How to become an Actor or Actress

1. Actor job description

Actors, Producers, and Directors

• Nature of the Work

• Training, Other Qualifications, and Advancement

• Employment

• Job Outlook

• Projections Data

• Earnings

• Related Occupations

• Sources of Additional Information

Significant Points:

• Actors endure long periods of unemployment, intense competition for roles, and frequent rejections in auditions.

• Formal training through a university or acting conservatory is typical; however, many actors, producers, and directors find work on the basis of their experience and talent alone.

• Because earnings may be erratic, many supplement their incomes by holding jobs in other fields; however, the most successful actors, producers, and directors may have extraordinarily high earnings.

Nature of the Work:

Actors, producers, and directors express ideas and create images in theater, film, radio, television, and other performing arts media. They interpret a writer’s script to entertain, inform, or instruct an audience. Although many actors, producers, and directors work in New York or Los Angeles, far more work in other places. They perform, direct, and produce in local or regional television studios, theaters, or film production companies, often creating advertising or training films or small-scale independent movies.

Actors perform in stage, radio, television, video, or motion picture productions. They also work in cabarets, nightclubs, and theme parks. Actors portray characters, and, for more complex roles, they research their character’s traits and circumstances so that they can better understand a script.

Most actors struggle to find steady work and only a few achieve recognition as stars. Some well-known, experienced performers may be cast in supporting roles or make brief, cameo appearances, speaking only one or two lines. Others work as “extras,” with no lines to deliver. Some actors do voiceover and narration work for advertisements, animated features, books on tape, and other electronic media. They also teach in high school or university drama departments, acting conservatories, or public programs.

Producers are entrepreneurs who make the business and financial decisions involving a motion picture, made-for-television feature, or stage production. They select scripts, approve the development of ideas, arrange financing, and determine the size and cost of the endeavor. Producers hire or approve directors, principal cast members, and key production staff members. They also negotiate contracts with artistic and design personnel in accordance with collective bargaining agreements. They guarantee payment of salaries, rent, and other expenses.

Television and radio producers determine which programs, episodes, or news segments get aired. They may research material, write scripts, and oversee the production of individual pieces. Producers in any medium coordinate the activities of writers, directors, managers, and agents to ensure that each project stays on schedule and within budget.

Directors are responsible for the creative decisions of a production. They interpret scripts, audition and select cast members, conduct rehearsals, and direct the work of cast and crew. They approve the design elements of a production, including the sets, costumes, choreography, and music. Assistant directors cue the performers and technicians, telling them when to make entrances or light, sound, or set changes.

Work environment. Actors, producers, and directors work under constant pressure. Many face stress from the continual need to find their next job. To succeed, actors, producers, and directors need patience and commitment to their craft. Actors strive to deliver flawless performances, often while working under undesirable and unpleasant conditions. Producers and directors organize rehearsals and meet with writers, designers, financial backers, and production technicians. They experience stress not only from these activities, but also from the need to adhere to budgets, union work rules, and production schedules.

Acting assignments typically are short term—ranging from 1 day to a few months—which means that actors frequently experience long periods of unemployment between jobs. The uncertain nature of the work results in unpredictable earnings and intense competition for jobs. Often, actors, producers, and directors must hold other jobs in order to sustain a living.

When performing, actors typically work long, irregular hours. For example, stage actors may perform one show at night while rehearsing another during the day. They also might travel with a show when it tours the country. Movie actors may work on location, sometimes under adverse weather conditions, and may spend considerable time waiting to perform their scenes. Actors who perform in a television series often appear on camera with little preparation time, because scripts tend to be revised frequently or even written moments before taping. Those who appear live or before a studio audience must be able to handle impromptu situations and calmly ad lib, or substitute, lines when necessary.

Evening and weekend work is a regular part of a stage actor’s life. On weekends, more than one performance may be held per day. Actors and directors working on movies or television programs, especially those who shoot on location, may work in the early morning or late evening hours to film night scenes or tape scenes inside public facilities outside of normal business hours.

