So, let's take it back a moment to those a few of those top 10 actor problems we discussed a week ago and let's look at how the Emotional Type clases addresses each of those issues:
**1. Getting a KickAss Agent Who Sends Me on Tons of Auditions**
If you know what you play, then you know what you can book and you know what you have to sell.
That makes it easier for the agent/manager/casting director to get your auditions. It's less brain work for them if they know, okay, she can play "the humble freedom fighter" because I have about 20 characters that fit that emotional chord that I need to cast.
Plus, an actor with a wider range (meaning not just dependent on how they look, but also what they can handle emotionally) means they can be seen for lots of different roles from men, to women, to different races and age groups because it's their emotional type that I'm casting.
To agents/managers and casting directors, having many options means more business which means more opportunities for you to book work and make you, the manager and the agent money because all of you will be collecting a check each time your episode airs.
**2. Booking a speaking role with depth & range**
If you're going out for more roles, then you're going to have more opportunities to book a role.
But if you're only going out once a month or twice every pilot season, the odds are really against you because
**1. You're not getting seen enough for anyone to remember you**
**2. You have no place to continually show directors, producers and casting directors what you're capable of**
**3. You don't have enough opportunities to practice your audition technique to really get good at it....**
IF YOU KNOW YOUR 4 MAJOR EMOTIONAL TYPES, you're able to create work that fits you like a glove by choosing audition material for your reel based on your types_
- You're then able to create a website that sells one continuous message about what you sell as an artist according to this type s and give the industry a place to learn about your work.
- All of the branding, getting your face out there, selling your gifts as an artist all flow from the emotional typeS.
And all of that power is at your fingertips.
You then guide the direction of your career....
See how that works?
In both Brittany and Mandy's stories from our last two emails, you learned how to actresses with zero Tv and Film credits, learned their emotional types, packaged them and used that branding too book work, get signed by agents, create reels and create their own work.
They were new to the industry just like you. The only thing that separates you from them is a business plan guided by your emotional chords.
To that end, for the first time ever I'm making it possible for folks to take advantage of the Emotional Type Exercises in affordable private coaching & a webinar format.
In both formats, you'll learn the following:
- We'll use this time together to figure our your four major chords
- Create a free website and branding for your press materials and create both an online press kit a and a hardcopy presskit to send to agents/managers to get meetings
- pull together content for your reel, costuming and coaching and be prepared to shoot it at the end of the 10 weeks
- Put a business plan in place to target agents/managers and pitch your emotional type to them
- Then target casting directors to get them see you for roles based on your emotional type to open their eyes to the full range of your talents...something that's not happening now because, you're only going out for black girl #4 based on how you look.
See how that works!
Most of my clients learned this stuff from me in private coaching which at $425/hour gets pretty pricey.
So, I've created **The Emotional Type MasterMind Group** which is essentially 10 weeks of small group private coaching of 2-4 people.
You'll get the 4 week Emotional Type webinar prior to the start of class to start working through your homework and then we'll start meeting as a group saturdays in January.
The Emotional Type MasterMind is available for as little as $425 per month.
Due to popular demand, we've started a second group so there are now 3 spots open.
**Can't afford the Emotional Type MasterMind?**
Then you can buy the **4 Week Emotional Type webinar** as a stand alone class and work at your own pace for as little as $174 per month now!
So what's this year going to look like for you?
- Another year of complaining that you never get seen for TV & Film because you don't have an agent or manager?
- Another year of going in for one line parts that you never get because they don't make use of your full emotional range
- Walking into TV & Film auditions thinking you're prepared and then feeling the audition go flat because you're not working from your deepest emotional chords?
**- Will 2018 be the year you turn it around?**
**- The year you finally get on top of these emotional chords **
**- Start the year with a clear picture of your brand & the next 10 steps you need to take to get signed, start going out on twice as many auditions and finally booking that TV/Film role?**
What's it going to be?
POWERFUL, CONFIDENT AUDITIONING AND BOOKING THE JOB
Let's. Do. This.
Love, Light & Power,
April & TheDreamUnLocked Team
**P.S. These prices disappear in 6 days unless the classes fill up first.**
P.P.S. Click HERE to buy the Emotional Type Class before it's too late!
