Beth Harper, Feb. 10, 2010

[Jacob Coakley]

This week in our Live Chat we have Beth Harper, artistic director of Portland Actors Convservatory, talking about auditioning. It’s audition time for undergrad and graduate-level schools, and Beth will talk about selecting material, what actors can do to prepare before the audition, how to keep cool during the audition process. Join us on Wednesday, February 10 at 2 p.m. EST/11 a.m. PST to talk auditioning!

PAC is a two-year, full-time professional professional conservatory, fully accredited with the National Association of Schools of Theatre in 2008. Credits earned have potential to be transferable at other universities. PAC offers a nondegree granting certificate program. Students earns a certificate upon completion of all compulsory coursework. Entry into the second year is based upon audition. Tuition for one academic year is $8,500. Students potentially eligible for financial aid through the Free Application for Federal Student Aid (FAFSA). For more info on PAC, please visit www.actorsconservatory.com.

Beth founded the Portland Actors Conservatory in 1985. As the Conservatory's Artistic Director, she designs the curriculum for both the Studio and Conservatory training programs, teaches several acting classes, selects the season of plays, and directs one of the season's productions. In addition to leading the Conservatory, Ms. Harper has served as an adjunct faculty member at Lewis & Clark College since 1992. An award-winning actor, Ms. Harper has been involved in local, regional and national theatre for the past 20 years. She has toured Southeast Asia, Africa and the Middle East with Arts America, and performed in a Northwest tour of Voice of the Oregon Trail. Area directing credits include Drawer Boy featuring William Hurt and Allan Nause at Artists Repertory Theatre, A Piece of My Heartand The Dancersat Lewis & Clark College, Sylvia at Laughing Horse Summer Theatre, and How I Learned to Drive at Artists Repertory Theatre. Ms. Harper did her graduate work in theatre at Portland State University and was a recipient of
the 2000 Leslie O. Fulton Fellowship for Artistic Excellence.

[Jacob Coakley]

Here are some of the questions I'll start out with:

1 - How should actors go about choosing material?
2 - Is there anything to avoid? What's been done to death?
3 - How should actors rehearse? Is there a different approach than working on a scene, or a whole play?
4 - Any strategies for dealing with nerves?

[Jacob Coakley]

Here's the transcript!

Jacob Coakley: Good morning everyone!

JACOB COAKLEY: So let's go.

BETH HARPER: Ready when you are!

JACOB COAKLEY: Here's how this will work -- I'll chat with Beth for the first 25 minutes or so, and then open it up to everyone else who's online.

JACOB COAKLEY: Beth - sometimes you may wanna say a lot, and it won't all fit into one response.

BETH HARPER: That will be difficult for me :-)But I'll give it my best shot.

JACOB COAKLEY: So when you're done with your last message, just type "/e" (without the quotes) so we'll know you're done.

BETH HARPER: ok /e

JACOB COAKLEY: ☺

BETH HARPER: I take direction well. /e

JACOB COAKLEY: OK, let's start with an easy one or two -- Beth, you started the PAC in '85 -- what led to that?

BETH HARPER: After completing graduate school, I wanted to train more myself so I got a little space and surrounded myself with great teachers so I could finish my process. /e

BETH HARPER: Which I found is never really finished. /e

JACOB COAKLEY: So the school started out of your own desire to keep training? How did that work?

BETH HARPER: Well, when we first started out, we were just a studio with a numerous amount of eclectic classes.

BETH HARPER: It evolved into a two year professional conservatory in a very grassroots way. It came from the desire of the students for more complete immersion into the craft. /e

JACOB COAKLEY: When you say you wanted to "finish my process" -- what did you feel you were lacking? How did you mold PAC to give that to people?

BETH HARPER: I came from a University setting, and found that I didn't have whole body training.

BETH HARPER: Instrument, as well as theory and method.

BETH HARPER: So it was my desire to know it from the top of my head to the tip of my toes.

BETH HARPER: I wanted the opportunity to put theory into practice, using my entire instrument.

BETH HARPER: Our program is a full-day program, and they begin every day with instrument work - voice or movement work –

BETH HARPER: And they move into theory work, and then they put theory into practice.

BETH HARPER: That is done every single day, in all of our classes.

BETH HARPER: That's what I needed. I created the program I always wanted for myself.