Actors should be in good physical condition and have the necessary stamina and coordination to move about theater stages and large movie and television studio lots. They also need to maneuver about complex technical sets while staying in character and projecting their voices audibly. Actors must be fit to endure heat from stage or studio lights and the weight of heavy costumes. Producers and directors ensure the safety of actors by conducting extra rehearsals on the set so that the actors can learn the layout of set pieces and props, by allowing time for warmups and stretching exercises to guard against physical and vocal injuries, and by providing an adequate number of breaks to prevent heat exhaustion and dehydration.

Training, Other Qualifications, and Advancement:

People who become actors, producers, and directors follow many paths to employment. The most important qualities employers look for are creative instincts, innate talent, and the intellectual capacity to perform. The best way to prepare for a career as an actor, especially in the theater, is through formal dramatic training, preferably obtained as part of a bachelor’s degree program. Producers and especially directors need experience in the field, either as actors or in other related jobs.

Education and training. Formal dramatic training, either through an acting conservatory or a university program, generally is necessary for these jobs, but some people successfully enter the field without it. Most people studying for a bachelor’s degree take courses in radio and television broadcasting, communications, film, theater, drama, or dramatic literature. Many stage actors continue their academic training and receive a Master of Fine Arts (MFA) degree. Advanced curricula may include courses in stage speech and movement, directing, playwriting, and design, as well as intensive acting workshops. The National Association of Schools of Theatre accredits 150 programs in theater arts.

Most aspiring actors participate in high school and college plays, work in college radio or television stations, or perform with local community theater groups. Local and regional theater experience and work in summer stock, on cruise lines, or in theme parks helps many young actors hone their skills. Membership in one of the actors’ unions and work experience in smaller communities may lead to work in larger cities, notably New York, Chicago, or Los Angeles. In television and film, actors and directors typically start in smaller television markets or with independent movie production companies and then work their way up to larger media markets and major studio productions. A few people go into acting after successful careers in other fields, such as broadcasting or announcing.

Actors, regardless of experience level, may pursue workshop training through acting conservatories or mentoring by a drama coach. Sometimes actors learn a foreign language or train with a dialect coach to develop an accent to make their characters more realistic.

There are no specific training requirements for producers. They come from many different backgrounds. Actors, writers, film editors, and business managers commonly enter the field. Producers often start in a theatrical management office, working for a press agent, managing director, or business manager. Some start in a performing arts union or service organization. Others work behind the scenes with successful directors, serve on the boards of art companies, or promote their own projects. Although there are no formal training programs for producers, a number of colleges and universities offer degree programs in arts management and in managing nonprofit organizations.

Directors often start out as actors. Many also have formal training in directing. The Directors Guild of America and the Alliance of Motion Picture and Television Producers jointly sponsor the Assistant Directors Training Program. To be accepted to this highly competitive program, an individual must have either a bachelor’s or associate degree or 2 years of experience and must complete a written exam and other assessments. Program graduates are eligible to become a member of the Directors Guild and typically find employment as a second assistant director.

Other qualifications. Actors need talent and creativity that will enable them to portray different characters. Because competition for parts is fierce, versatility and a wide range of related performance skills, such as singing, dancing, skating, juggling, acrobatics, or miming are especially useful. Experience in horseback riding, fencing, linguistics, or stage combat also can lift some actors above the average and get them noticed by producers and directors. Actors must have poise, stage presence, the ability to affect an audience, and the ability to follow direction. Modeling experience also may be helpful. Physical appearance, such as having certain features and being the specified size and weight, often is a deciding factor in who gets a particular role.

Many professional actors rely on agents or managers to find work, negotiate contracts, and plan their careers. Agents generally earn a percentage of the pay specified in an actor’s contract. Other actors rely solely on attending open auditions for parts. Trade publications list the times, dates, and locations of these auditions.

Some actors begin as movie extras. To become an extra, one usually must be listed by casting agencies that supply extras to the major movie studios in Hollywood. Applicants are accepted only when the numbers of people of a particular type on the list, for example, athletic young women, old men, or small children, falls below what is needed. In recent years, only a very small proportion of applicants have succeeded in being listed.

