Personally I long for the days when Clark Gable swept Scarlet up Tara's stairwell and the rest was imagination. (Gone with the Wind and if you haven't seen it, you should!) I prefer bosoms and the rest of the anatomy covered. However, I recognize that that attitude puts me somewhere the other side of the dodo bird. Extinct.
I once played an aging woman (no stretch, that) whose husband had died in his late 20's. In one scene I imaginatively recreate a debutant ball my young husband and I attended 30 years earlier. It was blocked so that I stepped up to another platform and joined the dead husband, who was still young and very handsome, in a slow waltz. Youth and age. Numerous audience strangers said the scene was more powerful, more poignant, more laden with overtones of loss than any kiss etc. could have ever been. Slow waltz. Not deep throat, or furious ripping off clothes.
So perhaps at an "intimate" audition, try touching his/her cheek (keep the hand about an inch from the face, however). Maybe it will be so lovely that the director will keep the near-touch rather than the deep throat, etc.
Sex in all its variations seems to be a permanent part of stage and screen. There used to be gratuitous car chase scenes. These have been replaced with gratuitous sex scenes.
As a "mature" female actress, even I have faced a "now what?" situation. I was cast as the lead in a 35 minute independent film being directed by a Brit who had had some success in England before coming to the states. I wanted to work with her, mostly because it would look good on my resume. The role, the lead, was an aging wealthy courtesan who spends her last night with her favorite client. I was promised there would be no nudity, no physical contact-was told that the gentleman would be seen leaving my boudoir and then the camera would watch as I die happy (heart attack, or something). We rehearsed, we discussed, we walked through the scene. We had lunch. Jolly. Then comes the shoot. The boudoir doors slide open and shut and suddenly the favorite customer crawls into "my" bed and the director is telling me where to place my hands and legs. I was furious. I refused, threatened to walk out--not that it mattered much, since it was my last scene both in the film and the shoot. I found the idea itself distasteful and the director's sneakiness disgraceful. I must, embarrassed though it is, say I have often wondered about my reaction if the "visitor" had been the Tommy Lee Jones or the Russell Crowe type. Not sure my response would have been quite so vehement-or even rated 1 on the vehement scale at all!
So what does an actress do when auditioning for a script that calls for intimacy, sex scenes, nudity or deep throat kissing? My immediate response is a resounding "Do what you want." Some actors shrug these scenes off with indifference, some with grace, some think they are fun, some think they are business as usual. Other actors are confused, timid, intimidated, uncertain, frightened to say "no" because they don't want to offend.
Recently a coaching student told of a self-submitted indie film audition she went to. The ad had called for a monologue, which she and I worked on. My own red flags went up based solely on the Internet site where the audition was listed. I mentioned my reservations to her. She was sure everything would be just splendid. It wasn't.
She arrived at the audition and was handed a scene to cold read. No, there would be no monologue. Yes, the audition would be on camera. She said the scene read like hard porn. She was so upset that she said she couldn't do a good cold reading. I asked why she didn't leave. The answer: "I don't want to get a reputation of being a diva." Although her response was emotionally understandable, intellectually it just didn't make sense. She'd rather be considered a bad actress (give a terrible cold reading) than walk out on an offending audition (and be considered a diva)? We actors are so hungry for roles that we drop most of our brain cells outside the audition room door.
So? What to do at an audition when the script calls for intimacy? Go with the flow and keep your fingers crossed? Please read the following sentence with a fanfare, a veritable flourish of trumpets. DO NOT GO WITH THE FLOW. Go with the decisions you made months earlier about what you would and would not do at an audition or in a performance (stage or screen). Face this question now and answer it now. Yes, I will. No, I won't (kiss, deep throat, strip, simulate sex, etc.). And stick to your decision. (Unless it is Tommy Lee Jones or Russell Crowe, of course. Then all decisions, along with that errant common sense, head out the window!)
Usually intimate scenes are acted out only on the third or fourth callback, if at all. I have rarely heard of the initial audition requiring kissing or nudity (run fast, if it does) or even passion. Check AEA and SAG. It's my impression that the unions generally forbid nudity at auditions.Oh, moan, will the director think I am a _____ (you fill in the blank)? Answer: What a director expects is irrelevant. What is relevant is what you, yourself, want to do. If they threaten not to hire you, wish them well and leave.
