auditioning quiz

  1. who conducts the audition
    • could be anyone from 2 people to 20. director, casting director, playwright, composer, producer etc.
    • doesnt really matter, just give it your all
  2. what do the auditors expect from a reading
    just an opening night performance

    it doesnt matter what they say they want, your job is to show them who you are and how sensitive you are to the feelings in the role
  3. why can I act well in a play but not in a reading
    you could act well in a reading. you just have to ask the right questions, aka the 12 guideposts
  4. why do you call the audition situation a war between the actors and the auditors?
    actors feel like theyre going to the battlefront when they go to an audition and often view the auditors as "the enemy". an actor cant be hostile but must "woo" the enemy
  5. why do the auditors eat and drink?
    how do I conduct my entrance and exit?
    because they can.

    this is your chance to show how businesslike and how charming and open you are. try to communicate to the auditors that you are a pleasnt human being
  6. what do i do when they ask me "what have you done"
    express who you are rather than what youve done. pretend this is a one act play all about you. practice it. what you have actually done is not as important as how you present it.
  7. what do I do if I'm late?
    ask the stage manager if its caused any problems. if it hasnt drop it. if it has, tell them you were at another audition. if they ask what for, tell them youre superstitious and dont want to say
  8. should i memorize the script
    no its a waste of time.there is more freedom in learning to work with the script then the efforts to get rid of it. a reading should be similar to an improvosation rather than a finished performance
  9. what if the director directs me at the reading
    • take his direction... duh
    • but add to what youve already done
  10. how do i judge my reading/ find out why i wasnt accepted.
    • judge your reading on how fully you were able to express your own emotional life in terms of the character and situation.
    • dont try to find out why you werent cast
  11. how do I get a reading?
    should actors go to an open call?
    • get an agent
    • open calls are required by the actors union so theyre frequently for roles that have already been cast, directors are just complying with the rules. chances are slim but you can do whatever.
  12. what will my agent do for me?
    not much. an agent is good if youre in demand and no good if youre not but theyre necessary to get  jobs
  13. is the stage manager the actors friend
    stage manager works for the boss so whatever you say to them/do will probably go back to the director. be polite on and off stage all the time.
  14. what should i audition for? what if a role isnt right for me?
    audition for everything. even if the role isnt right for you.
  15. why do you advocate a mail rather than in person campaign?
    so they can look at it on their own time
  16. guidepost 1
    • relationship
    • once you know the fact of the relationship you are able to explore how you feel about the character
  17. guidepost 2
    • conflict
    • what are you fighting for?
    • you must have a positive motivation. that is much stronger than a negative one.
  18. guidepost 3
    • the moment before
    • the more specific and focused (emotionally) your moment before is, the better the entire scene will go
    • when the moment before is richly invested it can carry an actor through the reading of material he doesnt know well
  19. guidepost 4
    • humor
    • there is humor in every scene; just like in every situation in life
    • we try to put humor everywhere; without it we couldnt bear to live. scenes are not lifelike when they have no humor at all
  20. guidepost 5
    • opposites
    • whatever you decide is your motivation in the scene, the opposite of that is also true and should be in it

    • this is kinda confusing so EXAMPLE!
    • A scene between mother and son; Son realizes that he and his mother have been treating their father unfairly. the Mother is angry because the son suddenly cares about the father now and she wants him all to herself. she defends her point of view.  in her performance you can see her bad relationship with her husband but she is not portraying any love of her son.
  21. guidepost 6
    • discoveries
    • take nothing for granted; make an emotional discovery as often as you can find one in every scene
    • ask yourself, what is new?
  22. guidepost 7
    • communication and competition
    • it takes 2 to communicate; the sender and the reciever. it is not enough for the actor to feel if the feeling isnt being being communicated. it is based on the need to be heard by your partner and the hope that what he hears from you will make a difference in your relationship

    • there is always competition in relationships. an actor should always have these 2 points of view;
    • I am right and you are wrong
    • you should change from being what you are to the way i think you should be
  23. guidepost 8
    • importance
    • plays are written about important stuff not everyday junk
    • the truth is not enough for a play unless it is invested with sufficient emotion to make it important
  24. guidepost 9
    • find the events
    • actors get wrapped up in character and forget what is happening in the play.
    • plays must have progress. an actor must ask himself, what is happening in this scene? what are the changes? then work to create those happenings and changes 
  25. guidepost 10
    • place
    • when you audition, its on a bare stage so you have to create your own place. choose something that is extremely familiar to you.
    • its not necessarly the place thats important but how you feel about the place. it adds another layer of emotion
  26. guidepost 11
    • gameplaying and role playing
    • we take on different roles because it is a way of dealing with reality, not avoiding it
    • when we are in class we are students, when we're at work we are employees.
    • in each scene actors should ask, what game am i playing in scene? what role should I assume to best play the game?
  27. guidepost 12
    • mystery and secret
    • after youve done all the other 11 guideposts for your audition, add to it what you dont know.
    • people can never know everything about each other. there are expontential questions in life that will never be answered.
    • the posibilities of yes are always better to act than the certainty of no
    • there are many kinds of secrets. ones you dont want to tell anyone, ones that you want people to know you have but you dont want to tell them etc
Card Set
auditioning quiz
for Friday's quiz on the reading