Like actors, directors and producers need talent and creativity. They also need business acumen.

Advancement. As the reputations and box-office draw of actors, producers, and directors grow, they might work on bigger budget productions, on network or syndicated broadcasts, or in more prestigious theaters. Actors may advance to lead roles and receive star billing. A few actors move into acting-related jobs, such as drama coaches or directors of stage, television, radio, or motion picture productions. Some teach drama privately or in colleges and universities.

Employment:

In May 2006, actors, producers, and directors held about 163,000 jobs, primarily in motion picture and video, performing arts, and broadcast industries. Because many others were between jobs, the total number of actors, producers, and directors available for work was higher. Employment in the theater, and other performing arts companies, is cyclical—higher in the fall and spring seasons—and concentrated in New York and other major cities with large commercial houses for musicals and touring productions. Also, many cities support established professional regional theaters that operate on a seasonal or year-round basis. About 28 percent of actors, producers, and directors were self-employed.

Actors, producers, and directors may find work in summer festivals, on cruise lines, and in theme parks. Many smaller, nonprofit professional companies, such as repertory companies, dinner theaters, and theaters affiliated with drama schools, acting conservatories, and universities, provide employment opportunities for local amateur talent and professional entertainers. Auditions typically are held in New York for many productions across the country and for shows that go on the road.

Employment in motion pictures and in films for television is centered in New York and Los Angeles. However, small studios exist throughout the country. Many films are shot on location and may employ local professional and nonprofessional actors. In television, opportunities are concentrated in the network centers of New York and Los Angeles, but cable television services and local television stations around the country also employ many actors, producers, and directors.

Job Outlook:

Employment of actors, producers, and directors is expected to grow about as fast as the average for all occupations. Competition for jobs will be keen. Although a growing number of people aspire to enter these professions, many will leave the field early because the work—when it is available—is hard, the hours are long, and the pay may be low.

Employment change. Employment in these occupations is expected to grow 11 percent during the 2006-16 decade, about as fast as the average for all occupations. Expanding cable and satellite television operations, increasing production and distribution of major studio and independent films, and rising demand for films in other countries should create more employment opportunities for actors, producers, and directors. Also fuelling job growth is the continued development of interactive media, direct-for-Web movies, and mobile content, produced for cell phones or other portable electronic devices. However, greater emphasis on national, rather than local, entertainment productions may restrict employment opportunities in the broadcasting industry.

Job prospects. Competition for jobs will be stiff. The large number of highly trained and talented actors auditioning for roles generally exceeds the number of parts that become available. Only performers with the most stamina and talent will find regular employment.

Venues for live entertainment, such as Broadway and Off-Broadway theaters, touring productions, and repertory theaters in many major metropolitan areas, as well as theme parks and resorts, are expected to offer many job opportunities. However, prospects in these venues are variable because they fluctuate with economic conditions.

Earnings:

The most successful actors, producers, and directors may have extraordinarily high earnings but for others, because earnings may be erratic, many supplement their income by holding jobs in other fields.

Median hourly earnings of actors were $11.61 in May 2006. The middle 50 percent earned between $8.47 and $22.51. The lowest 10 percent earned less than $7.31, and the highest 10 percent earned more than $51.02. Median hourly earnings were $16.82 in performing arts companies and $10.69 in the motion picture and video industry. Annual earnings data for actors were not available because of the wide variation in the number of hours worked by actors and the short-term nature of many jobs, which may last for 1 day or 1 week; it is extremely rare for actors to have guaranteed employment that exceeded 3 to 6 months.

Median annual earnings of salaried producers and directors were $56,310 in 2006. The middle 50 percent earned between $37,980 and $88,700. Median annual earnings were $70,750 in the motion picture and video industry and $47,530 in radio and television broadcasting.

