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What is an Artist Public Network?

Artists do need recognition. Otherwise, their art belongs only to them, is sealed in stone and as cold as Game of Thrones’ winter.

Enter agents.

Sometimes artists are to agents as pigs are to farmers. Something to nurture as long as it’s needed and something to make use of — no matter what the end result is going to be.

Of course there are great agents. Agents that care for their artists, that have the right connections and can just make things happen for their proteges. They suggest the most pleasing image, the useful contacts, the invitation to the the party the artist can not afford not to attend.

Be it a vernissage or a reading using the services of an agent ensures a good public image. There are so many ways to handle this issue that it would be worth next to nothing to list the real role of an agent: coaching the artist, holding presentations, networking on their behalf.

Agents can cross over their traditional role.

Take entertainment business: the agent could morph into fashion stylist, wardrobe consultant or vocal coach. He or she can tweet (or have a celebrity tweet) about the artist’s latest achievement.

But is this really necessary?

Today, in the connected society, where word of mouth is the new black and anybody can become a celebrity overnight, for no other reason than having his guitar thrown and broken just before an airplane takes off, is an agent, or image consultant such a necessity?

Most artists will say yes, it is. And maybe this is true.

An artist is not — as a matter of fact, albeit not by definition — a practical person. Has needs that most ordinary people can’t even think of.

Is concerned with his or her appearance, with the appearance of his or her words when printed, or read aloud, or sung.

An artist is not certified. An artist does not network nor does run a business. An artists makes art. Good or bad, it’s art.

A solution could be public networking, opposed to the traditional “business card” style networking. A web site, an handful of videos, a flickr gallery. No glamorous business here. No agents. No brain twisting launches.

Just art, shown directly to the public. And the public becomes the network. Creates a relationship between the artist and the public. Bypasses the services of agents and consultants and coaches.

There’s no miracle in public networking. There’s no guarantee. The art is naked, shown as is, forced to stand on its own feet, to find the strength needed to turn things around. Make them spin. Gear up the networking, the social sharing, the viral factor.

There is no reputation to handle. No embarrassing gaffes about Alaska and Russia. No accusations (nor denials) of witchcraft for senate candidates.

To be fair, renewed artists Stevie Nicks can safely open the grand finale of American Horror Story playing the role of a white witch despite an hilariously subchapter on her Wikipedia page titled “Rumors of witchcraft”. But she’s a 140million albums exception, along with Ryan Murphy’s wicked sense of humor.

For day to day artists, struggling with fame and recognition, public networking cuts the hype down.

Nothing is going to be hyped if it does not get enough natural repins. And on the other hand, nothing and no one is going not to receive more than their fair share of repins, tweets and shares if the work itself is good enough.

Celebrities are those who celebrity work do.

No damage control, because there’s no damage. No money has passed hands, no attempt at gaining the spotlight. Just the work of art. And the outcome.

Artist’s auditions – a short guide

People that are just engaging in the acting company have a number of misconceptions about the way the casting procedure works. The easiest example is by using to make up a fake (but real looking) situation providing a plausible scenario.

Let’s say the producers of the daytime soap opera have a freshly baked new episode in their hands. The big surprise is that a new character is being introduced in this episode and it will play a significant role in the future: Sylvie (french woman with a past) will seduce the show’s leading character and bring havok in the small community of NoRealLand.

First thing first, the producers contact their casting director (they’ve used him for several years and trust his istinct).

Sylvie will instantly struck a chord with the casting director will already have several individuals at heart who he did with before but a description will be still submitted by him to other agents.

The following day all the brokers study the “failure” sheets to find out what components are being forged. The representative will look over his documents if he’s anybody who matches the description to see. He will choose several pictures and send them for the casting director.

These envelopes are then received all by the casting director from all these brokers, and you will find loads of them. A casting director must undergo hundreds, possibly even thousands of pictures searching for “Sylvie.”

And then even when the photograph seems wonderful the casting director can look at the attached curriculum vitae to find out what body of perform the performer has been doing. Ultimately the casting director will slim these countless photographs down to about fifteen to twenty (roughly) and will contact actor’s agents to schedule the auditions.

The brokers will phone their customers up and let them know about the time, the audition and spot. He might deliver sample scripts to them or have them arrived at his workplace to pick them up.

After as heck this the performer visits the audition, probably stressed. She will decorate just how she believes Sylvie should dress. Probably something halfway between Tara of Helium and Coco Chanel.

She desires to nail the character down to perfection. The time is taken by her to review her lines while awaiting her audition.

Ultimately, she makes it to the casting director’s office and does her studying for the component. She does well, but isn’t too optimistic because she has received other readings throughout the week for other components that she did not get.

After the audition is on the goes house and waits. In a day roughly she gets a phone from her agent that they enjoyed her audition and they want her to return for another one. She’s all excited.

She reads the same component again, goes back for another audition and does even better than the first-time. She is good that she will have the part. Then, at the eleventh hour, the producers, who are at the next audition, determine that Sylvie should be a redhead rather than a mild mannered brunette.

Yes, that’s just how it goes. Occasionally you’ll shed a component as you’re the incorrect peak or hair color or something really dumb. Then a month after they will contact you back to learn for the starring role of the new show they are piecing together. That’s the way professions are created and damaged in this company and there was simply no reasonable reason for the insanity. All you can do is go with the hope and flow for the greatest.

The truth is, auditions are a nerve wracking encounter for actors. They’d much rather have dinner with their in-laws. As it turns out, they’re an important component of becoming an actor. So by following these measures is going to reward you with the best opportunity of getting the role of your lifetime (even if it’s just a silent role it can be the role of lifetime: just ask Buster Keaton).

