How to behave in an audition

When you have an audition you are not only getting judged on your acting you are also getting judged on you personality.

·         Be Friendly – Don’t be too shy and quiet, but don’t be loud and over confident. Be warm and welcoming. They are looking for someone who will easily get along with everyone and who they would like to work with.

·         If you are over 16 don’t bring your parents into the audition - You want to come across as a professionally.

·         Be Yourself – Don’t lie and don’t get big headed. Don’t boost about your pervious work. Also there is no shame in not getting the job.

·         Learn for other – Talk to people you. Don’t hold back, you might meet someone who is looking for another actor in a play they are doing or whatever. So be friend and talk to other actors in the waiting room.

·         Turn off your phone – It is very unprofessionally to be using other phone. Turn it off as soon as you enter the building.

·         Enjoy it – You only get one audition and if you don’t get it learn for that mistakes that you may have made.   

My Monologues

Spoonface Steinberg 

Spoonface Steinberg is a British play written by Lee Hall. It is a contemporary play, set in North East of England. The monologue is read by a 7 year old autistic girl, who is dying with cancer. Her parent's have split up and her mother has a drink problem. However she becomes fascinated with diva's who have marvellous stage deaths and this helps her to approach her own death with dignity.

I also have done is research into autism. Autism effect the way you look at the world. It also effects the way they talk. This is why Spoonface's monologue is separated with loads of commons and dashes because she just blurts out information. Also the way the sentences are strung together they are kind of scattered.

I chose this piece because I find it very moving how a girl that is so young can be so strong. Also I like how she acts like her life a west end show and she was the diva.

I have never seen a performance of this play, however I would like to as it seems like the types of play I would enjoy.

I have used Magic If to develop my scene, this helped me get into character. I also used Stanislavski technique of emotional memory. However after researching about the monologue I realised that at this point of the play, she has come to terms with her illness. So she would not be really emotional. My monologue is going to be naturalist as I think that if I did it in the style of Brecht it would not be as effective.

After the End

After the End is a British play written by Dennis Kelly. It is a modern play written, about 2 friends that have survived an explosion. The 2 people are focused to get to know each other whilst trapped in a bomb shelter. During this time, Louise shares her past.

I chose this piece because I liked the contrast of the start to the end. How at the start she is enjoying the company of the cat and then she ends up killing it. I also like how it is kinda Brecht because it makes you question and wonder about how people behave and if we are stuck inside cycles.

I used Magic If to help me get into character, it helped me to focus on how she would react while she is stuck in a bomb shelter. I also played around with emotional memory, and I found that this worked well in my monologue because she is telling someone something that is very personal. I also played around with different levels of tension. I after trying out different levels I worked out that level 4 would fit the best. This is because it would be feeling rather tense, I would be fidgeting and fiddling with things.

Killing Our Love Life

Killing Out Love Life is a British play written by Jason Milligan. The play is about couple struggling to keep there spark alive. The monologue is delivered 3/4 of the way though.

I chose this piece because it contrasted well with my other monologue. This monologue is more adult and mature, it is also a comedic monologue.

I am going to perform this monologue in a naturalist way. After using Magic If I managed to get into character. I realised that she is close to breaking point after I analysed the scripted. Staging the monologue was pretty easy as she is sat in a car, therefore she would be sat down for the whole monologue.

How Do My Monologues Contrast

My monologue contrast in many different ways. The first way is the characters. All 3 characters are of different ages. In my first monologue Spoonface is a young 7 year old girl. In After the End, Louise is a middle aged woman, and in Killing Our Love Life I will be playing a woman in her mid twenties. The age of the character effects many factors, they way you talk and your gesture. My monologues also contrast in style, After the End and Spoonface are emotional and dramatic monologues, however Killing Our Love Life is a light hearted comedic monologue.

7 levels of Tension

7 levels of tension were created by Jacques Lecoq.  However they were later rediscovered by Max Stafford-Clack.

The 7 levels of tension allow actors to display various degrees tension.

1.       JELLYFISH. There is no tension in the body at all. Exhausted, catatonic, complete relaxation, little-no movement.

