We’ve all had “that feeling” during an audition or after delivering a performance: the feeling that we didn’t come off as natural.
After speaking and working with so many actors, I’ve discovered a common thread to this problem and it’s something most actors never even think about.
Once you learn about this and start making just a few tweaks to your performance, the believability and relatability of your characters will improve dramatically.
Most actors focus a lot on facial expressions and vocal tonality. This is great but it’s only two parts of a 3 sided equation. The third part is actually the trickiest to get right and it can throw off the other two very easily.
The 3 parts of delivering a standout performance, whether it’s on set or in an audition, are facial expression, vocal tonality, and handwork (the one almost no one ever thinks about).
Handwork gets tricky because we use our hands as a way to further communicate what the words are trying to communicate. However, it is a one dimensional medium of communication. Speech on the other hand is multidimensional.
You can raise your voice, whisper, talk faster, and employ a number of other vocal tactics to more effectively communicate what you want to.
You cannot do this with your hands with the same effectiveness.
Handwork will distract from what may otherwise be a stellar performance, when it seems contrived. You don’t want your motions to be too small or too big and distracting. It’s a tough balance to strike and it doesn’t always play out on screen the same way that it does in the “real world.”
We have to pay attention to camera angles, ensure that our face isn’t obstructed, consider whether the planned shot will even capture the motion, etc.
The easiest way to get your handwork appearing more natural is to…let it be more natural.
Here’s how…
Get your script out of your hands and early as possible. Until you are off script, you shouldn’t rehearse the motion of the scene. This puts your handwork in your head and your character never has a chance to feel out the handwork naturally since their hands were restricted by the script.
When you are off script and rehearsing full-out, you will find that your hands will have a mind of their own. That’s exactly what you want.
In fact, if you find yourself thinking about what to do with your hands, chances are the movement will come off as ingenuine.
Back up, clear your mind, and run the scene again. See what happens when you are able to just let go.
An audition presents its own set of challenges with this, since you are typically not off script.
It may be possible to be off script if the scene you are reading amounts to only a few sentences of dialogue. So, anytime you can achieve this, go for it. Casting directors are not looking for how well you can memorize, they are trying to gauge how your performance would be delivered.
Even if you mix up a word or two, it’s ok. However, do not attempt this if you do not feel confident in your mastery of the script. Having to call “line” in an audition is not a good look.
In an audition, you should really try to tone your handwork down. Not only do your gestures seem bigger in a small room, at this stage, it’s more likely that your handwork will distract from your performance than add to it.
For example, what I see happen most often is that actors will hold a script in one hand and subconsciously make meaningless gestures with the other one.
They are typically rhythmic, emphasize what shouldn’t be emphasized, and this detracts from the performance.
In this instance you would be better served by holding your script with both hands. Many actors have made a habit out of this.
If your auditions typically go this way, fix it by using the two handed script trick. You might be thinking that it will make your performance seem flat but it actually allows the CD to focus on your facial expressions and vocal delivery, rather than being distracted by your hands.
Of course this assumes that you are getting into enough auditions for this make a difference.
If you are not getting booked enough, try this.
See, to be a booking powerhouse CDs need to know you, like you, and trust you.
If the number of auditions you are getting into is relatively low, then the problem could be that they simply don’t know you. If the don’t know you, they can’t book you. Most actors leave this part to an agent.
Lastly, if you’re going on a lot of auditions but are not getting callbacks or bookings, the problem is that they either didn’t like you or they don’t trust you.
It’s typically not a likability issue and the most likely reason is that they don’t trust you. This is why you must focus on your industry reputation and making sure that it matches your goals. After you have built a relationship with them, the CDs will be much less apprehensive about hiring you.
Until then, this is the chief marker of your credibility and industry reputation.
So now you know how to deliver a standout performance focusing on something you probably hadn’t thought about in a long time. You also know the 3 leading factors that determine whether or not you get booked or even invited to audition.
Where will you go from here? Let me know in the comments below or shoot me an email. I read every one that come in because my goal is to…
See you at the top,
Scott