The Six Audition Don'ts - Part One | Actor Hub UK | Actor Guide | Actor Tips | Acting Career Help

Actor and Director Ben Hodge has been the acting teacher at Central York High School for the past 10 years where he has developed an innovative and fresh curriculum for young actors aged 13-24. This curriculum and workshop format is now available to the greater York area with hopes of training and leading new actors to the realisation that acting is a more than just a hobby or pastime: it is an honourable profession and a way of life. His connections with New York City, LA and local talent agencies are now being offered to anyone who joins the Studio classes and have opened the doors for many already joined. He currently runs classes and offers private acting coaching via Skype. Connect with Ben on Twitter or via email

Photo Credit: adapted from Daniela Vladimirova via cc

If you’ve spent any time in the audition room, chances are you know that there are plenty of intangibles that can help you nail or falter in that room. The truth is that if you are serious about your acting, whether you live in a big market or small market, everyone has talent. Talent can only take you so far. A booking can often come down to a smile, a thank you, or even someone asking for a chair instead of simply grabbing it. It can often come down to cleaning up some sloppy behaviors that actors may not be aware of.

I wanted to pull together a few audition DON’Ts that I’ve seen over the years and share them with you. Thanks for reading. Here is part 1. Enjoy.

The Up/Down Effect

This first behavior is easily identified and easily solved. Yet I see it occur in way too many auditions. The Up/Down effect occurs when an actor goes back and forth between looking up and looking down at the script or side. The up/down effect directly connects with not knowing your lines. The actor communicates confusion and disconnection when eyes transfer from the page to their anchor point and vice versa.

This problem is also easily solved: know your lines. The constant looking down at your script and then back up is distracting and disconcerting. All flow or connection that was taking place is stripped away when that apparent break occurs. Keep in mind that is how CD’s will see it: as a break. You should view it as much too.

Know your lines. Know your anchor (or focus) point[s]. Eliminate the up/down effect.
The Security Blanket

Here is yet another audition tip/issue that deals with your script or sides. It is almost a given to see at least one actor go through their audition holding their script or side.

If this is a cold read or you are told to bring them with you, by all means you SHOULD have your sides with you.

If you’ve had time to prepare or you’re at a call back, I strongly advise you to shed the security blankie!

I’m not opposed to having the sides with you even for a call back. There’s nothing wrong with using them to finalize your prep. You can even bring them into the room if you are so inclined. I’d just like to see them out of the way when you are performing.

You know the lines, so free your hands for gestures and important details of your performance.

I’ve seen many actors clutch the script tightly, holding on for dear life. They might be giving a good performance, but I notice the script. I am left wondering why do they have the script in their hand? It takes me out of the scene more often than not.

You may or may not get a CD or director that will tell you to stop, put the script down and give it another go.

Save yourself that possibility by being off-book. There’s nothing wrong with being prepared by having your sides on you. There is something wrong if it’s obvious that you need them when you should be off-book or if you know your lines and don’t really need to be holding on to them.
The Lightning Fast Pace

Oh dear. The pace. The speed. The horror. Please. I implore all actors out there: PLEASE SLOW DOWN and THINK about what you are actually saying.

So many actors haven’t discovered relaxation methods so they come in still too amped and fire off without ever slowing down. Or maybe they don’t really want to be there and they speed through in a strange get me out of here pace.

The result? Disaster.

A lack of conviction, character and connection…all three things which are vital to help you book the part.

The reality is that PACE AFFECTS PERFORMANCE. Never fear however. There is hope. Here are some quick tips for improving your pace:

find time to gather yourself after your slate. Take a few breaths. Focus and re-center on your text and on your motivation and preparation.

THINK about what you are saying. I mean REALLY THINK about it. Yes. You are reciting lines. Anyone can do that. The best actors find ways to transform the lines into depth, meaning and feeling.

Improve this depth by LISTENING to what your reader is saying and RESPOND accordingly.

If you go too fast, you miss the moment.

If you miss the moment, you miss the power of that reality or importance of living in that moment.

The Six Audition Don’ts – Part Two

Guest Post from Actor and Director Ben Hodge – A few audition DON’Ts that I’ve seen over the years – Part II

About Ben

Ben Hodge has been acting and directing for 20 years in a variety of formats. He has directed several productions in York, PA and had his play REACH performed in NYC at an Off-Broadway venue in 2009. Ben studied English and Acting at Messiah College and received his Masters in Education from Penn State University. After the success of REACH, the hit play about the hidden issues of 21st Century teens, Ben started acting classes in the York, PA area and created Ben Hodge Studios in October 2009. His main goal is to bring a high-level, professional acting workshop to York, PA that is modelled after professional workshops with influences by Uta Hagen, Sanford Meisner and David Mamet.

The Six Audition Don’ts – Part One

About Ben