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The Dangerously Powerful 4 Learning Acting Exercises At Home



Become An Actor-4 Learning Acting Exercises At Home
Prabhas- Great Telugu actor of Baahubali who learned recommended acting at home




Due to my personal reasons, I can't join an acting school or a coach. Any solution?


I belong to a middle-class family and can't afford Mumbai's expensive schools. Can you help?


I have been cheated by an acting school at Old MHADA, Andheri-west, Mumbai with a promise to give me a break in the films. Now, I want to learn acting at home. Are there some exercises?


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Acting Alone And Practice


I’ve had a number of emails recently about acting students who are in a situation where they can’t be in a class for various reasons - whether it’s financial, location, or other, and want to do exercises to keep themselves in the work.
First of all, I would emphasize strongly how important it is to have a good teacher or coach or a good acting school (where a teacher gives personal attention) to work with. One guy that observes you, identifies your emotional issues, physical movements and has the expertise to help you break your shortcomings and spends time with you.


My Highly Recommended Exercises


1. Three phone Calls 


The scene

In this exercise, you are in your scene, either you are getting ready to leave or have come back from outside. You will make or receive three phone calls. Each call needs to be very different, with a different subject and tone, to three different people. You are in these phone calls while in the “doing”, meaning you are doing something at home during the call. Imagine and create the other person, and hear their side of the conversation. Get totally involved yourself in the call, hear them, respond to them, and complete the call, while doing your other work (like arranging something, changing clothes, dusting etc). As you complete the call you continue your activity and the second call, either one you make or receive. A second phone call with another person with a different life…. Then a third call. When finished, you leave or go back to your activity.
Notes: Your other people that you can create should be A. some close one with whom you have a genuine emotional relationship like a love mate, friend, mother; B. Maybe some stranger or a creditor with whom you may enter into a conflict. Listen to them. Take your time. Make them important, and be creative. Find something that you can be really interesting. Do this while “in the doing something at home or a place” or getting ready to go somewhere. This exercise is about specifics, activity, and living truthfully in the moment. Review the calls – are you being real or “too dramatic”? truthful? fake?

Give the phone calls contrast. These should be people you have a very different emotional point of view about. Show your range of emotions, actions, and reactions. Don’t make them all the same. Keep each call to no more than 2 minutes. Practice, time yourself, and rehearse with yourself.

Example:

  • I get home and am getting ready for bed, and see that I have a message. I read the message; it’s my mother… again. I return the call. She’s complaining about something. I feel guilty and irritated when I speak to her. I talk with her for a bit and hang up….. 
  • I continue to get ready and then call a woman I’m interested in, I’m quite nervous, I like her and don’t know if she likes me. I chat her up a bit and then ask her out Friday night…..
  • I continue and make a third call. It’s to a friend who has to give my money back which I loaned him long back. 


You can practice this by yourself, with a friend, even shoot on mobile video camera yourself and review it. Again, the best is a good “eye” watching you and giving notes and feedback is best.
Do this once a week if you are self-acting.


2. Film An Imaginary Audition:


Set-up a camera, cell phone, or webcam to capture your performance
Find and prepare a monologue ( say about 10-15 lines from a storybook, newspaper or just create a scene with someone), get ready as you would for an audition
Choose a point in the room to talk to, a chair, a speck on the wall, whatever
Picture the other character in the room with you and play with them, observing their reactions as you act
Press Record, perform the monologue
Watch the playback and observe yourself. What worked? What didn’t?

This exercise will help you become more comfortable on camera and also help with the technical side of film acting. Do your eyes drift? Are you “overacting”? Experiment with your motivations and technique until you find what works for you. This simple and solitary exercise builds comfort and confidence in front of the camera that directly translates to the film set.

Remember that acting is an internal process that leads to an external performance. Do not focus on external results like your facial expressions or posture. Focus on the thoughts that led to them.

3. Watch Others


Technically, this exercise is not a solo exercise because it requires other people, but those people do not have to be willing participants. People watching is an excellent way to hone character building skills by stretching your observational skills and imagination.