Intimidation reeks of future sleaze. There will be other roles and other directors. Refusing intimate exchanges never undid a career. Keep it in perspective. Remember it is a role you are losing, not a kidney or an arm.
Exception: If you know in advance that the scene you will be reading is sexually charged, then you must refuse (or accept) before the audition. Tell them immediately so that your audition spot can be given to someone else. If you know about the scene before you get there, and then suddenly back out once you are there, that is unprofessional.
If you learn about the scene when you get to the audition, you can tell the monitor you would prefer not to read for the role. Then leave. Remember that phrase: "I would prefer... " It's a bit more firm than "I feel uncomfortable... " In this profession, one needs a small lexicon of handy phrases. Please add "I prefer not... " to your list. In fact, "I prefer not" deserves a spot in all every-day conversation, when refusing something.
Here comes an annoying question: Is it possible that your headshot is leading casting offices to make certain assumptions about the roles you will play? Need I be more descriptive? This headshot question certainly applies to both men and women. Our headshots are supposed to look like us, which certainly includes what kind of roles we are interested in be considered for. Therefore look to your headshot. If your hairy chest is the center focus of your headshot or the female equivalent-a blouse open to your belly button with little between it and your shoulders--then a casting director rightly makes certain assumptions. Need I be more explicit? "I prefer not" to verbalize more suggestively!
PS: I strongly suggest that you do not attend an audition in a hotel room or in someone's apartment unless you take a friend with you. There are people out there who know our desperate need for a role. They play on our insecurities. They misuse our desire to be cast, sometimes criminally, for their own shady purposes.
Just be careful. Lots of werewolves and a few wicked witches lurk on the yellow brick road.
Ruth Kulerman is an American acting coach teaching British technique in NYC. After retiring as an English professor (Ph.D. in English Lit), she followed a delayed dream, studying with British coaches in NY and London. During her 20 years acting on stage, in film, TV and commercials, she amassed over 80 reviews, including 4 in The NY Times.
Monday, July 30, 2012
Reasons to Experience Fawlty Towers Dining
Going out for a meal involves much more than fine wines and delicious gourmet food for many people. Diners want to be entertained and have fun while sampling some of their favourite dishes. One of the most popular themed events in a number of countries is based on the hugely popular British sitcom, Fawlty Towers. The dining is enhanced by the comedic behaviour of actors representing the cast of the famous sitcom. There are many reasons why both fans and newcomers to the popular seventies comedy show should consider a Fawlty Towers dining experience.
One of the best reasons for anyone to consider Faulty Towers dining is the fun they will undoubtedly have. Following a stressful day full of worries and woes, there is nothing more satisfying than watching the antics of a talented group of actors portraying the characters from Faulty Towers. The dining is eventful, with the action taking place throughout the meal, enhancing rather than distracting from the dining experience.
Another reason for fans of the show to experience Faulty Towers dining is to experience just what it would be like to dine in a restaurant belonging to Basil Fawlty. Although he is a hapless character who is clumsy and sometimes obnoxious, a large number of people would love to experience the receiving end of Basil Faulty temperamental character.
An evening of dining out accompanied by chaotic service is very much a nightmare situation for most people - unless you happen to be a fan of the seventies comedy show Fawlty Towers. Dining out while being waited on by Manuel, with Basil hovering around ready to harass the poor waiter, can only prove to be the highlight of the evening for appreciators of the sitcom. The evening also provides an opportunity to see great actors impersonating the characters from Fawlty Towers and improvising a script, which changes every night. The actors work with the audience during every evening's dining experience, making sure that each audience member enjoys the food and the company, along with a unique experience.
Mixing theatre with dinner is becoming much more popular as a leisure activity for people in a variety of countries around the world, experiencing acting at its finest while tucking into a superb meal. The action takes place throughout the dining area rather than on a stage, which provides something unique for the audience. The audience members have the opportunity to be part of an episode of Fawlty Towers, playing their own role in the action. Groups of friends or family members looking for an evening of entertainment will find themselves becoming embroiled in the plot when they opt for a fun Fawlty Towers dining night. The dining experience will only enhance an already enjoyable evening of fun for groups who want to interact with each other on a unique level.
Celebrating a special birthday or other occasion usually requires something a little different from the usual family gatherings or parties. A Fawlty Towers dining experience is certainly an event that will be remembered by everyone.