Minimum salaries, hours of work, and other conditions of employment are often covered in collective bargaining agreements between the producers and the unions representing workers. The Actors’ Equity Association (AEA) represents stage actors; the Screen Actors Guild (SAG) covers actors in motion pictures, including television, commercials, and film; and the American Federation of Television and Radio Artists (AFTRA) represents television and radio studio performers. Some actors who regularly work in several media find it advantageous to join multiple unions, while SAG and AFTRA may share jurisdiction for work in additional areas, such as the production of training or educational films not slated for broadcast, television commercial work, and interactive media. While these unions generally determine minimum salaries, any actor or director may negotiate for a salary higher than the minimum.

Under terms of a joint SAG and AFTRA contract covering all unionized workers, motion picture and television actors with speaking parts earned a minimum daily rate of $759 or $2,634 for a 5-day week as of July 1, 2007. Actors also receive contributions to their health and pension plans and additional compensation for reruns and foreign telecasts of the productions in which they appear.

According to AEA, the minimum weekly salary for actors in Broadway productions as of June 2007 was $1,509. Actors in Off-Broadway theaters received minimums ranging from $516 to $976 a week as of October 29, 2007, depending on the seating capacity of the theater. Regional theaters that operate under an Equity agreement pay actors $544 to $840 per week. For touring productions, actors receive an additional $113 per day for living expenses ($119 per day in higher cost cities). New terms were negotiated under an “experimental touring program” provision for lower budget musicals that tour to smaller cities or that perform for fewer performances at each stop. In an effort to increase the number of paid workweeks while on tour, actors may be paid less than the full production rate for touring shows in exchange for higher per diems and profit participation.

Some well-known actors—stars—earn well above the minimum; their salaries are many times the figures cited, creating the false impression that all actors are highly paid. For example, of the nearly 100,000 SAG members, only about 50 might be considered stars. The average income that SAG members earn from acting, less than $5,000 a year, is low because employment is sporadic. Therefore, most actors must supplement their incomes by holding jobs in other occupations.

Many actors who work more than a qualifying number of days, or weeks per year or earn over a set minimum pay, are covered by a union health, welfare, and pension fund, which includes hospitalization insurance to which employers contribute. Under some employment conditions, Equity and AFTRA members receive paid vacations and sick leave.

Many stage directors belong to the Society of Stage Directors and Choreographers (SSDC), and film and television directors belong to the Directors Guild of America. Earnings of stage directors vary greatly. The SSDC usually negotiates salary contracts which include royalties (additional income based on the number of performances) with smaller theaters. Directing a production at a dinner theater generally will pay less than directing one at a summer theater, but has more potential for generating income from royalties. Regional theaters may hire directors for longer periods, increasing compensation accordingly. The highest-paid directors work on Broadway and commonly earn over $50,000 per show. However, they also receive payment in the form of royalties—a negotiated percentage of gross box office receipts—that can exceed their contract fee for long-running box office successes.

Stage producers seldom get a set fee; instead, they get a percentage of a show’s earnings or ticket sales.

Related Occupations:

People who work in performing arts occupations that may require acting skills include announcers; dancers and choreographers; and musicians, singers, and related workers. Others working in occupations related to film and theater include makeup artists, theatrical and performance; fashion designers; and set and exhibit designers. Producers share many responsibilities with those who work as top executives.

Sources of Additional Information

For general information about theater arts and a list of accredited college-level programs, contact:

• National Association of Schools of Theater, 11250 Roger Bacon Dr., Suite 21, Reston, VA 20190. Internet: http://nast.arts-accredit.org

For general information on actors, producers, and directors, contact any of the following organizations:

• Actors' Equity Association, 165 West 46th St., New York, NY 10036. Internet: http://www.actorsequity.org

• Screen Actors Guild, 5757 Wilshire Blvd., Los Angeles, CA 90036-3600. Internet: http://www.sag.org

• American Federation of Television and Radio Artists, 4340 East-West Hwy., Suite 204, Bethesda, MD 20814-4411. Internet: http://www.aftra.org

2. How to Become an Actor

from wikiHow - The How to Manual That You Can Edit
The good news is there are more acting jobs today than there have ever been in the past. The bad news is there is more competition now than there ever was before. Achieving any kind of success in this business means years of perseverance and sacrificing time and money to dedicate to your craft and auditioning for roles.