2.       CALIFORNIA SURFER DUDE. Hardly any tension. Laid back, chillaxed. Just enough tension to move slightly.

3.       NEUTRAL. The state of tension before anything happens. No past, no future, in the present, aware. (Shoulders down and set back. Feet  are hip width apart)

4.       CURIOUS. Some tension in the body, maybe in the neck/shoulders. Looking at things. Sitting down. Standing up. Fidgety and indecisive. What’s in the room?

5.       SUSPICIOUS SPY. The tension is clear in the body, concentrated in the eyes. Wary, suspicious. Breathing may get faster. The crisis is about to happen. Are you being followed? Is someone watching you? Is there a bomb in the room?

6.       OPERA. The tension has exploded out of the body. It is difficult to control. Passion, anger, fear, hilarity, despair - every emotion is extreme. There is a frenzy of movement. Someone is chasing you. There is a snake in the shower. There IS a bomb in the room.

7.       BOMB. The body is solid tension. Rigid, petrified, unable to move. The bomb is about to go off!!!

After doing this experiment I have learnt about different levels of tension, also what situation would be good to use them.

I my Killing Our Love Lives monologue, I think it would use the third level, however I may need to tense my body slightly as my monologue continuous.

In my Spoonface monologue, I think I would use the third level as I am a child and I’m pretty relaxed about the situation, however I would be fidgeting a little.

In my After the End monologue, I think my character would be at the forth level, as I will be fidgeting a lot and very aware about where I am and who I am talking to.

Rudolph Ladan

Rudolph Ladan was a dance artist and theorist. His work laid the foundations of the Ladan Movement analyse. Ladan Movement Analyse is divided into 6 categories Body, Space, Effort, Shape, Phrasing and Relationships.

What We Did

We had to walk around the room in different states. Firstly we had to walk as slow as possible and think about who might walk like this, I think old people and people who have a lot of time on their hands walk at a slow pace. Then we had to walk at a fast pace, during this excise the room looked like New York. Because a lot of people in New York walk at a fast pace they are very busy people with not a lot of time on their hands. During this part I felt like a business woman, because they are often very rushed. Then we had to walk indirectly, during this task I found that my pace slowed down, this is because people who walk indirectly at not going to a specific location, I felt like I had quit a lot of time on my hands. I felt like a teenage walk around a town centre with her friends, or like a person walking a dog in a park. Then we had to pick a point in the room and walk directly towards it. During this excise I found I was walking at a fast pace because I had a specific place that I was getting to and I felt like I had to get there as soon as possible. This made me think I was a business person again. Then we had to walk as light as we could, this made me feel like a ballerina or a bird. I also noticed that my feet were hardly touching the floor. Then we had to walk heavy on out feet, this made me feel overweight or pregnant. I found that my paces slowed as people who are caring extra weight can’t walk fast.

What I Learnt

After doing this excises I think more about the way characters move, and that you can easily portray your character thought movement and the way you hold yourself. Also if you one thing about the way you move I noticed that naturally my pace would change or the way I held my body.

Sight Reading

When having a sight reading the panel will normally include a casting director, a director and maybe another director.

Sight reading would normal happen if you are auditioning for a TV show, as they would not let you see the scrip, because you could leek it. So instead they give you a small scene, they will give you this when you are in the waiting room. They will give you a few moments to read over it.

What We Did

We were paired up and given a small scene to practice. We had to think of a way to show that scene that no one else would. Because it is very important to stand out in an audition. As the scene was for 2 friends we had to make it look like we had a good on screen chemistry.

I think my monologue's would be good for a sight reading because they is no swearing in my monologues. This is good because casting directors don't want monologue that swear. However when doing a this type audition a classical monologue is not the best on to pick.

Brecht

Bertolt Brecht is a theatre practitioner. He created a style of acting know as Epic Theatre, this was a response to Melodrama and Naturalism. He wanted his audience to be aware that they were watching a performance he did this by breaking the fourth wall.

Brecht would get inspiration for his plays from things that are happening around the world. This gave his plays a message, getting the audience thinking and talking, this would hopefully make people want to change.