One of the best reasons for anyone to consider Faulty Towers dining is the fun they will undoubtedly have. Following a stressful day full of worries and woes, there is nothing more satisfying than watching the antics of a talented group of actors portraying the characters from Faulty Towers. The dining is eventful, with the action taking place throughout the meal, enhancing rather than distracting from the dining experience.
Another reason for fans of the show to experience Faulty Towers dining is to experience just what it would be like to dine in a restaurant belonging to Basil Fawlty. Although he is a hapless character who is clumsy and sometimes obnoxious, a large number of people would love to experience the receiving end of Basil Faulty temperamental character.
An evening of dining out accompanied by chaotic service is very much a nightmare situation for most people - unless you happen to be a fan of the seventies comedy show Fawlty Towers. Dining out while being waited on by Manuel, with Basil hovering around ready to harass the poor waiter, can only prove to be the highlight of the evening for appreciators of the sitcom. The evening also provides an opportunity to see great actors impersonating the characters from Fawlty Towers and improvising a script, which changes every night. The actors work with the audience during every evening's dining experience, making sure that each audience member enjoys the food and the company, along with a unique experience.
Mixing theatre with dinner is becoming much more popular as a leisure activity for people in a variety of countries around the world, experiencing acting at its finest while tucking into a superb meal. The action takes place throughout the dining area rather than on a stage, which provides something unique for the audience. The audience members have the opportunity to be part of an episode of Fawlty Towers, playing their own role in the action. Groups of friends or family members looking for an evening of entertainment will find themselves becoming embroiled in the plot when they opt for a fun Fawlty Towers dining night. The dining experience will only enhance an already enjoyable evening of fun for groups who want to interact with each other on a unique level.
Celebrating a special birthday or other occasion usually requires something a little different from the usual family gatherings or parties. A Fawlty Towers dining experience is certainly an event that will be remembered by everyone.
Making the Decision to Enroll Your Child in Competitive Dance
The Living Arts Institute (LAI) and the World Oysters Society (WOS) have a mutual interest in this remarkable crustacean, the oyster.
LAI's new initiative Will Oysters Save the World has as its central feature an original play called Cirque de Sea - an aqua-cultural fusion of science and the arts intended to raise awareness about water quality issues and the oyster's beneficence.
Like-minded hearts find each other as these two organizations have because they share the same objectives:
* To improve public knowledge of the oyster and its benefits to Mankind.
* To develop children's understanding and love for oysters.
* To cooperate with existing organizations for sharing and distributing oyster science.
* To encourage and support the sustainable culture of oysters.
* To encourage and support the use of oysters as human food.
* To work with the oysters to improve water quality in coastal environments.
* To explore and understand the role of natural oyster beds and of oyster culture in maintaining and restoring biodiversity in coastal marine ecosystem.
The Living Arts Institute was formally established as a 501c(3) corporation in 2005. Its mission is community and environmental betterment through the arts. Its democratic theatre arts model, makes the process leading to its productions as important and the production itself. Experiential, inter- disciplinary and inter- generational programs, workshops, and events around each theme, knit the community together. LAI re-dresses current social and environmental topics. Past initiatives have included aging and ageism; community, connection and inter-dependence; Its work is designed to draw people, groups, organization, business together, reminding us of our common humanity and oneness with all things. Visit thelivingartsinstitute.org to learn more about its past programs.
The World Oyster Society (WOS) was formally established in July, 2005, at the General Discussion of the 1st International Oyster Symposium (IOS1) held in Tokyo that was organized by the Foundation of Oyster Research Institute, Japan (ORI). Dr. Katsuyoshi Mori (President and Board Chairman of ORI) was named as the first President of the WOS. The 12 researchers including speakers of IOS1 were selected as the initial Members of the Steering Committee.
The vision of the WOS is to bring together the oyster people of the World for the benefit of Mankind. This vision and mission etc. of WOS were drafted by Dr. René E. Lavoie (Bedford institute of Oceanography, Canada), one of the Members of the Steering Committee. Currently there are 488 members worldwide - each dedicated to the farming, researching, or promoting of the oyster and its industry.