Steps

1. Before you do anything, start gathering information and doing research. Many people say they want to become an actor, but they really don't realize what it is they are saying. Talk to other actors, i.e. other people who are already doing what you say you want to do. Check out industry papers and websites like Variety.com, Backstage.com, Showbusinessweekly.com, Hollywoodreporter.com and so forth. Try and get an idea of what an actor does from day to day when he/she is not yet working regularly.

2. Get an education in acting. If you want to become an actor, you must study the craft. Acting isn't for everyone, so try taking a college class. That's the best way to see if you really want to make it your career.

3. Major in Theater at college. You will be doing productions and shows in front of a sizable crowd which is great practice for becoming focused on what your doing: performing in front of a large audience.

4. Look into taking summer camps and workshops to increase your knowledge and improving your skill. Some of these can be intensives where months worth of material is compressed into a period of 2-3 weeks.

5. Hire an acting coach to iron out kinks in your technique. A person like this can give you the personal attention you need, finding where your weak spots are; something like a professor in a big class might not be able to pick up on.

6. Try your hand at community theater. This can be a step above college theater if the theater is in a city known for its acting community. Get a role in one of these productions and you’ll be with others who are polishing their craft just like you and are from a higher level of competition.

7. Decide if you want an agent or not. At least you’ll have the experience and education behind you at this point to have a good chance at landing a reputable agent who will be able to go out there and get you work.

8. Don't forget about the business aspect. This is often overlooked. If you are an actor, you are going into business for yourself and need to treat your career as such.

Tips

• Take normal classes to start off with, then move on to more skilled classes.

• Use your resources, friends, etc. to practice taking pictures and learning how to become more photogenic. You can use these pictures to pinpoint weaknesses and prepare for taking headshots. Use a professional photographer for your headshot.

• Don't find agents, let them find you. If you want, you could create a YouTube account and expose your talent to everyone. (for example, Fred)

Warnings

• You might not make it -- it's a tough field in which to be successful.

• Some people will dislike you, and some will not. You will have both fans and haters.

Related wikiHows

• How to Make a Movie

• How to Become a Celebrity

• How to Be a Better Actor

• How to Animate Your Own Show

• How to Have a Career in Journalism

• How to Act While Singing

Article provided by wikiHow, a wiki how-to manual. Please edit this article and find author credits at the original wikiHow article on How to Become an Actor. All content on wikiHow can be shared under a Creative Commons license.

3. How to Audition for a Play or Movie

from wikiHow - The How to Manual That You Can Edit
This how-to will show you a method that is guaranteed to help you land roles in theatrical productions, and is a proven technique taught in theatre departments in colleges and universities across the country!

Steps

1. Note that the first step to an audition is having confidence. The assessors aren't looking for someone who fidgets and doesn't want to be in front of people.

2. Understand that in passing an audition for a play or film, you will be expected to dedicate an enormous amount of your time and energy to the project. If you work full time, have other major projects, go to school, (if you want to do this full time, homeschooling might help), or a family to take care of, this may not be the best time to pursue a role in a production. If you have the time (usually around 3-4 hours a night) for rehearsals, fittings, and performances, you should be okay. Don't forget that in addition to that 3-4 hours at night, it takes loads of time - outside of rehearsing - to memorize a play, monologues, and stage direction. You should always be prepared, mentally and physically, to give the project more than just rehearsal time.

3. Be aware of play types. We all know there are dramas and there are comedies, but within those, there are many others. Classics - Shakespeare, Chekov, and the Greek playwrights, sometimes use a very complex language structure, characterized by very long passages of text. Don't be discouraged or frightened by that aspect; it will eventually get easier, once the director gets involved and you've had time to go over the play.

4. Make sure you are a team player. Other actors don't take kindly to anyone who has an ego the size of Greenland, who projects an attitude that says, "I'm the star." Especially in a community or university theater environment, there is simply no room to think you're better than anyone else. After all, this is supposed to be a fun learning experience, and since no one is being paid (much at least) to be there, no one owes you anything, even if you do get the lead role.

