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 salvage
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 nondramatic 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.
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.
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
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
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.
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.
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
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.
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.
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.
Things to Consider
» Most actors fail not because of lack
of talent but because:
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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