What makes a great dancer? Is it one's love of dance? No. My mother loves dance but can't move a lick. Is it one's willingness to study and work? Is it the passion that drives one to be better? What makes a great dancer? It is the perfect blend of instinct, inspiration, and craft. Look at the history makers. Ginger Rogers, Fred Astaire, Cyd Cherise, and my personal favorite, Gene Kelly. Look at Mikhail Barishnikäv, Gregory Hines, Savion Glover, and even Steve Martin. What is it that makes these people more than just great dancers? Why are they are so much fun to watch, so moving, so memorable? Why? Because they knew that to achieve their dreams to be the best performer they could be, they couldn't just stop at dance. Their instincts drew them to a place where dance alone was not enough to fulfill their dreams and reach the levels of excellence they wanted. What was the answer? Learn to act! Learn what it takes to grab the feelings, the passions, the emotions, and the raw desires and focus them so well, that every move of your dance has a truly deeper meaning. Learn to act! This is the bridge that can take you from a good dancer, to an amazing and unforgettable performer.

Why would a dancer need to know anything about acting? This is like asking why a painter would need to know anything about mixing paint. A painter can paint a picture with a few colors. But imagine the world that opens up to him, when he learns how to mix his colors? Opening up an infinity of new shades, hues, and color. Acting is the craft that will teach the dancer to mix his colors.

We perform for ourselves and others. It's with our performance that we release and free our judgment and perception and toss ourselves to the wind. We experience the rush, and the purest form of excitement and love that drew us to this form of expression. Just feeling the music isn't good enough for the true artist. You must ask yourself and be able to answer all these questions.

Question 1: How does this make me feel?

Be specific. "I'm not sure," is not an answer. You must know how you feel in order to express yourself fully and free yourself to your dance. "What do I want?" "What do I want to do with this dance?" Tell a story? Express my emotions? Make the world dance with me? Bring down the walls? Watch a ballet tell a story without a word. They can do this, because the dancers know what they want. The ingenue wants her love, the hero wants to rescue her, and the villain wants to destroy them all.

It is often hard to know how you truly feel. For example, "I feel angry." Angry may be how you feel, but know that most feelings are a result of a deeper need. Anger is a result of not getting what you want. So the real feelings you are feeling are of yearning and loss. That causes frustration and unfocused energy that results in the feeling of anger. So you can see how anger in itself is not the core of how you truly feel. Don't be afraid of digging deeper for your true motivations.

By marrying your want with your action, you express exactly what you choose, and others will always see your vision clearly.

Question 2: Who am I?

In any performance you must know who you are. Ask, am I a character in this performance? Am I a good guy? Am I bad guy? Am I being myself? Or am I transforming to portray another being? Am I a nutcracker? Am I a street punk? Am I a flower? (Be specific, what kind of flower.) Am I the wind, etcetera. When you know what you are, you are able to choose characteristics of that persona, and you can incorporate those characteristics into your performance. If you are just being you, bring out what makes you unique from others. Incorporate your personal characteristics into your performance, and you will see amazing results.

Who am I dancing for? Just as you speak differently to your best friend than you would to a small child, you must learn to know your audience and your space. You will move differently when dancing in a small hallway for a video than you would dancing in a huge theater or stadium. A good acting technique can help you learn to fill any space you dance in with the maximum you. This is called "stage presence". There are a number of techniques in acting that can help you develop your presence. A great presence allows you to be noticed, admired, and remembered.

Question 3: When and Where am I?

Am I in the present? Am I in the past? You will dance differently if you are dancing in the 1920's at an illegal after-hours club as opposed to dancing at high noon on the streets of New York today. Knowing where and when you are allows you to make creative yet appropriate choices for things to incorporate into your dancing.

Question 4: Why Do I Dance?

This sometimes can be difficult to distinguish from the "what" questions. But the "why" is more of a personal question. Why, is to fulfill a journey. Whether it be a personal quest or a necessary task. Why am I taking this trip, and asking the audience to join me?

With all your who, what, where, when, and how's answered, your why will be a successful journey. It will have no other choice. If you walk a path you cannot help but come to the end and with an understanding of acting your dance will take on an entirely new dimension, one you may have never even thought possible.

Question: What Do You Need To Know About Auditioning?

Once you are auditioning at the professional level, there are a few things you must know about auditions. The first and most important is to know this is a business, and you will be expected to treat it as such. Be a professional, and you will be treated like a professional. It is your audition, so don't be afraid to take control and do what you want. When you allow others to break your concentration or cloud your choices, you will not be happy with your audition. Casting people are always looking for two main things. Is this person likable? And are they having fun doing this?

