Auditioning

1. Auditioning Based on Audition By Michael Shurtleff

2. Why do we want to be actors?

3. So why do we do it?

4. Auditioning FAQ’s

5. In an audition, what can I ask? • If the lighting is poor, ask if you can be seen. • If you ask – LISTEN • Speak loudly and clearly • #1 rule – BE SEEN AND HEARD

6. Who conducts the audition? • Could be anyone from 1 – 10 people • Generally the director, but the bigger the production, the larger the crowd • Musicals – musical director and choreographer • Broadway – producers and playwrights • TV – producers and sponsors

7. Can I ask who I am auditioning for? • No. • It can make them feel uncomfortable. • Big shows and Broadway they may want to remain anonymous • If they want you to know – they’ll tell you

8. How do I find out what my auditioner wants? • Don’t try. • You won’t get an honest answer • Usually, what they think they want in the beginning is not what they end up with in the end

9. Control your frustrations and hostilities! • You will ALWAYS lose • You may not know the reason for their abrupt response

10. What do they expect from my audition? • The world. • You can’t give them everything they want, so don’t even try. • The only thing you can do is show them who YOU are

11. How do I enter and exit? • Slate • Show them how charming and professional you are • Treat them with courtesy and respect at all times

12. What do I say if they ask me what I’ve done? • They can read your resume and see the roles you’ve done, this is your chance to show them who you really are. • This is your big chance to let them know who you are and how you relate to the role you are auditioning for. • Practice this as you would your monologue

13. What if I have a resume with little or no experience? • What you’ve done is not nearly as significant as how you present it. • Come in with confidence and it won’t matter how little you’ve done.

14. What do I do if I’m late? • DON’T BE LATE. • If you are, check in with the person at the sign in desk, maybe they’re running late. • This is the only time when you can tell a “little white lie”

15. In a cold reading, should I memorize the script? • No. • It’s a waste of time, they don’t expect you to • If you miss a line it can mess up your whole audition • You’ll be judged much harder because subconsciously they will look at you as if you are performing instead of auditioning

16. What do I do if the director directs me at the reading? • Do it. • But remember to ADD what the director gives you to what you are already doing. • They called you out because they liked what you were doing. Don’t drop it.

17. How do I find out why I wasn’t cast? • Don’t bother. • Nothing is more subjective than acting. • You’re too… blonde, bald, tall, short, young, old, skinny, fat, pretty, ugly, etc…

18. How do I get an audition? • Get an agent. That’s their job. • They get you an audition so they can get their cut. • That doesn’t mean that once you get an agent, you can stop looking. • Acting is a 24-7 business • Read the trades and keep your eyes and ears open

19. Should I go to an open call? • Yes. • Equity theatres are required to have an open call to allow any equity actor the chance to audition for that role • Most of the time it’s precast anyway, but it never hurts • Virginia is a right to work state

20. What should I audition for? • Anything and everything • If they asked you to audition for a 70 year old woman – do it. • If they are looking for a 300 lb. blonde and you’re a 90 lb brunette – do it. • You can always use the practice – and maybe you’ll change their mind.

21. What do I do at the interview? • Be yourself. • Nothing is more difficult than trying to get to know an actor who is trying to be someone they are not. • Talk about something else that is not on your resume • Open up and respond to what the ask and say

22. What do I wear? • Wear something that is appropriate for the part • Keep the part in mind – don’t under dress or over dress • DON’T GO IN COSTUME • When you go back for callbacks, try and wear the same thing you wore at the audition.

23. Auditioning Cold Readings

24. Be Yourself • Don’t try and figure out your character. You don’t have time. • Not your everyday self – Plays are about not about everyday events • Plays are remarkable characters in unique situations • Be remarkable, be unique, but be yourself in those events

25. Commit • Don’t limit yourself to what your "character" wouldn’t do, rather go with what he/she would do.

26. Try and get an early read-through • If you are asked to do a reading completely cold, you may also ask for time to go over it offstage. Most will say yes giving you a small chance to get a quick look at the scene. If they say no, say, “without ever looking it over?” (NICELY) They will be forced to say, “Yes.” Then without attitude or reluctance give it your best shot, knowing that you gave it your all. Later they will be forced to take into consideration that you were at a handicap from the onset.

27. Auditioning The 12 Guideposts

28. #1 Relationship • What is my relationship to the other character in the scene? • Once you know the fact of a relationship, you are ready to explore how you feel about the character. • Facts are never enough. Delve into emotions. • If you don’t know the relationship – make one up and commit.

29. #2 What are you fighting for? Conflict • Beats are not enough • What does your character want in the scene • Instead of trying to reach your objective, find a positive motivation for your actions • Conflict is what creates drama • ACTIVE CHOICES

30. #3 The Moment Before • Every scene begins in the middle, decide what happens before the scene begins • In auditions, it is important to establish the moment before, or it will take ½ of your audition to get warmed up • Emotions are okay, but it should lead to specific choices

31. #4 Humor • Not about making jokes or being funny, but the humanity that keeps us from jumping off a bridge • It’s hard to believe the seriousness of a scene when all the humor is removed • Actors fail to find the humor in a tragic scene – it’s what makes tragedy bearable • The heavier the burden, the more we need it

32. #5 Opposites • Everything in life contains opposites • No matter what your objective – the opposite should be present • Instead of bringing resolution, work with the process of dealing with the conflict • It’s why we sometimes want to strangle a loved one – work on that to create a more dynamic stage presence

33. #6 Discoveries • Keep the scene fresh • There is something brand new happening in each scene that you do. • Treat the actions in a scene as if they are happening for the first time • Take nothing for granted – Ask yourself, what’s new?

34. #7 Communication and Competition • Communication is a circle not a one-way street • You must have a sender and a receiver • If that person hasn’t received what you have spoken, then there is no communication • Consider what emotions you are sending as well

35. #7 Communication and Competition • Without competition, drama is dull • Drama feeds on competition and dies with agreement • There are 2 points every actor should consider in every scene • I am right and you are wrong • You should change from who you are to who I think you should be

36. #8 Importance • Plays are written about a character’s most important moments of their lives, not the most boring • Actors confuse truth in acting with what they see everyday • The actor must play something unusual, something unique

37. #9 Find the Events • Often times actors are so involved in creating and becoming their character that they forget what is happening in the play • “What happens in this scene? What are the changes?” • You must not accept that nothing happens or that there are no changes.

38. #10 Place • When you audition, it is up to you to create the environment • Use real life to help create your environment • Use locations familiar to you to help establish as many realities to the scene as possible • The physical nature of the place is only the beginning. How you feel about the place is even more important.

39. #11 Game Playing and Role Playing • We as humans play different roles depending upon who we interact with • Just because you are playing a role, it does not make it false – we must be sincere • In each scene ask “what role is the character portraying • The game is the play and it must have the highest possible life or death stakes

40. #12 Mystery and Secret • After you’ve added everything you know about the character – add something that you do not know • It’s that something extra you can’t put your finger on • Look for the mystery or secret in a scene that shows there are questions lingering that can not be answered