""""One of the most mortifying moments I experienced in my theatrical career was when I was asked to bring the entirely African-American cast of a new musical we were workshopping, a new piece by an African-American librettist and composer, across the street to the Dorothy Chandler Pavilion and up into the plush boardroom so they could perform a song or two for the board of directors. I wanted to say something, but I didn't. For one thing, it would take an invaluable 45 minutes to an hour out of the creative team's limited time together. But... every year we had to do the same old song and dance for the board to remind them that yes, we did do new plays and musicals, so yes, it was sometimes a good idea to expose the board to new voices, to the vibrancy of an exciting work in progress.
You all know where this is going, don't you? I led the team in. The talent in that team! The writer/composer himself and the cast, lauded veterans of the stage and the most promising members of the next generation of acting giants. And there was our board. White, as white as can be, white white white white. And very comfortable. They'd just been served lunch, I believe. My theater spared no expense in pleasing our board and catering to their demands (oh my god, I'm feeling such rage right now! I'm pretty sure we had a staff member who was mostly dedicated to help our richest board members get house seats to shows on Broadway and the West End. But I digress...)
The only black face in the audience seated at the conference table? The only person of color? The head of our education department, of course. My heart went out to her.
The cast sang a song from the show. They did it. And they brought it. Because they were and are professionals. And the very pillars of the Dorothy Chandler Pavilion reverberated down to the parking lot. It was breathtaking.
And I had just been complicit in the remaking of a scene for the millionth time: black bodies and voices entertaining white audiences, an institution raising money on the backs and voices of black bodies.
I was too mortified to apologize to our writer and to our cast, none of whom, I should add, expressed even an iota of discomfort. They were professionals, and they shone. And come to think of it, they'd probably all become accustomed to this scene. "It's just how theater works," they might have thought with a shrug of their shoulders. Or maybe they seethed inside, for the millionth time, when all they were trying to do is workshop a new musical.
Well, I apologize sincerely now to our writer and those actors. I wish I had had the courage to put my foot down. It is not how theater should work.
I quit the American theater on Valentine's Day 2016, so I've been out more than four years now. And honestly I don't plan to return, which is why I can write with such candor.
The heart of the problem, my friends, is with the non-profit structure, which is capitalism on steroids. Who are the bosses ultimately in an American institutional theater? The board of directors. Who are the board of directors? For the most part, those members of the community not with the strongest attachment to the art form but those with the deepest pockets. Often they're really not members of the community. They often just drop in. They are sometimes mere tourists.
It's no wonder that that board meeting was held in the Dorothy Chandler Pavilion. The theater, like most American theaters, had built its board of directors on the old opera model: You get the richest folks together, offer them galas and house seats and receptions and private recitals and showings (for which artists often don't get paid extra, mind you), you pamper them and make them feel more special and entitled than they already do, and then they'll write you big checks to support the kind of art they like, the kind of art they can bring their kids and grandkids to. AND they--not the artists, not the community--get to hire the institution's leadership.
It is a rotten model. Rotten to the core. How can any artistic institution claim to be working for and in the community with that model?
It's got to be torn down. It's got to be reinvented. And I have no idea what the next model will be. I really don't. And no, honestly I don't think government is the solution frankly. Some of the most bloated, self-satisfied, decadent theater I've ever seen was in Germany, where it was almost fully government-funded. Lots of bells and whistles and provocations and completely soul-dead.
I see amazing and galvanizing lists of demands recently being made and posted by theater artists of color. These are vital demands. But they don't address the central issue. As long as the ultimate bosses of an artistic institution remain the community's deepest pockets, nothing will change. Nothing. You'll be putting band-aids on a gaping wound. Sorry, but it's true.
So please figure something else out. Maybe for a few years you just avoid the institutions. You've already started. In the pandemic, so many of you are making amazing art without an institution. Find those who truly adore your work and ask them to fund it. Screw non-profit. Form a corporation and value your art art-making as a resource that profits you, your viewers/audience and your community. I have no idea.
But please don't return to a new version of the old. After the virus, after he's out of office, after police reform and nationwide conversations about race, after, after, after, begin something new. I can't wait to see what it is!”
Words: Pier Carlo Talenti
Video: Griffin Matthews
April Yvette Thompson