Asking yourself why you’re not getting auditions is a perfectly valid thing to do. As much as we hate to admit it sometimes, the aloof and mysterious audition “getting” is not as complex as we make it out to be. However, actors do have more power than we might believe, or even admit. There are things you can do to increase your chances, such as revisiting your headshots, speaking to your agent or even hustling for your own professional opportunities.

In this article, we’re going to look at five main reasons you might not be getting auditions. However, before we jump in, let me clarify one thing: I’m going to assume you live somewhere that has some sort of industry. If you live in the middle of nowhere (or simply a place without an arts industry) auditions probably aren’t going to come to you. If you live in LA, or Vancouver, or Melbourne, your changes increase because you are where the work is. It is not impossible to get auditions remotely due to the rise of self taping. However: location is everything. You have to go to the action, you can’t expect it to come to you.

#1 Your Agent

The majority of questions I get in regards to acting and the industry are, without a doubt, focused on agents. For some, they are a shining beacon of hope. For others, they are the person who promised them the world but didn’t get them auditions. Like most things in acting, the truth is somewhere in the middle.

Having a good agent is your best bet to getting auditions, for they bridge the gap between actors and casting directors. You don’t have to have one, and finding auditions on your own is a a valid path. But having one will significantly increase your chances. We have plenty of guides on acting agents, from how to find one, to how to leave one, so I won’t go into too much detail on this page. However, I will say is this: if your agent is not submitting you for auditions, you are not going to get any. This might warrant a frank conversation. And if it continues, perhaps it’s a good time to look elsewhere.

Despite all this, an agent can only do so much. They are not your fairy godmother, who gets you acting roles with a wave of a wand. There is an old acting proverb that says, “if an agent gets 20% of your pay, then they only have to do 20% of the work, which leaves the other 80% up to you.” It’s a controversial take, but I believe it. In business terms, you are a product with skills to sell and the agent is the sales person who is selling you to casting directors. If you are not giving your agent the best product to sell, then they can only do so much.

#2 Headshot

Headshots are the point of first contact when a casting director is looking to fill a role. They are your calling card, and can be your biggest advantage, or downfall, when trying to get auditions. Make sure that they are up to date, high quality, and that you have a few alternate looks. This means getting shots of you in different outfits, styles, and brands that show your range.

Updating your headshot does two things. First of all, it keeps you thinking about the types of roles you’re going for. You can establish your type, based on the kind of imagery you put there into the industry. The second thing it does is give you new things to throw on your casting profile, or your agent (especially if they need a reminder that you exist.)

Finally, nobody wants to see a headshot that doesn’t look like you anymore. If a photo looks tired, or might have been taken when Netflix was a mail-in business, people aren’t going to take you seriously. Seriously: old headshots make people wonder what the hell you’ve been doing since these were taken.

#3 Skill, Craft and Experience

The age-old dilemma: you need experience to get the job you want, but you need jobs first in order to get experience. One reason why you may not be getting auditions could be a simpler matter of experience and craft. A casting director is more likely to give an actor an audition if they have an extensive resume, and quality training.

The good news is that if you are wanting to become a professional actor, building your resume and working on your craft are crucial steps that you have to take anyway! This path is a little more complicated than “getting an agent” or “updating those headshots”. But here are a few ideas to get you started:

• Take an acting class. Nothing on your talent—it’s a space where you get to up your experience, and also make some fresy industry contacts!
• Consider going to drama school. Obviously, a much larger commitment than a weekly class; but if you’re serious, there is no better springboard for an acting career.
• Work with an acting coach. With industry experience and perhaps a diploma already under your belt, an acting coach can really help hone your skills and give you some direction. You can get coaching right here at StageMilk as part of our Scene Club!
• Do extras work or stand-in/ body double work. While you might not get the most thrilling and complex parts, you’ll get some paid industry experience and some lines for the CV.
• Volunteer for university/student productions. Plenty of aspiring Spielbergs are out there looking for actors; you can even approach the school directly to put yourself in the mix for their current students.
• Do your own independent study. This can include books on acting, masterclasses and StageMilk!
• Create your own content: produce your own film, write a vehicle for yourself or even write a cabaret. It can be tough on the mind, the soul and the wallet … but it’s probably the best way to rack up experience.
• Do community theatre (or any theatre really!)

#4 Showreel

If headshots are your calling card, then your showreel is like your live-action resume (as opposed to your actual resume.) Are showreels vital to getting auditions? Not necessarily. But a good showreel, like a good agent, will increase your chances tenfold.

Showreels are visible proof to casting directors, that you are, in fact, an actor who can act and act well. This may sound harsh, but there are a lot of actors out there who are not ready yet to audition and play speaking parts, and casting directors sift through many of these beginners daily. Having an awesome showreel that shows that you have the skills to take on the responsibility of a speaking role, will set you high above the rest who are not. 

#5 Luck

In acting, luck never gets enough credit. Sometimes you can do everything right, hit all of your marks, be prepared as possible, and still not succeed. That’s life. Do not get discouraged, though, because there are other times where you trip, fall and stumble into some of the best opportunities that you could imagine. That’s also life.

So how does this fit into auditions? Well, sometimes you can have the relevant experience, a stunning showreel, crisp varied headshots and the hardest working agents and still have dry periods. Contrary to popular belief, luck can be changed. You can do actionable tasks to increase it (and visa versa.) You’re not going to increase your luck of finding auditions when you are sitting on the couch at home. 

Here’s a quick list of achievable ways to increase your luck and find your own auditions:

• Improve the first four factors in this article. If your acting skills are on point along with your showreel, headshots and agent, then your luck if going to be sky high.
• Networking events. There are many opportunities to be found out in the real world, and going to networking events or film festivals believe is where you will find other actors, filmmakers and writers. Acting is actually a team sport, and the bigger your team, the more opportunities you will attract. Be nice, be kind, and make friends.
• Search for auditions online. Whether it be on StarNow, Backstage, Casting Networks, or popular film and acting Facebook pages in your area, there is always a filmmaker out there looking for talent. Be careful of anything that seems too good to be true, and keep your wits about you of course, but if you seek, you shall find.
• Make connections. Isn’t this just networking? Well, yes. But you can make connections anywhere, if you’re open to it. Making genuine conversation and friendships with people you meet at acting classes, film festivals, guild events, theatre shows, social meet ups and on set is the way to go.
• Be open to who you are. Sometimes, actors—especially when we are starting out—get that cheeky old imposter syndrome, and we feel like we are not fit or worthy to say that we are actors. If someone asks what you do, say that you’re an actor, or at least, say that you work/want to work in film, TV and theatre. You never know who it might be asking you.

And Cut!

If you aren’t getting auditions then there is a chance one of these aspects of your acting life are not being optimised. Agents, headshots, showreels, experience, and luck all contribute to the chances of you getting an audition.

Sometimes just having one of these assists work in your favour is enough. Other times, you can do everything right and you might just be in a dry spell. The key is to not panic. Understand that work comes in waves. And you’ll find that next opportunity before you know it.

Good luck!

The post Why am I Not Getting Auditions? appeared first on StageMilk.

The intentional use of stillness in acting can be a powerful and expressive tool to convey emotions, thoughts, tension, and subtext. It involves a deliberate choice by the actor to momentarily pause or limit movement in order to emphasise a specific moment, emotion, thought or narrative element within a performance. Sometimes it feels counterintuitive to deploy stillness; however, proper usage of this technique is undeniably powerful.

Whether you are an acting veteran and a fresh eyed beginning, learning the art of stillness can take your craft to new heights, and impress those around you whilst doing as little as humanly possible. 

The Demystifying the Mystery of Stillness

In the realm of acting, where movement, emotion, and expression often take centre stage, the concept of stillness might seem counterintuitive, yet ever since I realised the potential of using stillness as a tool, I have been obsessed.

I’ve rewatched some of my favourite shows, monologues, scenes and they all have essence of this stillness. The actor barely moves, and yet I can’t look away. I can’t focus on anything else, and then when they do move, there’s such power in it. So what does stillness mean for an actor in technical terms? After talking to different actors, directors, and coaches, the summary I give for stillness in acting is:

Keep in mind however that stillness is not just a lack of action, where the actor displays a lack of energy, laziness, or absence of craft or skill. If anything it is the opposite, stillness is a dynamic and purposeful technique that draws the audience’s attention to the internal world of the character, allowing for a deeper understanding of their thoughts and emotions. 

Why Stillness is So Powerful, and How to Use it

Stillness in acting can be likened to a pause in a musical composition; It’s a moment of suspension that adds weight and significance to the surrounding actions and dialogue.

Just as a well-placed pause in a conversation can convey meaning and anticipation, the strategic use of stillness in acting allows us actors to communicate complex emotions and thoughts without uttering a word. In these moments, the audience is compelled to fill in the gaps with their own interpretations. And this, in turn, fosters a deeper engagement with the narrative.

So how do us actors achieve such a state? For an acting tool that requires you to do less, it sure does require much. Here are eight actionable steps you can take to achieve stillness when you act.

#1 Internalisation and Emotional Connection

Before you can effectively use stillness to convey emotions, internalise the character’s emotional landscape. Take time to immerse yourself in the character’s history, motivations, thoughts, beliefs, and conflicts. Understand what they want: what drives them, what holds them back, and why they do the things they do. By establishing a strong emotional connection with the character, you can authentically channel their emotions through stillness.

#2 Stillness as Active Choice

Stillness should never be mistaken for inaction. It’s a conscious, active choice made to emphasise a moment, an emotion, or a thought. Consider the context of the scene and identify the points where stillness could serve to enhance the narrative. Is it a moment of tension before a revelation? Is it a reflective pause after a moment of realisation? Maybe it’s your character putting up a barrier while they internalise bad thoughts. By recognising these opportunities, you can utilise stillness to punctuate the scene effectively.