To make the audience aware that they are watching a play he:

• did not give the characters name, this would make them seem less real and less human. For example he named his characters The School Boy, The Police Man, The Wife.
• the actors would change costume on stage, this would show the audience that they were just playing a character.
• would break the forth wall. He did this by having actors in the audience that would come from the seating and start performing.
• he used minimal sets and props. This would make it less realistic because the audience would have to use there imagination. Also he didn't want his performances just to be played in theatres because poor people could not afford to see the show. So by using minimal set and props he could travel around showing people his plays, performing in factories, hospitals and prisons.

Different Types of Auditions

There are many different types of monologues that you may come across as an actor and you need to know the difference between them.

1. Sight Reading - Where an actor is given a text that they possibly haven't seen before, and asked to play the part of a particular character, whilst member of the audition panel, or another actor reads the other part. 
2. Workshop Audition - Where a group of actors take part in a range of activities that may be based on drama, vocal or physical skills to not only judge their performance abilities, but also to see how well they work as a part of an ensemble or team. You may be asked to perform monologues that you have prepared, (possibly in front of each other).
3. Standard Audition - where actors are individually invited to perform one or more monologues for a director/casting director/producer or other industry professionals, with a view to being cast in a specific role, or in order to gain employment/training. 
4. Open Audition - where a production team is generally looking for a range of actors to take on specific roles, and specific individual are not singled out to attend. This can be described as a 'Cattle market' in the industry, where hundreds turn up. During this type of audition, the production team may have a vague idea of what they are looking for, and may discount actors based on appearance before they even get into their individual monologue auditions. 
5. TV/Film Casting - where an actor will be invited to 'read' (perform) the part of a specific character, using a script that they are possibly sent up to 48 hours before, or as a sight-reading. During this style of audition, you will rarely be asked to perform a monologue, as theatre acting techniques are very different to screen acting techniques. You can expect to see a director, casting director and/or producer in your audition, which will be recorded so that the panel can look back over your performance and see how well you perform the role for the screen. 
6. Drama School/Stage School/ Uni Audition - where an actor is aiming to be offered a place on a specific course or training programme of their choice. You would generally be expected to prepare three audition pieces lasting 2-3 minutes each, which are contrasting. Most places will expect you to perform a classical (Before 1800) and a contemporary piece as part of your choices, to show how versatile, knowledgeable and skilled you are as an actor. Some institutions will choose the monologues that they want to see, and will post these out for you to learn, research, develop and perform - and they may only give you a week or less to do this.

Workshop Audition

The audition panel will consist of many different people; this depends on what you are auditioning from. If you are auditioning for a stage school there would a coarse leader on the audition panel. If you are auditioning in the industry there will be a director, a producer and maybe some other actors to see how they work with you.

They are looking for actors that are not scared to try something new that they might not have done before. So always throw yourself into something that you might not have done before because this will show the panel that you are not afraid to try something. They are also looking for actors that can come up with ideas, this will show them that you are creative and enthusiastic which is another important quantity that they are look for. Another important skill that they are looking for is how well you can work with other actors, as you are audition to be part of a team. Show them that you can work well with other actors, listen to their ideas, and contribute to their ideas. When it comes to performing your monologues, they might not ask you to do one. However it’s always good to have one prepared. Have 4 monologues prepared, 2 classical and 2 modern. You will need 2 in case they say they do not like the one you are performing.  

Other than acting skills there are personal skills you should consider. You should dress in comfortable clothing. They will play drama games, these might involve movement. So dress in comfortable flexible clothing that allows you to move. Always pay attention, try to focus on the person speaking always looking at them, never look at the floor or play with your nails. Don’t talk to the other actors, this shows that you are distracted and are not paying attention. Don’t see the other actors as a threat; they are in the same position as you. However everyone is very different, the panel might like something about you, and they have picked you to audition. So be friendly towards the other actors, this will show the panel that you can get along with people and that you are easy to work with.

We had I workshop audition during one of are lessons. I learnt many things from doing this. I learnt that it is very important to pay close attention, because you may miss some important information. Be yourself, the panel have picked you to see perform, so be yourself. Don’t be over confident. It is okay to be nervous; the panel know how nervous it is, so don’t try and cover your nerves by being over dramatic and trying to be funny. I think a workshop audition is very enjoyable because you get to know other actors.

