Read the text by yourself very slowly?..allowing images to emerge. Stay very relaxed and remind yourself you are under no pressure to "come up" with anything.

Now go through the TEXT again reading aloud, this time alternately emphasizing and exaggerating the sounds of the vowels, then the sounds of the consonants. You are working just to get the feel of the words in your mouth (to taste them) and the alternating sense of saying someone else's words. Again, you are not trying for any kind of result. Does your thought process differ with vowels stress verses consonants stress?

Go through the TEXT?again as physically relaxed as possible and say the words in slow motion. Allow the flow of the TEXT to emerge and find the connection to the words as you speak. (Think slow motion, see in slow motion.) It is very important to take a lot time with the text at the very beginning. It is easy to rush through TEXT, in a desire to put it up and get it "right".

Once a scene is up it can be very useful to go through it in slow motion, making sure you are taking in everything.

It is essential that you take a lot of time when first encountering a TEXT. Early on allow yourself to be available to the words and the material. (What do you know about this event or situation?)

a) Sit in a chair facing your partner. (Do not cross you legs or arms. Stay open to your impulses and those of your partner.) Look down at your script, take in a few lines of text off the page, then look up and say the lines to your partner as honestly as you can. Don't impose, interpret or try to manufacture any feelings. Don't go beyond your own sense of truth. It is important that your partner's head is out of his/her script - available to receive your line. This availability will give him the impulse to say his line. Bring yourself to the material. You know more than you know. It is easy to cheat.
Don?t try and "feel". Don't force; however, if a feeling comes up - a response- it is important that you don't "check" the impulse. Find the impulse to speak to you partner. As you work this way, you will soon find the impulse to move. Take it. Talking and listening is the basis of all good acting.

Sit on the floor, read through the scene, resting your full weight against the back of your partner. Take your time and "talk and listen" your scene back to back. Not being able to see your partner often forces you to listen more specifically.

a) Now repeat the scene, but this time, snap your fingers on your partner's line the moment you have the impulse to say your line.

b) Repeat the scene back to back, this time speaking quietly any thoughts that come up as your partner speaks. (You are continuing to look for your impulse to say your line.)

Sit in chairs facing each other. Communicate the scene through a whisper. It is important not to "voice" any of your words. Notice how whispering strengthens your need to speak. When you go back to full voice, can you retain this need?

Do the scene with a door between you. Again, notice how not seeing your partner forces you to listen more specifically and to reach out and use the words to communicate to your partner.

Most scenes are like a chess match - each person vying for power. This game helps you to see and to experience more clearly "game moves" you are making. (Wonderful for Pinter.) Sit facing your partner. Put a glass or some object between you- like it is a chess piece- and the playing board is between you. As you say your line, move the piece forward. Finish the move at the end of your line. (Forward if you are aggressing. Backward if you are retreating.) Your partner makes her move on her line.

Lie on the floor on your back, parallel to your partner (with your heads on the same place), with about ten feet between you. Now roll your body a quarter turn with each new idea or thought you have. (It will be with each sentence, at least). This helps you get those switches so you are not running ideas together.

Stand on opposite sides on the room. Imagine that a lake is between you. Communicate through a shout. Like a whisper, this intensifies your need to speak. Then go back to the scene trying to retain the need to say those words.

Audition TipsAuditioning can be stressful, but it's the best way to find work in theater, film and commercials. Here are some helpful hints when heading out for an audition.


Arrive at least 15 minutes early. You don't want to have to rush into your audition. Give yourself time to find the space and warm up.


Pack your bag with a book in case there is waiting and a bottle of water. Not every place has a water fountain.


Be nice to everybody. You never know if the person you are speaking to is important.


There may be several people waiting with you to audition. Remember that they are competing with you for the same job. Don't let them intimidate you.


Wear neat, comfortable clothing. I know you want to look nice, but make sure you can move around the room.
And don't wear a costume. Your outfit can suggest the character such as a high-collar blouse for a period piece, but don't get all dressed up.


Careful when using perfume or cologne. You don't want to send anyone out of the room in a sneezing fit.


Try to find some background information about who you are auditioning for. If you are auditioning for a particular company, be familiar with their work. It can also help you decide which pieces to choose for your audition.


If no information for the audition is given, keep your monologue to about a minute. Most directors can tell in that time if they are interested. Have several pieces prepared and one longer piece in case they ask to see more. Read this article on Acting Exercises. It is a series of exercises to explore the text of a scene or monologue. Try them when rehearsing your monologue.


Bring clean and clearly marked sheet music. If you are auditioning for a musical, be sure the music you give the piano player is cut down to 16 bars and is free of stray marks and coffee stains.


Bring at least five headshots. You never know how many you will need.


Make sure your resume is firmly attached to your headshot. If possible, photocopy or print your resume to the back of the headshot. Don't staple it. From experience, I know that the headshots with staples get tangled in a pile. It is so much easier to access the individual sheets. And one page is plenty. Don't attach your press quotes unless asked.


Make sure your headshot/resume is no large than 8 1/2" by 11". This will fit into a folder. If the headshot is oversized, it may end up in the trash. (See Headshot and Acting Resume Dos and Don'ts for more hints.)


Set up the audition space for your needs. If there is a chair center stage, but you are going to stand for your audition, ask if you can move it out of the way. Don't try to work around it.


Remember to smile. If you are nervous, take a deep breath and try to relax. Recognize that you are not going to get every job you audition for, but can learn from every experience.


When you are called in for your audition, be confident and smile and unless it is vital, avoid asking too many questions as your audition probably has a tight time slot.


Definitely do not ask if you will be called back. The casting director will let you know, that you can be sure of. If you do get called back, wear the same outfit as during your audition.