#3 Use of Breath and Physical Awareness

Breath is a potent tool that can help maintain focus and authenticity during moments of stillness. Pay attention to your breath as you hold a pose or maintain eye contact. Allow your breath to mirror the character’s emotional state. Is it shallow and rapid due to anxiety? Perhaps it’s slow and controlled in a moment of calm? Or is it all over the place because the characters feelings are in disarray?

By syncing your breath with the character’s emotions, you enhance the stillness with a subtle yet powerful layer of realism. The same goes for your physical movements. Stillness is not just doing nothing with your body, but rather being intentional with your movements. Move (or don’t) as your character would move in the scene and space. 

#4 Subtext and Intention

Stillness can communicate subtext and intention more effectively than spoken words. Consider what lies beneath the surface of the dialogue. What are the unspoken thoughts and desires of the character? Use stillness to emphasise these hidden layers.

For example: a character’s smile may hide sadness, and their gaze may betray longing. Perhaps they are trying to hold back laughter, or even hiding disdain for the character they are talking to but for whatever reason can’t express it outwardly. By employing stillness, you allow the audience to decipher these subtleties and engage in the narrative on a deeper level.

#5 Timing and Rhythm

Like a well-composed piece of music, acting requires a sense of timing and rhythm. For me, I see stillness (and acting in general) as jazz, where stillness can play a crucial role in the pacing of a performance.

Experiment with different durations of stillness to create tension and rhythm, the same way a jazz musician plays around with the rhythm of the music they are playing. A brief pause might build anticipation, while an extended moment of stillness could signify introspection or revelation, then no pause at all could reflect panic. Perhaps your character just heard awful news, or have been given an impossible choice. Would they react straight away, or would they take a beat and pause?

Varying the timing of stillness keeps the audience engaged and allows you to control the emotional arc of the scene and character.  Remember also there is no “correct” time to use stillness necessarily. If it feels right then flow with it, but keep in mind that if you use stillness every time it may become monotonous. Experiment with timing and rhythm and after a while you will get a feel for when it is time to react, or a time to be still. 

#6 Active Listening, Reacting, and Contrast

Stillness is not limited to solo moments. It can also be a potent tool in scenes involving dialogue or interaction with two or more characters. Practice active listening and reacting whilst keeping still. By immersing yourself in the other actor’s words and responding through thoughtful stillness, you create an intense exchange of emotions and unspoken communication.

Your stillness becomes a mirror for the emotions being expressed, emphasising the connection between characters. It is as if the stillness itself becomes a conversation all on its own. Also the stillness of one actor, allows space for the physicality of their scene partner. This helps give the scene depth, creates power structures and defines relationships. Take the opening scene from Inglorious Bastards for example:

#7 Creating Physicality and Gestures

Stillness doesn’t necessarily mean complete immobility. Consider incorporating subtle physical movements and gestures to enhance the stillness. These actions should be deliberate and purposeful, contributing to the character’s emotional state, attitude, or the scene’s dynamics. A slight shift in weight, a gentle touch, or a carefully timed gesture can amplify the emotional impact of a scene.

Take this scene from No Country for Old Men for example. The subtle gestures, movements and eating of nuts (you’ll see), show the audience how each character is feeling, and their attitude to one another, with out ever saying so:

#8 Rehearsal and Experimentation

Just like any skill that will level up your acting game, stillness may take some time to perfect. Even more-so if you’re a crazy extrovert like me and have a natural inclination to give or express an action for every feeling, word and thought that I have.

Mastering the art of stillness requires practice and experimentation. So rehearse your scenes with various levels of stillness and explore how each choice influences the scenes dynamics. See how it feels using next to no stillness first, then experiment with different postures, facial expressions, and breathing patterns to find the most compelling and authentic approach for each moment. Once you have had a play a round with it, take that stillness to a max level. From here, you should find a range—and therefore temperance between the two extremes. 

End Scene

It’s not about freezing because you forgot your lines, froze due to stage fright, or felt like taking a break on stage (or screen). Stillness is about making a deliberate and impactful choice that enhances the emotional depth of a performance. When we, as actors, are still and present, we let the scene unfold and become what it is naturally. If a scene is supposed to be tense, we don’t need to act tense, we just have to be. If the scene is funny, we don’t have to be funny, we just have to follow the beats. It is a powerful technique however you do not have to use it all of the time. How much stillness you incorporate will depend on the character, scene, and story you are telling. Some characters can suffer some too little movement, where others will thrive.

It is human to express yourself physically, but it is also human to hold in and internalise your feelings too. This is why I believe us humans find stillness on stage and screen captivating: it is the closest we would get to real life. Stillness often lies in the realm of realism, therefore it is subconsciously, something us humans recognise and can relate to. So use the tool well, experiment, and witness the difference stillness can to your performances. 

The post The Power of Stillness in Acting appeared first on StageMilk.

If you are reading

This is even more stressful when it is an audition side, and the poorly written script is all you have to go off to audition for the part. These are valid concerns, and if you are in a place within your career that you can turn down something, then turn down the script. However I would argue that we are actors, and that we have a job to do. So let’s take “bad scripts” on as a challenge, and find out how to act well when the writing is bad.

What Is Bad Writing?

Before we dive in, we may be able to solve this problem from the very start by changing our perspective. Ask yourself why you think it is a bad script: is the writing itself poor, or is it a different style than you’re used to? Maybe it’s a genre you’re less familiar with, or it makes unconventional choices? Like all crafts of the artistic kind, the quality of writing is in the eye of the viewer. That said … sometimes bad writing is exactly that. There are a few clear indicators, such as:

• Derivative or clichéd plot or characters. “I’m a cop with a dark past, and the President won’t save himself!”
• Blandness. “I’m fine, thanks. How are you?”
• Overly repetitive phrases. “Why, Linda? Why? Won’t you ever tell me why? Linda?!”
• Unnatural randomness for its own sake. “Bazinga!”
• Exposition. “Just because I’m fresh out of the academy doesn’t mean I can’t tell a bad guy when I see one.”
• When a character narrates what they’re clearly doing. “Yep. That’s me.”
• Overly preachy (even about good things.) “I knew it: terrorists never recycle…”
• Pointless monologues. “To be, or not to be…” (Sorry Bill.)

Let’s stick with Hamlet for a moment: the speech in question, famous though it may be, actually contributes nothing to the plot of the show. What it does do, however, is give us insight into the indecisiveness of Hamlet, and how his mental health may be in decline.

So even if you identify any of the above sins, do be sure that a character is not overly preachy because that’s who they are. If it’s a logical choice that fits with the world, then there may be more to the writing than you thought. At the very least, practice some script analysis and hope for the best.

Can you Act Well With Bad Writing?

Of course you can! It’s just more of a challenge, is all. If you don’t find the lines you are reading agreeable, you still have the chance to make them feel real by way of your own skills. Remember Natalie Portman in the Star Wars prequels? Laughable dialogue, and yet she still knocked it out of the park! How about those final Game of Thrones episodes? Awful plotting, solid-as-ever cast.

How did these actors manage to pull off solid performances despite the challenge of bad writing? They made the most of what they had, and used their acting expertise to save the day. Judging the script is not going to help you nail the part (although it might make you feel better for a while.) You may as well take your focus and shift it to something more constructive and helpful.

How to Make the Most from What you Have

Words are just a tool. They are used to express meaning, to communicate feelings and ideas. But you, as an actor, are also used as a tool. You express meaning, communicate feelings and ideas. See beyond the words and dive deeper into the meaning.

If there’s no saving the writing, no reframing your reading or opinion and your mind is made up: pretend. Pretend that the writing makes sense, and bring meaning to those lines. Ask yourself why the characters talk or act in that manner. Don’t create anything too extreme or left-of-field, but give meaning to the oddness, the clunkiness. At the very least, you’ll be able to do your job.

Everything that the written character lacks, you will have to bring to the character yourself. This is crucial when there is no clearly defined objective in the script. The good news is that the answer is something all actors should be familiar with anyway: the basics.

The Basics For Overcoming Bad Writing

We have a plethora of articles that cover this intensive topic. I would recommend reading through the acting tips, and how-to guides from the technical to the personal. If anything, working with a bad script will give you a chance to improve your own technical prowess!

Action and Objective

If there is no clear defined purpose or objective in the scene, create one, believe it, then bring it to the table. All characters want something, and from their scene partners (else they wouldn’t be in the room together.) While the objective may be obscured, the actions are yours to play with: how does your character try to achieve their goal?

“Why?”

One of the oldest, most reliable tools in the box. If there is something specific that you find odd for your character to say or do, try and assume that the writer wrote this for a reason (even if they haven’t). Maybe they are acting too reserved when you think they should be losing it, or perhaps they are going nuts when just a moment ago they were having a calm conversation. Ask yourself why this is. If the writing is truly bad, you will have to create a sound reason that will justify the poorly written character.

Listen

The more interested you are in your scene partner, the more interesting you are to the audience. Even if your own lines are bad, if you at least listen intently to you scene partner you allow yourself to open up to interesting, natural reactions.

Moment Before

Know where your character has come from before the scene in question. This will give you justification as to why your character is saying whatever you think is bad writing. For example: your character’s dialogue is just one word answers. Not great. But if the moment before is that their mum just died, this would explain the character’s shortness and then you can act appropriately.

Act Natural

A character who is reacting normally to a situation, by definition, can not over-act. Follow the link to a whole other article on this point. Over-acting is a fairly common reaction to bad writing, as the actor feels they have to compensate for what the words fail to convey.

Scene Analysis

While we’ve covered the need for close script analysis already in this article, it never hurts to go back and check again. Maybe there is something you have missed or not realised? A thorough script analysis and line breakdown will help you find bad writing solutions.