5. Recognize that there are big differences between the styles of auditioning for films and auditioning for stage plays. Film tends to stray more towards intimate acting, close ups, headshots, and more realistic movements. Also film auditions tend to focus on interactions and scenes, rather than long monologues. For stage plays, the auditions usually start out with monologues, and if the director thinks you may fit in their production they may make you do scenes with the other auditioners for the callbacks. So know what you are preparing for, if you don't have a large stage presence or can't project, theater may not be for you. And if you can't emote in close-ups, or have the will to stand around while the techies set up the shot, then film might not be your cup of tea. So be aware of the different styles before you go through all the trouble of preparing.

6. Audition Notices: So now you know what it is you are going to be involved in. We'll mainly be focusing on the stage play style of auditioning because the method can be adapted to fit a film audition. After you've decided to commit yourself, find a production to audition for. Usually you can find audition notices in your local university's theater department (some college mainstage shows may allow people from the community to fill roles, rather than strictly students) or find your local community center and see if any directors have posted a call for actors. On occasion they may advertise in the local paper (usually in the entertainment/arts section) or community magazine. For films, auditions are usually held in large cities (mainly LA or NY, but on occasion in places like Seattle, Portland, Dallas, San Francisco, etc.) Some production companies will advertise them on the Internet, usually through casting call websites.

7. Understand that some of the film auditions will require you to send in a headshot/resume. This is normal, because they often base on appearance first, and talent second. Unfortunately, that's the way it goes in "Hollywood", but nobody said this was a fair business. Also be aware that for auditions and productions (film or stage) you may have to travel a considerable distance. For example, you might be called down to LA because someone liked your headshot, or some director liked your audition two counties over. So be prepared to travel if you get cast. In a worst case scenario (mainly film) you may have to relocate to the area of the production.

8. Find an agent. On occasion you can find agencies in major towns and they will have larger connections than you might. But remember, agents take 10%, so if you get a paying job, you will probably take a pay cut if an agent found it for you.

9. Understand that if you find a call for actors,to look at the character types and see if you fit. If you are a 40-year-old white male, you probably won't fit into a role for a 20- to 25-year-old Hispanic male. If you are a guy trying to audition for "The Vagina Monologues" or "Top Girls", most likely you won't be cast. So be aware of the character types. Sometimes directors may make concessions for actors (such as if you are younger and they can't find enough older people to fill roles, or you are a good enough actor to fill the role, etc). If you are "close" then don't be afraid to audition. Make sure and write down all information (contact numbers, play name and author, directions to audition, etc.) so you aren't scrambling to find out information at the last minute. It is a professional courtesy not to take down audition notices until after the audition has happened, so please leave the audition flyer where you found it, don't take it with you (unless there are many in the area where you found them). Now it's time to prepare.

10. Prepare to prepare: Read the audition's requirements. Most notices will tell you what you need for the auditions (physically and performance-wise), Such as headshots, resumes, dance clothes and what to do for the audition. Usually for contemporary productions, the requirements are two contrasting monologues (comedic and dramatic). For Shakespearean plays, classical soliloquies from other Shakespearean plays, Marlowe, or Kyd will do. Aside from that, the notice will tell you what else you need: A song, a devised piece, etc. Be sure to follow these things to the letter. To go into a Shakespeare audition with a Tennessee Williams monologue or some Arthur Miller is usually suicide for the audition, especially if you tell them you read the notice.

11. Find a monologue: This may be one of the most difficult steps in this process. For the monologues you need, you will need to scour over many different plays and anthologies to find the right one. Most of the time, the best course of action is to find a monologue that is similar to the play you are auditioning for (i.e. For a Tennessee Williams play, use an Arthur Miller written monologue). This will enable the director to see how well you can play in the style and not have to envision how, for example, a Shakespearean actor fits into a more contemporary style. For help in finding monologues, ask a local theater buff, a theater professor, or talk to the director of the production. These people will be able to help you the most, and will probably have the resources from which you can draw. If all else fails, go to the library and just begin reading plays that take place in the same time period as the production for which you are auditioning. On the flip side, if you already have your monologues, then you've already won half the battle.

