WORKING WITH A READER (AUDITION ROOMS)
š Most actors hear the reader, but they donāt let the reader actually change them. Thatās why the work feels rehearsed instead of alive.
š„ If the readerās behavior doesnāt shift your rhythm, temperature, or intention, youāre not in a sceneā¦ youāre reciting a plan.
ā¤ļøāš„ The reader isnāt background noise. Theyāre the catalyst. Let them in. Let them redirect you. Let them surprise you.
ā” Even ānothingā is something. Flat delivery? Cold energy? Awkward timing? Use it. Respond to whatās really happening, not what you prepped at home.
š Your distance to the reader matters. Closer, farther, angledā¦ proximity is storytelling. You donāt need to touch them to change the temperature of the moment.
šÆ Got multiple characters? Make the reader the one with the emotional stakes. Place everyone else across the room. Clean eyelines = clear story.
š¤ Singing? If thereās an āotherā in your song, send it straight to the reader. Real exchange beats imagined partner every time.
š„ The whole job is chemistry. Can you build a connection with someone you barely know? Can you let their choices affect you in real time? Thatās the skill that books.
