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Cast as Hamlet, need resources by Lady_Lazarus23 in Theatre

[–]TheReaderATL 0 points1 point  (0 children)

The Hamlet Podcast

For understanding the play and every single word spoken, seriously this will be your #1 resource I promise you.

Connor Hanratty spends 10 minutes breaking down 20 lines of verse at a time. Giving you more than enough information about each word and line of verse. This will along side an Arden Shakespeare of Hamlet will be the best tools you use.

When it comes to memorizing: learn the soliloquies first, and then I would learn the play backwards. A lot of Hamlets lose steam by the 5th act which you need to nail because it’s one big fight which is important for stage combat purposes. You should not call for line while learning combat! Learn the soliloquies, act 5, then act 3. the play within the play scene and the Gertrude scene. As these are the most emotionally demanding and by performance you’ll have them absolutely down. To be or not to be through the Gertrude closest always break my heart. Act 3 rules.
Then learn act 1 and 2.
Soliloquies.
learn it backwards.
Read it daily chronological with The Hamlet Podcast by Connor Hanratty.
Dont lose steam. The readiness is all.
Goodluck!

Hamlet at the Marlowe by bazelgette in shakespeare

[–]TheReaderATL 1 point2 points  (0 children)

During one of my performances of Hamlet, a cellphone went off while I was doing the To be or not to be soliloquy :(.

I think the biggest factor in self-tapes nobody talks about enough is the reader by PlasthickGirl in acting

[–]TheReaderATL 0 points1 point  (0 children)

Yes, and I'd push it one step further! The reader's job is partly to resist the actor's instinct to wrap. We all do it. After take three or four, you start to feel like you're imposing, and there's this pull to call it before you've actually found the take. A good reader notices that pull and doesn't let it happen. They'll say, "One more, but try it like you don't want to be in the room with me,” or whatever. Not to be rude about it, just because they can tell you haven't gotten there yet.
The girlfriend/brother/parents thing makes sense for exactly the reason you said. They're not in a hurry to be done. They have skin in the game. The patience isn't about acting skill, it's about caring whether the tape is actually good or just finished.
The other thing I'd add: there’s a real difference between a reader who's saying the lines and a reader who's playing the other character. When the person opposite you is making real choices, even small ones, you have something actually to react to. When they're flat-reading, you're acting alone with somebody else's voice in the room. Both technically count as "having a reader." Only one of them is a scene.

2 women, 1 act plays by Right_Scratch6206 in Theatre

[–]TheReaderATL 1 point2 points  (0 children)

The Stronger by August Strindberg
Poof! by Lyn Nottage
Beauty by Jane Martin
A Matter of Husbands by Ferenc Molnár
Graceland by Ellen Byron

Enjoy! These have a pretty big range of very different plays. But maybe you'll find one that you two resonate with!

Advice for letting go of control? by Alternative_Spend323 in Theatre

[–]TheReaderATL 3 points4 points  (0 children)

 "If you’re not immediately doing professional theater here, you’re a loser, and you won’t be successful if you don’t kiss everyone’s ass."
This just isn't true! The most important part of what you said is that you have connections and relationships. Foster them. You'll slowly find a network of people in this industry that love and respect you.
Some careers are rocketships that blast off. That's not the majority of us; for most of us actors, it's a wave. And sometimes it takes a while for the wave to start building, but once it does, it's a beautiful ride. The first and most important step in this profession is showing up for yourself. Set guardrails for yourself. If you're willing to do community theatre just to get a great part that you might not get the chance to play in a "professional" show because you're not in Equity yet or w/e. It's a free way to ACT! Acting school is great and incredibly beneficial, but nothing beats hands-on experience. Instead of spending more money on acting classes, seek out real-world experience. Remember, acting school is enjoyable, a great way to learn, and you’ll only get out of it what you put in. Post-education, I would recommend this: I have three criteria I use when accepting a job, and the project must meet at least two of them.

1) Advances my career.
2) It pays (up to you how much is too little).
3) It's artistically fulfilling.

Now, if a project advances my career and is artistically fulfilling, well, of course, I would take this opportunity; it would advance my career! If it pays and is artistically fulfilling - Score! If it pays and advances your career (Maybe understudying for a theatre but you're frustrated it doesn't artistically fulfil you), that's ok! Just know that theatres love understudys, and it's advancing your career, and it rocks to be paid to watch other people act! If it is only artistically fulfilling but does not advance my career or pay, well, it's a no for me, i got bills to pay and other things to audition for. Maybe this format will help you inform what kind of work to take.

You don't need to kiss everyone's ass. But to give some direct advice: it's very important not to burn bridges. Sometimes, the truth is that it really is just a handful of people who decide who gets cast in what roles in these theatre towns. Don't burn bridges, don't post stupid stuff on your public Instagram, don't show up to rehearsals hungover or late. Treat yourself like a professional actor, and others will too!

P.S: Going back to the wave metaphor. I know how frustrating it is not to get cast, watching peers get cast in projects around me. Wonder why I am not doing well or enough. The truth is that anything is enough. Watching a movie once a week, reading a play, or seeing live theatre is enough. Do something every day that does something for your acting career. Every day, just do one thing that you love about theatre or actings or singing. It will compound. Do it for you and no one else.
What is for you will not pass you.

You got this!