Art of Auditioning: Techniques for Television

Art of Auditioning: Techniques for Television

by Rob Decina

This practical and specific guide reveals to actors in a step-by-step format how they can empower themselves as they begin to audition for television work and start mapping a career.See more details below


This practical and specific guide reveals to actors in a step-by-step format how they can empower themselves as they begin to audition for television work and start mapping a career.

Product Details

Skyhorse Publishing
Publication date:
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Product dimensions:
6.00(w) x 9.00(h) x 5.95(d)

Meet the Author

Rob Decina is the Emmy-nominated casting director for the daytime drama Guiding Light. His other casting credits include the independent film, A Tale of Two Pizzas, and casting searches in New York for Dawson’s Creek, The Scorpion King, and National Lampoon’s Van Wilder. Before Guiding Light, he was the associate casting director at Warner Bros. Television in New York, where he was involved in the casting for The West Wing, Third Watch, and more than forty other primetime television pilots.

Table of Contents

1Auditioning and the Craft of Acting1
Acting Is a Craft
2An Audition is Not a Performance3
Choose Obtainable Goals
Auditioning and Performing Are Two Different Things
3Audition Philosophy7
Truth in Numbers
Free Yourself by Removing Expectations
Offer Your Gift
4Chances of Booking the Job13
A Casting Director's Process
The Decision-Makers
The Human Element
The Role is Up for Grabs
5First Audition21
Type A: The Audition and Meeting
Showing Potential is the Key
Theatrical Preparation versus Audition Preparation
An Audition is Not Workshop Time
Type B
6The Callback27
Type 1
Type 2
Don't Change Your Choices
How to Make Progress from Potential
Your Callback Audition for a New Role
The Perception of You Changes
Callback Memorization
7The Screen Test33
The Business Side
The Screen Test Day
From Auditioning to Performing
Screen Test Memorization
8On the Clock37
9General Audition Information and Advice39
Make Specific Choices and Fill in All the Blanks
Asking Questions
Sit or Stand; It's Your Choice
No Blocking
No Props
No Miming
10The Audition Technique49
11Beats and Beat Changes51
Beat Changes Are in the Script
Write on Your Sides
Don't Overthink the Beat Changes
12Major Beat Change65
Determining the Major Beat Change
Indicating the Major Beat Change
Significance of the Major Beat Change
13Subject Word73
Example Subject Words
Write the Subject Words Down
A Reference Point
14Feeling Word79
Determining the Feeling Words
Justify Your Choices
Variations to Your Choices
No Indecisive Feelings
15Summary (So Far)93
Notes to the Test Are on Your Sides
16Major Objective95
Major Objective and Major Beat Change Are Connected
Take Action
The Major Objective is about What You Want for You
Major Objective Creates a Natural Level of Subtext
Keep It Simple
Remind Yourself of the Major Objective before You Begin
Don't Forget to Be an Actor
17Dictate the Pace101
Pick up Your Cues
Don't Blame the Reader
18Think and Feel on the Lines105
Don't Anticipate
Use the Beat Changes
19Avoid Subtext107
Negative Use of Subtext
Literal Sincere-Feeling Lines
20The Right Approach, the Right Attitude111
Three Minutes of Joy
Be Confident
21Beginnings and Endings113
Opening Line
Tag Line
22High Stakes and Urgency117
The Audition Scene Is Important
23Spontaneity and Listening119
24Voice and Speech121
Natural and Conversational Tone
Spatial Relationship
Don't Project
No Word Is More Important than Any Other Word
25Charm, Personality, and Passion123
Don't Fake It
26The Acting Part125
27Don't Forget to Breathe!127
How to Remind Yourself
Use Your Feeling Word
28The On-Camera Audition131
Do I Look at the Camera?
You Have to Pop off the Screen
What to Wear
29The Cold Reading Audition135
How to Break It Down
30Under-5 and Background Work in Daytime Television137
Take the Work and Get the Experience
You Never Know What Can Happen
Under-5 Work
You Are Protecting a Career You Do Not Have Yet
31The Under-5 Audition141
32I Wouldn't Do That If I Were You145
Get In and Get Out
Don't Forget Your Props and Stuff
33Building a Relationship with the Casting Director149
The Follow-Up and Staying in Touch
How to Begin That Relationship
No Tricks, Please
34The Business of Acting and a Career153
Learn the Craft
Talent Is a Guarantee of Nothing
The Business
35Getting an Agent or a Manager157
Go to School
Write to the Assistant
Get a Friend to Help You
36Headshots and Resumes159
Look Like Your Picture
One Shot Only, Please
37Daytime Actor Interviews161
Aubrey Dollar
Jordi Vilasuso
Daniel Cosgrove
38Agent and Manager Interviews175
Michael Bruno
Jill McGrath
Rhonda Price
39Casting Director Interviews183
Daytime Casting Director Interviews: Mary Clay Boland, Marnie Saitta
Primetime Casting Director Interview: Andra Reeve-Rabb
40The Workbook193
Make the Workbook
Write Down the Questions
Track Your Progress
Sample Workbook Submission
41Final Advice199
Your Obligation and Commitment
Entitled to Make a Living
The Television Audition Technique
Look Yourself in the Mirror
The Core Truth
My Casting Director Perspective
Good Luck
About the Author203

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