Monthly Newsletter
Number 105

     October 2013  
Upcoming Classes
All 2013 Classes  


Home Recoring II  -  10/1


INTRO: Starting Out  -  10/2


Making It M.I.N.E.  -  10/5-6


Nuts & Bolts  -  10/8-29


Stepping Out  -  10/9


Small Group Workout  -  10/10


By The Book  -  10/12-13, 19-20


Behind The Scenes  -  10/16


Preparing For A Demo - 10/23-30


Long Form Narration  -  10/26-27


In The Studio  -  11/1-2


Auditioning For Film  -  11/3


ADR/Looping  -  11/5


INTRO: Starting Out  -  11/6


Musical Literacy  -  11/9


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Finding The Truth 

When all the intellectual choices have been made, the performer has to trust the homework: use imagination, load up emotionally before speaking, use the body to connect with the reality of the moment, and fly blind. The brain has to step aside and let the body and voicetake over. An emotional build occurs as the actor reflexively offers information to the listener through natural movements one would use with a friend. The actor believes the message, and the listener connects emotionally with the resolution. The product "meets the
John Erlendson, owner, JE Talent in San Francisco:  Voice acting is demanding and immediate. Actors are expected


to deliver a performance in five minutes that is 95 percent there. That is the equivalent of five weeks' rehearsal for a stage actor! To  get a presentable performance that quickly, there has to be a strong physical commitment. The idea is to work from the body and not the mind. It's the challenge of finding freedom. There are no judgments, only free-form creation. This is not to deny the acting pedagogy: Stanislavsky, playing objectives, pre-life, given circumstances, etc. It's the concept of breaking through to an unconsciously competent state. It's active acting. 


Staying in the head immobilizes an actor. The left side of the

brain is the analytical thinker. It re-creates because it is not grounded in truth. The right side is abstract and creative, but the intuitive side is afraid of failure. The actor's process is to find the truth. When an actor is immobilized by staying in the head, the actor has to break out of that familiarity. The internal work - empowering yourself to break out and direct yourself and feel your way through it - is the vessel of truth. The actor has to go from the outside in to find a "physical reality." Then, when the actor plays a vocal action, the body can physically react. Actions with feelings and feelings with actions have to be wedded together. It's a question of working inside out or outside in.


When the actor moves in truth, there is no denying the rightness of the action. Whether it is appropriate or not to the situation defines whether it is right (truthful) or wrong (untruthful). The choice will not be a bad choice if it is truthful. This process expands the odds of success. When the actor moves in a truthful physical reality, active acting from the body occurs. The body physically reacts. The extended realism makes other things - like the product - become important. An actor is able to communicate the truth of his or her feelings to follow the body rather than the mind; feel the action and integrate it into the work.


There are two types of conditioning: acting conditioning and

reading conditioning. Patterns have to be let go. Expect and want a vicarious experience from your listening audience. Use your emotions. Come from a feeling. Take action to express that feeling and trust that feeling vocally and physically. Create a "what if" situation. What if ..."someone asked me to be a farmer?" Begin with, "I feel..." and own the feeling before you start talking (take action). The key is to open with a feeling and stay in the moment.   


You have the power to make people feel. Let a sense of "Dis-ease" drive your character forward to ease. Always find the Dis-ease. It's the fire in the furnace. Adjust the heat in the furnace and take action on it. If your character is at ease at the beginning of the commercial or narration, there is no problem to solve! The stakes are low and ultimately there is no feeling to be expressed. Many truthful choices may be wrong to the situation but they will not be bad (untruthful).

Look Who's Talking
Mic Small
* Angela Sarakan signed with Stars, The Agency, Lynn Foley signed with MDT Agency and Sarah Kramer signed with  Tonry Talent.
* Sharon Huff recorded training programs for Novartis and State Farm.
* Dov Hassan narrated videos explaining a new app for Kaiser employees and a marketing video promoting a new app for a Hungarian start-up.
* Pete McKean was cast in a TV commercial for Comcast.
* Don Moffit recorded a VO for an interactive museum exhibit in New York City. 
* Russo Shanidze shot an on-camera industrial for Intel and recorded a VO for UNICEF.
* Nancy Battey was featured in an infomercial for PetersenDean Roofing and Solar.
* Sujatha Shrivastav filmed an industrial film for Intel. 
Congrats to all who've recently landed agents and jobs. Send us your good news and we'll add it to next month's Newsletter.   
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