Theatre Auditions and Interviews

2010 Tennessee Governor's School for the Arts in Theatre

AUDITION OVERVIEW:

MANDATORY ELEMENTS:

• Two contrasting monologues (your pieces will be videotaped!)
• An interview

Audition and Interview Guidelines

Applicants will be issued a nametag with an assigned audition code number upon check-in at the audition site. That tag is to be worn at all times at the audition - even while performing your audition pieces. Parents, family, and friends may not be in rooms with the student while he / she is auditioning, interviewing, or otherwise participating in the auditioning process.

Those auditioning as Theatre Students will complete the following process:

1) Each applicant MUST participate in an interview to determine his or her interests, commitment, habits, plans, ambitions, maturity, and general knowledge of theatre. Students will be asked about experiences and interest in all areas of theatre ---including acting, dance, vocal work, costuming, makeup, sound, lighting, scenery, properties, and all other aspects of stagecraft. The interview will last approximately three minutes. For the interview, the student may bring any photographs of personally created works (no headshots, etc.), drawings, art work, craft work, etc. that they would like for adjudicators to see. In evaluating applicants, a wide range of possible experiences and interests will be considered since students will study all aspects of theatre if selected for the program.

2) The student MUST prepare two contrasting monologues ( see specific rules and suggestions for pieces below ). Both monologues together should last no more than three minutes, including any introductory or transition materials.

Theatre Students will perform audition pieces privately in a room before theatre adjudicators. The Audition Coordinator will escort students to the room. The adjudicators will take notes during the presentation. The applicant should wait to begin his / her piece until the adjudicators signify that they are ready for the applicant to begin. The timer starts with the first words spoken by the applicant. After the pieces are complete, please stand quietly and wait until the adjudicators dismiss you. In most cases, adjudicators will not ask you questions about your monologue pieces and presentation. Unfortunately, due to time constraints and the large number of students to be auditioned, there will be no feedback given on your audition pieces. Please be advised that your audition will be videotaped.

Specific Rules for Contrasting Monologues

• The performer must choose two contrasting monologues. The mood / tone of the two pieces should indeed be contrasting, such as a humorous piece and a dramatic / serious piece.
• For the two contrasting monologues, do not select pieces that contain singing or music.
• The two contrasting monologues performed together can not last over three minutes (including introductions and transitions - see below).
• Selections should be from plays dating 1970 to present and must not be from film scripts, musicals, lyrics from songs, selections of poetry, novels, and other works.
• Bring nothing into the audition room with you. Leave scripts, letters, purses, backpacks, etc., in waiting room.
• Do not bring resumes, headshots, or other application materials with you into the audition room.
• No props of any kind are allowed in the presentation of your monologues. There will be ONE armless straight-backed chair provided for you in the audition room to use in your audition pieces if you wish.

SUGGESTIONS FOR A GOOD AUDITION

Note: Below is a lot of information to read. However, if you read it, follow the suggestions, and rehearse these concepts, you will have a far better chance of success. These ideas are based on responses from adjudicators with many years of service to the Governor's School for the Arts. Remember - these are suggestions to help you and not rules which must be followed.

Piece Selection

• Select monologues from plays written after 1970. It is highly recommended that you select a piece that was written within the past 20 years. (See plays to avoid below)
• Be familiar with the entire play your monologue comes from. You can not understand the meaning behind your monologue if you haven't read the entire play.
• Do not select your piece from a book of "theatre monologues" - select a monologue from an entire script.
• Do not select monologues for characters that are opposite of your gender or race.
• Select a monologue for a character that is close to your own age. Do not try to play an elderly person or a young child.
• Refrain from choosing monologues that require strong dialects (Southern, British, etc.)
• Avoid monologues which require yelling or screaming.
• Avoid pieces which require telephone conversations.
• Do not attempt to write your own monologue and do not choose a monologue from a movie. Use an established theatrical script.
• Avoid monologues from the following plays:
• • Butterflies Are Free
  • 'dentity Crisis (the Peter Pan speech)
  • Star-Spangled Girl
  • 'Night Mother
  • for colored girls who have considered suicide when the rainbow is enuf
  • Laughing Wild
  • Dark at the Top of the Stairs
  • Amadeus
  • R & G are Dead
  • Death of a Salesman
  • Anne Frank
  • Reindeer Monologues
• Avoid monologues from the following playwrights:
  • Do not select any Shakespearean monologues
  • Arthur Miller
  • Tennessee Williams
  • William Inge
  • Neil Simon
  • Anton Chekov
  • George Bernard Shaw
  • Christopher Durang
  • Henrik Ibse