I think the monologues I have chosen would suitable for a workshop audition. This is because they are modern and they contrast, this shows that I can perform different styles.  However I am not doing a classical monologue therefore I would have to substitute one of my monologues for a classical one. I think that it is important when picking a monologue to pick one that other people may not pick. This is because you will stand out and will not get compared to others. 

Monologue and Character Development

Projection, it’s very important to project your voice while performing. This is so the audience that are very far at the back of the room can hear you. While projecting your voice you need to make sure that you are keep your tone and pitch the same; however you need to make your voice louder and clearer. However it’s very important not to shout the word as you are not projecting your voice.

 I am using projection during my monologue to carry my voice to the back of the room so the audience can hear me. I will make sure that I am speaking clearly, by enunciating my words. This will improve my monologue because the audience will be able to hear the words I’m saying clearly, this will be more effective as they words are telling the story.

Enunciation, it is very important to enunciate your words while performing on stage because it helps with projection. Enunciation is the way you pronounce your words. Enunciating the whole of the word make it easier for the audience understand because they can clearly hear what you are saying. How a person pronounces word often tell the audience a lot about a character, such as where about in the country he or she is from, how old he or she is, what class he or she is from.

I am using enunciation during my monologue to show more about my character.  My character is form the North East, and people for the North often has a more relaxed mouth, this effects my enunciation because she might drop vowels or letters are the start and end of word meaning I don’t have to enunciate my words as much. However I will have to make sure I am still speaking clearly so the audience can hear me. I still need to improve on my enunciation over all 3 monologues.

Vocal Tone and Pace, it is very important to experiment with tone and pace when performing a monologue.

Pace, the pace of a monologue determines how fast or slow it is. To set the pace of a monologue you have to analyse the script. If there are long sentences, the character is speaking slowly, giving the scene a slow pace. However if the monologue contains, lots of commons this means that the character is being rushed, and can only blurt our short phase’s, this gives the script  a faster pace.Tone, the tone is how you want to make your voice sound. For example when you are upset or angry you tone of voice naturally changes. It is very important to use tone when performing because it shows the audience what you are feeling thought your voice.

I am using pace and tone in my monologues, to show the audience how I feel though my voice. This is a good way to connect with the audience because sometimes they can’t see my facial expressions. I have still need to sort out my pacing and toning. I find that it’s best to experiment using different tones and paces to see which suits the situation.

Memorising lines, this is the most important thing when you are performing a monologue. To perform off book makes it much easier to sort out blocking and staging. Also if you are reading lines your head is down this means that the audience can’t see your facial expressions.  Another reason why memorising lines is important is because the director can see how dedicated you are, it shows that you are willing to put in extra work off set.

I have already memorised 1 of my monologue and I am half way thought memorising the other 2. This means that I am able to concentre on staging my scene.

Experimenting in rehearsal, it is much easier after you have memorised you lines. It is very important to experiment with performing styles; it’s also good to think outside  the box and experimenting with vocal skills, physical movements and facial expressions. I have already experimented with different styles for my first monologue; however I have still not found a style that I like yet. Which my other 2 monologue I have briefly experimented with vocal styles however I am going to focus on staging after I have memorised the lines.

Emotional memory, is a way for using your own memories and feelings and putting them into a scene. It is a theory created my Stanislavski to make scenes more naturalistic. I am using emotional memory in my scene to make it more realistic. At first I experimented with and without emotional memory however after I realised that the scene was but more powerful and emotional with emotional memory. I will be using emotional memory in my scene as it will give my monologue more emotion and making it realistic. 

Character and Text Research, it is important to research your character, you can do this by 1. analysing the script 2. Using Magic If 3. Reading the whole script. Here are a few way you can learn and research about you character - http://performingscrapbook.blogspot.co.uk/2012/09/learning-about-your-character.html Text research is also important, this is because it will help you to perform it the way the directer wants. Learn about what area of the country the play is set, this will help you so you know what accent you have to do. Research about what the point of the play is, is it trying to make a statement? or just to entertain? or to inspire?
I am currently in the middle of researching my monologue, I have done the text research and character research, however I still need to do Magic If.

How to Write an Acting CV

What is a CV used for?

A CV is what you hand to casting directors and agent. This tells them information about what acting experience you have, what you look like and another special skills you might have.