4. Spy on Strangers:


Go to a public place – bus /railway station, ta stall, mall, park, or anywhere else with foot traffic
Pick a person and observe them. Look at the way they walk, talk, laugh, wear their clothes, etc.  Start imagining-allow natural questions to arise. What job do they have? Where do they live? What are their dreams and desires?
Answer these questions as honestly as you can, taking into consideration all that you have observed.
Repeat the process over and over for different people around you.
With this exercise, an actor works on their imagination, taking their surface observations and using them to fill in the details that make a person unique. These skills of observation and imagination directly translate to script analysis. The next time you break down a character, your decisions will be more specific – rooted in observation – and the result will be a well-rounded and unique performance. And to think, this was all accomplished by practicing alone.

Acting alone is a powerful way for an actor to strengthen their imagination and build confidence in a risk-free environment. However, acting alone is only worthwhile if it leads to better public performances in the future. Take these exercises and learn from them, but continue to pursue auditions and classes to further your acting career.
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Want To Join Big List Of Losers? Don't Get Monologue | 14 Tips

feedshark
14 tips for preparing monolog for films/TV/ theater



I don't know how to prepare a monolog for auditions and failing. Can you help?


Is a bad monolog or no monolog the reason of rejections in auditions?


How important is for an actor to prepare a monolog?


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How to select a monolog?
What monolog should I use for my audition?
How to prepare Hindi monolog?
How long should be a monolog?
What precautions should I take for preparing monolog?


What Is a Monologue?


If you have a friend or relative who likes to hear himself talk, you already know what a monologue is.  It is an uninterrupted, one-sided conversation in which a person — a college professor, your drunk friend at a wedding anniversary party— addresses a specific audience. Dating back to ancient Greek drama, where they played an essential role, monologues remain the main feature of plays and films. 
Monologues provide character development, give an explanation, or identify key themes.
Nowadays it's a trend with casting directors to ask an actor appearing for audition to give a monolog

Follow these winning tips when choosing one


Finding good audition material seems to be a pain in the ass for many actors. I began to fully appreciate how actors kill selection chances. Many actors simply choose bad audition monologs for themselves. The reality is, if you are going to audition for films and TV (also especially for theater), monologs are going to be required of you fairly regularly. You can help yourself immensely if you follow some simple tips.

1. Know your "type" and be realistic about it.


A good way of discovering this to ask other actor friends, your acting coach and people in the industry. If you choose a piece that is something you’d "LIKE to do" as opposed to something that truly suits you, you are unlikely to stand out among the competition- there will be plenty of others who are type same casting type, better looking and more experienced or better prepared for the same audition

                  


2. Know your age range 


Again, be realistic about this and ask friends, your acting coach or people in the industry for honest opinions about your screen age then stick to that age range. For example, if your screen age is 23 to 30 and if you prepare or select a monolog spoken by 60 years old man, well then you know it would be absolutely out of the place and the casting directors would notice instantly.

3. Enter the room with confidence


If hands are offered, shake them. Look the auditors in the eyes during introductions i. Introduce yourself and let them know what piece you are doing and who the source/s. Remember to smile and show off your confidence.


4. Short And Sweet


A monolog that’s between 1 minute to 2 minutes is great. More than that is beginning to push it too much. A monolog audition should work to spark the auditor’s imagination, not be an attempt to cram everything you can do with a one piece of text.

5. Imagine


Simply put, your monolog should express as if you are talking something to your scene partner whether partner present to absent. In this way, every monolog is actually a dialogue, a give and take between you and a silent, invisible scene partner.

6. Don't tell just a story


This is related to #2. So often actors create monologs which simply tell a story or reflect on a memory. These pieces become inactive 99% of the time and highlight the matter rather than you.

7. Avoid pieces that are full of violence, sex or offensive language


Remember that an audition is, after all, a job interview. Often the casting director doesn't know anything about you apart from what we see in the audition. "A lot of offensive language or pieces that contain descriptions of graphic violent or sexual acts are just in bad taste at an audition

8. Entertain auditioners 


No one in the industry wants to watch an actor working really hard to impress them with their "acting" especially if the piece is boring or mediocre. Choose a monolog you love doing so we will love watching you.

9. Great Monologs often start out as dialogue


When you are looking for pieces, don’t just assume that a perfectly crafted minute-long monolog right there is going to jump out at you. Some of the best monologs I have are ones that I’ve pieced together from one story or character’s dialogue in a scene. Perhaps, starting with a question, demanding something from an invisible person or asking an opinion and then proceeding

10.  Avoid the monologs that are common and overdone


Many actors make a mistake of preparing a monolog from Bollywood classic films and TV serials like from Sholay, Pyaasa, Guide, Dil To Pagal Hai and so on whether or not it suits them or not. Most casting directors are tired of listening to these pieces repeatedly and they may suddenly lose interest in you. So, be careful.

