"line". Lines will not be
prompted unless you call for it. If you are given a
direction that you do not understand, stop us and ASK. It's imperative that you
are comfortable and feel an ownership of your blocking and business. Rehearsals are a safe
place for you to try ANYTHING and EVERYTHING. We don't expect a finished
product until the end of the last performance, so make and try lots of choices
in the rehearsal process, and when we open, don't "can it" ... keep
it fresh. Each audience sees the show for the first time - you have to play it
each time as though you've never played it before. NEVER give direction to another actor. If you feel a scene can be improved we
are always
happy to listen to your suggestions after
rehearsal or on a break. Similarly, if we give you movement or change a
direction, please don't debate it on the spot. If you have a question that we
can address quickly, ask it immediately. If you have an in-depth question, or
you disagree, please wait until after rehearsal, on a break, or before the next
rehearsal. We want your input,
and your ideas. They are important to the production. We will spend time at
several rehearsals discussing the show and characterization. If you feel we
aren't doing enough of that, we want to know! Learn your lines precisely
and give cues consistently. Do NOT paraphrase, make contractions
where there are none; DO pay
attention to periods, commas, exclamations and ... . The author has given us
great words ... let's use his! (You'll find that I'm rather obsessive about
this, so we'll save time if you comply early on!) If you are currently
working on other shows, please DO NOT work on them during any
rehearsal or performance of this show. Your complete focus is expected for each
rehearsal and each performance! Please don’t invite
any friends or family to watch rehearsals unless you've cleared it with the
director, and of course, don’t EVER have ANY friends or family backstage before
or during a performance. Protect your health,
particularly if you are overtired. DO NOT come to rehearsal if you are running
a fever above 100 degrees. (But call so we know you're not coming!) Of course,
we'll expect you at performances even if you're dying! Always acknowledge
fellow actors and production staff when you feel they've gone out of their way
for you. Remember that you're not the only one who needs positive
reinforcement. SAY THANK YOU loudly and often to your crew. Without them
you'd be naked, propless and in the dark on a flat, bare, soundless stage! Don't EVER gossip or
spread rumors about other cast members, the production staff or anyone else
involved in this show. Join us in being dedicated to creating an ensemble. Good
productions demand team work: consider everyone
as part of our team. Follow the rules of
the Box Office when purchasing/reserving tickets for friends and family. Don't
ask for special treatment because you’re in the cast! FROM YOUR PRODUCTION STAFF YOU CAN EXPECT: Respect for your time
within the constraints of the rehearsal schedule. Respect for your
talent. We will be prepared
and on time for rehearsals. Your Team will be
available to you for whatever you may
need, during rehearsals and any other time you may need us. Don’t be afraid to
ask questions, or for feedback, about anything. Feel free to email us or call us
at anytime. If you feel you need
extra one-on-one time to run lines, for character development, to work on
difficult monologues, please let us know. We’ll do whatever we can to
reasonably accommodate you. You can expect your
props, costumes, and tech will work with you and for you, not against you.
Don't be shy about telling us if
something is NOT working. This extends to characterization and blocking. We will work best when we work together to create excellence in theatre. You can count as much on our dedication as we are counting on yours! |
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Nyria
Celebrity Joined: 1/20/05 Location: Canada Online Status: Offline Posts: 157 |
Posted: 1/13/09 at 1:36am |
Do not eat the props - especially if they have been covered in glaze. ;)
And to repeat the last post - DO NOT GIVE NOTES TO OTHER ACTORS!!!!!
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NYRIA
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Nikki Adams
Walk-On Joined: 1/05/09 Location: United States Online Status: Offline Posts: 7 |
Posted: 1/14/09 at 2:15pm |
Of all of the things that make me happily nuts when I direct it's under-directing by other actors. Does not make me happily nuts. Makes me downright angry. The reason that made it into my Great Expectations is that I found out after a play closed that there was an actor in the cast that was giving notes to other actors IN BLACKOUTS AND IN BETWEEN SCENES!!! Because I'd never talked about under-directing, none of the other actors knew what to do, so they just took it and tried to ignore it.
During one of the last plays I directed, when I did use GE, I had an actor come to me in private to tell me there was an actor giving them character notes after rehearsals. I went to the under-directing actor and told her in no uncertain terms that, as warned in our first rehearsal, I would not tolerate it, period. I allow plenty of rehearsal time for character work and group talk, and always encourage suggestions from every actor about anything in the play, and told this actor that if they had something to say they felt would improve the work, I wanted to hear it - but only in group discussions or in private to me directly. The under-directing stopped, the actor in question treated me with much more respect, and all of the other actors in the play immediately relaxed. It was a real lesson for me - and I'll never direct another play without talking about this specific issue in the first rehearsal. Actors - ugh! (Just kidding, I'm an actor too!)
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SpenceKenzer
Star Joined: 1/23/09 Location: Canada Online Status: Offline Posts: 71 |
Posted: 2/12/09 at 2:07pm |
Have a 1-page resume or CV that you can leave with the director and/or stage manager, that briefly outlines your recent and/or notable theatrical experiences and training, if any.
(If you don't know what should go on one, find someone who has good one and mimic theirs.) If you can afford it, have a black-and-white 8x10 inch head shot photo that you can leave with the director and/or stage manager. In fact, have your head shot printed on the back of your CV! One sheet only -- saves trees! I know that some CT's don't require these things from auditioners. That's fine. However, the director and/or stage manager is more likely to remember you if you create a bit of an "I'm eagerly serious about this" impression by providing a CV and head shot. If your audition is set to start at a fixed time, BE THERE 15 MINUTES EARLY. Late-comers leave a very bad first impression! A wise SM once told me: If you're 15 minutes early, you're on time. If you're on time, you're LATE! If you know the part for which you're auditioning, dress for the part as much as you can. At the most basic level, I think that what a director wants most is to hear your voice (volume, timbre), and see your face, to find a combination of voices and faces that fit the director's concept of the cast. If you can demonstrate acting skill or performance varitety, so much the better. As a CT director, given amateur actors, I always remind myself: ALWAYS presume that what I get from an auditioner at the audition MAY BE all I'm going to get during the performance SO if I cast someone I'd better be minimally satisfied that his/her audition could be a passable final product. |
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Saludos, my dahlinks, and you know who you are ... ! |
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whitebat
Celebrity Joined: 8/05/07 Location: United States Online Status: Offline Posts: 137 |
Posted: 2/23/09 at 9:54pm |
Don't audition at all if you have serious doubts that you'll be available for the show (working 2 jobs, basketball or softball is more important...).
If you have to drop out of the show for some reason after you've been cast or after rehearsals start, let the director know ASAP. CT's usually don't have understudies.
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