Professional Attitude

• During the communication period in January and February between you and the audition coordinator, be respectful and professional. It is fine to ask questions, but be sure you have checked this web site first. Use email as the primary means of communication unless there is an emergency.
• If you must change your audition date or time due to serious conflict, communicate this to the coordinator as soon as possible. Do not wait until the last minute and do not ask for multiple changes. Make the coordinator aware of potential conflicts with other Governor's School for the Arts auditions (music, art, dance) as soon as you are aware so that problems can be resolved.
• On the day of auditions and interviews, your selection process really begins from the moment you enter the building. Be professional, on time, prepared, polite, and friendly to everyone.

Audition Entrance, Introductory & Transition Remarks

• Entrance into the audition room is important. Keep you eyes up, be positive in your attitude, and walk in with confidence. Be "cheerful"; but not a cheerleader.
• Establish your space before speaking. This means to set the stage (e.g., put the chair where you want it or remove it from the acting area if you do not wish to use a chair).
• WAIT for the adjudicators to nod or give you some signal before beginning.
• Whether or not you use an introduction and transition between your pieces is optional. However, it is recommended. These comments ARE included as part of your overall three minute time limit - so keep them brief and to the point.
• You may tell the adjudicators your first name only if they ask (do not include it in your introduction). However, do not give them any other personal information should they mistakenly ask (e.g. high school).
• Example #1 - Introductory comments without transition comments:
  "Good afternoon. I will be performing two (or three, if you are doing a musical selection) pieces for you today. My first piece is a cutting from (Title of Play) by (Author). My second piece will be a cutting from (Title of Play) by (Author)." My third piece (optional) is a musical selection from (Title of Musical) by (Author - optional since many musical have multiple credits).
• Example #2 - Introductory comments with transition comments:
  "Good afternoon. I will be performing two pieces for you today. My first piece is a cutting from (Title of Play) by (Author)."
  After first piece is completed "My second piece is a cutting from (Title of Play) by (Author)."
• Whether or not you use spoken transition comments, be sure to place a small transition space of a few seconds between your pieces. This gives the adjudicators a chance to complete their thoughts and makes a definite statement that one piece has ended. For this transition, do not bow your head or look down at the floor directly beneath you. After you have completed the introduction, you should look at a spot approximately four to five feet away --- gather your thoughts --- lift your eyes and have the character seen from there.
• After all pieces are completed, a simple "Thank you." is good and simply stand and wait until the adjudicators dismiss you. Do not ask the adjudicators any questions.
• Do not do introductory comments or transitions in character. Do them as yourself.

