By Jason Pugatch

ISBN-10: 1581154380

ISBN-13: 9781581154382

How to deal with the realities of lifestyles as an actor—if you don’t chuckle, you will cry • In-depth interviews with actors, brokers, casting administrators. during this hip, warts-and-all examine performing, writer Jason Pugatch stocks his insights as a operating "day participant" to offer an unvarnished examine theater, movie, and tv: tips to be "discovered," what to anticipate from education courses, the grunt paintings of beginning a occupation, the best way to hold going regardless of consistent rejection, and masses extra. full of myth-shattering anecdotes and informed in an interesting own tone, performing Is a role is the behind the scenes advisor that each aspiring actor needs to read.

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And within this morass lies my basic frustration with the unions. Here’s what they do . . • Provide health insurance for members who qualify • Negotiate minimum rates for contracts • Organize strikes when necessary . . but not very well. See, it’s great that they’re there, but you need to make about $10,000 under the separate auspices of SAG and AFTRA to qualify for insurance, or work twenty weeks under Equity to qualify for a year’s coverage (twelve weeks gets you six months). Meaning you could be a working actor for a year, make $25,000, and still have no health insurance because you made $8,000 under SAG, $9,000 under AFTRA, and $8,000 under Equity, but only worked ten weeks.

Accounts of Strasberg’s misinterpretation of the Stanislavski system vary. Adler herself noted Strasberg’s “excessive use of affective memory exercises”* after she spent time in Paris studying with Stanislavski in his later years. Stanislavski wasn’t finished tooling with his method and, upon his return to Russia, he continued to develop his acting technique, never fully refining it until the mid 1940s. Sadly, and falsely, Stanislavski’s method and The Method are commonly confused with each other.

As the actors of the Moscow Art Theatre performed across the United States, Americans grew aware that they were witnessing something extraordinary. The Russians became darlings of the tabloids and gossip pages. ” And the Beat Goes On An anecdote about something called the “beat” has floated around the theater community for years. The “beat,” in acting terms, is a descriptor of a malleable unit of time. It can be a moment (“that beat isn’t working”), a few seconds (“wait a beat before saying that”), or a whole section of a scene (to divide a scene into beats).

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Acting Is a Job: Real Life Lessons about the Acting Business by Jason Pugatch

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