Bianca.
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Cold ReadingsThis is a topic I don't think I've ever seen on here.
What are all of your best tips for cold readings?
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sunrae
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It's all about the thumb!
I know, that sounds weird. But, if you hold the paper with just one hand (that way you can use your other hand to gesture if need be) you use your thumb to keep track of where you are.
Try to look up at whoever you are speaking to as much as possible, memorizing a little bit as you go, and then move your thumb so that when you look back down at the paper you know where you are 
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happyguava
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This sounds obvious, but take your time. I have done so many cold readings where I have felt intimidated whilst skimming over it and then hurrying to begin just to kill the silence, and then getting so excited at the same time as wanting it to end that I completely rush the whole thing. I always skim over it first - unless they tell you to hurry up and say something take some time to think about it. Then begin, don't rush, pause when you need to etc.
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ztarwarzchic
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I too have a cold read coming up in a week. How does it work, is it usually interaction w/ someone else? My other auditions have all been using a monolougue (which I practiced first for 1 or 2 weeks)
What is even the point of a cold read?
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LaurelDP
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I'm assuming the point of a cold read is to let the director get a feel for you in certain roles, as well as see how your chemistry is with the other actors they're considering.
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Jenem
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I think the point of a cold read allows the director to take note of your natural instincts as an actor. However, I suppose it is only a true cold read if you've never seen the script before, which is not always the case. I myself, prefer not to read the script beforehand, becuase looking it over will only cause me to overanalyze how lines should be delivered, etc. But then again, I'm an actor who can carry a tune and fumbles her way through dance, so I never really worry too much about delivering dialogue.
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LaurelDP
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| Jenem wrote: | | I think the point of a cold read allows the director to take note of your natural instincts as an actor. However, I suppose it is only a true cold read if you've never seen the script before, which is not always the case. I myself, prefer not to read the script beforehand, becuase looking it over will only cause me to overanalyze how lines should be delivered, etc. But then again, I'm an actor who can carry a tune and fumbles her way through dance, so I never really worry too much about delivering dialogue. |
I agree with you completely.
And I'm in a similar boat. I'm definitely an actress more so than anything else, but my singing is slowly catching up.
I don't like to look at scripts before hand, either. Maybe skim it so I can note important beats. But I don't like to practice the lines in my head, because that just leads to disaster and overacting.
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Holly
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| sunrae wrote: | It's all about the thumb!
I know, that sounds weird. But, if you hold the paper with just one hand (that way you can use your other hand to gesture if need be) you use your thumb to keep track of where you are.
Try to look up at whoever you are speaking to as much as possible, memorizing a little bit as you go, and then move your thumb so that when you look back down at the paper you know where you are |
Exactly what I was going to come in and say :]
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Jenem
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| Quote: | And I'm in a similar boat. I'm definitely an actress more so than anything else, but my singing is slowly catching up.
I don't like to look at scripts before hand, either. Maybe skim it so I can note important beats. But I don't like to practice the lines in my head, because that just leads to disaster and overacting |
Yup- I can totally relate to what you've said (have really improved my vocal skills in the past few years). I guess it's all about knowing your natural strengths and what to simply let be. I love the spontenaity of cold reads- definitely my favourite part of the audition process.
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opheliarose
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For me, I try to know as little as possible about a play before I audition (musicals are a different beast). I agree with avoiding pre-concieved notions- it's also less heartbreaking because you don't get fixated on a particular role. For some reason, I usually end up getting better roles this way.
If you're doing shakespeare cold readings (not typical, but I've been to a few) take your time. You don't have to impress the director by how fast you can spit out the strange language.
my other piece of advice is, IGNORE THE STAGE DIRECTIONS. You don't have to walk in thru an imaginary door and shoot someone with an imaginary gun. (this always reminds me of parker posey's "audition" in waiting for guffman when someone does this!)
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Jenem
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| Quote: | | my other piece of advice is, IGNORE THE STAGE DIRECTIONS. You don't have to walk in thru an imaginary door and shoot someone with an imaginary gun. (this always reminds me of parker posey's "audition" in waiting for guffman when someone does this!) |
HAHA! Sooo true. Good point.
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happyguava
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I find that not reading it in my head beforehand leads to disastrous overacting. *moves into little corner*
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