Compass Theatre Company

For many aspiring actors, it can take some time to build up a name and body of work necessary to land or even get auditions for the most desirable roles/parts. Every famous actor seems to cite one specific project as his or her “big break,” prior to which he or she simply toiled in obscurity like the rest of us. As a means of not only lining pockets, improving one’s craft and getting exposure to wider audiences, many actors turn to TV commercials. Whether peddling used cars, Bud Light bottles or Direct tv deals, sometimes selling inconsequential items ultimately helps you sell yourself to a casting agent through your demonstrated ability to appeal to a target demographic. Many directors will see a person on their TV screen and make the effort to track that person down in order to read for a particular part. Read the rest of this entry »

Confidence is gold when it comes to the screen. Have truer words ever been spoken? If they have, I’m not aware of them. Remember, people want to like you; they are even willing to pay for the chance to find out if they like you. Far be it for any actor to deny the masses of what they clamor for.

What other business besides show business has potential customers willing to make such a commitment. Therefore, it’s absolutely incumbent upon you to engage in a true quid pro quo. Read the rest of this entry »

If you are an actor, you know that you are one of the main components in bringing the writers story to life. You must look a certain way in order to be convincing of the part you are playing, and you must be able to correctly portray the emotions of the character you are acting out, but one of the most important things you must do in order to perfect your part is to memorize the script. The script is the story that you are bringing to Read the rest of this entry »

Anyone who has ever tried to become a famous actor or playwright knows that it can seem unachievable. This is simply not true. Several actors and actresses have revealed strategies they used to become successful.

The most important quality to have when trying to become an actor or playwright is to be outgoing. Networking can get a person in front of the right people. Even if an aspiring actor or playwright thinks the person they are talking to can’t get them in the door, that person may know someone who can. Being open and friendly is very important. Read the rest of this entry »

Acting has few barriers to entry. Sure like any other profession, one person might be more naturally predisposed towards a life on stage or in front of the camera, but that doesn’t mean someone can’t learn the skill. What’s stopping you from acting? These are the surprising responses we here most oftenI’m not good looking enough. Acting isn’t modeling. Even if it was, there’s still plus size modeling, but looks actually have little to do with the performance you are capable of on stage. Looks by play an important part in casting; however, this is merely to match you with the appropriate character, not an indictment on potential. Consider the celebrities in Hollywood, sure there are the glamor guys and gals, but in every movie there are plenty of relatable characters you would otherwise pass on the street without taking any notice. One adverse effect of not thinking you are good looking enough is a lack of confidence. To perform in front of an audience or camera takes a level of self assuredness that betrays some people, regardless of physical appearance. I’m not funny. When on stage accepting his 2008 MTV Movie Award for Favorite Comedic Performance, Johnny Depp told the crowd he wasn’t funny, which, to everyone watching, was kind of funny. Comedy isn’t always intentional. Mannerisms, inflection, personality, the funny gene hinges on a lot of things that evoke laughter sometimes unbeknownst to the performer. You don’t have to be trying to be funny to be funny within the context of your role and some roles aim for gasps rather than laughs anyway. What is commanded is a control over emotions and an ability to manifest a particular feeling to the audience. Humor is just one of many such emotions.I freeze up in front of people. Read the rest of this entry »

In a way you are always in character, after all, we present different sides of self depending on our social setting. There’s a work-Bob, a family-Bob a bar-Bob, all of which look eerily identical but based on behavior could pass for fraternal triplets at best. On stage, you are asked to perform a similar task, presenting a believable front that caters to a certain setting. This front must be fluid enough to adapt to a variety of situations a character may face, even within the same scene. In order to maintain a plausible course of conduct, an actor must know the character with as firm a grasp as he or she has on his or her own highest hopes and darkest fears.In order to get better acquainted with your on-stage self, try conducing a one-man interview let you the actor take a stab at the brain of you the character, video tape it if at all possible. Re-watching your interview on camera will help to pick out subtleties in body language when certain subjects are broached and determine whether or not they could be incorporated appropriately on stage. This exercise shouldn’t be a one-time appearance on Letterman or Leno, more like a weekly 60 Minutes segment. Regular interview sessions will allow you change answers as you grow into the role, maturing the character just as a real person would over time. You may be surprised to find that after weeks of constant rehearsals and script thumbing an unplanned change in perspective will emerge naturally, adding depth. After all, real people aren’t two dimensional, and even non-lead parts shouldn’t seems so to the audience. Read the rest of this entry »

All great theatre stems from great writing. Even other-worldly performance can’t turn a bland or nonsensical script into a timeless work of art. From dialogue to character development, many of the aspects of tradition writing vs. play writing remain the same, though there are important differences aspiring play-writes should note in order to produce a complete work with a logical flow.Loss of Narrative Voice An off-stage narrator be used at times in order to advance on stage movement, but hearing read-aloud thoughts isn’t what fills the seats. The theatre is a visual experience, thus must be written as one. Unlike prose in which you can explain your character’s thought patterns and explicitly offer audiences a certain level of omniscience, on-stage your character’s words and decisions must stand on their own or be clearly corroborated by another event within the visible frame of reference.Less Control Read the rest of this entry »

Know the script Don’t just know your lines and the words that directly precede them. Know the script in its entirety, even scenes you are not in. Yes, this will obviously help you know your character, but equally important is knowing the characters on stage around you. Wouldn’t you treat someone you know intimately different than a complete stranger on the street? The same principle applies on stage. If you know each and every character’s inner-workings long before the curtain pulls back, any interaction, even the slightest unspoken nod or gesture, will come across more naturally and with more purpose.Breathe Both on stage and off it. Not only a basic tool towards survival, inhaling and exhaling at a proper pace will help words to flow with the ease of everyday life. Many actors, even veterans, suffer from stage fright to some degree; regulated breathing helps to calm nerves. Maintaining a set breath pace will help to prevent words from being rushed, making phrases seem forced, contrived or worst of all inaudible. Consider breathing practice a normal everyday occurrence, just as you would perfect your diction prior to an important soliloquy.Lie Read the rest of this entry »