In obtaining the audition in the first place, you or your agent are going to have to resume for the casting director and provide a photograph. Occasionally you’ll get an open contact where anyone can fall but they are the exception, not the rule. Most auditions are by invitation only.

When and if you get the audition you were after, you’ll generally be offered what are called “sides” or several pages of the script that you will need to see in the audition. In theatre you might also be needed to have some sort of monologue prepared.

The very first thing to do is get ready for the component and read the script. Learn every thing you can about the type you will probably be enjoying. The lines aren’t significant however. Just commit your emphasis for the type. How old, where from, how the character is related to the others. Only after everything is known by you about the character do you begin understanding your lines you have to know. Use whatever system you feel most comfortable with. You won’t be needed to understand the entire script in the audition, but a basic understanding is necessary.

Attire for the component, prior to going to the audition. Wear garments that suit the narrative and the type. If you’re enjoying a cowboy don’t get decked out in a business suit. You don’t have to go out and start a spending spree but wear clothes that are suitable for the part you are going to play. Boots and jeans for this purpose will do good.

Warm up for your audition it’s no different than playing tennis or doing Pilates. Do some workouts stretches and vocal. Look at your lines. Don’t go within cool. It’s normal to be stressed but in planning yourself you’ll be able to unwind a little.

Register, once you arrive at the audition. You might need to wait for the others to learn for the same section. Show patience. Avoid speaking with all the other actors. They’ll just attempt to divert you. Concentrate on everything you came there to do.

Prepare yourself for something, when really studying for the casting director. Some might sit and speak with you several minutes and the others will only get down to business. Forget that is an audition. Do the operation as you’re truly in the generation. You simply get one a first impression to be made by chance. Make the manager consider that you will be the type. They need you to become the best man for your part because that indicates their work is finished.

There are a few things not to do when studying for the casting director. Don’t suck up. Besides shaking his hand once you enter, never contact the casting director. Lastly, don’t pan the office. Some hyperactive actors will really do this in the warmth of executing a physical scene. This is a clear means TO not obtain the portion.

The director will let you know when they will get back after you are finished with your studying. Leave it at that. Don’t create a scene. You need to be expert and leave.

You’ll be asked to return if your performance is liked by the casting director. Truth be told you will have less people auditioning and more people viewing your operation. Perhaps some directors, producers and writers. Use the same clothing which you wore for the initial audition and devote the same operation. Don’t second guess yourself. They liked what they saw initially if they called you in the past. Usually do not mess with success.

Maintain records of each audition. Make notes of what things you did and what you believe you can do better next time. Make a note of what it was, if something went well.

The more auditions you do the higher you will reach them but there was something which will always be difficult to handle: cold reading.

In typical theatre an actor might prepare a monologue that he has invested much time memorizing, for a component that he will also execute at every audition. He’s perfected his shipping and artwork and has invested lots of time with this. He is fairly confident with his prepared lines when choosing an audition. However, in a movie or commercial audition the performer is likely to do a script provided to him he’s never noticed before. This is if the art of cool reading is very significant and will be a life saver.

The specialized definition of cool reading is the auditioning for a component with a script in hand, 1 the actor hasn’t noticed. The field states that the performer is said to be provided with the script at least a day prior to the audition but often this simply doesn’t occur. Why cold studying is really essential to actors who work in movie or commercials this is.

So, how can you understand to cold read? Brute force. Grab a script, examine the first line, consecrate yourself to that script and nothing else. Never ever look at it!. You’ve only completed your first cold reading. At first you might just have the ability to memorize a few phrases at a time, but with just a little practice you’ll quickly find that lines are stuck in your memory and not one at a time, but the whole script at once!. Being an actor is sort of like as an athlete. The more you work on it the better you’ll get. Once you are feeling comfortable doing cold reading by yourself attempt it with another performer. When it gets interesting this is.

It’s really tempting to attempt to steal a peak at the next line as another performer does his lines if you are at your audition. Do not try this. The way you pay attention to your fellow actor is just as essential as talking your lines. Till it’s time to then and reply take a look at the next line wait. Memorize as much of the line while you can in a matter of seconds. Then make eye contact with your companion and say your next line.

Repeat the procedure until you have the line memorized, if than you can with only a glimpse you have got more to memorize. But keep that person from your script. Never study your lines while considering your script. It is a certain way to blow the audition. Be sure you remain in character while studying your lines.

Attempt to see the script in its entirety at once and recall as much of it as you can, when you are truly at your audition till you get there even though you aren’t getting the script. This will provide a much needed context for your scene is all about, who the characters are and just how the dialogue is going. When you have more time attempt to memorize the last and first lines. This will give you a end and strong start, that is exactly what the person auditioning you will recall the most.

When keeping your script, hold with your left hand if right handed and at chest degree. Do not have your face buried within the script. Like it’s a theatrical prop don’t wave the script around. Make think it’s merely a natural extension of the body. The less interest you attract to the script itself the better.

A cold reading is bound to be feel a whole lot more embarrassing than a regular reading. It’s going to proceed slowly, be prepared. This is standard and you don’t have to be worried about it. The casting director understands this is the very first time the script has been seen by you. He’s more interested in what sort of disposition you have as the type.

Unfortunately, you might be the finest celebrity on the planet, but without having the capability to cool read properly you aren’t likely to get several components as you’ll never get past the initial audition. Therefore include cold reading in your instruction. You’ll find you’ll have more components due to it.