Audition Unit KPHS Theatre

Auditioning Terms A. The number one cause of nerves. 1. Lack of preparations. 2. Preparation is the difference nervousness and fear of failure.

B. Different Kinds of Auditions 1. Open Audition- all people welcome 2 B. Different Kinds of Auditions 1. Open Audition- all people welcome 2. Closed Audition- Very specific i.e. 40- 50 year olds, Only Blondes

C. Types of Auditions 1. Monologues- 1 person speaking 2 Comedy/Serious, 1-2 Minutes, Contrasting 2. Improvisation- Make it up as you go along 3. Cold reading- You are handed a script at the rehearsal, you may request time to look it over, perform reading, the director is seeing what you can do 4. Prepared reading- Short scene, 2 or more

The director is seeing if you listen and follow directions Audition Demeanor  A. Pre Audition Walk in Confidently Hand in your forms to the stage manager The director will give instructions... “Listen” The director is seeing if you listen and follow directions

B. During your Audition Never Apologize Never Stop/Start Over Walk confidently to the stage Give your name distinctly Perform your audition piece Never Apologize Never Stop/Start Over Never ask “How did I do?”

C. After your Audition  Say Thank You and Walk Confidently off the Stage and Sit Down Sit Quietly if you are allowed to stay in the room Pretend You Were Wonderful but don’t be cocky Do NOT Break Character EVER You may talk to the director if necessary keep it professional Don’t cut your hair after audition until you know you are cast. If you are cast in the show, don’t cut your hair unless you ask the director

If you are not cast Don’t ask why you weren’t cast (Michael Shurtleff says: “You will rarely get the truth, and if you do you probably won’t like what you hear.”) give yourself time to get over the disappointment understand that every audition experience is an opportunity to learn. Find something to improve use class as a time to work and improve your skills

Dos and Don’ts  A. Audition Packet 1. Fill out form with the requested information no blanks don’t add information 2. List ALL your conflicts don’t eliminate any because you want to be cast and then add them later when cast we cast you with all of your conflicts 3. Review the rehearsal schedule

B. Appearance Wear conservative clothing Wear nice clothing No logos   B. Appearance Wear conservative clothing Wear nice clothing No logos Be professional/neat/nice Not too tight/not too baggy Hair- keep it out of your face

Slating Definition – the introduction of the selection, and the actor.

If the time starts when you begin your actual monologue it should follow this guideline. “Hello, good evening, good morning, etc. My name is ______ I will be performing two contrasting monologues. The first is from Title of Play by Author and I will be portraying character’s name. The second selection is from Title by Author and I will be portraying Character’s name.

  If the time starts as soon as you open your mouth, then you should follow this guideline. “Hello, good evening/good morning, etc. My name is ­­­­­­_______ I will be portraying Character’s name from Title and Character’s name from Title.

Choosing a great monologue Does the piece fit you? (age, gender, type, etc.) Does the piece speak to you? (can you relate to it) Is the piece appropriate for the audition? (If the play is contemporary is the monologue contemporary) Is the monologue from a play? (You always want a monologue from a play. It makes it easier to create a character based on the playwrights work. Often the director may be familiar with the selection and you want it to accurately depict the playwrights intent.) Is the monologue new and fresh? (Director’s get tired of seeing the same monologue over and over. You want to stand out.) Do YOU like the selection? (How can you expect someone to enjoy your audition if you don’t like the piece you have chosen?)

How to Memorize a monologue The best place to start is reading the entire play. You will understand the context of the monologue so much better if you have read the entire play. Locate the triggers in the selection. Triggers are what causes the character to say or do what they do. Sometimes the triggers are not clear – you may have to create them yourself. Practice – to yourself, to your friends, to your family, out loud!!!! The following strategies are only ways to remember the words. It is recommended that these be done in addition to 1, 2, 3, and 4 not in place of them. Write the monologue out in long hand (no computer) Record yourself and listen to the monologue over and over. Recite your monologue over and over.

What are the director’s looking for? In short – someone to win the part. Directors always want someone that stands out from the rest that they know is perfect for the part. They want to see someone who can create a character. They want to see you the person before and after the monologue They want to see that you are a pleasant and easy to work with human being. They want to see that you can work with a group of people collaboratively.

Little nuggets of truth Do not mistake memorization for acting. There is nothing worse than watching monologues that are simply memorized. At the very least interpret the lines to mean something other than simply what they say. Be friendly To the directors To the stage manager To your fellow actors Give it your best shot Sell out completely – don’t hold anything back Have fun – we understand the pressure – we have been there. Finally – learn from the opportunity.