Glenn Alterman's Secrets to Successful Cold Readings

Glenn Alterman's Secrets to Successful Cold Readings

by Glenn Alterman


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From entrance to exit, every facet of cold readings for audition success is covered in this new book, Glenn Alterman's Secrets to Successful Cold Readings. Alterman provides step-by-step examples of how to quickly break down scenes and monologues during cold readings, with detailed chapters on theater, TV, soap operas, film, and commercials.

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Product Details

ISBN-13: 9781575255668
Publisher: Smith & Kraus, Inc.
Publication date: 09/28/2007
Series: Career Development Ser.
Pages: 208
Sales rank: 771,085
Product dimensions: 5.10(w) x 7.80(h) x 0.60(d)

About the Author

GLENN ALTERMAN, one of America's premiere monologue and audition coaches, is the author of fifteen best-selling acting and original monologue books. He recently was voted first runner-up for "The Best Private Acting Coach in New York" by the readers of Backstage newspaper.

Table of Contents

10 Ways to Get the Most Out of This Book

Chapter 1. What Is a Cold Reading?
Why We Need to Know How to Cold Read Material
The Artistic Value of Developing Cold-Reading Skills
Encouraging Spontaneity
Meeting the Cold-Reading Challenge: One Story
What the Casting Team Expects from Actors During a Cold-Reading Audition
Judging the Audition Material

Chapter 2. 48 Basic Requirements for All Cold Readings

Chapter 3. 25 Technical Rules for All Cold Readings

Chapter 4. 25 Common Cold-Reading Mistakes

Chapter 5. 50 Things You Need to Know About Cold Reading for Theater Auditions

Chapter 6. Analysis of Cold Reading Plays
The Danger of Strangers by Glenn Alterman
Hardball by Michael Bettencourt, Robert E. Ozasky, and Dean B. Kaner

Chapter 7. Exercises for Cold Reading Plays
I'm Breathing the Water Now by Bashore Halow
The Dead Boy by Joe Pintauro
The Sealing of Ceil by Glenn Alterman

Chapter 8. 26 Tips for Cold Reading Monologues

Chapter 9. Analysis of Cold Reading Monologues
Seagulls on Sullivan Street by Anastasia Traina
Elizabeth (from Sixty Seconds to Shine: 101 Original One-Minute Monologues) by Glenn Alterman

Chapter 10. Exercises for Cold Reading Monologues
Meredith (from God in Bed) by Glenn Alterman
Proposal (from Glory Days) by Tim Miller
Betty (from God in Bed) by Glenn Alterman
Young Girl (from New York Values) by Penny Arcade
Chloe (from God in Bed) by Glenn Alterman
Young Woman (from Bad Reputation) by PennyArcade
God's Game by Lanie Robertson

Chapter 11. Cold Reading Screenplays and Teleplays

Chapter 12. Analysis of Cold Reading Film Scenes
Like Family by Glenn Alterman
The Glass Tank by Anastasia Traina

Chapter 13. Interviews with Casting Directors of
Plays, Screenplays, and Teleplays
Peter Golden, executive vice president, Talent and Casting, CBS
Stuart Howard, Stuart Howard Associates, Ltd.
Scott Wojcik, senior casting director, Casting by Rosen & Wojcik
Harriet Bass, Harriet Bass Casting
Stephanie Laffin, casting director, House

Chapter 14. 50 Things You Need to Know About Cold Reading for TV Commercials

Chapter 15. Cold Reading Voice-Overs
12 Tips for Cold Reading Voice-Overs by David Zema
Cold Reading for Voice-Overs by Steve Harris
Chapter 16. Interviews with Casting Directors of TV Commercials
Tisha Ioli, casting director, Donald Case Casting
Donna Grossman, casting director, Donna Grossman Casting
Erica Palgon, casting director, Liz Lewis Casting Partners
Elsie Stark, casting director, Stark Naked Productions

Chapter 17. 10 Tips for Cold Reading Daytime TV Shows

Chapter 18. Interviews with Casting Directors of Daytime TV Shows
Rob Decina, casting director, Guiding Light
Mary Clay Boland, casting director, As The World Turns
Fran Bascom, casting director, Days of Our Lives
Mark Teschner, casting director, General Hospital

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10 Ways To Get The Most Out of This Book
1. This book is written for the actor who is familiar with cold-reading skills as well as the actor who is just learning how to develop those skills. To get the most out of this book, I suggest that you don't read the book from cover to cover.
2. I think you should first read "48 Basic Requirements for All Cold Readings" and "25 Technical Rules for All Cold Readings." These chapters lay the foundation for all the chapters that follow.
3. Next, look through the contents and see what stands out for you-those areas that interest you. For instance, if you're presently auditioning exclusively for commercials, you may want to go to that chapter next, followed by the chapter where I interviewed TV commercial casting directors. If you're primarily a theater, TV, and film actor, go to those chapters first, and don't forget to read the casting director interviews that follow.
4. After you've read through the chapters that interest you most, I suggest that you then read through the entire book, taking notes or highlighting those things that you find may apply to your career.
5. Pay particular attention to the analysis sections. I believe you'll find these sections especially helpful and informative. Learning how to analyze a script in a short period of time and make personalized choices is key to all auditions.
6. Once you've started practicing the cold-reading advice in this book at auditions, see how you're doing. If you'd like to improve, refer to the appropriate chapters and exercises.
7. If you have some auditions coming up for daytime television or film, you may want toreread the chapters with interviews of casting directors before going to those auditions. I've interviewed the top casting directors in those fields.
8. Once you've finished reading the book, put the information you've learned into practical use. Go out there, audition, and see if your cold-reading and auditioning skills have improved. This is not a theoretical book; it's a practical one. The goal is to help actors get jobs.
9. Don't feel you need to apply every rule in this book. Depending on where you are in your acting career, some guidelines may not be pertinent to the way you work. If something you've learned before reading this book regarding cold reads still works for you, continue using it. If it's not broke, you don't need to fix it. But always leave room for discovering new ways to work, things that you can add to what has worked in the past.
10. Whenever you feel the need, refer to the book and review the material until it becomes second nature. There's a lot of information in this book; it may take a while to apply everything you learn.

My purpose in writing this book was not only to instruct but to inspire. Once you develop confidence in any skill, fears can be alleviated. With any audition, there is always some tension, some apprehension: that's only normal, accept it. But I believe that by learning how to overcome that fear (with knowledge, insight, and practice), you'll find that you may start to enjoy auditioning.

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