The collaboration between LAI and WOS will be dedicated to increasing youth awareness of the value of the oyster. Cirque de Sea will span the globe and be incorporated into learning materials for schools and groups. Its hero Sammy Spat will report the progress of how oysters are saving the world. If we save water, we save ourselves. And the oysters are designed to do just that! LAI and WOS will work together to champion Sammy's efforts!
LAI's new initiative Will Oysters Save the World has as its central feature an original play called Cirque de Sea - an aqua-cultural fusion of science and the arts intended to raise awareness about water quality issues and the oyster's beneficence.
Like-minded hearts find each other as these two organizations have because they share the same objectives:
* To improve public knowledge of the oyster and its benefits to Mankind.
* To develop children's understanding and love for oysters.
* To cooperate with existing organizations for sharing and distributing oyster science.
* To encourage and support the sustainable culture of oysters.
* To encourage and support the use of oysters as human food.
* To work with the oysters to improve water quality in coastal environments.
* To explore and understand the role of natural oyster beds and of oyster culture in maintaining and restoring biodiversity in coastal marine ecosystem.
The Living Arts Institute was formally established as a 501c(3) corporation in 2005. Its mission is community and environmental betterment through the arts. Its democratic theatre arts model, makes the process leading to its productions as important and the production itself. Experiential, inter- disciplinary and inter- generational programs, workshops, and events around each theme, knit the community together. LAI re-dresses current social and environmental topics. Past initiatives have included aging and ageism; community, connection and inter-dependence; Its work is designed to draw people, groups, organization, business together, reminding us of our common humanity and oneness with all things. Visit thelivingartsinstitute.org to learn more about its past programs.
The World Oyster Society (WOS) was formally established in July, 2005, at the General Discussion of the 1st International Oyster Symposium (IOS1) held in Tokyo that was organized by the Foundation of Oyster Research Institute, Japan (ORI). Dr. Katsuyoshi Mori (President and Board Chairman of ORI) was named as the first President of the WOS. The 12 researchers including speakers of IOS1 were selected as the initial Members of the Steering Committee.
The vision of the WOS is to bring together the oyster people of the World for the benefit of Mankind. This vision and mission etc. of WOS were drafted by Dr. René E. Lavoie (Bedford institute of Oceanography, Canada), one of the Members of the Steering Committee. Currently there are 488 members worldwide - each dedicated to the farming, researching, or promoting of the oyster and its industry.
The collaboration between LAI and WOS will be dedicated to increasing youth awareness of the value of the oyster. Cirque de Sea will span the globe and be incorporated into learning materials for schools and groups. Its hero Sammy Spat will report the progress of how oysters are saving the world. If we save water, we save ourselves. And the oysters are designed to do just that! LAI and WOS will work together to champion Sammy's efforts!
Online Theatre Grows in Popularity
In what may seem like an odd concept, filmed theatre performances are growing in popularity. When they were trialed at the Camden Fringe Festival they received an average of 500 viewers per show. The shows comprised of plays, dance and comedy and reportedly 5-7% of people said they would be willing to pay for the privilege in future.
Some theatre producers are already seizing the oppurtunity to put recordings of their performances online, along with rehearsal footage and even 'trailers' for new plays. Here the similarities between theatre and film become interchangeble in the complete lack of 'live' setting which is arguably why people watch plays not films. But the case study of the Camden Fringe tells a different story of people who are willing to see something new and unusual online.
When something is filmed 'live' it can be edited and saved for further viewings whilst still retaining its energy and spontaneity. Stand-up comics regularly film their performances with a few cameras, edit it well and then put it to DVD with great success. Other forms of performance may not transcend so well, especially more serious drama that requires a believbility that would be removed by the containment of a screen. When viewers are used to seeing drama filmed on-location then it may also seem flat in a theatre setting.
Gauging by the popularity of recent shows such as Strictly Come Dancing and Glee!, the more glitzy and spectacular forms of theatre may transfer better to the smaller screen. Musical theatre in particular would film well as it is a very visual medium providing treats for the eyes and ears as well as the soul.
The reality of installing technical equipment and requiring actors to wear mics may limit some smaller theatres' capability to produce these shows well. The cost involved may be a better investment for these theatres than the larger ones though, as it is often the smaller theatres with riskier productions and less well-known actors that struggle to fill seats.
