A couple of weeks ago, I wrote about the importance of “going there” as an actor. I then asked you to share with me (and to allow me to share with my readers) how it is you balance going there with letting it all go, after the audition in which you invested so much energy (in order to go there). It’s a paradox, for sure. You’ll note that I don’t often write about the craft of acting as much as the business of acting (simply because there are many more qualified experts on craft than I). That said, I received quite a few excellent responses about this topic, leading me to believe this is an issue many actors have struggled with. First, thank you for sharing! I learn more about my readers with every email (and you’re a smart, generous bunch for sure). Now, let’s look at both sides of this proverbial coin, one at a time.
How To Go There
One actor questioned whether the actors had been given the full screenplay in preparation for the audition, in the situation I wrote about. Of course. I wouldn’t expect an actor to know, based only on two or three pages of sides, the depths of the emotions we were hoping to see. So, yes, throughout the discussion of these tactics, let’s assume the actor has been provided the entire script prior to the audition and the role is especially dramatic and grippingly emotional.
Many actors wrote in suggesting the use of music in going there. “Being a fan of country music, on my way to the audition, I’ll play one of the tear-jerking songs (‘Remember When’ or ‘Whiskey Lullaby’). They tend to get me choked up and it’s a feeling I can keep just below the surface to take right into the audition. It doesn’t always work, but it helps.”
Visualization is a very popular tactic. “I have always tried my best to envision the part as my own before I walk into the room and getting to the places I need to be. One of the tools I use for getting into altered states of emotion is looking into the other actor’s eyes and using them as a mirror of my life. Through the eyes (the windows to the soul), you can envision the best or worst of any situation.” “I remember what it feels like to actually be on set. The work I do in an audition is exactly what I do on set. I go there the exact same way. I treat auditions and sets identically.”
Some actors suggested the use of a physical anchor. “I use stones (‘My Magic Stones’) because it’s what I connect to the most when I think of emotional energy. I have different stones at home and I choose different ones for the different stories I’m a part of. I use the stone’s texture, color, and surface to trigger the necessary images specific to the story in my mind. The most important thing is designating a time of day to bring the stone out: only when it’s time to practice, only when it’s time to audition, only when it’s time to film. Otherwise, I leave it alone. It’s amazing how the mind can be trained this way. Now, I am free to go all the way there whenever I want.”
Approaching the entire situation with seriousness is another winner. “I go there every single time (even when I’m practicing for the audition).” “I have been on auditions where the actors are in the wings trying to laugh it up during a death scene.” “Not only do I have to keep my emotional balance in check for auditions, but also while filming!”
How To Let It All Go
It seems many actors struggle with letting go especially when the role has been particularly emotional in nature. “I played a character for seven weeks and had to be very menacing. I’m a pretty laid back guy, usually. I would feel very intense anger and disgust on stage and it was often difficult to let it go immediately.”
Again, music is a popular tactic here. “Once the audition is over, I get in my car and play my favorite song, sing along, and try to put it behind me (or I drive myself crazy thinking about what I should’ve done).”
Another common-sense strategy for letting go is having something scheduled for after your audition. “To disengage, I have lunch with a friend, go to the gym, take a surfing lesson, or go a museum. I always do something I enjoy that will distract me after my audition. This way, I cope with being a good actor and being a good person with a full life. These things go hand-in-hand for me.”
One of my favorite suggestions involves enjoying the emotions (all of the emotions) as you have them. “When you’re performing, take pleasure in the intensity of the emotion you’re feeling. During auditions, it may be tough, but if we strive to commit to our emotions and enjoy them, maybe we’ll start making progress.”
The audition like you have it theory applies to advice on letting go as well. “I treat each set of sides like a mini-class. I love taking new material and finding my own magic in it. The more material I work on, the broader my spectrum is as a performer.” It stands to reason that, if the audition is seen as a performance opportunity or material for a personal class, letting go of what has been a part of that process is a little easier.
I think the most important thing to remember with any of the above is that you may have to try a few different tactics before learning what works best for you (and that’s in terms of both going there and letting it all go). Obviously, the stronger your “muscle” for any of this, the better equipped you will be at every audition. And that’s the goal!
Bonnie Gillespie is living her dreams by helping others figure out how to live theirs. Wanna work with Bon? Start here. Thanks!
Originally published by Actors Access at http://more.showfax.com/columns/avoice/archives/000277.html. Please support the many wonderful resources provided by the Breakdown Services family. This posting is the author’s personal archive.