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What happens to "YOUR TECHNIQUE" when you walk into an Audition,
or when a Stage Manager calls "Curtain Going UP"
or you hear the word "Action?"

About Method

After years of watching good actors successfully perform scenes in class yet, somehow, remain unable to transfer that success to real auditions, I created my Simulated Audition Class at the Manhattan Theatre Club in New York City.

The class sought to duplicate the actual audition experience, allowing actors to identify and isolate all of the feelings experienced in an authentic audition situation.

How do you feel as you wait in the reception area, are called in for an interview, must perform a monologue, prepare for a cold reading or a callback, or must bring in a role after having had time to work on the part? And, more importantly, what do you do with those feelings?

There are and have been many audition training classes offered, but it was in that "Twilight Zone" where actors fell into the crack of the "unknown transition" of walking into a cold room, where they would often complain,
"What happened to my _ _ _ _ing technique when I walked into that _ _ _ _ing audition?"

After uncovering what I would label, the actor's "hidden, undermining negativity,"  l worked on providing a specific, tailored technique, encompassing a clear understanding of each actor's inner fears, conflicts, anxiety and tension in order to liberate him/her and provide the ability to utilize all of their talent, and focus fully on acting the role and winning the part.

Even if an actor is considered "not right" for a part, he or she certainly would be memorable for the range of talent and ability they are able to demonstrate in each audition. This, in turn, sets the stage for future employment. If you have access to all of your emotions, in any role, understand risk-taking and following your selected intentions toward fulfilling your character's objective, you will be called in again and again by casting directors who just want someone to be able to "do the job."

After moving to Los Angeles in 1980, I enjoyed several featured roles in network TV series and in film. After experiencing first-hand the various challenges faced by actors working on the set, l began teaching a class at Studio City's Actors Center. l called this class "Emotional Self-Direction," and designed a method guaranteed to bring the actor fully to the task of characterization and heightened reality immediately as the director calls "Action!" An actor, confronted with the fast pace of film and television work, must be able instantaneously to access and deliver his truest, deepest self to the task at hand. I have since incorporated "ES-D" into my Audition Class work.

Besides the repetition of practice, there were times actors would uncover a specific problem which I advised them to take to their therapist. Acting may be therapeutic, but it is definitely not therapy! Working on clearing up past trauma, unblocking and freeing oneself toward fuller emotional health will allow an artist to use all of the colors and hues on their palette for multi-leveled performances in every medium.



I feel that my self-actualization and auditioning techniques are unimpeachably established and guaranteed to be infallible.

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Copyright © 2005 Michael Karm

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