12. Before the audition: Now that you've found the monologues you need, memorize them. There is no set way to do this; it is just something each person does on his or her own. Just make sure they are fully memorized. Most directors won't cast people who flub badly during their monologues or read off of a script during their first audition (unless they saw something in you that they really liked or need). So once memorized, keep practicing until the day of the audition. When the audition comes, take a few hours beforehand to prepare. First: Dress for sucess. No sneakers, no jeans, no ripped t-shirts, and no scraggly five o'clock shadows (or the female equivalent). It won't look good if you get up on stage and look disheveled. If you have to dance with your audition, bring a spare set of clothes so as not to ruin your nice ones before you do your acting audition. After dressing and grooming, make sure to bring all your copies of headshots and resumes. Bring more than one, so if it is a panel of people auditioning you, each of them have one; it will help them remember you better. Also, get there early. Most productions will have you fill out forms detailing your past experience, vital statistics, and availability. They may also have time slots for you to sign up to do your audition. The earlier you arrive, the more slots you can pick from. Arriving early also gives you time to warm up. Do vocal exercises, stretches, and tongue twisters. Don't botch your monologue just because you didn't stretch out your tongue. Last, be friendly to all those around you. Don't be confrontational. If you do get cast and they also get cast, you'll be around them for the whole duration of the production and they're going to remember if you were unkind during the audition.

13. During the audition: So the audition has started and you've done all the paperwork and all your prepping. Sit quietly and wait your turn. Make sure and listen; in some auditions the Stage Manager or Director will give you added instructions that weren't on the notice. Those may be vitally important, such as time limits on monologues, or the procedure in which they will audition. Wait for your name to be called and then proceed to the stage. Before saying anything, make sure that you have their full attention. You don't want to begin while they are still writing or talking to one another about the previous actor. Wait til you've achieved eye contact with all of them so that they can listen to you from the very beginning. Then, make sure and SLATE for the director, regardless if they know you from prior contact. Now, do your monologue. After you do your monologue, the director may ask you some questions or ask you to do a part from your monologues again. Be patient, answer all questions truthfully, and do the requested part to the utmost of your ability. It may pay off when the director makes their final decision. Once finished, take a small bow and say thank you, and exit so the next person can audition.

14. Post-Audition: This is probably the toughest part of the audition, even more so than monologue hunting. This is the time when you feel most helpless - your fate, at least for this role - is now out of your hands. After the audition you can either stick around or leave; just make sure you know where the call back list will be posted or, if there are no callbacks, where the final cast list will be posted and when. If you need to leave, be courteous to the other actors and leave quietly. Once home, don't stress about the audition. Most times actors post-audition will psyche themselves out by analyzing each and every part of the audition, then agonizing until they see the cast list. One word: DON'T. Sometimes there will be many days in between audition and final casting, and sometimes there is even a second audition for call backs to narrow down the field. If that's the case, then be prepared to work with other actors in scenes from the play, and possibly even read for characters you don't want the roles for. But whatever you do before the cast list goes up, don't stress out. It's out of your control, and if you don't get cast, it's not because you are a bad actor. A more likely reason is that the director couldn't find a place for you in his or her vision of the production. Don't get upset with anyone there. This is no time to start blaming anyone for anything, including yourself. Things simply didn't work out. After the cast list is posted, it's perfectly fine to ask the director what you need to improve upon or could have done better. Directors are usually very gracious about this because they can analyze it from a 3rd person's point of view and tell you exactly what it was they were looking for. But be careful not to be rude. Don't start slinging accusations and don't be upset with them because you weren't cast. But, if you were cast, congratulations, you made it and hopefully this guide helped you do it! Good luck out there!

Tips

• Watch this video for additional tips http://www.youtube.com/watch?v=Dr5YLg6Q6FY

• Before auditioning ,you may be inclined to contact the casting director. They may probably have left an email address or phone number for that purpose. If you are calling them please follow this script:

• -Director: "Hello, this is Leslie"

• -You: "Hello. My name is (first and last name). I read your audition posting in the (place) for the movie (movie name)and I have just one quick question for you if you have the time now.

