what to wear to the movement part of a college audition

College Audition Do's and Don'ts

IN HIS EXCELLENT Volume Acting Professionally, Robert Cohen suggests that an actor needs a potent personality. For him, the most undesirable quality for an histrion is to be bland — a "good little boy or girl"— squeamish, dull and unmarketable.

Musical theatre is a frankly presentational course of theatre — generally, nosotros do not flare-up into song or trip the light fantastic at moments of crunch. This raises the stakes for the musical theatre performer and emphasizes the need for a magnetic stage presence, a confident air and a unique personality.

These qualities should exist axiomatic in a musical theatre audition. They tin can transform a routine audition into a memorable one and brand us eager to enroll you every bit a student.

The personality you project is the basis for your audition. It includes the clothes yous habiliment, the way y'all introduce your material and your ability to answer questions. Even the materials you choose to perform can exist revealing. Just remember, please, personality is not an conflicting persona affected for the occasion — it is just the simple use of the characteristics that make yous distinctive as a performer and a human being being.

TO Assistance Y'all in selecting suitable songs or monologues, y'all may want to consider some unproblematic DOs and DON'Ts of Musical Theatre auditions.

• Practice avoid overly familiar textile, songs that are performed continuously. There is a wealth of material from which to choose without resorting to "Much More," "I Can't Say No," "All That Jazz," "If I Were a Bell" or "Tin can't Assist Loving That Man of Mine."

• DO avert songs associated primarily with detail artists. "New York, New York" is Liza's song, "Don't Rain on My Parade" is Barbra'due south and "Over the Rainbow" is Judy'south. Comparisons are inevitable.

• DO avert the current hit from the current Broadway smash or revival. These songs are simply performed too oftentimes at auditions to piece of work to your reward.

• DO Non nowadays a choreographed routine. Dance skills are evaluated at the dance audition. Practise, nevertheless, arroyo the cloth with a free body and motion whenever appropriate. Body movement should be relaxed (not casual) and should not "illustrate" the lyrics (pointing at your caput and then at your watch on the words "I know now.")

• DO select fabric suitable for youthful performers. Many students hibernate behind phony elderly voices and mannerisms, the characterizations that won them acclaim in the high-school play. Think, nosotros desire to encounter who you are.

• DO Not attempt songs obviously created for mature characters -- song such as "I'm Still Hither," "Send in the Clowns," "Fifty Pct," "Rose'southward Plough" and whatsoever Sondheim vocal written for a mature character.

• DO beware of choices that are difficult to perform under stressful conditions. Many of the patter songs ("If," "Another Hundred People," "Funny," "Giants in the Sky") are notoriously difficult and require conscientious coordination between pianist and singer. These songs are hard to perform without acceptable rehearsal and under the naturally competitive circumstances of an audition.

• Exercise avoid excessively emotional pieces. It is difficult to build a sentiment rapidly and convincingly. In her concert appearances, the legendary Lena Horne sings the song "Stormy Conditions" twice considering, equally she says, she has to "build upwards to information technology." And consider that selections like the transformation scene from Jekyll and Hyde without the benefit of costume, brand-upwardly and lighting are often unintentionally hilarious in the unforgiving calorie-free of an audition room.

• DO NOT imitate your favorite performers. Don't moonwalk like Michael, pout like Bernadette or clutch the air like Mandy. And please don't article of clothing a white half-mask or a lion'southward head.

• DO Not outstay your welcome, argue if you are cut off in mid-note, or be evasive about your head vocalization, chest phonation, legit experience, range or dance expertise. Answer questions in a straightforward manner that expresses your individuality. "Well, I can motion!" ranks as the most often heard evasion in answer to a question near previous trip the light fantastic training.

• Practise bring sheet music in the right key and with all cuts or repetitions clearly marked.

• Practice place your music in a binder or tape the sheets together for the benefit of the accompanist.

• Practise speak clearly to the pianist and clear the tempi by singing a few phrases. This is preferable to snapping your fingers or yelling "Faster," "Too fast," or "Slow Down" in the middle of "Ol' Human River" or "Corner of the Sky." And delight note that if nosotros do not feel your songs adequately stand for your vocal range, we may ask you to perform some simple song exercises at the keyboard or present another song.

IN SELECTING A MONOLOGUE, Practice choice material that reflects your strengths as a performer, suits your age and demonstrates the image you lot wish to create. Differentiate between monologues that accept literary value (adept pieces of writing) and those that are dramatic (they play well). Opt for the latter.

• DO select a slice that allows yous to make stiff acting choices. Well-nigh chiefly avert those hackneyed pieces that elicit groans from the adjudicators ("Tuna fish" from Laughing Wild, "I brushed my hair" from The Fantasticks, "Peter Pan" from 'Dentity Crisis, "Sunbonnet Sue" from Quilters and pieces from the often-performed Brighton Embankment Memoirs, Biloxi Dejection, The Odd Couple, Nighttime Luster, Nuts andBoys Life.) Avert monologues from anthologies, and, of form, read the unabridged play before attempting to perform the spoken communication.

• DO NOT select pieces that attempt to shock with their use of bad language or obscene physical activity. Auditors are never shocked but often bored! Present the material naturally, and remember that you are using the words of others in club to sell yourself. Through your choice of material and your performance behavior, show yourself to be a person of gustatory modality, conviction, sincerity and sensitivity.

• Do NOT perform material written for a character significantly younger or older than you are and avoid pieces written in dialect. We want to hear your vocalisation expressing emotion or making us laugh. Aye, you may utilize a chair, just no props or costumes — and if yous must exercise "Drinking glass Marbles" from Talking With, please Practice Non drop them on the floor!

Past CCM

millercutdomplad.blogspot.com

Source: https://mactheatre.com/you-might-also-like/2019/6/5/college-audition-do-donts

Share this post