posted June 28th, 2009
Submitted by:
Tina Yeung-Moore
of Work in Progress Theatre
Film and Television Acting: From Stage to Screen
Written by Ian Bernard
This review is on the Second Edition. First published by Butterworth-Heinemann 1998 ISBN 0-240-80301-9
I know that there is not much of a scene for film and television acting in the area, but with both an Acting For Film and Television Program and a Radio and Television Broadcasting Program at Niagara College in Welland, I would hazard a guess that there are quite a number of trained people in the area that work on either side of the lens. While many of us may not have the time or money to attend either of these programs, it should not exclude us from pursuing the craft on either side. Perhaps in the near future the independent film scene will grow and develop. So, this month’s review will look at the Acting side and, if I can find relevant material on the subject matter, next month’s will hopefully address the Production side.
At first pass, I decided that this book would make a good textbook for an “Acting For the Camera” course. As I let the material sink in, I realized that outside of the actual exercises and instructions parts of the book that there was a wealth of information that would be very useful to those who are new to the camera scene itself.
As with Joanna Merlin’s Auditioning I enjoyed knowing that I was getting “insider” information. Bernard has had professional experience in all aspects of theatre, film and television and has worn the hat of director, writer, producer, composer and conductor. He also teaches film acting and screenplay writing in the US. In spite of the difference in the Canadian and American scene, the discussions of the difference between stage and film acting and applying technique are highly valuable.
In thirteen short chapters Bernard manages to squeeze in an abundance of information, scenes and exercises for practice with explanations and relevant quotes from Actors and other professionals in the industry.
Film and Television Acting does presume that the reader is familiar with acting for the stage and rather than “teach” the acting part, the tendency is to zero in on how to make adjustments to technique so that it is suited to working with the camera. On that note, I would suggest that users of the book look for information on acting for stage or acting technique in a general sense look elsewhere first.
The book necessarily begins on a very general note comparing stage to film, but very swiftly switches gears and focuses narrowly on issues relating uniquely to film and television situations. The book is accessible in that any time he uses a new film term, Bernard is quick to explain or define it in the flow of the text, or with parentheses or with an immediate example. Throughout, there is a generous smattering of information on working in the industry, or business, in general: a tip here, a bit of advice over there, a caution or two over that way. The different kinds of shots used are covered including a chapter of its own for the close-up. Comedy and Situation Comedy are each also addressed in their own chapters. Rounding off the end of the book are sections on working in the industry, what to expect in the business, what it is like in the business, a list of Do’s and Don’ts and some final words of advice.
Film and Television Acting can be found in the St. Catharines Public Library, call number 792.028 Ber. There is no cost to use the book within the library. Patrons with a St. Catharines Public Library Card may sign it out for a three-week period with the option to renew for one week up to three times unless there is a hold on the book by another patron.
posted May 5th, 2009
Book Review
submitted by:
Tina Yeung-Moore
of Work in Progress Theatre
Auditioning
Written by Joanna Merlin
First published by First Vintage Books 2001 ISBN 0-375-72537-7
This book provides useful practical information about auditioning, with the added bonus of a view from the other side of the auditioning process. Joanna Merlin has worked both as an actor herself, and as a casting director.
She opens the book with addressing the real feelings actors have about the auditioning process and tips for overcoming them. By providing specific ways that actors spoil the audition process for themselves she holds a mirror up to the way countless actors view auditioning: with fear, anxiety, lack of self-confidence or nerves just to name a few of the many emotions that an actor may feel. She reveals that the auditors do not hold all the power in the process and that there is in fact a balance of power between the actor and director. Resistance to the process, in many forms, is shown to ruin the way actors can and should prepare for the audition appointment. The second chapter tells us all about auditioning from the auditor’s perspective and what they expect from actors in an audition and interview. The third and fourth chapters are the “how-to” part of the book that cover technique and provides concrete examples of technique at work. Actors who have done any sort of script analysis in the past can skip or skim these two chapters if they are confident of their ability in this area. Following are a couple of chapters on auditioning for camera and musicals, respectively. These are particularly useful for those who plan to do any film or television work, or music theatre. Wedged in next is a far too brief chapter on monologue selection and preparation. After this, is a section that paints a picture of the reality of what the actual audition event may be like and suggestions for dealing with it. The book rounds off with some tips, quotes from other professionals in the industry such as directors, actors, writers and casting directors and some final words about living a healthy life as an actor. What I appreciated most was the feel that she was providing insider information. As a stage manager I have witnessed much of what Merlin describes happening on the other side of the audition process. She is honest about the realities of auditioning without being grim. Her tips are encouraging and the tone is generally positive. Actors armed with the knowledge provided in this book who allow themselves time to prepare with a solid technique should enter auditions with better sense of control and view the whole process in a more positive light.