Collaborate with the Director

Unless you are in an acting class, or an audition, you will work with a director to make the scene come to life. Don’t outwardly say that you think the writing is bad (that’s a sure fire way to make enemies), but explain that you don’t understand certain parts of the script or why your character says some out of sort lines.

Appeal to the Writer

Finally, if the writer is alive (statistically most writers for performance is dead, which is a creepy fun fact) see if you can talk to them. Don’t tell them their script is terrible—even though we have a whole article on exactly that—ask them questions. If you’re lucky, your questions may even prompt some rewrites!

Working through these basics should get you more comfortable with bad writing. A good actor (that’s you) has the ability to make bad dialogue feel natural. The more over the top the line is, the more you will have to dial it back. The more lifeless the line is, the more life you will have to bring to it so that it becomes alive with meaning. Find balance.

That’s All She Wrote

If you act long enough, your are bound to come across writing that is genuinely bad, or at the very least, writing that you believe is jarring and weird. You can’t always change what has been written, but you can change your attitude, perspective, and character so that what has been written can come to life. I once had an acting coach give the class bad and vague scripts on purpose so that it would push us to come up with creative ways to depict the scene.

Instead of seeing bad writing as bad luck, treat it like an acting exercise that will challenge you to hone your craft. Challenges like these that separate the novice, the good and the great actor. You can be the latter if you so choose to put your judgements aside and focus on your craft, and what you can bring the table that will breath new life into the script. Be so good that the audience, casting director or whoever it is, can’t even tell that the writing is bad.

The post How to Act Well with Bad Writing appeared first on StageMilk.

Residuals are a form of royalty payment received by actors, directors, writers and related creative professionals. They are generally negotiated by the individual’s agent, and are calculated based on the continuing sales and success of a film/show/commercial, using guidelines set by the wider industry.

Residuals can come across as this magic and mystical concept, or occurrence that happens to actors after a job well done. Sometimes a gig pays once and disappears. Sometimes a check can show up years later (and come in hella handy during the lean times.) It can seem random, but there is a method to the madness. Lets talk about how residuals work, who gets them, and how you can get in on the action…

What Are Residuals?

Residuals are an important source of income for many actors. They can add up to a significant amount over time so it can be good to know what they are and how they work. They are a form of compensation paid to actors and other creative professionals when their work is used beyond its initial distribution.

For example: if you appear in a TV show, you will receive payment for their initial performance. However, if the show is rebroadcast, syndicated, or released on DVD (for those awesome people that still buy DVD’s), you will receive additional payments in the form of residuals for each of those new reproductions of the original work!

The purpose of residuals is to ensure that actors and other creative professionals are fairly compensated for their work—even after the initial production has wrapped. Residuals are especially important for actors who work in TV and film, where shows and movies can be rebroadcast, streamed or released on home video for years to come.

How Are Residuals Calculated?

Residuals are different from your original payment. They come in after a certain amount of time. So how are they calculated? Typically, residuals are based on a percentage of the revenue generated by the distribution of the work. This percentage varies based on a number of factors, including the type of distribution, how long the actor was on set, how much the actor was paid originally, who the actor is, the length of time since the initial production, and the general market price for the production.

An actor might receive a higher percentage of revenue for a show that is rebroadcast within the first year of its initial airing, whilst a lower percentage might be paid for a show that is rebroadcast many years later. Another example is, say, that if Henry Cavil starred in a big motion picture, he would get far more residuals than a lesser known actor who only had ten minutes of screen time.

It’s worth noting that residuals are not paid for every type of distribution. For example, actors do not typically receive residuals for their work in theatrical productions as the revenue generated by these productions is generally considered to be a one-time payment. Unless the play is filmed and distributed through an online theatre streaming service, the actor’s job would conclude after the run as the play itself would no longer be making money.

Speaking of streaming…

Residuals in the Streaming Era

Last year, Euphoria star Sydney Sweeney gave a candid interview to The Hollywood Reporter in which she basically said acting wasn’t enough to pay the bills. Sounds crazy, right? (Sounds familiar, if we’re honest with ourselves…) This is because residuals in the era of Neflix, Disney+ and Max is calculated differently.

Streaming residuals are lower. Much lower. They lack the same industry standardisation and fairness that has protected talent in Hollywood since the 1960s. Eligibility kicks in at different times, and is tied to things such as viewer numbers that most companies guard fastidiously—making the accuracy of their claims hard to substantiate. Ever wonder why Netflix or Disney pulls old shows down, even though they produced them and therefore own them forever? Because it’s cheaper not to pay the actors of those shows if they don’t have to.

As of 2023, these rules are under greater scrutiny. And as of the writing of this article, the Writer’s Guild of America (WGA) are picketing for better rights under the streaming model (if you think actors get a bad deal…) With any luck, we’ll start to see some more substantial changes to these models so actors can receive the compensation they deserve.

What Are The Benefits of Residuals?

First, a question: what is better than getting paid once for a job? Getting paid twice or more times! Residuals reflect that you might have worked ten years ago on a tv show that people still love. If you’re still entertaining people, you’re still working (kinda!)

Residuals are the closest thing actors will experience to passive income. Once the initial production has wrapped, actors can continue to receive payments for years to come, even if they are not actively working on new projects. This can be especially helpful for actors who are between jobs or who are trying to build their careers.

How Do I Earn Residuals?

“So how do I even get these residuals, Sam? Getting paid multiple times for one job? Sign me up!”

First step is a paid acting gig outside of theatre. No real way around that. Even when you do, residuals are not automatically guaranteed. If you book the gig with your agent, they’ll negotiate what you receive on your behalf. If it’s something you’ve found on your own, you may need to inquire about it yourself.

When in doubt, I’d recommend hiring an entertainment lawyer who can help you through the process. At the very least, try and get some advice from other actors or people in the industry that you know. It never hurts to get a second opinion.

Common Questions

Will I get residuals for an acting gig that I didn’t get paid for?

Probably not. Of you don’t get paid originally, you can not get residuals. Also, just because you performed does not mean you get residuals automatically. You may, however, be able to negotiate profit share or royalties before signing on, if such an arrangement is on the table with the producer in question.

Do I get residuals for doing just any job on set?

Unfortunately not. Residuals are often reserved for principle creatives such as actors, stunt people, puppeteers, supporting actors, picture doubles and anyone else who has an impact in the performance such as the writer, director, etc. As a rule, extras tend not to be eligible for residuals.

When will I get my residuals?

How long is a piece of string? It depends. They usually come in once the production actually comes out. Then once it gets distributed you will receive a payment whenever they become redistributed. The main takeaway? Be patient, and check in with your agent if you think something should’ve come in that didnt.

Will I still get residuals if I change my agent?

Yes! Your past agents have an obligation to pass on any information that gets sent to them to new representation. If you believe that your old agent is withholding any payments, be calm and approach them respectfully. Often, these situations are a mix-up or an honest mistake. You can always ask for help from your current agent or an entertainment lawyer to make an enquiry on your behalf; however I would strongly recommend to withhold any accusations or judgements.

Conclusion

So there you have it: the run down on the mystical and elusive residuals. Always remember that residuals are never guaranteed, that they can be negotiated. Above all: keep your exceptions low. Sometimes they can be substantial, but other times they can be as little as $5. (The lowest I have ever gotten was six whole bucks). As awesome as they are to receive, it is best not to rely on them, and to treat them as some bonus cash rather than a guaranteed pay day.

So get out there: get working, and I hope the universe blesses you with many random checks in the mail in the future!

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“Cut!” The director shouted. “For God’s sake cut.”  I stood there dumbfounded. “What are you doing, Sam?” The director asked, trying to be kind, but clearly a little puzzled.  “Well, it’s a dramatic scene, I was being dramatic-” “But at what cost? The scene is already dramatic, inherently, so you don’t have to be. Stop over-acting.” Ouch.

There is nothing worse for an actor than being told that you are “over-acting.” It hurts your confidence, your ego, and makes you doubt your craft—all in one crushing blow. However, it is not the end: believe it or not, the director in the scenario above was actually doing me a favour. He was giving me a chance to grow, to learn, to become better. Whether you are a seasoned actor or a fresh young pup, this article will tell you everything I have learned about how to avoid over-acting. Learn from my mistakes, while we share an enormous slice of humble pie.

What Is Over-acting?

Before we can fix the problem, we need to have a clear definition of what it is. Having spoken to my peers, my mentors and comparing this to my own opinions, I came up with this:

Over-acting is when an actor exaggerates an action, tone, reaction, characterisation or performance with the intention to convey an emotion that is already obvious—which results in an unnatural performance.

Simply put, the actor’s job is to make you forget that you are watching an illusion. Over-acting is when the actor breaks that illusion and reminds you that you are indeed watching something unreal. 

Over-acting can have its merits (which we will discuss later in the article) but it becomes troublesome when it is not desired from the director and it is out of place. Unfortunately, it is extremely easy for an actor to slip from acting into 0ver-acting territory. It can stem from such variables as:

• Wanting to be good.
• Trying to elicit a specific action from your scene partner or audience. 
• Trying to play a certain emotion.
• Trying too hard in general.
• Not being present.
• Lack of self awareness. 
• A lack of experience (you don’t know you are doing it).
• It is what the director wants.
• A combination of these above things.

None of these factors are desirable, and they’re probably exactly what the actor was trying to avoid when they started over-acting. That’s why having some tools in place can be so beneficial, because over-acting is almost synonymous with bad acting: it’s what people pick up on when a performance fails to run true. Take a look at the video below for a few classic examples…

Extreme examples? Certainly. But it’s well worth a watch. Another way to spot over-acting is to watch a scene, decipher what the intent of the scene was, and ask yourself whether the acting (and reactions) aid the pursuit of the objective or diminish it. 

