Coaching
AUDITION COACHING
My work in Shakespeare is based off of the First Folio technique. There was no director during Shakespeare’s time to help the actors interpret the text and shape the actor’s performance. It is believed that once Shakespeare completed the play the actors rehearsed for three days before it was performed for a paying audience. Therefore, any acting notes Shakespeare wanted the actors to know he put into how he wrote the lines, providing a veritable treasure chest for anyone delving into his plays. If he wanted to give his actors clues that something emotional is going on in a scene he would break the iambic pentameter and would write lines with up to fourteen syllables. The use of alliteration was not only a poetic tool and something to help the audience visualize what was happening, but it also helped the actors to memorize quickly knowing that a line of text had similar sounds. These, as well as many other tools, can help the student dig deeper into Shakespeare’s text and unlock deeper meanings that are below the surface.
BFA/MFA AUDITION COACHING
I have had numerous experiences privately coaching BFA/MFA candidates. While my background is in First Folio Shakespeare, I use that technique to also help inform the students work in contemporary monologues. I also have had a personal experience in auditioning for MFA programs, attended Rutgers’ MFA acting program, so I know the process. Lastly, I shape my teaching to the personal need of the student, and how they know they work the best.
I have worked with prospective college students at George Street Playhouse and now I am offering private services to help students prepare to give their best audition. A good coach is by no means a guarantee of admission, but a bad coach could easily help you land in the rejection pile.
PROCESS
The first session is spent in table work learning techniques of the First Folio, showing the client tools that can be used to enhance a performance. If monologues have not been selected, time is taken to explore good options. Clients are encouraged to bring monologues of interest to the first session.
The following sessions are on their feet exploring textual and physical attributes to make the monologues performance ready. A significant time is taken between session one and two for the client to memorize the monologues, so that the work on one’s feet is most productive.
PUBLIC SPEAKING
I am also an adjunct professor in public speaking for the Borough of Manhattan Community College. Using my acting skills, I have helped business people to hone their public speaking skills for a variety of events. I will work with you to create an extemporaneous speech that gives the speaker a firm foundation to feel confidant, well researched and poised while at the same time creating a feeling of ease and spontaneity for the audience.
CONTACT
If you would like to get more information you can either fill out the quick contact form or at dennis@dennisbaker.net.
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Artiles & Links
Eight Steps to a Solid Audition for an MFA Program
William Esper's article "To MFA or Not to MFA"
URTA
FASFA