When you have a dance audition, you are usually given a number and taught a routine. Learn as much about the project you are audition for as possible. And make some acting choices about the routine you are learning. It will give you an edge over the other dancers who are just learning the moves. You may also be asked to freestyle. This is your chance to shine. Have a prepared one or two minute dance routine. This should be something personal to you. Choose your favorite style and your favorite moves. Make this a truly unique dance that shows us your personality and why you love to dance.

In a commercial or theatrical audition, here are the basics you need to know. You will be asked to "slate your name." This simply means, say your name. State your name clearly, and audibly. Don't mumble, or speak to softly, but don't yell either. Commercially, you will want to have a lot of energy. "Not over the top." But lively and fun. "Hi, my name is Vincent Lappas." Smile and enjoy yourself. The first thing casting people look for is whether or not this person is likable. The casting people may ask "Tell me about yourself?" Have a one or two minute fun story that shows your personality, something you love doing, a funny anecdote, a "Once when I was five...," something like that. I would suggest staying away from why you became a dancer or actor and performance related stories. These are professional and craft stories and are not often going to show the casting people the personal touch they were asking for. You are a performer, they know that. You don't need to tell them again, or how much you love you craft. That's for you to show them during your audition.

Remember the casting people are on your side. They want you to be good and to get the job. They aren't an opponent that you must convince to like you. You wouldn't have been invited to come and audition if they didn't want you there.

Don't be afraid to ask a question about your audition, but no more than two. Do not ask, "So, what are you looking for..." The truth is, they don't really know what they are looking for. They will know when they see it, and it is your job to make them see it. They may have suggestions. Take them and marry them with your own choices. If you only follow their suggestions and throw out your work, it would not be your audition. And you will most likely leave unsatisfied, and saying to yourself, "I should have done what I wanted." If they ask you to do it again, take their adjustments and incorporate them. Usually they will do this to see if you can take direction, and not just to see something a different way.

All this is true for theatrical auditions too, but with one big exception. If you have prepared a heavy or emotional scene, come in "in character." Slate your name in character, and don't be afraid to save the chit-chat until after you have performed. If the casting people begin to ask you questions, simply ask nicely, if you may do your audition first, because you are prepared to do so. They will always say, "no problem." When you are done, let your character go, and be yourself.

Question: What Can Actors and Dancers Do in Highschool to Benefit Their Performance Skills?

The most important thing any actor can do starting from a young age, is to really get to know yourself. Get to know your own personal likes and dislikes. When you feel happy, be aware that is making you feel that way. When you are upset, again, be aware of how and why you feel that way. Then ask yourself, "Do I really need to feel bad right now?"

Become a good observer and listener. Notice how people react to each other. Watch and listen how one person gets something from someone else. Listen to people's voices, and how they change with their mood. Watch people's bodies and how they move when they are bored, mad, excited, etcetera. Take time to understand what it is to be a thoughtful, active human being, and enjoy the differences in all kinds of people.

Begin to keep an observation journal. When you experience something interesting, just write down what happened and how it made you feel. You will be able to refer back to all these experiences and it will help you keep all your feelings very accessible. It is very important for any performer to access their feelings as quickly and easily as possible.

Don't be afraid to choose your friends wisely. You are the sum total of the five closest people to you. If you surround yourself with good, kind people, good things will come your way. Surround yourself with trouble, and you know what will happen.

Highschool is tough time for everybody, but remember at this time you are laying the foundation for the person you hope to become. So make smart choices. Take dance and acting classes in school, do plays and dance reviews, and even though the classes may not be taught at a professional level, you will get out of them what you put into them. So practice hard, and rehearse long, and take every performance as seriously as opening night on Broadway. You will be developing a truly professional work ethic, and the step to the professional scene will be smooth and easy.

Question: What Are the Benefit's of Class?

This is like asking, what is the benefit of learning the alphabet before learning to read. Class is like the letters of the alphabet. Acting and dancing are like the words that the letters produce, and your performance is like the story that the words create. Class gives you the tools, and teaches you to use how to use them properly. What's the use of having a hammer if you don't know how to use it? Just as dance class teaches you how to add one step to another, a good acting class teaches you how to take your feelings and bond it to your actions. And as you become a better dancer, you can layer more moves onto your routine. As you become a better actor, you can layer more emotions and intentions onto your actions.

For a long time there has been a gap between acting, dancing, and singing. I believe that in order to be a good actor, you must know how to dance and sing. In order to be a good dancer, you must know how to sing and act. Acting, dancing, and singing are all different sides of the same coin. It is all about a great presentation and a performance that moves your audience. So take the time to learn to use every tool at your disposal. You have your love -- dance. But take classes in acting and singing, and your dance will become a fuller, more fulfilling craft.

