Auditions How to get the part

Preparation »Choose pieces that are right for you, that you care about, and that are not overdone. Nothing can salv age an audition from the disaster of choosing the wrong material. A common mistake is choosing material that is beyond the actors range of age or experience.

Preparation »Develop a monologue file. »Avoid expository scenes - Use discovery or struggle scenes. »Avoid anything that theatre company has done. »Edit carefully and avoid vulgarity »Don’t be afraid to use neglected non- dramatic sources such as novel, short stories, letters, diaries, autobiographies, essays, and newspaper columns. - Anything written in the 1st person singular is worth considering. »Develop a monologue file. »Avoid expository scenes - Use discovery or struggle scenes. »Avoid anything that theatre company has done. »Edit carefully and avoid vulgarity »Don’t be afraid to use neglected non- dramatic sources such as novel, short stories, letters, diaries, autobiographies, essays, and newspaper columns. - Anything written in the 1st person singular is worth considering.

Preparation »If you’re looking for a “classical” piece don’t assume that Shakespeare is the only author who ever wrote good material. Look at pieces by Marlowe, Jonson, Webster,Congreve, Etherege, Wycherley, Goldsmith, Sheridan, and Moliere. »Avoid any material that will evoke remembrances of a definitive performance. »If you’re looking for a “classical” piece don’t assume that Shakespeare is the only author who ever wrote good material. Look at pieces by Marlowe, Jonson, Webster,Congreve, Etherege, Wycherley, Goldsmith, Sheridan, and Moliere. »Avoid any material that will evoke remembrances of a definitive performance.

Preparation »You can almost never find a piece that is too short. The truth is that most people form their impression of an actor in the first few seconds. If you have a choice between cutting and rushing, by all means cut. »If the language or content of the monologue make you uncomfortable don’t do it. »You can almost never find a piece that is too short. The truth is that most people form their impression of an actor in the first few seconds. If you have a choice between cutting and rushing, by all means cut. »If the language or content of the monologue make you uncomfortable don’t do it.

Preparation »When doing a general audition, your better off choosing a monologue that allows you to use your everyday speech rather than a dialect. »Always respect the author’s intent »Time yourself accurately - don’t run over the time limit »When doing a general audition, your better off choosing a monologue that allows you to use your everyday speech rather than a dialect. »Always respect the author’s intent »Time yourself accurately - don’t run over the time limit

Preparation »Practice in many shorter increments of time as opposed to fewer longer increments of time. Consistency in practicing will help when you’re “under the microscope”.

Appearance »Wear appropriate clothing that you can move in -- nothing low cut or tight or “suggestive”. »Be clean and well-groomed »Always wear the same clothing to subsequent auditions that you wore to the first audition »Wear appropriate clothing that you can move in -- nothing low cut or tight or “suggestive”. »Be clean and well-groomed »Always wear the same clothing to subsequent auditions that you wore to the first audition

Introductions »Make it work FOR you --- not AGAINST you. When you enter the audition space relax. Find a specific place to look during your introduction - NOT the floor. When you have your auditor’s attention announce your name, title, author; (that’s all -- nothing more) pause slightly and being your piece.

Introduction »The 2 most important physical aspects of auditioning are being seen and being heard. »Be confident but not cocky. Actors that appear afraid or uncertain will not inspire confidence in their ability. »The 2 most important physical aspects of auditioning are being seen and being heard. »Be confident but not cocky. Actors that appear afraid or uncertain will not inspire confidence in their ability.

Delivery »The first beat of your piece is enormously important because you’re dead in the water if you don’t capture the auditor’s attention in the first 15 seconds. Starting big gets the auditor’s attention right away - but it must be motivated. »Start with action. There must be some reason your character is saying his first line. What is it? Use it. »The first beat of your piece is enormously important because you’re dead in the water if you don’t capture the auditor’s attention in the first 15 seconds. Starting big gets the auditor’s attention right away - but it must be motivated. »Start with action. There must be some reason your character is saying his first line. What is it? Use it.

Delivery »Use the imagined other. Your character is talking to someone else. “Play” to that person --NOT the auditor. »If the auditor directs you during an audition LISTEN TO THEM. Be sure you understand what they are saying to you. Then translate what has been said into your own words if necessary. »Use the imagined other. Your character is talking to someone else. “Play” to that person --NOT the auditor. »If the auditor directs you during an audition LISTEN TO THEM. Be sure you understand what they are saying to you. Then translate what has been said into your own words if necessary.

Delivery »When you get to the last line of your monologue, keep doing whatever you are doing for a few seconds beyond the words, then drop out, look at your auditors and say “Thank You’. At this point leave yourself open to whatever happens. You may be dismissed or you may be asked to stay and talk more or perhaps do another piece.

Things to Consider »An audition is not a a “test of worth”. You may be the best actor in the world but not the best actor for this specific play or role. It is simply an opportunity to perform -- if you view it this way you won’t be as disappointed if you didn’t get the part.

Things to Consider »Always go to audition for everything (if they allow you) -- even if you think you’re wrong for it. Directors can (and have) re-considered roles for actors that “wowed” them at the audition. You may even get future roles from auditions you did in the past for this director.

Things to Consider »No role is too small - often times it is the actors who accept small role and do them well who will be cast later in leading positions. »If you really will not accept any role put that down on your audition form. ALWAYS be honest on this form. If you lie or pull out of a production because you really were not going to accept the role your given you’ve cut yourself off of future roles. »No role is too small - often times it is the actors who accept small role and do them well who will be cast later in leading positions. »If you really will not accept any role put that down on your audition form. ALWAYS be honest on this form. If you lie or pull out of a production because you really were not going to accept the role your given you’ve cut yourself off of future roles.

Things to Consider »You are ALWAYS auditioning. Even when you “get” the role you are still auditioning for whether you’ll be cast again. Remember -- directors talk and your reputation will follow you. »No one is interested in your health so don’t burden them with it. »You are ALWAYS auditioning. Even when you “get” the role you are still auditioning for whether you’ll be cast again. Remember -- directors talk and your reputation will follow you. »No one is interested in your health so don’t burden them with it.

Things to Consider »Stage managers can and will talk to the director about any “backstage” behavior. Remember this. »Don’t say anything negative about other actors to anyone -- or at the very least vent at home. »If auditions are posted be magnanimous in victory and gracious in defeat. »Stage managers can and will talk to the director about any “backstage” behavior. Remember this. »Don’t say anything negative about other actors to anyone -- or at the very least vent at home. »If auditions are posted be magnanimous in victory and gracious in defeat.

Things to Consider »Most actors fail not because of lack of talent but because:  They don’t work hard enough  They aren’t disciplined  They are literal rather than imaginative  They are ruled by their negative side  They are not persistent  They do not truly want to get better »Most actors fail not because of lack of talent but because:  They don’t work hard enough  They aren’t disciplined  They are literal rather than imaginative  They are ruled by their negative side  They are not persistent  They do not truly want to get better