Auditioning can be found in the St. Catharines Public Library, call number 792.028 Mer. There is no cost to use the book within the library. Patrons with a St. Catharines Public Library Card may sign it out for a three-week period with the option to renew for one week up to three times unless there is a hold on the book by another patron.
posted April 6th, 2009
Book Review
submitted by:
Tina Yeung-Moore
of Work in Progress Theatre
The Actor's Survival Kit (3rd Edition)
written by Miriam Newhouse and Peter Messaline
First published by Simon & Pierre / Dundurn Group 1999 ISBN 0-88924-278-x
This book is all about the business side of being a professional actor in Canada. Although much of the subject matter borders on the mundane, the writers have managed to keep the tone light but frank (yes, they know they’re not your mother).
If you ask actors whether or not they consider themselves to be artists, chances are you’ll get a resounding “Yes.” Ask them if they consider themselves to be business people and the answers will be far more varied. Actors who are serious about making a living through acting, that is, being a “professional” actor, would be wise to read this book. An actor is essentially a small business run as a sole proprietorship (that’s business speak for “only owner”) where the product is the actor herself. Her look, her voice, her qualities, her skills… the whole package. No one book can guarantee success. In fact, nothing can guarantee success, but the book addresses the realities of trying to succeed as a professional actor. The second chapter is even titled “Gloomy Reality.”
The first few chapters cover more general aspects of the business of being an actor and largely deal with self-discipline and self-management. There is a chapter that covers an actor’s package (cover letter, resume, photograph/headshot, demo tape and voice tape). It covers detailed information on how to prepare the package including both content and form. One chapter covers auditioning, including generals, readings, auditioning for musical theatre and auditioning for film and television, commercials, radio and voice-over work.
The latter half of the book deals with how to behave when offered a job and living the actor’s life. From negotiation and contracts to what to expect at various stages in the rehearsal process to opening night and the run. It also addresses what it is like to do media work. There is a chapter on job etiquette, a chapter on unions and a couple of chapters that cover self-care, continuous learning and how being an actor affects other aspects of one’s life.
What I love most about this book is that it is specific to the industry in Canada. To me, it is kind of like a “how to” book. There are plenty of books out there about acting itself. This covers just about everything else. There are very useful tips throughout and there is a glossary at the back explaining terms that may be new to you, and a list of useful addresses. Essential reading for those wanting to make acting their business.
The Actor’s Survival Kit (Fourth Edition) can be found in the St. Catharines Public Library, call number 792.028023 New. There is no cost to use the book within the library. Patrons with a St. Catharines Public Library Card may sign it out for a three-week period with the option to renew for one week up to three times unless there is a hold on the book by another patron. It is also available at the Brock University Library, and the public libraries of Niagara Falls, Niagara-on-the-Lake, Port Colborne, Thorold and Welland.
posted March 6th, 2009
Book Review
submitted by:
Tina Yeung-Moore
of Work in Progress Theatre
YEAR OF THE KING
written by Antony Sher
First published by Methuen Drama 1985 ISBN 0-413-41450-7
I first read this book because it was on a course list in one of my Drama classes at university. For me, that was a number of years ago, and my memory of what I read is a bit foggy. When I came across this book in my shelf I recalled that it had some interesting sketches and followed the actor’s preparation of a role. It is a series of excepts from a diary Sher kept specifically for the publication of the book following his preparation for the title role in Shakespeare’s Richard the Third to be played at the Royal Shakespeare Company in England in 1984. Among the excerpts are sketches related to the entries. It spans a time period ranging from prior to being offered the part to opening night.
I recommend the book especially to any actor preparing for an Elizabethan role, or any role that is physically challenging. Although it is insightful to the actor’s process in a general sense, I was surprised at how much focus there was on Richard’s (in Sher’s own words) “physical deformity.” He is not shy about divulging his own physical limitations due to previous acting injuries. If ever questioned by my accountant about writing off a gym membership to help stay in shape as an acting expense I’ll recommend he read this book.
Aside from entries about possible ways to play Richard physically, we read a fair bit about the hum-drum business side of acting, as well as the every day aspects of being a professional actor. It should be noted that Mr. Sher has won numerous acting awards, including the Laurence Olivier Award for Best Actor for his portrayal of Richard, so he is obviously onto something in his method.
Year of the King can be found in the Brock University Library, call number
PN 2598 S47 A38 1986. There is no cost to use the book within the library.