BETH HARPER: I wanted an immersion, instead of a skate. /e

JACOB COAKLEY: ☺

JACOB COAKLEY: Can you give me an example of body work moving into theory work?

BETH HARPER: In semester one, on Monday and Wed from 9-11 they're in either movement classes using the theories of Lecoq, Leban, and clown

BETH HARPER: and then from 11-1 we use their brains in a text analysis class

BETH HARPER: And then we put their brains and body to work in an acting class in the afternoon, in either realism, style or Shakespeare.

BETH HARPER: So the students get their bodies poised and ready to take action

BETH HARPER: their brains alive and awake to the work at hand

BETH HARPER: and then put those theories and thoughts into practice in finding

BETH HARPER: and then put those theories and thoughts into practice in finding active action in their afternoon acting classes.

BETH HARPER: And we also have performance labs every third Friday where the students are asked to take points of theory learned in their classes,

BETH HARPER: and asked to create an ensemble art piece on their own.

BETH HARPER: Then they perform it for fellow students, faculty and sometimes alumni. It is our ultimate goal for every student of the conservatory, when putting theory into practice, that they engage their entire instrument

BETH HARPER: their brains and their instruments, so all of it is engaged. /e

JACOB COAKLEY: Alright, let's move the conversation over ito auditioning. You've seen both sides of the audition table, and are currently doing aud's for your school.

BETH HARPER: We just did a round of auditions in Chicago, yes.

JACOB COAKLEY: So two questions for this: what's the hardest part, as an actor, in approaching an audition? And how would you coach them to approach this?

BETH HARPER: Before we even began the approach when working with an actor, I think the first piece of info you're revealing for anyone you audition for, is that you know yourself.

BETH HARPER: And the piece you pick should reflect that. So the choice in material is really important.

BETH HARPER: We always approach it as if its a piece that will eventually go into performance, because that is ultimately what you're doing.

BETH HARPER: The biggest mistake an actor can make is not work with a director or someone they trust to help arc, shape, and see the piece before they audition.

BETH HARPER: I've seen many a piece that would look good in a living room but not onstage.

BETH HARPER: As a director of a school and of professional theatre, the biggest question I"m trying to answer is, "Can this person play an active action that is true and honest to the given circumstances of the world they're playing in?"

BETH HARPER: When students at the Conservatory work on anything, its worked on moment to moment, vs. generality.

BETH HARPER: When students at the Conservatory work on anything, its worked on moment to moment, vs. generality. I see a lot of generality at auditions.

BETH HARPER: Like a general attitude or an idea, vs. who am I talking to, what do I want, where am I, what is the other person doing, and what does it make me do?

BETH HARPER: I consider monologues two person scenes.

BETH HARPER: We're also always trying to focus on being in our body while we do it, and on our voice. /e

JACOB COAKLEY: That's a lot to think about.

BETH HARPER: lol /e

JACOB COAKLEY: ☺

BETH HARPER: You'd be amazed at the amount of people who don't and wonder why they don't get called back. /e

JACOB COAKLEY: You mentioned that you approach this as if it is going to be onstage, and as if it's a two-person scene –

JACOB COAKLEY: are there any ways that an audition is different than working on a scene? It's a special form, does it call for a special technique?

BETH HARPER: The imagination has to work in double time...

BETH HARPER: as opposed to being in a scene, in an environment, with another person.

BETH HARPER: Your magical "as if" has to be really in play.

BETH HARPER: It's not a technique as much calling a even greater demand on all of the training you've received up to this point.

BETH HARPER: Because you have, what? Two minutes to show them your craft?

BETH HARPER: Without showing them your craft. :-) It all has to be in play because trust me, all those people watching are making lots of evaluations about you in two minutes.

BETH HARPER: Your craft has to be in play without looking like your craft is in play. /e

JACOB COAKLEY: "lots of evaluations" -- you mentioned above you're lookign at whether someone can create an actoin in a moment.

JACOB COAKLEY: What else do you look for in an audition?

BETH HARPER: Physical and vocal work that supports the active action. A person being in their body and on their voice.

BETH HARPER: Let's face it: you want to be hired, or you want to get into the school, or you want somethign out of it. So brinign your full self to the table, and going out beyond yoru nose, going beyond the safety and reaching out beyond your own self.