The Pilot theatre in York has already grasped this concept with their Pilot Live Project, which streams live performances for a 'virtual box office' fee. The immediacy of live streaming may seem advantageous for this new medium's appeal but would be a shame for it to be so time-restricted when almost all other media can be accessed on-demand. Plus due to the large amount of media that is accessible for free, legally or otherwise, it may discourage potential real box-office takers who may use the experience to try-before-they-buy.
For example, the TED technology, entertainment and design lectures were originally only accessible by ticket holders who would pay thousands to see some of the leading thinkers from around the world spread their ideas. Then the founders decided to film all the lectures and put them online, for free. They have their own YouTube channel and have found since this sharing of their work the real talks have been selling-out faster than ever. The Royal Society of Arts has followed suit, but added animated 'illustrations' to their lectures that really add to the audience's understanding of the talk.
There is real potential for this idea to promote the live arts when it is done well. The idea of charging for it might not sit well with viewers used to free media elsewhere, but a 'pay-what-you-want' scheme like many music artists use could work effectively. Either way, other 'live' arts are already doing it with positive results. Moving with the times could seriously help theatre gain popularity in the real world as well as the online one.
Some theatre producers are already seizing the oppurtunity to put recordings of their performances online, along with rehearsal footage and even 'trailers' for new plays. Here the similarities between theatre and film become interchangeble in the complete lack of 'live' setting which is arguably why people watch plays not films. But the case study of the Camden Fringe tells a different story of people who are willing to see something new and unusual online.
When something is filmed 'live' it can be edited and saved for further viewings whilst still retaining its energy and spontaneity. Stand-up comics regularly film their performances with a few cameras, edit it well and then put it to DVD with great success. Other forms of performance may not transcend so well, especially more serious drama that requires a believbility that would be removed by the containment of a screen. When viewers are used to seeing drama filmed on-location then it may also seem flat in a theatre setting.
Gauging by the popularity of recent shows such as Strictly Come Dancing and Glee!, the more glitzy and spectacular forms of theatre may transfer better to the smaller screen. Musical theatre in particular would film well as it is a very visual medium providing treats for the eyes and ears as well as the soul.
The reality of installing technical equipment and requiring actors to wear mics may limit some smaller theatres' capability to produce these shows well. The cost involved may be a better investment for these theatres than the larger ones though, as it is often the smaller theatres with riskier productions and less well-known actors that struggle to fill seats.
The Pilot theatre in York has already grasped this concept with their Pilot Live Project, which streams live performances for a 'virtual box office' fee. The immediacy of live streaming may seem advantageous for this new medium's appeal but would be a shame for it to be so time-restricted when almost all other media can be accessed on-demand. Plus due to the large amount of media that is accessible for free, legally or otherwise, it may discourage potential real box-office takers who may use the experience to try-before-they-buy.
For example, the TED technology, entertainment and design lectures were originally only accessible by ticket holders who would pay thousands to see some of the leading thinkers from around the world spread their ideas. Then the founders decided to film all the lectures and put them online, for free. They have their own YouTube channel and have found since this sharing of their work the real talks have been selling-out faster than ever. The Royal Society of Arts has followed suit, but added animated 'illustrations' to their lectures that really add to the audience's understanding of the talk.
There is real potential for this idea to promote the live arts when it is done well. The idea of charging for it might not sit well with viewers used to free media elsewhere, but a 'pay-what-you-want' scheme like many music artists use could work effectively. Either way, other 'live' arts are already doing it with positive results. Moving with the times could seriously help theatre gain popularity in the real world as well as the online one.
Saturday, July 7, 2012
Chinese Celebrities Cleavage Part 2
Joe Chan
Lee San San
Yang Xin
Tang Yi Fei
Pace Wu
Bei Bei
Chen Zi Han
Bianca Bai Xin Hui
Janel
Liu Jian Han
Zheng Fan
Zhang Li
Vickey
Zhou Xian Xin
Eva Huang Sheng Yi
Zeng Li
Kelly Lam
Xu Jia Rong
Lee San San
Yang Xin
Tang Yi Fei
Pace Wu
Bei Bei
Chen Zi Han
Bianca Bai Xin Hui
Janel
Liu Jian Han
Zheng Fan
Zhang Li
Vickey
Zhou Xian Xin
Eva Huang Sheng Yi
Zeng Li
Kelly Lam
Xu Jia Rong
