General Audition Tips
Show up early to fill out your audition forms. Be prepared to list which role you seek and give a full disclosure of your credits, including any awards or theater education. Some people have resumes for this. You should also know your schedule for the next two months, because directors will want to tailor a rehearsal schedule to maximize attendance.
Be neat and cooperative. Don't wander around the building, but be where you are supposed to be when you are supposed to be there.
Most auditions are open, meaning that you gather in the auditorium watch others audition. Sometimes you will be unable to attend a scheduled audition. In such a case, occasionally, the directors will make arrangements to see you at other times.
A stage manager may direct you to different audition areas. Usually the director begins by talking briefly to you. This is the time for announcing any pre-casting. Also, you may be introduced to other members of the production team who are present. The director might give you a brief overview of the show and the procedure for the evening. This is usually the time for asking questions.
Be neat and cooperative. Don't wander around the building, but be where you are supposed to be when you are supposed to be there.
Most auditions are open, meaning that you gather in the auditorium watch others audition. Sometimes you will be unable to attend a scheduled audition. In such a case, occasionally, the directors will make arrangements to see you at other times.
A stage manager may direct you to different audition areas. Usually the director begins by talking briefly to you. This is the time for announcing any pre-casting. Also, you may be introduced to other members of the production team who are present. The director might give you a brief overview of the show and the procedure for the evening. This is usually the time for asking questions.
How to Approach a Character for an Audition
Think About the Relationship to the Other Character in the Scene How does your character feel about him? What do you want from him?
Know What You're Fighting For Conflict is the key because that is what creates drama. What does your character want? What does the other character want? How do your desires conflict?
Know What Just Happened The first lines of any scene begin in the middle of some action. It's up to you to provide a sense of what happened just before. you will stand out from the other actors at callbacks if you provide that sense. That's why it is so important to know the entire play.
Know What You're Fighting For Conflict is the key because that is what creates drama. What does your character want? What does the other character want? How do your desires conflict?
Know What Just Happened The first lines of any scene begin in the middle of some action. It's up to you to provide a sense of what happened just before. you will stand out from the other actors at callbacks if you provide that sense. That's why it is so important to know the entire play.
Improve Technique
Act An audition is not designed to see how well you can read a passage of text, but how you can take that text and bring out emotions. Your body language is part of your acting too. Remember to cheat all lines to the audience even if it means talking to someone who is standing behind you (or attempting to "upstage" you by making you want to turn your back to the audience to talk to them).
Enunciate Speak clearly. Speak loudly even when being quiet. Speak to the last row of the theater. Put a lilt in your voice.
Be bold Stand near the edge of the stage. Try not to get lost in the crowd. Use your arms and gesture to call attention to your lines and to you.
Children It is hard to audition children for speaking roles because they might have problems just reading the text, let alone acting. Often, a director will use different audition processes for children because of this.
The pianist is your friend The pianist can make or break you; treat that pianist accordingly. Be friendly and appreciative. Briefly discuss your music. Indicate the tempo you prefer during a quiet, pre-performance meeting. One good way is to softly sing the first line to the pianist. Come prepared with readable, easy-to-use music whose pages have been taped together.
Don't dress the part—but hint at it If you audition for Fiddler on the Roof wearing Russian peasant rags, you'll be laughed out of the room. Yet, wearing clothes and hair that suggest the part can help. If you're auditioning for an executive in How to Succeed in Business Without Really Trying, a three-piece suit might be overdoing it, but a shirt and tie would psychologically suggest the part to the audition committee. Theoretically, the committee members should be able to imagine that. But in the real world, the less left to the imagination, the better.
What should you do about eye contact? Some directors love it, they believe you are audience tuned and your direct appeal satisfies their egos. Others find it annoying and distracting. The safest bet is to make occasional eye contact, but generally direct your presentation just over their heads.
Weird is good, talent is better You are aware that the audition committee has seen loads of people. You can tell by the bored expressions, the perfunctory "thank-yous." You wish you had been the first or last to audition because people at either end tend to be remembered better. You decide to make an impression, no matter what it takes. Strangeness can make you memorable, but only if there's talent to back it up. You don't want them just to remember you; you want them to remember how good you were.
It isn't just talent. Its also type if you didn't get the part, don't be hard on yourself. You may be terrific. Trouble is, casting people don't just want talent; they want talent in the right package (e.g., hair color, height, age, body weight, vocal quality.) It's not uncommon for somebody with the right body type to get the part over somebody with more talent.
Enunciate Speak clearly. Speak loudly even when being quiet. Speak to the last row of the theater. Put a lilt in your voice.
Be bold Stand near the edge of the stage. Try not to get lost in the crowd. Use your arms and gesture to call attention to your lines and to you.
Children It is hard to audition children for speaking roles because they might have problems just reading the text, let alone acting. Often, a director will use different audition processes for children because of this.
The pianist is your friend The pianist can make or break you; treat that pianist accordingly. Be friendly and appreciative. Briefly discuss your music. Indicate the tempo you prefer during a quiet, pre-performance meeting. One good way is to softly sing the first line to the pianist. Come prepared with readable, easy-to-use music whose pages have been taped together.