BETH HARPER: It has to go into that theatre, and literally grab that person.

BETH HARPER: Make them sit up and listen.

BETH HARPER: You don't get hte luxury of letting them watch you in a two hour play. They're feeling your human energy reaching out.

BETH HARPER: Your humanity is on display. /e

JACOB COAKLEY: You also mention above the idea that the person auditioning really has to know themselves, know what they're offering, which, ultimately, means choosing a suitable piece. Any advice on how to go about finding your material?

BETH HARPER: You're asking yourself: does this turn me on? Can I imagine myself in these circumstances doing this?

BETH HARPER: Is it within my age range? Is it within my emotional experience? And if not, can I open my imagination to it, which is ultimiately what acting is anyway

BETH HARPER: Would I be cast in this role? It's amazing the amount of people who don't know the answer to that questions.

BETH HARPER: I am all for risk, but hte risk needs to be something you can actually produce and support 100%. /e

JACOB COAKLEY: absolutely. Aright, Before I chime in with another question, it's time to throw it open to teh audience. Anyone have a question for Beth?

JACOB COAKLEY: crickets. . .

JACOB COAKLEY: OK.

JACOB COAKLEY: Feel free to chime in, but I'm gonna keep going then. :-)

BETH HARPER: Wait!

BETH HARPER: I have a question for folks...

JACOB COAKLEY: ?

BETH HARPER: What are your fears? What the scariest thing about auditioning for you?

BETH HARPER: and what can we do about it? /e

JACOB COAKLEY: ooooh. . .

BORA “MAX” KOKNAR: For me it's actually an item you've stressed quite a bit, which is choice of pieces.

BETH HARPER: Go on...

BORA “MAX” KOKNAR: Over the years, it has become easier, but I find myself losing a lot of preparation time just because I can't settle on that perfect piece for the audition

BETH HARPER: There is no easy solution to that! It takes that amount of time to find a great piece.

ROBERT RIECHEL JR: not doing the best work in the 2 or 3 minutes you ahve...leaving it in the car so to speak

BETH HARPER: I'd suggest having 8 monologues so you can mold and shape according to the company or school.

ISQUINT: being a lighting person, it more of a fear of getting out fro behind the light and into the spot light. Then there is the whole memorizing lines thing, not so good.

BETH HARPER: Robert, great comment! Yep. Let's take leaving it in the car first...

BETH HARPER: I suggest that the moment before you start any monologue, settle yourself into that room and giving yourself a life or death reason to speak.

BETH HARPER: Whatever that may mean for you, a memory, imagination...I happen to chant "I want, I need"

BETH HARPER: It just roots me in that space, and then I have something to fight for. What the auditors do with it is up to them. /e

BETH HARPER: iSquint....

BETH HARPER: My guess is that you don't have a problem memorizing lines.

BETH HARPER: Trust me as I get older it gets harder and harder...

BETH HARPER: My suggestion would be to cut your monolgoue up into beats or moments,

BETH HARPER: and work each moment repetitively over and over until you're clear on what you want and who you're talking to until it makes sense.

BETH HARPER: and when it makes sense, it's easier to learn.

BETH HARPER: stop thinking of the monologue in its totality, think of it in its moment to moment breath and life

BETH HARPER: which is amazing freeing. /e

JACOB COAKLEY: good stuff.

ISQUINT: thanks, great advice!

RRJ: very very useful beth....i wishyou had been here before i went in the see mali finn last week..LOL

BORA “MAX” KOKNAR: great stuff.

BORA “MAX” KOKNAR: I also have a question about the program.

BETH HARPER: Fire away!

BORA “MAX” KOKNAR: How do you handle guiding your students through the business aspect. And I mean beyond audition techniques. More and more, the trend is moving towards self-producing etc. How do you prepare your students so that they have some sort of path?

BETH HARPER: One of our major focuses here is to empower students.

BETH HARPER: To create pieces of work and to know all sides of theatre - including design. A student leaves here knowing how to create a piece from the ground up, how to light themselves, how to build their own sets.

BETH HARPER: Not all actors want this, but they will be informed on how to do this. Also

BETH HARPER: At the end of the second year we have an intensive on the business end of the acting business so they can be prepared. We also create opportunities for our students to be seen by professionals before they leave. Honestly,

BETH HARPER: any school that promises you fame and fortune, is lying. What we can promise you...

