When actors know and apply the techniques to prepare for Commercial Scene Auditions they will have an advantage that will help them to stand out. Unlike scenes that are performed in classes or when auditioning for theater, film and television work, there is minimal preparation for commercial auditions. Thus, you have little knowledge of what to expect from the actor(s) with whom you're paired. Your auditions are better when matched with good actors. If they are inexperienced or unskilled, auditions can be negatively affected. It is important to know how to protect yourself and prevail. The tips and techniques detailed here will give you an advantage in both situations.

IN THE WAITING ROOM

Study the script. Do your "acting work": objectives, motivations, who, what, where and why.

Find your partner(s) and rehearse. If the casting person doesn't assign you one, check the sign in list for whom you'll probably be matched. This is especially valuable when working with children. Find your partner(s) and invite them to rehearse. Most are willing. If your partner chooses not to practice, check the list for the next person with whom you would be paired and ask them.

Rehearsal Techniques:

Choose a relationship.

Knowing the relationship helps you to make appropriate creative choices. Often the relationship is defined in the copy but if it isn't choose one that is appropriate. I.e. if it involves a couple, ask yourself; are you recently married, married for a few years or longer or is this a first, second or twentieth date. If it involves two or more girls or guys, decide whether you are best friends, neighbors, siblings, co- workers, strangers etc. Make sure your relationship choices are age and type appropriate.

Create a contrast.

You would normally use "conflict choices" when doing television, film and theater scene work. In commercials there are no "conflicts" except where a competitor is portrayed. To create dynamics as well as help actors to be distinct, I suggest utilizing a "contrast" especially when the material involves a generic situation or people are talking about the product. "Contrasts" are energetic opposites, -I.e. One has answers and the other needs help; one is secure and the other confused; serious/playful; confident/anxious; positive/ negative, etc. Only choose "contrasts" that you can play truthfully. Often there is already a natural energetic difference between the actors so creating one may not be necessary.

Choosing to discuss your relationship and contrast choices depends on the actor(s) with whom you will work. Many love to investigate and create ways to improve their audition. Others may become overwhelmed and frustrated. Their input is helpful but you don't need it to make these choices for yourself.

Trade parts for a few run-throughs.

When you familiarize yourself with the other actor's dialogue it helps to understand your motivation. Plus, you will be prepared if the session director decides to have you read the other part(s) (which can happen when the scene involves actors of the same gender and age).

Pick up the cues and continue your life while the other person(s) speaks when rehearsing.

It helps to keep the energy up without pushing.

You will be on-camera so be sure to work on ways to motivate toward it.

This will help you to hold focus and be more visible.

When called into the casting room with your scheduled partner, if you felt good working with your rehearsal partner, politely ask whether you can audition with that person. Your request could be denied so don't become too attached to what you did with that person. If you didn't connect with your rehearsal actor, go in with whomever is dictated. In either case you have had an opportunity to investigate and rehearse. Thus you should feel prepared which gives you the confidence to do your best audition.

Next, I will cover what you can do to improve your scripted commercial scene auditions inside the casting room.

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