Over-acting In Comedy

Comedy is a deceptively difficult genre for an actor. While the topic of acting comedy is an article unto itself, we’ll summarise the important takeaway like this: there is nothing less funny than watching someone try too hard to make an audience laugh.

Over-acting in comedy can either be part of the charm and joke, leave scene dead boring, or even worse—cringe. So how do you know how to act? Often it depends on the vision, and the genre of comedy that you are in. Jim Carrey’s performance in The Mask would be over-acting anywhere else, but it works because the character he plays is built around slapstick and heightened reality. However, in HBO’s excellent Barry, any over-acting for the sake of a joke would kill the show’s gritty, macabre vibe.

In comedy, keep in mind that your character does not know that they are being funny, nor are they trying to be funny, and the behaviour they exhibit is completely normal to them. A great example of this is in the cult classic comedy show, The Office. The characters, in their own special way, are way over-the-top, whimsical and mutually weird. But to them … this is just reality. Despite the heightened sense of the genre, the characters don’t know that they are in a comedy; much of their acting is portrayed serious. It is the situation and the serious reactions to the situation, that creates a comedic effect. If you can take one piece of advise away from this, it would be: never play or act funny. 

Over-acting In Drama

Unlike comedy, where over-acting can be part of the joke, drama leaves little room for heightened acting. In the current movie and television climate of today, trends gear more towards naturalism and realism. TV shows The Bear and Succession are great modern examples of the current screen drama genre. They depict realistic characters, scenarios, and conflict that happens in the respective environment that the shows are set in. The art is imitating life as an illusion of reality.

If characters were to over-act—act in an unnatural manner—this would snap the audience out of the realistic illusion of the show. Even in cases where characters experience heightened emotions, yell and scream at each other (which they do in both of the above series mentioned) such outbursts have to exist within the natural logic and reality of the story.

Side Note: Both Uta Hagen and Stanislavski are great guides in regards to realistic acting in drama. Below are our two in depth articles into both of those great pioneers and their methods which I believe will be of great value to you. 

How To Overcome Over-acting

Now that we have a clear idea of what over-acting is, let’s journey towards ensuring that our performances are free from falling prey to it. Something you may notice as you browse the below points is that many of these concepts don’t only safeguard against over-acting, they promote good acting (whatever the heck that means.) Trust in your training, trust in your process:

Focus on the Process 

We over-act when we are after a reaction, an outcome, which is usually a desperate attempt to get your scene partner/director/audience to feel something. To make a change in the scene. When you break down a character—their objective, motives, goals, what they want from people—the temptation to over-act starts to drift away as your mind shifts from being results-driven to a process-driven mindset. The deeper the character work, the less over-acting makes sense to do, and and the less it becomes appealing to do. 

Be Present. Be Connected. Be Natural.

Once, I needed a new monologue for an acting class I was taking. I decided to tackle the infamous Doug monologue from the play Cosi and, feeling pretty confident that I could pull it off, I went all in. It’s about a pyromaniac who burns his mother’s pet cats alive in front of her lawn; what could go wrong? A lot apparently.

Instead of being a crazy character, I played a crazy character; I acted like one—or, rather, I over-acted in my attempt to play one. I lost the sense of naturalism, the truth. The remedy, in this situation, is to be natural, to be present and you do that by staying connected. Listen to your scene partner and work with what they give you. If you spend time trying to think of a good/clever/funny reaction to something your scene partner is saying, then you are not truly listening, being present or acting natural.

Master The Fundamentals

The reality of acting, and pretty much any artistic craft for that matter, is that you can never be great until you master the fundamentals. What does this mean? It’s having the basics, the 101s of acting so ingrained into your being, that the chances of over acting are slim to none. The fundamentals stop you from over-acting because you will have no need to: you’ll be supported by your understanding of the craft and made to feel confident. Mastering the basics, for stage and screen, will help you understand what is truly needed from you and your character within the scene.

The Power of Stillness

Over-acting comes from over exaggerating our character emotions outwardly. An obvious remedy to this is to internalise these emotions instead and portray them inwardly. You can achieve this by focusing on stillness. Realism and naturalism on screen and stage are simulacrums of real life; in real life we rarely express outwardly how we feel. Think on what people say when your character has to cry: try not to. As humans, we try not to cry when we feel something because we don’t want to show weakness at a vulnerable time.

Stillness is a sharp tool in your actor’s toolkit that will help your acting feel natural. It’s also an interesting dynamic to play with because it means you can really let go in those larger emotional moments—unleash the emotions your character has been keeping bottled up for the rest of the story!

A Vulnerable Actor is an Authentic Actor

If there existed one acting superpower (other than listening), vulnerability would be it.  How is vulnerability achieved, you ask? By practising the advice in the last three paragraphs. Vulnerability requires you to be present, open, to listen, connect and to be natural. When you tie that all together with your fundamentals, you start to become vulnerable.

The true antithesis of over-acting is authenticity. And the greatest actors of all time, across the decades (even centuries), are those who strive to be authentic. Take a look at a favourite example of mine, by way of the late great Robin Williams:

Is It Ever Okay To Over Act?

Of course! Just like all things in life, art, and acting, there is always an exception to the rule. For over-acting, it depends on what the goal is and what the director/writer has envisioned for the scene. If the scene demands it, then it can be a useful tool:

• In most dramas, the norm is naturalism; so over-acting can clash with the nature of the genre and create a surreal effect. This can mostly be found in dream sequences, and often signal to the audience (and usually the protagonist) that something is not quite right. 
• In comedy, over-acting can be a tool to create a specific kind of humour. Think of the slapstick style of Mr Bean or Charlie Chaplin. The secret in comedy is that the over-acting is consistent to the point where the audience accept that it’s a choice and not an outlier. It is then a part of the story’s (absurd) universe.
• Over-acting can create a tension, or a tense environment. This can be trickier to pull off, as it is a balancing act, but if done right can lead to some interesting choices. It is extremely risky, though.

Over-acting and Out

Much of what we have gone through in this article relates to screen acting, although I would argue that this applies just as much to theatre as well. Acting on stage can have a reputation that it has to be melodramatic and heightened. This is true in some cases, but only when the genre or script calls for it. Even the most heightened drama must sit within its own logic of truth and reality.

One final thought: I do believe we over-act because we wish to show the world that we can, indeed act. We feel the need to externalise our feelings and ideas. So to sum up, the greatest safeguard we have against over-acting is being sure of ourselves and our abilities. We do not need to go for the external, for we already have what we need within. We do not need to over-act, because we are already enough as we are. We just have to let the audience in.

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This article outlines some of the best acting coaches in Brisbane, Australia. I’ll give a short outline of each coach/class, as well as some info on what to expect and how to find them. If you’re looking to give your acting a shot in the arm, then these are the people to help you get things moving again!

Before we begin, I do want to be transparent and mention that I have been a student of the first three coaches mentioned: Kristy, Joel, and Gareth. So, naturally, I will be writing from experience and therefore will be more in-depth. The other two recommendations are still valid and great places to learn from. They are run by incredible people (hence why they are in this article). 

Let’s check ’em out!

Who are the Best Acting Coaches in Brisbane?

Great question! And yet, it is a question to which I do not have a definitive answer. Each teacher, just like any student, is different and brings a unique background, personality, and skillset to the table. We are also super lucky, here in Brisbane, that we have a great selection of coaches to choose from.

Which coach to choose, then? Well, that’s what I am here to do: I will give you the insights, below, on the coaches in Brisbane, so that you can research them yourself and make an informed choice. 

On Set Coaching (Kristy Sexton)

“Consistency is the key to a career as an actor. So much like going to the gym, you can do big bursts and reap great results, but if you want to sustain those results you will have to work on your skills regularly.” – Kristina Sexton

In order to break into you acting career, it is imperative that you understand how the business in “show business” works. The road ahead, especially when you’re first starting out, feels foggy at the best of times, and down-right confusing and hopeless at the worst. I can confidently say, however, that all those questions, queries and industry secrets no longer felt so obscure and mysterious after my first class with Kristy. She brings the business side of acting—along with all the trade secrets—into the daylight and illuminates it for all us actors to see. 

Originally, she started out as an actor, studying at multiple institutes, including obtaining a masters degree at the prestigious Royal Shakespeare Company. After many years mastering the craft, she had the epiphany that helping other actors reach the spotlight was just as, if not more so, fulfilling. She is a very individualised coach, and her ability to meet the actors where they are in their own specific journey, brings a worthwhile, equitable approach to the classroom. On top of all her other achievements, she is also a SAG-AFTRA approved intimacy coordinator, which currently makes her the most qualified to be teaching “intimacy on set” in town. 

The final advantage of her classes are that once you’re in her community, you’re in her community. Having a great network full of driven and friendly creatives just like yourself is priceless. As an old alumnus of her classes, I can recommend her with great confidence and humbly say that I would not be where I am today in my career without her.  Whatever your level of experience, Kristy would be my first stop if I wanted to take my acting to the next level. 

Check out Kristy’s website, her intimacy coordinator bio and her Instagram for more information.

Gareth Harris

“Television makes you rich, film makes you famous, theatre makes you good.” – Gareth Harris

With over 30 years of experience under his belt, Gareth has travelled from England to bring his expertise and experience to Australian actors. He is Brisbane’s go-to-guy if you are thinking about auditioning for any sort of renowned drama school, having already helped so many students get into places such as WAAPA and NIDA. Specialising in training students for both stage and screen, script analysis, voice work, stage craft, and physical performance, he draws his teachings from the classics, such as Uta Hagen and Meisner.

