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Acting casting

When it comes to casting, many actors give away their power, expecting agents to get them in the door. While it is true that the work of an agent is precisely for that purpose, an actor must also take responsibility for him or herself. Take control of your own destiny.

Know specifically what you want.

You need to have a specific concept of who you are and the image that you wish to project to others. In other words, you must be able to market yourself.

While an agent has second hand knowledge of you and your goals, he or she will not know you the way you do. You are the person who has your interests closest to heart. No one else can promote you the way you can.

When it comes to casting, an actor cannot afford to wait around to be discovered. While it is true that a few lucky actors are discovered, this is simply not the typical experience.

This means that you must become aggressive and proactive. Make a commitment to your work ethic. Make phone calls and appointments. Use any contacts available to you.

Some actors do not use resources at their fingertips because they think they are being a bother. This attitude may cost you the casting call.

If you know someone who knows someone who can get you an audition, make the call. No one is going to be the thoughtful Samaritan and do you a favor. You must take control and go after what you want.

Make a list of influential contacts and get to know something about their background. Do a little research and find out what projects they have been involved in.

Who are the professionals within their circle? Do they hold classes? What is their method and criteria for granting appointments?

One good way to meet influential casting directors is to get involved in industry charities. This is one very good way of meeting people in the acting industry while also helping in the community.

Get familiar with the terminology.

· ad lib: To extemporize stage business or conversation.
· at rise: Who and what are on stage when the curtain opens.
· back or backstage: The area of the stage that is not visible to the audience.
· bit: An acting role with very few lines.
· blocking yourself: Getting behind furniture or other actors so that you cannot be seen by the audience.
· building a scene: Using dramatic devices such as increased tempo, volume, and emphasis to bring a scene to a climax.
· business: Any specific action other than movement performed on the stage such as picking up a book or turning on a TV.
· C: They symbol used to identify the center of the stage.
· counter-cross: A shifting of position by two or more actors to balance the stage picture.
· cover: To obstruct the view of the audience.
· cross: The movement by an actor from one location to another on-stage.
· cue: The last words, action, or technical effect that immediately precedes any line or business; a stage signal.
· curtain: The curtain or drapery that shuts off the stage from the audience; when written in all capital letter in a script, it indicates that the curtain is to be closed.
· cut: To stop action or to omit.
· cut in: To break into the speech of another character.
· down or downstage: The part of the stage toward the audience.
· dressing the stage: Keeping the stage picture balanced during the action.
· exit or exuent: To leave the stage.
· feeding: Giving lines and action in such a way that another actor can make a point or get a laugh.
· foil: An acting role which is used for personality comparison, usually with the protagonist or main character.
· hand props: Properties such as letter or luggage, carried on stage by an individual player.
· hit: To emphasize a word or line with extra force.
· holding for laughs: Waiting for the audience to quiet down after a funny line or scene.
· left and right: Terms used to refer to the stage from the actor's point of view, not that of the audience.
· milk: To draw the maximum response from the audience from comic lines.
· off or offstage: Off the visible stage.
· on or onstage: On the visible stage.
· overlap: To speak when someone else is speaking.
· pace: The movement or sweep of the play as it progresses.
· personal props: Small props that are usually carried in an actor's costume, such as money, matches, a pipe, or a pen.
· places: The positions of the actors at the opening of an act or scene.
· plot: To plan stage business, as to "plot" the action; to plan a speech by working out the phrasing, emphasis, and inflections.
· pointing lines: Emphasizing an idea.
· principals: The main characters in a play.
· properties or props: All the stage furnishing, including furniture.
· ring up: To raise the curtain.
· role scoring: The analysis of a character.
· script scoring or scripting: The marking of a script for one character, indicating interpretation, pauses, phrasing, stress, and so on.
· set: The scenery for an act or a scene.
· set props: Properties placed on stage for the use of actors.
· showmanship: A sense of theatre and the ability to present oneself effectively to the audience; stage charisma.
· sides: Half-sheet pages of a script which contain the line, cues, and business for one character.
· stealing a scene: Attracting attention from the person to whom the center of interest legitimately belongs.
· subtext: Character interpretations which are not in a script but are supplied by the actor.
· tag line: The last speech in an act or a play, usually humorous or clever.
· taking the stage: Giving an actor the freedom to move over the entire stage area, usually during a lengthy speech.
· tempo: The speed at which the action of a lay moves along.
· timing: The execution of a line or piece of business at a specific moment to achieve the most telling effect.
· top: To build to a climax by speaking at a higher pitch, at a faster rate, or with more force and greater emphasis than in preceding speeches.
· up or upstage: The area of the stage away from the audience, toward the backwall.
· upstaging: Improperly taking attention from an actor who should be the focus of interest.
· walk-on: A small acting part which has no lines.
· warn: To notify of an upcoming action or cue.