TIPS FOR SIGHT READING.
Plays are active. They should be heard and seen. They are a vision and are not meant for reading on your own. As the characters speak, the play comes to life. Personally, I dislike sight-reading, which is why I started the group in order to improve. Practice really does make perfect! I should also mention I love helping others improve their talents, if would like class please do get in touch.
Here are some of my thoughts for reading off the page. These are not just for when we meet but are especially useful for when it comes to auditions.
LOOK UP.
The top of your head is not expressive; however, your face is. Don’t cover your face with the text. That is the Number One rule!
RELAX AND GO WITH THE FLOW.
As you become more comfortable with reading aloud you can let the words seep into your brain. If you are honest and relaxed the thoughts and emotions show on your face (so really don’t hold the text in front of it!). The thoughts and emotions also become apparent in your voice. Don't force it, but you can enhance it.
ENERGY.
Go for it. Trust yourself. If you start with energy and faith it all comes right in the end. Be careful, however, not to race through the text. Express it. Feel it. Remember you are actually in a conversation and that you have something worthwhile to say.
LISTEN.
One of the most important things in life is to listen to others as well as being heard yourself. Pay attention and focus on what the other person is saying as your line is a response. If you want practice at listening and responding, may I suggest some exercises from Meissner? It’s brilliant and fun – call me, we can talk!
THUMB ACTION.
Keep your place on the page by using your thumb to slide down the margin. This is a very subtle way of keeping your place so no one knows you are doing it. Ta da! You look like a professional!
Words come alive when you look at someone and speak the words to them. Now this becomes a real art … listen, respond, look up whilst reading and not losing your place.
FAITH AND CONFIDENCE IN YOURSELF.
Don’t be nervous. I met a director who told me that, before he does anything, he says “F@!k it! If it goes wrong, so what?!” With that he pours all of his creativity and passion into what he does and comes out with an amazing play. He is not afraid to make a mistake and certainly not afraid to fail. Trusting yourself is the key! Enjoy it and, if you make a mistake, who cares?! Of course it’s easy to say 'Be confident' and much harder to actually be it. What can help is placing both feet on the floor, sitting up, breathing well and having a positive attitude. Don't forget to smile! You might not feel confident but others will think you are. Whenever I get nervous I imagine myself as a tree, with roots reaching to the core of the world. Typical actors – always being trees!
SILENCE.
Don't be afraid of silence. It's in the silence that real feelings and emotions can be felt. It’s also in the silence that we get a moment to think, catch our thoughts and then move on with new understanding. (Read Pinter for the ultimate pauses.)
EXTRA TIPS FOR AUDITIONS.
Arrive early. Usually the text you will need to sight-read will be available. Become familiar with it. Step outside if you can and read through it aloud or whisper it to yourself. Acknowledge punctuation by tapping your foot on full stops and commas, a whack on an exclamation mark and a caress on a question. Be polite to the other people in the room but don't become distracted with talk. Remember you are there to work and to fulfil both your ambitions and those of your potential new boss. Nail an objective for the text and then think for a second. All actors should be familiar with ‘actions’ (if not phone me – we can talk). Have a handful of actions ready that can inject life and thought into the text. Usually you will find any text in an audition can be broken into five segments. That’s five different thoughts and five different sides of you to show a director.
Be clear on who are you talking to and the relationship you have with them.
Be expressive. In an audition you will find that a director may guide an interpretation. Always listen to the director. He is telling you what he wants to see and, if he sees it, the job is yours. (Sometimes, however, directors don’t know what they want so always give them a little surprise or a little more than what they want).
IF YOU WOULD LIKE TO BOOK A SESSION WITH ME, I AM MORE THAN HAPPY TO HELP WITH TECHNIQUES, NOT JUST FOR SIGHT READING BUT FOR MONOLOGUES, AUDITIONS OR A GENERAL ACTOR WORKOUT.
Here are some of my thoughts for reading off the page. These are not just for when we meet but are especially useful for when it comes to auditions.
LOOK UP.
The top of your head is not expressive; however, your face is. Don’t cover your face with the text. That is the Number One rule!
RELAX AND GO WITH THE FLOW.
As you become more comfortable with reading aloud you can let the words seep into your brain. If you are honest and relaxed the thoughts and emotions show on your face (so really don’t hold the text in front of it!). The thoughts and emotions also become apparent in your voice. Don't force it, but you can enhance it.
ENERGY.
Go for it. Trust yourself. If you start with energy and faith it all comes right in the end. Be careful, however, not to race through the text. Express it. Feel it. Remember you are actually in a conversation and that you have something worthwhile to say.
LISTEN.
One of the most important things in life is to listen to others as well as being heard yourself. Pay attention and focus on what the other person is saying as your line is a response. If you want practice at listening and responding, may I suggest some exercises from Meissner? It’s brilliant and fun – call me, we can talk!
THUMB ACTION.
Keep your place on the page by using your thumb to slide down the margin. This is a very subtle way of keeping your place so no one knows you are doing it. Ta da! You look like a professional!
Words come alive when you look at someone and speak the words to them. Now this becomes a real art … listen, respond, look up whilst reading and not losing your place.
FAITH AND CONFIDENCE IN YOURSELF.
Don’t be nervous. I met a director who told me that, before he does anything, he says “F@!k it! If it goes wrong, so what?!” With that he pours all of his creativity and passion into what he does and comes out with an amazing play. He is not afraid to make a mistake and certainly not afraid to fail. Trusting yourself is the key! Enjoy it and, if you make a mistake, who cares?! Of course it’s easy to say 'Be confident' and much harder to actually be it. What can help is placing both feet on the floor, sitting up, breathing well and having a positive attitude. Don't forget to smile! You might not feel confident but others will think you are. Whenever I get nervous I imagine myself as a tree, with roots reaching to the core of the world. Typical actors – always being trees!
SILENCE.
Don't be afraid of silence. It's in the silence that real feelings and emotions can be felt. It’s also in the silence that we get a moment to think, catch our thoughts and then move on with new understanding. (Read Pinter for the ultimate pauses.)
EXTRA TIPS FOR AUDITIONS.
Arrive early. Usually the text you will need to sight-read will be available. Become familiar with it. Step outside if you can and read through it aloud or whisper it to yourself. Acknowledge punctuation by tapping your foot on full stops and commas, a whack on an exclamation mark and a caress on a question. Be polite to the other people in the room but don't become distracted with talk. Remember you are there to work and to fulfil both your ambitions and those of your potential new boss. Nail an objective for the text and then think for a second. All actors should be familiar with ‘actions’ (if not phone me – we can talk). Have a handful of actions ready that can inject life and thought into the text. Usually you will find any text in an audition can be broken into five segments. That’s five different thoughts and five different sides of you to show a director.
Be clear on who are you talking to and the relationship you have with them.
Be expressive. In an audition you will find that a director may guide an interpretation. Always listen to the director. He is telling you what he wants to see and, if he sees it, the job is yours. (Sometimes, however, directors don’t know what they want so always give them a little surprise or a little more than what they want).
IF YOU WOULD LIKE TO BOOK A SESSION WITH ME, I AM MORE THAN HAPPY TO HELP WITH TECHNIQUES, NOT JUST FOR SIGHT READING BUT FOR MONOLOGUES, AUDITIONS OR A GENERAL ACTOR WORKOUT.