Gareth believes that his job is to give his actors the tools to succeed and encourages actors to integrate his teachings into their everyday lives. According to him, the key to becoming a successful actor is: “Hard work and dedication. Use the tools given in class every day, make it part of your routine. Get involved in the industry. You can’t expect to work if you’re only present for 3 hours, one night a week – but you can use the tools delivered in class consistently to become a working actor.”

His direct approach in his teaching methods is one of the most powerful parts of his lessons. There’s an essence of tough love there that is brought to each of his directions; firm, straight to the point, but always fair and collaborative. It is no wonder that he has become one of the most renowned acting coaches in the state. Finally, he is an open book and is happy to talk after class and answer any burning questions you might have over the phone. Gareth is the coach you go to when you are wanting to push yourself as an actor and reap the benefits of hard work. He’s not just a coach who will teach you to act, but a mentor who cares about the person underneath. 

Take a look at Gareth’s website and Instagram for more info.

Creating Artists (Joel Pierce)

“Being an actor is a way of life, it’s a journey and a choice on how you want to live your life. If your heart is in it, then nothing will stop you from pursuing it and in my opinion it will enrich your soul and life on this planet.” – Joel Pierce

What happens when you blend the expertise of two experienced actors and a Ph.D. in psychology? You get an invaluable education that you can use to improve your craft. Joel Pierce and Dr. Kylie Loveday have collaborated their experiences along with Dr Loveday’s research to create “…evidence-based (research supported) ideas that enable actors to reach the peak performance zone and live spontaneously in the moment. This includes removing any blocks they may have as well as giving them tools to live in a present and heightened state as the character.”

Joel is a seasoned, working actor who helps other actors find and stay in their “peak performance zone,” using the 12 concepts that himself and Dr Loveday devised. These concepts give their students the opportunity to become the most honest version of themselves in a scripted scenario. 

Joel is as passionate and hard working as he is caring, and you can feel that in his classes. Look out for his “12 concepts for analysis” course on his socials. It is without a doubt the best place to start, and probably the most definite and helpful analysis method I have ever come across. 

If you want to know more about this incredible team, check out their website and Instagram. Note: Kylie, at the time of writing this article, only holds classes on the Gold Coast.

Peter Rasmussen 

Peter is a man of many talents, and if you have been in the acting game within Brisbane long enough, you would have heard of him. He has been working in the industry now for over 20 years, and his expertise really shows it. Not only does he run some great classes, but he also doubles as an experienced casting director.  What does this mean for his students? It means that his teachings are coming straight from a direct, industry source.

For example, he often runs valuable workshops focusing on the art of auditioning. Being the person who, y’know, actually runs auditions, hearing what he has to say on the topic is an obvious benefit to your craft and career. He also teaches lessons on craft using elements from Uta Hagen, Larry Moss, Eric Morris, Mark Travis, and Ivana Chubbuck. Overall, a very knowledgeable teacher whose classes would be worth while attending. 

Learn more about Peter via his website and Instagram.

The Factory

The Factory has been a Brisbane acting community staple for years now, and there’s a good reason for that. They house an incredible team of working professionals that range from acting mentors to voice teachers, to accent coaches, and much more. Run by the Brisbane talent Christopher Sommers, the studio creates a safe, and productive environment where you can really dive deep into the different aspects of acting that you wish to learn and improve.

Focusing on everything craft and process related, their diverse team has something for everyone; whether you’re a beginner, or someone who’s been in the game for a while and might want to sharpen your skills. The team features such talent as Melanie Zanetti (Young Rock, Raven’s Hollow, and my personal favourite, Bluey) Dianne Eden (who was the head of voice and acting at QUT for over two decades), Peter Kent (all-star voice and accent coach) and that’s just the tip of the iceberg. Whatever you are wanting to learn, you can bet that they have someone to help you do that. 

See more info on The Factory via their website.

Final Word

Picking the right coach for you can be a daunting and difficult path, and I hope these recommendations lead you to the next step in your acting quest. Always remember that there are benefits of sticking with the same coach for a long time (consistency), and there are equal benefits to having multiple coaches (diversity in information). There is no one “right” way to go about it, so pick the coach who you think best integrates into your learning style, and knowledge gaps, then start there.

When in doubt, reach out and ask them questions. Most coaches will be happy to let you observe a class, which will help you get a good vibe check (don’t stress if they refuse, that’s usually due to privacy reasons rather than anything dodgy.) I do recommend, at some point, trying your best to branch out and discover new methods, knowledge and people that can aid you with your process and progress. Mixing it up from time to time can help you broaden your horizons. 

If you are not looking for an acting coach right now, and rather are just looking for feedback, always remember we have our StageMilk Scene Club giving feedback every month via a host of hotshot industry professionals. No matter what avenue you decide to go down, remember to always be striving to improve your craft!

The post Brisbane Acting Classes and Coaches appeared first on StageMilk.

Unfortunately, like any industry, it is not all sunshine and roses. In fact, along your acting journey there is a chance that you’re going to meet some toxic personalities who don’t exactly have your best interests at heart. The problem, of course, with these kinds of people, is that they don’t just come out and say: “Hey! I’m a crazy, bad person and I’m going to take advantage of you!”

Most of these undesirable personalities come to you wearing the costume of charisma and friendliness. This can make it extremely difficult to discern who’s a bad apple. Does this mean that anyone who is kind to you and wears a big, toothy grin is out to swindle you? Of course not! I have met some incredible people who have changed my life for the better through this industry, and I have met some who have had less than honourable intentions. I have—along with other actors that I know—been scammed, taken advantage of and been swindled. Unlucky for me, but lucky for you: because now you can learn from my mistakes.

In this article, I’ll outline some hints, tips and tricks to look out for so that you can stay safe and well on this amazing journey we call acting. So take those rose coloured glasses off for a moment while we hunt down some of those red flags.

Agents

Ahh, I can still hear them now. I was young, dumb, and totally okay with this stranger who I just met telling me that they’re gonna make me a star. This was many years ago now, but essentially how one of my first meetings with an agent went. And of course I took them up on their offer and signed a super dodgy contract! Nowadays, the industry is far more regulated; still, with new agencies popping up everyday and most of them here just to make a quick dollarydoo (a legitimate currency in Australia), it can be hard to figure out who has your back and who just wants your money.

#1 Watch out if they try and make you pay a sign up fee!

This is straight up illegal. No “ifs” or “buts” about it. You will, however, need to pay for whatever casting websites that you have to use. It is always reasonable to double check if the website that you are signing up for is legit also. Most will cost you around $200AUD a year. So keep that in mind. Other than that, there are no other costs an agent should be charging you (except their 10-20% commission).

#2 If it sounds too good to be true, it probably is.

Be careful of any agent, or anyone really, making outlandish promises. If they are certain that they can make you a star, famous, or guarantee you work, then that’s a massive red flag. A good agent doesn’t make promises except for maybe trying their hardest to get your foot in the door for auditions. And while a good agent can take you far, no one person can make you successful.

#3 Try and avoid lock-in contracts.

A good agent doesn’t try and lock you down. There are exceptions to this, but if you’re new to the game most agents that you will be looking for aren’t going to be WME: they’re going to be most probably local agencies. If one of the big ones offers you a year-long, lock-in contract, that is a good deal! If some random local agency you’ve never heard of before offers you a year long lock-in contract, that’s different. You don’t want to be signing up to an agent who you later discover is no good, only to be stuck with them for a year. Not ideal.

#4 They try to restrict your freedom.

This point isn’t as talked about, because I believe it might not always be as obvious as the others. A classic scam is when an “agent” will sign you up and then make you pay for specific services. For example, I was with an “agent” who forced me to pay for headshots from a specific person (ended up being their cousin (shocking)) and insisted I pay for classes that they ran. If we didn’t? We would “mysteriously” not get put forward for work. Other dodgy agents may put clauses in your contract that allows them to micromanage your career and restrict your work. Always remember to read any contract before signing. A good agent will give you recommendations in regards to where to get headshots and good acting lessons, not force you to do them. If they really didn’t believe in your acting abilities, they wouldn’t have signed you.

#5 If you can, ask others for a reference.

Funnily enough, most reputable agencies will do the same about you when you’re looking to join. A simple reference check can go a long way and save you much hassle and money in the long term. Before you sign up to any agency, ask around and do your research. Look up who they represent; if you know some of their talent, reach out and ask them about their experience. If you’re not comfortable with that, join up with some local acting Facebook pages and ask on there. If someone has had a legitimate bad experience with an agent, it won’t be too hard to find if you ask around, and visa versa.

If you’re on the hunt for a reputable agent, check out ‘How to Contact Acting Agents’

Casting Directors

They’re the people who everyone wants to impress and win over. They have the responsibility of who gets the job and who doesn’t. But with great power must also come great responsibility. A good casting agent will never abuse that power. Ever. Here are some tips to use and reflags to look out for:

#1 False Promises

Similar to agents, a good casting director will never give you any outlandish promises. In fact doing any such thing would be unprofessional. This is what casting directors are looking for. If ANY casting director, or any one in the industry ever requests something from you that would make you uncomfortable, then you have the right to say no.

#2 A Paid Audition

This is ALWAYS a scam. I remember not too long ago where there was a “casting director” was pretending to be an employee for a well known streaming service, and was making the participants pay to audition for the “next big thing.” Of course there was no next big thing, or anything really. Just a person who could be best described as a word beginning with A and ending with hole, trying to make a quick dollar.

#3 They are a Mystery

This principle ,once again, is quite similar to the red flags in regards to agents (are you seeing the pattern yet?). If, say, for example, a “casting agent” sends you a message on your Instagram and asks you to come to their “super professional warehouse” where they want you to audition for a mystery project … it’s safe to say they are probably not legit. Especially if they have no website, and their Insta has 10 followers. It sounds obvious, but you’d be surprised. It’s not that actors are necessarily gullible, but more that these scammers have over time gotten better at preying on starry-eyed folks with big dreams in mind.