• -Director: "Go ahead"

• -You: (Quickly and clearly, state your question. Make sure that is is not a stupid question, don't ask something that was clearly stated in the advertisement etc. Also, make sure you have a real question. Some people take this pre-audition contact as an opportunity to get more face time with the casting director. It is very annoying to have someone call and say, "Um..er...uh...uh..can you ah..give me a little more info about it"?)

• After s/he answers your one question say, "Thank you very much for your time Leslie. I look forward to meeting you on the (date of audition). Goodbye."

• Always read the play before you audition for it. The director may ask questions during your first audition and it is always good to have answers to those questions. It also makes callbacks easier because then you won't be reading the play for the first time.

• Try not to wear dark colors to the audition. Try to wear something that stands out but is also sensible (don't wear hot pink paisley, it won't do you any favors).

• Some auditions that have time limits on monologues will most likely have the stage manager giving you time signals from somewhere in the audience. Be aware of what these signals are and when they are given. It is the worst feeling if your time runs out in the middle of your second monologue and they cut you off.

• Always carry spare resumes at the theatre. You never know who will be there or who will want one.

• Read beyond the scope of the play if you have the time and effort. Read some of the other playwrights' works, perhaps learn about the time period they were writing in. Trust me, it helps in the long run.

• Make sure and be relaxed going into the audition. If you are calm, cool, and collected, you will do a better job than if you were wound up like a clock.

• Know your theatre terminology. Here are some definitions. Monologue: A short speech taken from a play. Usually no more than two or three paragraphs long. Slate: An Introduction. Usually consists of, "Hello, my name is and today I wil be performing from and <2nd character name> from <2nd play name>."

Warnings

• NEVER pay to audition, no matter what they tell you. Paying to audition is almost always a scam. Usually "pay to audition" production companies (made famous in movies like Bowfinger) are actually nonexistent companies which have no intention of putting on an actual production or completing a film.

• HOWEVER, some small community theatre groups do require people auditioning to purchase a membership - usually $10 to $30 - if cast. This is not necessarily a scam, but still make sure they don't have an "exclusivity clause".

• Be wary of production companies with exclusivity contracts (i.e. you can't work for other production companies for six months even if you get fired)

• Don't arrive late, make a lot of noise, or generally be rude. It doesn't fly well if you disrespect their craft, even if you don't mean to.

• If you aren't cast, there are many reasons. You may not have fit the right type, or you simply were not what they are looking for. Move on.

• Do anything to take your mind off of the fact that you are in consideration for a role. It will prevent you from going crazy with anxiousness before the cast list is posted, and prevent you from being horribly depressed and disappointed if you don't get cast.

• You cannot decide that you don't want a role at the last minute. If you've been cast, you've made a commitment (unless it's for a major role and you specifically asked for a smaller one because you couldn't put in the time a major role needs) and that commitment means that you don't say no to that role unless you have a very good reason.

• Please be aware that the Acting world is extremely competitive. People may not follow the above rules and still get cast, they may be completely rude and still be liked by the director, etc. There are a number of variables that you simply cannot control when you are auditioning, and there are no real specific unions to enforce rules of fairness. And if you thought life was unfair, everything is about ten times worse when you decide to be an actor. Be aware that you're in for disappointment, as well as frustration. Take it all in stride. That's acting, and it's what we love.

• Don't lie about your acting experience, or even stretch the truth too much. It is better to admit to having no experience than to lie about experience you don't have. In fact, some producers like to have someone with no experience because they are more likely to "take direction" (basically follow orders).

• Don't be afraid to audition at a later date for a producer who didn't cast you in a previous production (unless, of course, you were rude in your departure)

Related wikiHows

• How to Audition

• How to Audition for a Musical

• How to Improve Stage Presence As a Lead Singer

• How to Try out for a School Musical

• How to Become A Singer

• How to Get a Part in a Play

• How to Become a Working Actor

Article provided by wikiHow, a wiki how-to manual. Please edit this article and find author credits at the original wikiHow article on How to Audition for a Play or Movie. All content on wikiHow can be shared under a Creative Commons license.

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