![]() They don’t want to see nunchucks whirling or pocket knives brandished for obvious reasons. ![]() ![]() Various casting directors, however, have different levels of tolerance when it comes to the use of props, but one rule always stands firm: no weapons allowed. Casting directors want to immerse themselves in the performance, so when a nail file, cigarette, or love letter suddenly make an appearance, it can be surprisingly distracting. It’s best to avoid monologues that involve a lot of prop work. An authentic performance centered on subject matter you genuinely care about is a lot more powerful to watch. Similarly, acting out a murder on an invisible character or miming a death scene can come off as confusing, if not humorous. When making a first impression, it’s better to avoid pushing people’s buttons. Unfortunately, using hot political topics of the day, religious material, or iffy sexual subjects can make casting feel uncomfortable or even offended. Sometimes actors resort to using shock value in hopes of standing out amongst the competition or to seem edgy. Here are seven practices to dodge during audition monologues to keep the focus right where it belongs-on your performance. However, some monologue practices interfere with casting’s ability to view actors in their best light and are in fact distracting and confusing. Cancellations made less than 2 weeks in advance but more than 48 hours in advance will be charged half the workshop fee (or, if it was paid, refunded half the fee.) Cancellations received less than 48 hours in advance will be charged the full amount and not refunded.Audition monologues are an efficient way for casting directors to quickly become acquainted with actors, observe their type, assess their present level of skill, and learn what kinds of roles they most relate to. Francisco was awarded a teaching fellowship from the Mark Taper Forum/Dana Foundation and received his Master's degree from California State University, Los Angeles and also studied with the Moscow Art Theater School, Cornerstone Theater Company and Moisés Kaufman's Tectonic Theater Project.Ĭancellation Policy: Workshop registrations cancelled more than 2 weeks in advance will be fully refunded. As an Educator, Francisco has taught theatre classes and workshops in acting, classical theatre, multicultural theater, playwriting and community-based theater for such schools and programs as Lewis & Clark College, California Institute of the Arts’ Community Partnership Program, Mark Taper Forum, Shakespeare Center of Los Angeles, Los Angeles Unified School District, Oregon Children’s Theatre and Portland Public Schools. Francisco is a member of SAG/AFTRA and Actors Equity Association and currently serves on Portland's AEA Liaison Committee. He has also appeared in numerous regional and national commercials and is represented by Dangerfield Talent. Lewis’ The Great Divide for Portland Shakespeare Project’s Proscenium Live New Plays Festival. His recent acting credits include NBC’s Grimm, IFC’s Portlandia, A24 Film’s Lean on Pete, Romeo in Romeo and Juliet at the Shakespeare Center of Los Angeles and E.M. This Spring Francisco will be directing Joan Cushing's Diary of a Worm, a Spider, and a Fly for Oregon Children’s Theatre at the Newmark Theatre. His most recent directing credits include the world premieres of Emilio Rodriguez’s Swimming While Drowning and Olga Sanchez’s Broken Promises at Milagro Theatre, the regional touring production of Jose Cruz Gonzalez’s Tomás & the Library Lady for Oregon Children’s Theatre, Anna Nicholas’ 3 Actors in Search of a Play for Profile Theatre’s 24 Hour Play Festival, Nelson Diaz’s World Classic for Milagro Theatre’s INGENIO New Works Festival, and Naomi Iizuka’s Anon(ymous) for Lewis & Clark College. Francisco teaches specific, repeatable techniques to help take your audition monologues to the next level.Ĭost: $30 PATA Member $50 Non Member $15 Audit Your Expert Instructor: Francisco Garciaįrancisco Garcia is a director, actor and educator. Each actor will have the opportunity to work on and present their pieces in a nurturing, yet challenging environment that helps free up the actor's imagination and make strong and dynamic choices. This monologue preparation class is designed to help actors deliver a strong, performance-ready monologue for professional auditions. The Art of the Audition Monologue Audition Prep 201
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