11. Reflect your good taste


This is to say that choosing monolog for its giving "shock" value or for example too dramatic irritability, bursts of anger or sexually abuse can backfire if you bring it into an audition room. Content matters of course, but not everyone loves hearing 20 bombs in 60 seconds. Not everyone loves hearing pieces about being sexually abused. Not everyone loves watching an actor rage at the top of their lungs.Take the right risks, not the cheap ones.


12. Play to your strengths 


It’s great to experiment and try a wide range of monologs to practice but when it comes to what you choose to use for auditions, play to your strengths and show yourself being the best that you can be.
Choose a monolog with shifts in emotion
I'm sure you must have been knowing how to portray at least 9 types of emotions and different attitudes (In acting class or by your acting coach). The most interesting monologs to watch are the ones with changes in emotion, rhythm, and tempo. This will make it more compelling to watch and will show more of what you are capable of.

13. Don’t be a magician and hide behind tricks


Hands down the biggest mistake I see in the audition room is actors hiding behind the tricks and gimmicks of their pieces. Being showy is the easiest choice and almost always the wrong one. Tossing props, exaggerated gestures, picking up things from the casting director's table are some of the examples.

14. Do not change your accent. Stick to your own accent


You’ve been invited to the audition because of who you are, and if you deliver your monolog in a different accent, you won’t be giving them what they wanted when they called you in- which is you! The exception to this, of course, is if you have been asked to do a different accent, and even then only go for it if you are flawless.

Here is one of the best monolog, I like from Bollywood movie "Khakee"



How to prepare the best monolog.
Join our coaching for sure selection in auditions and how to be a great actor


Related Amazing posts on Monologues




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Rejected! You're Crap Like 100 Others | Can't Create A Character


Jim Carrey the world's greatest comedian getting repeated rejections before success
Jim Carrey the world's greatest comedian getting repeated rejections before success



Why so many actors including me rejected in auditions?
I' quitting. Getting repeated rejections in auditions. Any solution?
My school never taught me how to avoid repeated audition failure and get a role. Can You help?
How to become film and TV serial actor by being selected in auditions?


Answering These 7 simple questions and preparing well can make you succeed in auditions  


The other side is that an actor who puts in the time and energy will definitely have a greater understanding of their character and their personal acting technique.
Take them, learn them, and think about them. That is why Stanislavski asked them.


  • There are so many different acting techniques that finding a process that works for you can be confusing and difficult. Ironically, most acting books and teachers use similar principles based on Stanislavski's system. This is because Constantin Stanislavski is considered, even today as 'The father of modern acting' and every acting technique created in the current era continues to get influenced by 'Father Stan.' 
  • For young actors, I'm giving an understanding of Stanislavski’s 7 questions which will be an invaluable foundation upon which to build a 'character' the actor intends to play.


As A Character Ask


Who am I?


Start with the basics and then fill in the gaps with your imagination. Pick apart the script to find out what type of person your character is; what they look like, what they believe, how others describe them and so on. Think about your character’s past and the significant events/people that influenced them and made them who they are in the script.

Where am I?


The script will usually tell you where you are but the important thing for an actor is to consider how the character feels about the place they are in. Characters act differently in public than they do in private. People move differently when they are cold vs. when they are too hot. The space your character occupies can determine how they behave during a scene.

What time is it?


Year, season, month, day, and time of day should all be described. Then, think about how the specific time of the play changes the character’s action. If it’s night, looks or says in the upper regions of Himachal Pradesh in extreme winter, physical reactions and dialog delivery may change.

What do I want?


This is a character’s primary motivation for everything they do in a scene. All actions should be executed with the goal of getting what you want from the other characters in the scene. This is also called a character’s objective.

Why do I want it?


There must be a driving force behind your objectives on stage and on film screen and that is your justification. We all had reasons for doing what we do and characters are no different. Give your character a convincing reason for acting and you automatically generate high stakes which lead to tension.

How will I get what I want?


Imagine. Use your dialogue, movements, and gestures to try to influence the other characters to give you what you want i.e. accomplish your objective. This is also called a character’s tactic. If one tactic fails, try a new one and see if that works.