• Sydney Casting Directors
• Brisbane Casting Directors
• LA Casting Directors
• London Casting Directors
• Melbourne Casting Directors
• Toronto Casting Directors

On-set Safety

So far, everything has been, for the most part, common sense. Using everyday wisdom when it comes to sussing out bad agents and fake casting directors will help you avoid a catastrophe almost every time. Now I want to give you some insight into something that is, I believe, not talked about as often as it should in the acting world: safety and consent on set.

Story time:

Many years ago when my best friend and I were but young, naive actors, we got to be a part in a snazzy student film. Now, if you’re just starting out, student films are great. Usually they’re using the university’s cameras so the quality of your footage is crisp, it’s a good way to network and make friends, and get a feel for what it is like to be on a set. However, like most things there is always a downside to be wary of. Student films are, by definition, made by amateurs. Which is fine of course. You have to be an amateur before you become a pro, but naturally that comes with a whole bag of problems which can be boiled down to blatant unprofessionalism. This can be dangerous, as it was in my friends cas’e.

My friend (we’ll call her “Daniella”) was the main character, so there was a lot riding on her shoulders. During the climatic scene she had to crawl through “glass” so naturally they started off with sugar glass, which is a soft, fake substance. Very ideal, and very safe. However the director (we’ll call him Mr. Poo Head), didn’t like the look of the fake glass on camera and decided to break real glass on set for Daniella to crawl through. Obviously, Daniella protested. This was highly unsafe, and asking her to put herself through an unnecessary and dangerous task is nothing short of abuse. But Mr. Poo Head decided that he was going to get his way, so he argued, pleaded and guilted Daniella to do the stunt to the point where she reluctantly gave in. Luckily she managed, somehow, to not cut or injure herself.

Unfortunately, this not an isolated incident. Ask any actor. They have either seen, heard or experienced something like this or some version of this type of cohesion. Some may argue that Daniella could have just left instead of crawling through the glass. Which, yes, is technically true. But it’s a closed-minded argument that ignores the actual problem at hand. No-one should be forcing anyone on set (or anywhere) to do something that makes them feel unsafe or uncomfortable. Social expectations and peer pressure play a heavy role, and people like Mr. Poo Head know this and will use it to enact and justify predatory behaviour.

So, I am here to tell you, my fellow actor: that you can say no. No is a complete sentence, and you are in fact allowed to leave any set that makes you feel unsafe, or uncomfortable, or threatened. At the end of the day it’s just not worth it. You don’t owe anyone anything. Communicate your boundaries and give yourself permission to walk away if your health or wellbeing is in danger.

Here are some tips and things to look out for:

#1 Always try to let people know where you are.

You’re not always going be shooting at a studio or populated location. Sometimes, you’re going to be shooting in the middle of nowhere or out of town. A majority of the time this will be fine, but it’s best to always let people know where you are. When you’re first starting out, especially, you’re not going to know most of, or even all of the people you are filming with. So if the first time meeting everyone is on set in the middle of nowhere, it’s best to alert people where you are going. I know it sounds pedantic but the old “better safe than sorry” is still sound advice.

#2 Bring someone along with you.

You don’t have attend auditions, set, and shoots alone. It is more than okay to bring a friend. Having someone know where you are, and having someone with you to give a second opinion and keep you grounded, is a great strategy for staying safe. It can be wise that you bring along an actor friend who has more experience than you and therefore can give you great advice on the day. But having anyone there that cares about you can be a great help to your safety and well being.

#3 Put your boundaries in writing.

Have a meeting before filming in regards to your hard limits. This is especially important if there are any intimate, romance, or nude scenes in the project. If a director springs on you that today you have to do a kiss scene (for example), and there has been no prior agreement beforehand, turn the idea down. Remember that you don’t owe them anything; it is not your responsibility to keep track of these things. Any good director will be happy to discuss your boundaries and limits with you and adhere to them through out shooting. If any director has a problem with either of these things, it is a huge red flag and I would recommend declining the project.

#4 The ultimate rule: follow your gut.

If it feels off, if you’re not vibing with the person, production or circumstance, just politely decline. The times when I’ve gone wrong in life—both personally and professionally—is when I have ignored my gut instinct. It can be hard, too. Sometimes everything seems fine, and at face value there isn’t anything to worry about. Still, listen to your gut. Usually your intuition is your subconscious identifying a red flag and trying to warn you. And hey, it won’t always be correct. But often it’s best to prepare for the worst and be pleasantly surprised, than the other way round.

That’s a Wrap

I dearly hope, my fellow actors, that you never end up in any of these situations and you have a long, happy, safe acting career. Unfortunately not everyone you meet is going to have your best interests at heart. So stay safe out there! You might not always feel it, but it is you that has the power in these situations. You have the power to set your boundaries, be firm and say no.

And please don’t let these stories and warnings deflect you from actually getting out there and acting. A majority of the people you meet will be interesting, creative and kind individuals. Instances like these are, overall, quite rare, and in this current climate things have gotten better. (It can keep getting better too by keeping dialogues and discussions like this going.) So make sure you always check in with your fellow actors and artists and make sure you have each other’s backs. Don’t let anyone deter you from chasing this crazy dream and doing good work.

Stay safe, and as always, stay hungry.

The post How to Stay Safe as an Actor appeared first on StageMilk.

If you want to get acting work in Brisbane, you’ll need to track down opportunities to audition. In this article, we’ll cover some of the best places to find acting work for Brisbane-based actors including agents, casting profiles, universities and social media.

Ah yes, auditions. For some, they are a pain in the metaphorical bottom to do. For others? A transcendental experience where all of your acting problems go away and your dreams come true. Most of us seem to sit somewhere in the middle. And for any actor, they’re simply a part of the life. When it comes to all things Brisbane auditions, read on for all my insider info…

Being an Actor In Brisbane

Despite the huge industry boom that Brisbane (and our neighbour the Gold Coast) has had, we still do not have quite the same opportunities as our Sydney and Melbourne counterparts. Getting auditions, here—and therefore acting work—can still be an aloof activity that feels hard to grasp. So you’re going to have to go beyond what you may have originally thought getting an audition entails in order to find the auditions you want. Here’s somethings to keep in mind on your search. 

• Be safe. If some random guy slides into your DMs asking you to audition for the next season of Netflix’s biggest show, then you should be wary and politely block them. If it seems too good to be true, then I am sorry to break your optimistic heart, but it probably is. Always remember that you should NEVER pay to do an audition, and be wary of who it is that is asking you to audition and where. Always try and bring someone with you, and listen to your gut if something feels off.
• Don’t be desperate. Hitting up every one you know—and every person you have met—for an audition for anything won’t do you any favours. In fact, that is a good way to get blocked or told, “Delete my number.” Don’t be desperate thinking that you have to get an audition at any cost. Even auditions take time to come to fruition. Be patient.
• Know what you want. If you want to be a big movie star, you’re probably not going to find auditions for the next big Netflix series advertised on Facebook. However, if you want to gain some audition and acting experience, Facebook pages are a great way to find some potential auditions for an indie film. Want to work in theatre? Then getting an agent that only deals with screen would not be the way to go. Set yourself some goals as an actor, and work to them from there.

Of course, the above points are best learned out there on your journey. No matter how many times you hear old timers (too much?) like me handing down our wisdom, chances are you’ll still make that wrong call, or freak somebody out with your enthusiasm or audition for the latest Prime series that turns out to be a student film. Relax: this is all part of the journey, and how you grow as a career-savvy performer.

Where to Find Auditions in Brisbane

Now that we’ve got the serious stuff out of the way, it’s time to look at the good bits. Auditions in Brisbane! Here’s where to look:

Acting Agents

Without a doubt, the best way to find auditions in Brisbane is though an agent. We talk about this a lot on StageMilk, as securing representation is one of the most important steps an actor takes in their career. If you feel like you are at a stage to try your luck at the big leagues (talking parts in movies and TV shows, commercials, regular work) then getting a good agent is how you get auditions to these projects.

Considering you are specifically after auditions, it is preferable to have an agent that focuses their efforts on that—compared to an agency that mostly deals with extras. Nothing wrong with being an extra: if anything, it’s not a bad way to get future roles. I know actors who have been bumped up from extra to an actual part because they either looked the part, were easy to work with, or both.

For more info, check out our article on Brisbane acting agents and how to contact acting agents.

Casting Profiles

You don’t necessarily have to wait for your agent to submit you for roles. In fact, you don’t have to have an agent at all. Signing up for casting websites will give you the chance to apply for castings all on your own. As always, though, be aware of scams and anything that seems too good to be true. Casting Networks, for example, is a pretty safe bet as it is an established and reputable and holds place for many industry professionals. In contrast, a site like StarNow is more like the wild west, where anyone can post for anything (within reason). This is bittersweet. A lot of independent filmmakers will post here, so if you are looking to get some good audition experience this would be a good place to start. 

We have plenty of information on casting websites in the US, UK, Australia and Canada. Just remember that less established sites will have very little protection against scams and unsavoury characters. Just watch out for anything weird, and trust your gut.

University Projects

We are super lucky here in Brisbane with the fact that we have multiple film schools for us actors to collaborate with. It’s the perfect team-up! We need experience and showreel footage, and they need actors. As an actor looking for auditions in Brisbane, Griffith, JMC, SAE, and QUT should all be on your radar. Follow their social media and bookmark their websites: these are the first places they will post about any upcoming auditions.