What Should Be Included on an Acting CV

• Basic Information - Name, Age, Date of Birth
• Personal Details  - Height, Build, Dress Size, Eye Colour, Hair Colour, Skin Tone, Playing age. These given casting directors an idea of what you look like.
• Agent - If you already have an agent, give the name of your agent and there contact details. 
• Training and Education - These include your Secondary School, with your GCSE results. ( You must list your results and casting directors don't care, just writing how many you got and what grade you got e.g. 9 A*-C) Also what college you attend and what course your doing. If you have been to any Stage Schools or after school drama clubs include then. 
• Recent Credits - List your Theatre work and any TV or Radio credits you have been in. You must put what role you played, what the name of the play, and the directors name. Always list your most resent jobs first.
• Accents - List any accents you can do, also if you are fluent in any foreign language. 
• Skills - These include any physical and musical skills you have. If you are high skilled in any of these area's you must say.

Your CV must not have colour on it, just a plain white background and black ink. With one font throughout, heading can be underlined or in bond. You also must attach a head shot at the top of the page. Try to keep the CV on one page. 

Magic If

Magic If is another one of Stanislavski's excises that help you get into character. Its all about putting yourself in the situation and seeing how your character would react to it. Asking yourself questions such as 'What if I were in the same situation as my character?' and  'How would my character react?'.

From doing this excise I deepened my knowledge of my character, because I had to think about my characters personality and how that would effect his or hers reaction. This made the performance realistic and the reactions more truthful. 

Emotion Memory

Emotion Memory is another one of Stanislavski's teachings. Its all about using your past experiences and emotions and using them in a scene. This makes the scene realist and giving it more feeling.

What We Did

We were given a blank letter and after reading the letter we either felt guilty or angry. Before we performed them we had to focus on a point in are life where we felt guilty or angry, and use that emotion in the scene. This task taught me how hard it is to uncover emotions, then have to put them away again. After watching a few performances I thought the best once's were when people really found a dark place inside, you could see there minds thinking about what is happening and you could see the emotion on there face.

I have decided to use Emotional Memory in my Spoonface monologue as it is an emotional piece. However my other to monologues are not as emotional therefore I might not used this technique. However I will experiment with it.

How to Focus and Block

When performing on stage it is very important not to let outside distractions distract you. As soon as you step out on stage you have to ignore any drama that was happening backstage and focus on performing. You also have to ignore any noise the audience may be making. To do so you can do focus excises, this helps to focus your mind and block out any other distractions.

What We Did

We had to lay on the floor, and tense different parts of our bodies. This focused my mind on how my muscles were feeling and how my body felt. Then we had to try and hear what was happening outside. Then focus our minds on how silent the room was. This really helped me to clear my mind, and focus on my surroundings.

Learning about your character

Everything that has happened to you in your life has made you the person you are today. This also applies to your character. There are many factors that you have to think about when your creating your character.
Stanislavski believed that to play a character naturally you had to become that character. You had to think about all the different factors that will effect your character's personality.

If your given a script, pay close attention to the stage directions. By reading between the lines you will get an idea about how your character acts and moves.
When thinking of your character consider:
1. Age
2. Family Backgrounds
3. Where they grew up
4. Where they currently living
5. How many friends they have
6. If they are single or in a relationship

Stanislavski also believed that an actor should not just play a character, but feel what the character would feel by using there own experience's or stepping into their shoes. This makes the emotions seem more realistic and natural.

Given Circumstance

Today we learnt about Given Circumstance. Given Circumstance is a principle created by theatre practitioner Stanislavski.

Actors would have to think about the environment and situations around them. This influence's how the character would act. For example, if the play was set around Christmas, the actor would have to think about how he would use his body language to show the audience what time of year it is.

What We Did

We were put into groups and had to keep the piece naturalistic. At random we were giving a location to set our piece, we were given a bus station. At the start we had a couple that had fallen out, however to keep it natural, rather than raising our voice's we changed our tone to portray anger.This kept the scene naturalistic because the couple would not want to cause a scene.

We were then given a time and date that our scene would be set. We were given '10 Minutes before Christmas' this changed our scene because we had to think about why our characters would be out late on Christmas Eve. We started the scene the same as before. However I suggested that to give the audience an indication about the environment and the climate, we did this by using our body language.