Don't dress the part—but hint at it If you audition for Fiddler on the Roof wearing Russian peasant rags, you'll be laughed out of the room. Yet, wearing clothes and hair that suggest the part can help. If you're auditioning for an executive in How to Succeed in Business Without Really Trying, a three-piece suit might be overdoing it, but a shirt and tie would psychologically suggest the part to the audition committee. Theoretically, the committee members should be able to imagine that. But in the real world, the less left to the imagination, the better.
What should you do about eye contact? Some directors love it, they believe you are audience tuned and your direct appeal satisfies their egos. Others find it annoying and distracting. The safest bet is to make occasional eye contact, but generally direct your presentation just over their heads.
Weird is good, talent is better You are aware that the audition committee has seen loads of people. You can tell by the bored expressions, the perfunctory "thank-yous." You wish you had been the first or last to audition because people at either end tend to be remembered better. You decide to make an impression, no matter what it takes. Strangeness can make you memorable, but only if there's talent to back it up. You don't want them just to remember you; you want them to remember how good you were.
It isn't just talent. Its also type if you didn't get the part, don't be hard on yourself. You may be terrific. Trouble is, casting people don't just want talent; they want talent in the right package (e.g., hair color, height, age, body weight, vocal quality.) It's not uncommon for somebody with the right body type to get the part over somebody with more talent.
Stage Fright
Focus Fear is a distraction. You have stopped focusing on your character's goal and begun to think about something else. You have become "self" conscious. you are no longer "in the moment." When you have something to focus on, there will be a noticeable physical relaxation, a reduction or disappearance in nervousness. If you start to become distracted during auditions, immediately focus on the scene. Ask yourself "Who am I?" "What do I want?" and "How badly do I want it?" Bring yourself back into your character, focus on the character's intention or goal. Even if you lose a line, this way will allow you to create a sensible ad-lib.
Breathe When an actor becomes focused on fear, panic may develop. A message is received by your brain and a very primal response is triggered, known as fight or flight response. This enabled primitive humans to either fight the enemy or run away as the bloodstream was flooded with a powerful chemical: adrenalin. An excess of adrenalin is not likely to help you at auditions. It causes dry mouth, throat tightening, sweaty palms, thundering heartbeat, nausea, dizziness, bladder urgency, shaking, rapid speech, vocal changes, twitches, spasms and a loss of memory. You are more likely to hold your breath as well which in turn causes lack of oxygen to the brain. This leads to disorientation and paranoia. When you feel any of these symptoms, the best thing to do is breathe properly. Oxygen will dilute the adrenalin, your brain will clear and your body start to relax. The key is to stay aware and take note of the warning signs.
Prepare It's worth mentioning again and again.
Define Your Fear What will happen if your fears are realized? Say your fear is you muff a line. Ask: then what? Someone will cover, you will ad-lib, the stage-manager will give you a line. But something will happen. Will you faint? Then what? Someone will drag your carcass offstage and throw water in your face. Then what? You throw up. Then what? A stage hand cleans it up. Then what? You wet your pants. The key is to name each fear and ask yourself" "Then what?" until you laugh at the ultimate progression.
Visualize the Good Visualize success in great detail. Go over that image in your mind until it is deeply ingrained. Too often we spend our time visualizing what we are afraid of and that image gets recorded on our subconscious.
Use the Energy However, do not let adrenalin take over. There may come a time when you are not able to fully overcome your nerves, panic, or a personal emotion that has hold of you. Say, for example, moments before the audition, or a performance, the love of your life calls and breaks up with you. What can you do? You can try to find a parallel between what is happening to your character and the emotions you are feeling. This might heighten the stakes and give you a point of concentration, rather than letting your feelings become a distraction.
Breathe When an actor becomes focused on fear, panic may develop. A message is received by your brain and a very primal response is triggered, known as fight or flight response. This enabled primitive humans to either fight the enemy or run away as the bloodstream was flooded with a powerful chemical: adrenalin. An excess of adrenalin is not likely to help you at auditions. It causes dry mouth, throat tightening, sweaty palms, thundering heartbeat, nausea, dizziness, bladder urgency, shaking, rapid speech, vocal changes, twitches, spasms and a loss of memory. You are more likely to hold your breath as well which in turn causes lack of oxygen to the brain. This leads to disorientation and paranoia. When you feel any of these symptoms, the best thing to do is breathe properly. Oxygen will dilute the adrenalin, your brain will clear and your body start to relax. The key is to stay aware and take note of the warning signs.
Prepare It's worth mentioning again and again.
Define Your Fear What will happen if your fears are realized? Say your fear is you muff a line. Ask: then what? Someone will cover, you will ad-lib, the stage-manager will give you a line. But something will happen. Will you faint? Then what? Someone will drag your carcass offstage and throw water in your face. Then what? You throw up. Then what? A stage hand cleans it up. Then what? You wet your pants. The key is to name each fear and ask yourself" "Then what?" until you laugh at the ultimate progression.
Visualize the Good Visualize success in great detail. Go over that image in your mind until it is deeply ingrained. Too often we spend our time visualizing what we are afraid of and that image gets recorded on our subconscious.
Use the Energy However, do not let adrenalin take over. There may come a time when you are not able to fully overcome your nerves, panic, or a personal emotion that has hold of you. Say, for example, moments before the audition, or a performance, the love of your life calls and breaks up with you. What can you do? You can try to find a parallel between what is happening to your character and the emotions you are feeling. This might heighten the stakes and give you a point of concentration, rather than letting your feelings become a distraction.