What must I overcome to get what I want?


There may be always something in the script stopping characters from achieving their objective so as to create a drama. Usually, there is someone or something in the outside world impeding a character’s advancement and also some internal conflict with which they struggle. Find what it/they are and fight against them with the scene. This is also called a character’s obstacle.
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Why Actors Should Play Lottery


An actor's dreams and imagination
An actor's dreams and imagination


Why am I not becoming a good actor?
I'm getting roles but not becoming a Bollywood star. What's the reason?
I can't imagine playing different types of characters' What to do?
When I play a script in auditions, I become tense and look false. Why and what to do?
Solution
Develop The Power Of Imagination, Dream, And Practice Characters At Home
Buy Lottery Ticket, Imagine Becoming Rich And Famous

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Why Playing Lottery Made Me A Good Actor?


Hi,
I'm an International Award-Winning Character Actor (Guiana 1838), and an acting coach


Page From My Life Diary


As an aspiring actor a few years back....

"Like many millions of other people, I bought a lottery ticket on Monday. With a jackpot worth of Rs.10 Crores, I couldn’t resist. But as I handed over that cash, I felt shame. I felt as if I'm being looked by scornful eyes and judged. In my head, I heard the voices of dozens of friends and family shouting at me, “You just threw that money away!” They told me how ridiculous I was being, how insanely long the odds of winning are and to not get my hopes up. They are familiar voices. They pop up regularly in my life, in moments when I find myself beginning to fantasize and daydream. They are the voices of reason. Of the rational. Of control. And they are trying to ruin my acting.

I have spent most of my life fighting with my mind’s weird strict direction to through life out of control. It is extremely easy for me to think negatively, to turn the smallest discomfort into as if I'm gonna die. In my head, a failed effort easily turns into a fear and a doom. An unexpected knock on the door quickly escalates into a devil entering. My mind likes to just run away. I’m constantly fighting against it because, most of the time, it leads into some terrible direction so I have to do everything in my power to bring myself back to reality just to calm myself down. This escapism away from realizing my dreams to become a good actor is nothing but a myth. 

Less often, I will find myself fantasizing about an opportunity that comes my way to be a successful actor. When a big audition comes along, a life-changing kind of project-

  • I will find myself drifting away into a fantasy, a colorful future
  • I imagine hearing how proud people are of me
  • I imagine traveling to incredible places to film my scenes.
  • I imagine the crew and the director gave me a standing ovation on my performance in a scene shot
  • I imagine my beautiful female co-stars congratulating me after a shot
  • I imagine depositing Rs. 10 Lakhs in my bank account
  • My vacations to incredible tourist places in India and abroad and staying Taj or Hilton


And when I get caught up, I hear those voices telling me to get ahold of myself, to calm down, to come back to my safe and routine life. The voices, the voices of therapists and friends and family, voices of those who have my best interest in mind, try to restore control.

The world trains us to lead a less complicated and a safe life. We get messages to calm down and not get worked up all the time. The life teaches us to keep our heads down and follows the logical, rational path. Perhaps this may be correct. It would be a tough world if everyone was constantly in contact with the extreme things that could happen in every moment. It would be equally impossible to go to work if we followed every fantasy and dream. So we tame our imagination.

But we actors cannot. We actors must learn to tap into the depth of our imaginations in order to fulfill the depth of the roles we play. We have to remember that every moment in our life as an "Avatar" has tremendous potential, that we can alter our lives by following the impulses others would try to forget. We must own the reality that some days we lose what we love to be and other days are full of new opportunities to fulfill what we love to be.

Films and plays are not about the days where you wake up and drown yourself into tension free medicare routine risk-free life. We as actors must accept this normally hidden aspect of the human life-the magic of the unwritten moment, the incredible things happening to people. Actors must witness to the dynamic possibilities of human experience to be able to create a life never seen by the world. 
Some days, someone somewhere wins the lottery. And someday, it could be us.
So let's dream and imagine"


"Why Imagination Is The Only Power To Make You A Star Actor

Actors must use their imagination to create character including character's motivation and the meaning of their action. The film script, which itself is a construction of the author's imagination, is a point from which the director and actors hope to arrive at a finished work of art.

The audience will then remove all doubts and disbelief and allow themselves to get into the imaginary world of the film or stage to live in them"
 




Winning Lottery


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