Audition Performance & Preparation

• Rehearse.
• Rehearse in the clothing and shoes you will wear.
• Memorize your monologue and your optional song. Do not wait until the night before the audition to do this. Sometimes you may get lucky, but in the long run being unprepared will hurt your auditioning.
• Be sure you can pronounce and articulate all the words correctly. Clear speech and understanding is very important.
• Be sure to adjust the volume of your voice to the size of the room. For smaller audition rooms, do not speak too loudly --- but do project appropriately for larger rooms.
• During your entrance, keep your eyes up --- do not look at the floor! This will give your entrance a look of confidence. Rehearse this. Look directly at the adjudicators while giving your introductions.
• During your audition performance, do NOT look directly at the adjudicators for the entire monologue. They are not your scene partner. Look slightly above their heads, towards the back of the room. Do not stare at one spot during the entire monologue (even if your character is angry at another character). Do not use an empty chair on stage as the placement for the person to whom you are speaking --- you will look like you are speaking to an empty chair. Do not place the person to whom you are speaking too far to the left or right in the room.
• Plan some type of movement during your monologues or optional song. Do not simply stand or sit for all selections. This movement needs to appear spontaneous, but should be something you have rehearsed.
• If you use a chair for a selection, be sure to stand during part of that monologue. You want to find "different"; ways to use the chair --- not just plop down like everyone else. Be careful not to throw the chair or create loud noises with it so as to startle the adjudicators. It also looks a little silly to suddenly jump onto the chair --- you may think you are being creative, but the adjudicators have seen this trick many times before.
• Play the character AS IF the action is happening to YOU. Don't be fake, artificial, or "acty";. Be truthful and real. Play the scene as you would in real life! Over acting is a fault of many actors.
• Know WHO your character is, WHAT they are trying to do, WHERE they are, and TO WHOM they are speaking.
• Know who the other character is (the one to whom you are speaking). Be able to describe him/her. For example, do not simply say the other person is a "friend"; but know the friend's name, what they look like, what your specific relationship is to him/her.
• Do not scream or yell in an overly loud or dramatic way. Cerrtainly do not continue to scream for an extended period of time.
• Try to avoid playing stereotypes.
• Be aware of overacting with your face --- this is called "mugging"; and will not help you in the end.
• Do not break into song during your monologue selections. If you are going to sing, do that during your musical selection only.
• If you choose to perform a musical selection give that component the same amount of attention n rehearsing as your monologue.
• If anything messes up during your musical audition, do not look at the accompanist to give them a dirty look of blame. This is not professional --- even if it might be their fault.
• In staging your musical selection, do not place too much emphasis on movement. The purpose of this component is to hear how well you can sing, not to see your dance or choreographing skills. Feel free to make slight staging movements and hand gestures, etc.
• At the end of your selection of performances, be sure to look directly at the adjudicators. Allow them to dismiss you from the room. They should not ask you questions as a general rule (due to time constraints). However, give them that option. Once they have dismissed you Thank them briefly for their time with a simple "Thank you"; or "Have a nice day";, etc. Exit with the same confidence with which you entered --- even if you don't feel you performed to the best of your ability. Practice this part of your audition too!

Suggestions on Appropriate Dress for and Auditions and Interview

• Dress nicely. NO jeans, cut-offs, t-shirts, or anything else that makes you look as if you just came in off the street.
• For live theatre, never try to dress "as the character."; Select clothing that makes you look groomed, clean, prepared, and interested in looking professional.
• Do not wear black. Many theatre have black curtains as the backdrop and you will be lost in all that darkness.
• Be careful how much jewelry you wear. If you have too much, the adjudicators may notice that as you act instead of your skill as an actor.
• Keep your hair out of your eyes and off your eyebrows. The eyes are the "windows to the soul"; and you do not want hair blinds covering them.
• MEN should wear casual dress pants (non-black) with a non-black dress shirt. Do not wear tennis shoes, sandals, or any shoe that is big and "clunky."; Soft soled dress shoes are ideal. A tie is optional.
• WOMEN should wear a nice non-black dress or skirt & blouse as the ideal. You can wear dress slacks, but definitely no jeans or shorts. Avoid anything too revealing.
• Select colors that play up your natural coloring. Bright cheery colors are a good choice. Beware of anything too trendy (you don't want adjudicators asking where you got your outfit instead of asking about your acting experience.)

General Theatre Audition / Interview Schedule

Students should refer to their assigned audition category (e.g., Male/Female and Group #) and check the specific times posted for that group. See 2010 Audition/Interview Location/Dates

ALL STUDENTS SHOULD COME DRESSED AS APPROPRIATE FOR THEIR BEGINNING AUDITIONING ACTIVITY ( see notes and suggestions).

Should you have audition or interview questions, contact by email:

Theatre Audition Coordinator
Tee Quillin
Email: Theatre Audition Coordinator