Pursuing Veronica, part 2

The director and I were looking to see which of two specific techniques Veronica would use during the reading of her scene; would she act it, trying to affect the elevated emotion the scene builds to? Would she simply read it, concentrating on the absolute real emotion that would exist between her and I, at that moment in time? My acting style is born from the latter; I'd say a great number of actors subscribe to the former. Those are the actors who'll get up in front of the auditioning hopefuls and give it their all, in a 110 percent otherworldly, knockdown drag-out performance-as if it's closing night at the Barrymore Theatre and in the audience are the judges who pick nominees for the Tony awards.

To me an otherworldly, knockdown drag-out audition can only be achieved if the actor is faking it. There are, to be fair, directors and actors who don't mind a whole-nine-yards audition; they prefer seeing a forced-type effort on a first read of a scene-well, it makes me uncomfortable.

We started reading the scene and wouldn't you know it, Veronica stuck to simply reading the words, using only the real emotion existing between us in that moment. She didn't fake it or act it up, and she was able to listen to the words I read to her, which is most important. Bingo! Not only was she cute, clever-and I'm pretty sure she's a practicing Catholic-she was a solid actress.

I don't want to get off an a tangent and get away from the romantic theme to my multi-part love fest, but my gut tells me this point in the story is perfect to do just that. So, I will offer a small bit of an acting lesson to those whom I think make auditioning more difficult than I feel it ought be.

To be continued.

Rusty DeWees tours Vermont and Northern New York with his act "The Logger." His column appears weekly. He can be reached at rustyd@pshift.com. Listen for The Logger, Rusty DeWees, Thursdays at 7:40 on the Big Station, 98.9 WOKO or visit his website at www.thelogger.com

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