It’s a great way to get used to the audition process, too, as the stakes are low. Odds are you’ll be auditioning for students themselves (rather than casting directors), which takes off a lot of the pressure of having to impress a recurring industry figure. Still put your best foot forward, though, and take the process seriously. It’s always important to remember that student filmmakers have the annoying habit of turning into industry professionals who suddenly wield a lot of power. Collaborate well with them and be patient. They will remember you.

Social Media

It may seem like a strange suggestion at first, but social media (specifically Facebook) can be a viable way to find auditions in Brisbane. First of all, it is where you can find access to all of the universities mentioned above. When students are looking to find actors for their film slates, they post it on the institution’s Facebook page. Follow them so you don’t miss out on any potential auditions! 

It’s also worth looking at Facebook pages and groups for auditions in Brisbane. “Brisbane Actors,” “Casting Calls Australia,” “Brisbane Musical Theatre” and “Brisbane Actors Network” are notably worth a follow, as they post casting calls and networking events on the regular. As always though, be careful, be safe: feel free to ask the group if a casting call feels off or not. 

You will also want to follow all of Brisbane’s top casting directors too, as every now and then they will pos looking for a specific role to be filled. But please, for the love of Uta Hagen, never ever direct message a casting director about auditions. Following them on social media a great idea, but sliding into their “DM’s” is not. The same rules apply if you meet one in real life. This goes back to one of the original points of “do not be desperate.”

Networking: Classes and Events

First of all: as an actor, you should be going to both of these things anyway. Keeping your skills sharp by going to classes is a must if you’re just starting out, and there are plenty of Brisbane-based classes and coaches to choose from. Networking events allow you to take a more guerrilla approach to finding audition opportunities. No matter what industry you are in, networking is important. But actors have so much to gain from successful networking that it really is a skill in and of itself (and worthy of just as much attention of nailing self-tape technique or learning lines.)

In Brisbane, if you’re looking for specific networking events, Eventbrite is my usual go to (after I ask around too and get recommendations from people in his, on set, etc.) All you have to do is put in your location, then type in what kind of event you are looking for. Keep the website in your favourites so that you can check on it regularly. Screenhub is another great website where you can find networking events too. 

And when you get to the class/event? Make friends with people you vibe with. You don’t have to click with everyone, but be kind and generous to every person you speak to. Attend to connect and collaborate, rather than to get something specific out of someone—like an audition or a job. If you go out there and connect with people in a genuine way, and put yourself out there as an actor, the likelihood of someone thinking about you for a role increases tenfold. 

If you are interested in joining a great local acting class, check out our 6 Week Screen Acting Class (Brisbane) 

Story Time:

Late last year, with the help of a great team, I had a script that I wrote shot here in Brisbane. After years of auditioning, the tables had turned (and yes it felt a little weird) and I was the one holding the auditions. The actors that we auditioned and cast? All people the producer and I had known previously. How did we meet these people? At networking events and through past classes we had taken. People that had put themselves out into the world, connected with us on a genuine level and did not ask for auditions. They were all good at what they did, were easy to work with, and were overall nice people. Be kind to everyone you meet, because you just never know how these interactions can play out in the future. Speaking of putting your self out there though…

Make Your Own Work

Don’t like auditions? Make your own work! I know this seems like vague advice; when I was first starting out and people would tell me this, I was always left a little confused and dazed. So what’s an easy way to make your own work?

It depends on what your goal is. Let’s go small at first and think abut your showreel. Having some A-Grade footage shot in 4K by a uni student with their university resources for their film project is usually my recommendation for your showreel scenes. However, that involves auditioning (usually) and they don’t always happen that often. So learn how to do it yourself.

Most camera phones now are far superior to most cheaper cameras, and the latest ones even shoot in 4K. Find a writer friend, or learn to write yourself, and then go out and learn how to shoot a short scene, film or TV pilot. Hopefully, you took our earlier advice and have been going to networking events and classes, so that you have friends that you can call upon to collaborate with you on your project. 

Will making something yourself get you straight into the bigs leagues just like that? It’s not impossible, but unlikely. But making something yourself gives you creative freedom and the chance to do what you love without having to have someone else give you the green light. For example: that aforementioned project I talked about? You bet your life I played a role. Because why not?

This goes for theatre, too! Places such as “Backdock Arts” in Fortitude Valley host independent shows all the time. Getting a group together and making something from scratch can be one of the most challenging tasks you can do as an actor, but believe me when I say that it is worth the feeling you get when you pull it off, and learn a thing or two. 

Conclusion

Hopefully by now you have come to realise that auditions in Brisbane aren’t going to just land in your lap: you have to go out and find them yourself. Remember, your chances of getting work and auditions increases tenfold when you leave the house and show up. That means going to networking events, film festivals, classes, theatre, and so on. Opportunity rarely knocks on your door when you’re home, you usually find opportunity by running into in the world that you wish to work in. 

So get out there, and run into something great!

The post How to Get Acting Work in Brisbane appeared first on StageMilk.

Last-minute auditions are important for any actor to be ready for, as the timeline for receiving an opportunity and submitting for it are never in your favour. While you may have less time than desired to put your best foot forward, there are plenty of things you can do to get yourself ready: script analysis, learning your lines, budgeting your time and planning your approach. Perhaps most importantly, you need to practice the skills of nailing a last-minute audition so that you are always ready to tackle this unexpected (yet inevitable) challenge.

It’s a bittersweet problem to have, when you think about it … but it’s a problem, nonetheless. Lucky for you we are here to help: put your best game face on, and let’s see how you can nail this last-minute audition. 

Start Preparing Now

“Proper preparation prevents poor performance.” – James Baker

As fast as you possibly can, print that bad boy out and start reading. Too many times I have seen myself (and others) think that they can just wing it, only to fail miserably when they get in front of the casting director, or even worse, do just “okay.” Sure, you can wing it, and there is a chance that it might go well, but do you really want to leave it up to chance if acting is your career goal?

This is a competitive game we play, and auditions are the play-offs. The quicker you start to familiarise yourself with the script, the more your subconscious will start to work on it. The second your brain gets introduced to a concept, idea or task, your brain starts to automatically try and work it out. So the quicker you start preparing, the faster you will come up with some genius ideas that you can use in the audition. 

If it is a self tape, try and set everything up before you actually start taping (if you can.) I personally get a little flustered after I have tried to do my self tape set-up in my tiny, shoe box apartment and then find it hard to focus. Put your set-up together ASAP: and if you already have yours set up and ready to go, then a metaphorical gold star for you!

Read it, Read Everything and Read it Well

“The best preparation for tomorrow, is doing your best today!” – H. Jackman Brown Jr.

Sounds obvious, but please: read the casting brief if there is one. This will give you everything you need in order to bring the character to life. This will help you have an informed approach to preparing and—when the time comes—performing the script.

For example: if you read the brief and the character is a lawyer and the scene takes place in a court room, then wearing a simple suit jacket would be an informed wardrobe choice. If the scene takes place in a gym, however, then active wear may be more appropriate. Don’t skim over anything. Be thorough. 

The same goes if the casting directors are kind enough to give you part of or all of the whole script. Try and read as much of it as you can so that you can have contextual awareness of your character and the characters they interact with. If you don’t have time to read your whole script, read and re-read your audition sides, then read the scenes that lead up to the moments that feature the character you are auditioning for. I know this may seem like a lot, but if are selective with what it is you are reading, then you will already be way ahead of your competition. 

Investigate

“Art is an investigation.” – Twyla Tharp

I remember one of my first auditions, where I had less than a day to prepare, I went straight to learning the lines and didn’t bother with anything else. And, of course, I failed spectacularly—since I thought that the script I was auditioning for was in the drama genre. It was not. I was so unfunny that my performance was laughable. Don’t be like me: do your research and find out as much information as you can on the project, the director, any previous films the project could be linked to. Be as informed as you can. 

Analyse The Script!

I put an exclamation mark in the title for the paragraph, so you know this part is going to be super important. Getting good at script analysis can take your acting game up from good to great real quick. In an audition sense, it can be the difference between a good performance and a great one.

The more in-depth your analysis, the more three-dimensional your character is going to be. Even in a time crunch, script analysis has two major benefits. First of all, it’s to gain context and clarity about your character and their relationship to the world whilst making your interpretation of them three dimensional. Second of all, it helps to memorise your lines.

Let’s look at the first major benefit first:

Basics and Fundamentals of Character

Let’s start off with context: the given circumstances that grant performances a sense of weight and truth in the story world. The go-to basics for things to take note in regards to your character would be:

• People (Who are you? Who are your scene partners? Who else is important in this story?)
• Places (Where are you? What’s it like? How does your character feel in this space?)
• Objects (Are there any important props or features within the story? Do you really need them to tell the story?)
• Events (What significant events have occurred? Or are about to? What happens during the scene? Any dramatic shifts?)
• Time (What time is it when the scene takes place? Is time on your character’s side or not? Is the scene fast-paced or slow?)

Once you have the basics down, think about what your character wants: their objective. This is going to give your scene direction and importance, and your character (and you) something to fight for! Identifying your objective, and the objective of your scene partner, will help you establish the conflict in the scene. 

Analysis can become convoluted and overwhelming—even more so when you are under the pressure of a time limit to audition. So the best way to keep the process simple, is to ask yourself some questions.

• Why is this scene important and how does it fit into the larger narrative?
• What does the other character/s want, and how does it oppose what I want. 
• What beats are in the script? Beats are any change in thought, emotion, or moments in a scene. They are a powerful tool in any performance and can make a memorable impact in an audition.
• What action/s does it say I need to perform in the script, and what is the meaning behind it?

At the end of the day, however, what casting directors want to see it you coming through  the character. Forget about being “good” or portraying the character the “right way.” Focus on the present and being in the moment with your scene partner. 

Trust in the process, and trust in yourself.