Once you have learned how to use your tools, find creative ways to blend your acting to your dance. Take yourself to the next level. Once you have your tools, it is important to remain in a class to keep your tools sharp. You must not allow yourself to get rusty or lazy, but there is someone right behind you who is not rusty and ready to take your place. It is a fact that when they are not working, you will find Robert DeNiro, Al Pacino, and Meryl Streep in acting class. Just as firefighters are always drilling and training to be prepared to fight a fire, so should the actor be rehearsing and the dancer be practicing.

Question: How Do You Know If a Particular Class is Good?

This is a very hard question to answer. Almost every class offered anywhere has some value. You must do some research into the class. Where and how was the instructor trained? Does he or she just direct you, or does he teach you how to make good choices yourself? Do they teach a known method? Stanislavsky, Meisner, method, etcetera. How long have they been teaching? Are there any successful students that have come from that class? Do they offer something different than what I have done before? Can you sit in or audit a class to see if it is for you? Be very wary of teachers who promise you work. No one can promise you a job. Jobs are earned. If you can answer some of these questions to your liking, then go ahead and take the class. If you don't like the vibe or how the class is taught, finish your month and then move on. You can gain something from every teacher you spend time with. As with all classes, what you put into it is what you will get out of it.

Question: Importance of Pictures

In all aspects of performance, your picture is your calling card. Photo 8" x 10"s are a business expense, and you must allow for them at least once a year.

What makes a good picture? First and foremost, does it look like you? A photo has to be representative of the real you. Too much hair or makeup, too much attitude, putting on airs, and the picture is not you. When a casting director calls you in, they expect the person to walk in the door to be the same person as the picture on the desk. If not, they will not be happy. Glamour shots are not recommended. Choose a good photographer, a professional. Ask to see his work. Go with someone you like, and make sure he guarantees his work. A guarantee is an industry standard, and not a special favor. Show your personality. You should keep three shots at all time, a commercial and theatrical, and one for your dancing.

Commercially, your shot should be an energetic smile shot. Make sure your shot is clean and in focus. We want to see your eyes. We want to see all your personality come through your smile and your eyes. Choose some shots that you like, and get some opinions from close friends who know you and like you. Ask them which shot best shows your personality. I don't recommend that you ask mom or family members. Mom thinks every shot you take is beautiful. She loves you regardless. Brothers and sisters tend to cloud their opinions with how they choose to see you. Friends, agents, and teachers, people who know you more casually, will most likely give you the best feedback. Be aware they may choose a shot you don't like, because it's not the image you want to portray. Remember it's not the image they will hire, it's a real person that gets the job.

A theatrical shot should be more serious, not angry or mad, just more thoughtful and direct. A good theatrical shot will make you look like you are thinking about something. You will see the action of thought in the eyes and shape of the face. If you can see this by looking at the picture, you will have a good theatrical head shot.

For a good dance picture, you should have a full body shot in motion. Let us see the lines you make while you dance. Be crisp. Don't cover your body with an elaborate costume, big hair, or leg warmers. Let us see you expressing yourself through your favorite dance. We want to see you having fun.

Your picture will evolve as you evolve. The better you get at your craft and the more experienced you get, the better pictures you will take. It will be fun to look back at all those pictures, and see what ten year ago, you thought was a good head shot. Remember that ten years ago, it was a good head shot. But today, you are just that much better.

Composites, postcards, zed cards are different kinds of pictures. Composites are an 8" x 10" frame with four or five different character shots on the page. These are rarely used today, but someday may come back in style. Don't spend the money or time for a composite today. Postcards are 5" x 7" picture with your photo on one half, and information on the other. These are extremely helpful when you have got a job and want agents, casting directors, and others to know about it. You mail them out just as you would a normal postcard. Zed cards are also a 5" x 7" postcard with pictures, and vital stats, name, height, weight, etcetera. These can be beneficial to dancers to show you in different styles, but they are mostly used for modeling in three or four different poses.

Question: What To Do When You Arrive in a New City?

There are some unfortunate realities in show business. If you want to be more than just a good dance student, you will probably have to move to New York or Los Angeles. These are the hubs of the casting business.

In any new city, the first thing to do is find a class to get into. You will be surrounding yourself with like-minded individuals who may be able to help connect you with agents, casting directors, and other people in the know. If you don't know where to start, start at a local theater or dance studio. Ask about classes and ask for referrals to other studios in the area. Continue this process with phone calls and personal visits to the studios. Eventually, you will find some place that excites you. Get into a class and start working your craft. Do not become too complacent. This is a business about evolving and growing. When class becomes boring or too easy, it is time to move on. Keep a list of the places and people you have worked with along the way. You may be able to help out someone else who arrives new in town. One good turn will always come back to you ten-fold.