BETH HARPER: ...is that you will have a grasp of your craft by the time you leave, which is ultimately what will serve you the most as a professional artist, not matter what you choose to do with it.

BETH HARPER: You can walk out of an audition, and you may not be the right height, size or look...

BETH HARPER: but they will remember that you could act. We have a loose collective of alumni performers that just formed this year, and had a very successful show in our space

BETH HARPER: by banding together, they pool their knowledge and resources, as well as what they gained at the Conservatory, and put it to use.

BETH HARPER: They're called the Montgomery Street Players, and we're very proud of them. /e

JACOB COAKLEY: deservedly so, it sounds like.

BETH HARPER: Does that answer your question Bora?

JACOB COAKLEY: While we wait for him to reply -- anyone else have questions? Concerns about their audition techniques?

BK: yes it does. Though, out of curiosity, could you talk a little about what you cover in the business intensive?

BETH HARPER: Sure. Your marketing tools - headshot, resume, the basics...

JACOB COAKLEY: Well, believe it or not, back in teh day I used to want to be an actor.

BORA “MAX” KOKNAR: I apologze for the delayed resposne. Participating from my 'day job' :-)

BETH HARPER: developing resources - they have to put together a packet of go see prospects.

BETH HARPER: We also cover unions and within that class, monologues. We also bring in casting directors, agents, producers, and artistic directors

BETH HARPER: to give feedback. Also, our graduation showcase - an evening of scenes and monologues

BETH HARPER: - gets industry professionals in the house, and gives their audition pieces lights and sets which they'll never get again –

BETH HARPER: and is totally produced and created by the grads-to-be. Theory into practice again. /e

BORA “MAX” KOKNAR: That's great. Thank you so much.

BETH HARPER: Jacob, it's never too late...

JACOB COAKLEY: ☺

BETH HARPER: Currently in our second year program we have a 70 year old.

JACOB COAKLEY: That's awesome.

BETH HARPER: In our first year program we have two actors in their 50s-60s

JACOB COAKLEY: So I guess I'll ask –

JACOB COAKLEY: part of my problem when I used to audition was nerves -- I spent so much time getting into that "life or death" space, that it truly became that, even outsdie the room waiting to go in. Any advice on how to stay calm in prep, but maintain a sense of

JACOB COAKLEY: urgency? Of the "I want/I need" -- keep calm and not crazy?

BETH HARPER: It's my belief that nerves are just a way of the gods telling you you're alive.

BETH HARPER: And they actually get personified or doubled - amplified - if all your energy goes to stuffing them and putting them away.

BETH HARPER: So, if your choices have been clear ahead of time about what you want, who you're talking to, those nerves should be used and stop being viewed as a bad thing.

BETH HARPER: Because that's where the hangup is.

BETH HARPER: I think nerves are a good thing. /e

JACOB COAKLEY: letting me know I'm alive. .. of course, the fear is that usually I soon won't be. . . :-) Auditions always did scare me. . .:-)

JACOB COAKLEY: Alright! It's past the 45 minute mark, which means I've held onto Beth as long as I asked her for.

BETH HARPER: Ok, well then that's where breath technique comes in. People stop breathing because they're trying to stop the nerves...

BETH HARPER: I could go on forever

JACOB COAKLEY: So, Beth, THANK YOU! for your time and your wisdom.

BK: Thank you Beth

BETH HARPER: Thanks all, and let me say, I'm happy to do phone interviews

JACOB COAKLEY: Speaking of going on froever, is there a way interested parties here could contact you with . ..

BETH HARPER: Or give us a call for a tour when you're in Portland.

JACOB COAKLEY: you beat me to teh punch!

BETH HARPER: Or if anyone's in Boston next month for NAST ... I will be there

BETH HARPER: [e-mail] or

BETH HARPER: [e-mail]

BETH HARPER: or call us at 503 274 1717

JACOB COAKLEY: Beth, thanks again!

BETH HARPER: Boston is March 25- 27

BETH HARPER: No problem! Thank YOU all so much, it was fun!

JACOB COAKLEY: There was a lot of great info in this convo, and I'll get teh transcript up soon for anyone who missed it!

BETH HARPER: Fantastic! Over and out /e