Learning the Lines

To be honest with you, I have never really been good at remembering lines. I find it hard to concentrate and keep them in my brain once I have read them. Eventually, one of my acting coaches offered me a little trick that made a huge difference. Instead of focusing all of my time learning the lines, focus on the the subtext and analyse the script. 

This way, you are learning the meaning behind your lines and creating an intimate relationship with them. When the nerves take over, or you slip and forget the exact words you are supposed to be saying, you won’t be lost in the scene and will be more likely to adapt and improvise.

Not only does learning the meaning behind the lines help you have a more fleshed out character, but you will be subconsciously learning the lines as you go along. You will be doing two things at once, which is great for when you have a last-minute audition and time is tight. 

More on Learning Lines 

Practice the Process for the Future

“You do not rise to the level of your goals, you fall to the level of your systems.” – James Clear

Having a practiced routine that you can fall back on will help you more than anything when you have a time crunch. To make sure you are always prepared for last-minute auditions, it is best to work on your basics and fundamentals on the regular.

Script analysis, character work, line learning: all of these will, with practice, become second nature. So, every week: try your best to get a new script—it doesn’t have to be long, a few pages—and go to work.

Right here on StageMilk, we have original scenes and monologues you can jump into, not to mention the enormous database available to our Scene Club members!

Plan for Last-Minute Auditions

“Plan your work, then work your plan.” – Napoleon Hill

So now you have gotten a grasp on what you need to do in that short time span before your big audition, let’s look at a dot-point plan of what you should do and (in a rough estimate) the order you should do it it:

• Agent shoots you an email with audition sides, a brief, and the script.
• Feel the excitement, breath it in. Then allow the stress to follow after.
• Remember that there’s no need to stress because you have a plan!
• Read the brief so you have a clear idea of what it is you are auditioning for, and who the character is. 
• Look up for macro information about the project: production company, directors, plot, whether it is an adaption, etc.
• Analyse your script and discover your character.
• Learn your lines by learning their meaning.
• Hydrate, eat well, and get a good night’s sleep before your audition day.
• Practice breath work and meditating to calm down any potential nerves. 
• Go into the room prepared and give it your best!

Conclusion

Remember that auditions are not tests. Casting directors are not expecting you to be perfect, to have had learnt every line to perfection and to read their mind so that you can be exactly what they want you to be. What casting directors want is you. That is why you were chosen to audition. They want to see you bring yourself to the character, and for the character to become alive in you. So have fun: enjoy the experience and bring that story to life…

“For me, our job as artists is to serve the story, serve the director, and serve the fellow actors. And if you do that, by osmosis you’re serving yourself because you’ll get the best out of yourself.” – David Oyelowo

Good luck, and prepare well!

LAST MINUTE AUDITION [VIDEO GUIDE]

The post How to Prepare for a Last-minute Audition appeared first on StageMilk.

Finding a monologue that is perfect for you will help you feel prepared and confident as an actor. The central crux, the drive of the monologue and the character delivering it, should resonate with you personally. Furthermore, it is important to decide what the monologue is more: the right monologue for the right situation. For example, I would not recommend busting out “To be or not to be…” if you were auditioning for a television sitcom (however it might be perfect for a drama audition.)

As you search, keep in mind the purpose of the monologue, as well as your age, gender and ethnicity. For most monologues it’s usually acceptable to take some artistic license and play around—within the realm of respect that doesn’t step into cultural appropriation. What will have people raising their eyebrows at you is, for example, if you are an eighteen-year-old actor performing a monologue about an old man reminiscing about the last 80 years of  his life. Or if you are a male-identifying actor doing a monologue about the labours of childbirth, and so forth. Sure, you could do this, but the more you can relate to the monologue you are performing, the better you will connect with it. 

Finding a Monologue

I am going to take a guess and say that you are trying to find a great monologue so that you can use it for an audition (for drama school, let’s say) or to use for a self-tape or competition. If so, there is always a debate of whether you should do a famous monologue that you like, or try and do something different and niche. This is a hard-hitting question with two sides to it.

Something New

On one hand, doing something different will help you stand out from the crowd—which can be important when you are competing for a role or a place at a drama school against dozens, if not hundreds, of other actors. Think of the person panelling drama school auditions, watching the same twenty monologues all day. If you come in with something new (with the acting skills to back it up) then you might just be a breath of fresh air for them. 

Another reason you may want to stay away from monologues everybody knows is because of comparison to the original. Take the famous monologue from A Few Good Men, where Jack Nicholson screams out, “You can’t handle the truth!” It’s a classic, a popular monologue and seems a like a solid choice to pick. So why should you avoid it? Because you are not Jack Nicolson (no offence), and you can bet that whomever you perform it in front of is going to make the same comparison.

Something Old

However, there are a few pros to doing a classic monologue. The more well-known and famous monologues have been done so often that there is a lot of information on them: clever interpretations, character breakdowns and methods to avoid performing them poorly. Right here on StageMilk, our Monologues Unpacked series looks at each Shakespearean monologue with expert detail. Even the dreaded “To be or not to be…”

Any research you can do will help develop a well-rounded view of the character and text. But remember that there’s no right or wrong way, just points you may wish to consider. If you are simply working on a monologue for pure fun, artistry or self expression, then feel free to ignore the above advice. Don’t let me, or others, stop you from working on something you enjoy. Experiment. Play!

Take a look at these links for some ideas: the latest WAAPA audition monologues as well as some classics for men and women.

Creating a Monologue Repertoire

A good actor is always prepared, and finding a monologue or two can aid you in being that kind of actor. An old acting coach of mine once told me that you should always have two, even three monologues prepared at all times, because you just never know when you will have to perform something unexpectedly. Believe me: you will thank yourself if you are ever in that situation and you have the perfect monologue (or any) already prepared. Ideally your repertoire will have one dramatic, one comedy, and one Shakespearean monologue. 

So let’s look at creating a monologue repertoire. The more diverse it is the better. My first tip is this:

The best way of finding a monologue is to read and watch content you enjoy. There is a good chance that you are going to spend a considerable amount of time learning and perfecting the monologue; by picking something you enjoy, you will be more likely to stick with its development and give it more passion when you perform. 

Do you need a better excuse to go out and watch theatre or stay home and have a movie night? Listed below though are various websites that contains monologues from different genres, plays, movies, and TV shows. 

Monologue Resources Online

• Opening Monologue has a section for both drama and comedy, and offers a search bar so you can find specific monologues you may be looking for.
• The Script Lab is an invaluable website if you are looking for great content to read. Although they do not specialise in monologues, they do have access to some awesome, well-known scripts. From Golden Eye, to Game of Thrones, to Avatar, to your favourite TV show, the basic (and free) membership is worth looking into if you are trying to read more quality content.
• Monologue Genie is a cool, niche little website that offers many unique and original monologues for performance and auditioning. You won’t find these monologues elsewhere, and although their selection isn’t huge by any means they are original and, if I may say so, worth while looking into. Each monologue also has an about section so you will get a general gist of what is happening. 
• Why Sanity is a strange, out-of-date-looking website that appears to be pulled out of the 90s. However, despite its baseness, I have found some of my favourite monologues on there. If you are looking to jump down a classic TV and movie monologue rabbit hole, this would be the place to start.
• Stage Agent has probably one of the most comprehensible monologue databases that I have ever seen. They have a “pro” version to help you search and find the exact monologue for your age range, but to be honest, the free version is more than fine. If you’re after something specific to you as a person, this database would be your first stop.
• You’d think that a website called Monologues would be a great place to find just that, and it is. They are specifically a good place to go when you want to challenge yourself as they specialise in much longer monologues. Some of them spanning up to 10 minutes! Maybe not ideal for an audition when time is limited, but great to get into for a good challenge.

StageMilk Monologue Resources

Finally, we have plenty of monologue resources right here on StageMilk! These selections have been hand-picked by our team over the years; we even have a newer page with original monologues written in-house—if you’re looking for something fresh.

• Monologues from Movies
• Monologues for Men
• Monologues for Women
• Comedic Monologues
• Monologues from TV Shows

And remember, our Scene Club works on monologues each month if you’re looking for some expert coaching and fresh selections!

Shakespeare Monologues

Is Shakespeare really so important that he gets his own section in this article? Of course he is. He is the absolute G.O.A.T. when it comes to monologues. He literally has hundreds, so how do you pick? Well, first thing you should do is to pick up Shakespeare and get reading. Am I trying to trick you into reading Shakespeare? Yes, yes I am. I am one of those old school weirdoes who believes that all actors should read, study and perform the works of the great poet and scribe? Also yes.

If you need help decoding the puzzle that is Shakespeare (or at least, that’s how it feels sometimes), we have plenty of resources at your fingertips so you can live and breathe your best 1600s self.

• Our Monologues Unpacked project, which provides breakdowns on every monologue in the Bard’s back catalogue.
• How to Read Shakespeare
• How to Act Shakespeare

As you can imagine, Shakespeare has what feels like an infinite selection of monologues to pick. I found the website below, coincidentally named “Shakespeare Monologues” that I believe is one of the more well organised selections of the topic on the world wide web. It doesn’t have the in-depth breakdowns we offer here on-site, but you will find each of his monologues put into different categories so that you can find the right one for you. Or you could read all the plays and go from there. Your choice. 

Final Monologue

I hope you have found some value in this pseudo-monologue (what are feature articles, but long-as-hell monologues?) If you need any hints, tips or tricks in regards to monologues in general, we have you covered. If I can leave you with one last tip: pick monologues that you enjoy. It is not often that you, as an actor, get the freedom to pick and choose the character, scenes and words that you wish to learn and perform. So go with your heart when it comes to picking your monologues. 

Good luck on your search, and learn well. 

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