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Ballet and Modern Dance
Relax and enjoy the writing exercise. Often approaching a piece of blank paper
when given a challenge in a specific place and time is rewarding and surprisingly
Dance auditions occur after the long winter break. Please take as many technique
classes as possible during the break so the adjudicators can see you at your
Arrive at the audition early so you may become familiar with the studio, check-in,
prepare, and warm-up.
Dancewear requirements are specified in the audition materials. Plan your dancewear
well in advance of the audition. Wear it for a technique class prior to the
audition to be certain it is comfortable and flattering. You want to present
a neat, professional appearance.
Before the audition, please tell the instructor about any recent or chronic
injuries so he or she can help you take appropriate precautions.
During the audition, if you don't understand a combination or direction, raise
your hand and ask the instructor to repeat the information.
Approach the audition as an opportunity to take a class from a new teacher.
The teacher and the adjudicators realize you may be a bit nervous. They want
to see your movement and performance qualities, as well as your technique,
so enjoy the experience!
Flutists must audition on flute--not piccolo.
Oboists: there are no English horn auditions.
Clarinetists: there are no auditions for bass clarinet or E-flat clarinet.
Bassoonists: there are no auditions for contrabassoon.
Acting - Notes To The Aspiring Actor
By Chris Freihofer
Actor, Casting Director, Film Producer
WE'RE ON YOUR SIDE, BELIEVE IT OR NOT.
You know the old stereotype. The grumpy table of producers, casting directors
and general discontents sit at a backlit, smoky table, frowning at you as you
make your way through a well-rehearsed audition. You give your all; you give
of yourself, only to be treated rudely, followed by a bellowed "Next!"
That's what we think auditions are, right? I mean, that's what they
taught us in school. That's what they show us in movies and on unrealistic
reality television. That's the stereotype. And nothing could be further
from the truth.
Oh sure, there are some Grumpy-Gusses out there that revel at the idea of sitting
on their casting throne, loving the opportunity to finally be the one that rejects
these actors. But those posers--mostly embittered failed actors--are few
and far-between. Especially in markets like Oklahoma. What you are generally
going to find in a professional audition for film and television are pleasant,
Wanna know a secret? We're on your side. We are eager to meet you. We can't
wait for you to succeed.
Here's why: we want you to end our day. We want you to be the one we have
been looking for for hours, days, maybe even weeks.
Each time that door opens to the casting office, we look in hopeful anticipation
at the actor that will nail this script, will be the perfect actor for the role,
will have great understanding of the material and put us at ease. We are looking
for the actor that is relaxed, professional, easy to work with and truly is the
character we have written in our cherished script.
Oh sure, we may be in the middle of a very long casting day and sometimes we
have trouble masking our fatigue, but don't think for a second we are not
wanting you to succeed. We want you to be the one. When you walk out the door
at the end of the audition, we want to be able to look at each other and say, "Wow.
We don't need to audition anyone else for this."
As actors, we forget this. Believe me, I have certainly been on the other side
of the audition table countless times. I've auditioned for more projects
than I care to remember. I know, it's intimidating. It's easy to
believe the stereotype. It's easy to think they hate me.
We don't hate you.
Here's another secret: You have the job when you walk in the room. You
have it. You have passed the test. Except in cases of the open call, there has
already been a screening process. We have looked at your headshot. We have gone
over your resume. We already see you in the role. We have weeded out the others.
You made the first cut.
At this stage, it is not your job to win. It is your job to lose.
Just in case you missed that:
It is not your job to win. It is your job to lose.
It is a very different way to consider the audition process. Most actors think
they have to go in and win the role--beat the competition, show off how
great they are. Not so. It's your job to lose. You have the role. Now just
don't lose it.
It's just an attitude adjustment, but once I learned this as an actor,
it really helped my audition process. It gave me confidence. It helped me relax.
It provided an opportunity for me to feel open and comfortable in the room, to
work the audition as an actor, rather than feeling I was on display and being
judged against the others.
Interesting way to look at it, yes?
Remember....YOU ARE ALWAYS AUDITIONING
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