Pt. 2: ABCs of Audition Prep

Pt. 2: ABCs of Audition Prep

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In this second part of ABCs of Auditioning, Milton applies all the concepts mentioned in the last episode to Teo’s audition for a police procedural, in which he was given two lines and no information. This is a practical example of knowing what world you’re in, understanding the function of your scene, having a relationship with everything so that every moment is filled, and having not only a strong recognizable character, but a personality that an audience would want to spend time with over the course of many seasons. The more information you have about the genre, the writers, the network and the tone of the piece, the smarter your choices will be and the more you’ll be grounded for the audition. Here’s are the sides so you can follow along if you’d like: East New York His trainee ANDRE BENTLEY- Black, late twenties; also RIVAS and LYLE; all but SANDEFORD sneak glances at Haywood, the new boss. SANDEFORD [to Bentley) Don’t just look on the ground for shell casings. Sometimes they go into tires which is why you wanna look for flats. RIVAS Anyone know anything about our new commandante? LYLE (sarcastic) She was the most qualified candidate, that’s all. RIVAS She was awarded the Combat Cross. LYLE Shut up. [END]


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Episoder(246)

Living Off Your Partner

Living Off Your Partner

Building a solid relationship with the partner gives you grounding. Knowing who I'm talking to and what my attitude is towards them opens up what's going on in a scene.

14 Jul 11min

Talking Out a Preparation

Talking Out a Preparation

In this video Milton works with Rashaud as he prepares a monologue from The Laramie Project.

12 Jul 7min

Specificity • a Key

Specificity • a Key

Not just unexperienced facts can deaden our work as actors, the need to explain or report the facts can get in the way of our most creative work. Digging down specifically can help this problem.

7 Jul 12min

Getting to Depth

Getting to Depth

It's not just enough to be functional or accurate or good enough. There's a road in to our actor work that helps us find extraordinary choices and frees us up to do our best work.

30 Jun 16min

Before the First Line

Before the First Line

If you think of the play as a continuation of what has already happened, it gives you a sense of how much work you have to do in order to earn the play. Excerpted from my New York class, we continue o...

23 Jun 17min

The Human Being Behind the Character

The Human Being Behind the Character

Continuing work on the Frank Gilroy play, The Subject Was Roses, this expert from Milton's in-person class begins to explore the road in to building a character with more depth.

16 Jun 16min

Working on Text

Working on Text

Working on a play begins to give actors the foundation of working on any text they get. These are excerpts from my Script Analysis class at The Actor Lab in New York.

12 Jun 12min

The Partner and their Behavior

The Partner and their Behavior

We're combining two exercises in this class. (1) Seeing someone 'on the street' and being able to make decisions about who they are, based on their behavio and (2) building an attitude towards them.

26 Mai 14min

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