By Jason Pugatch
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The best way to deal with the realities of lifestyles as an actorif you don’t snigger, you are going to cry In-depth interviews with actors, brokers, casting administrators. during this hip, warts-and-all examine performing, writer Jason Pugatch stocks his insights as a operating "day participant" to provide an unvarnished examine theater, movie, and tv: easy methods to be "discovered," what to anticipate from education courses, the grunt paintings of beginning a profession, find out how to maintain going regardless of consistent rejection, and masses extra.
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Extra info for Acting Is a Job: Real Life Lessons about the Acting Business
Here’s a substantial difference from almost any other industry. Your son or daughter, when he or she gets that job in Dallas, has gone up against thousands of actors for that one role. There really is no comparison for this kind of competition, except in the sports world. There, when you make it, you get a lot more money and a much longer contract. An actor who does regional theater must be willing to move and travel on short notice. In other professions, this is thought of as a big career adjustment.
However, the rules of this maddening game can be applied to both coasts. You will not find a formula for success within these pages. This book is not, like so many of the actors’ guides out there, trying to sell the dream. It is not a dissection of the acting business that, when you’ve finished reading, will provide magical answers, a key to stardom or success, or a way to cash in quickly. It is a dose of realism in a hyperfantastic world—information for the admittedly uninformed. It’s the book I wish someone had handed me when I started out in New York.
Strasberg began teaching his own interpretation of the Stanislavski method. It relied heavily on the emotional elements of the training. Accounts of Strasberg’s misinterpretation of the Stanislavski system vary. Adler herself noted Strasberg’s “excessive use of affective memory exercises”* after she spent time in Paris studying with Stanislavski in his later years. Stanislavski wasn’t finished tooling with his method and, upon his return to Russia, he continued to develop his acting technique, never fully refining it until the mid 1940s.