Irene Ryan Auditions
Audition Tips
Audition Tips
IRENE RYAN ACTING SCHOLARSHIP AUDITION ADVICE --
HOW TO MAKE THE MOST OF THE TIME YOU HAVE
HOW TO MAKE THE MOST OF THE TIME YOU HAVE
SELECTING MATERIAL
* Time management is a very important consideration in selecting material for the Irene Ryan Acting Scholarship Auditions. Since the candidate will have a maximum of three minutes in the preliminary round to perform a single two-person scene (which may or may not incorporate singing) and a maximum of five minutes in the semi-final round to perform the preliminary round scene AND a contrasting two person scene (which may or may not incorporate singing) using the same partner for both scenes, actors and coaches are advised to take extra care in the selection and length of material for the preliminary round. While there is a 15 second grace period at every level of the auditions, candidates who plan on using the grace period as an opportunity to cram as much as they possibly can into the audition are in significant danger of disqualification. The grace period exists to allow for genuinely unexpected and unplanned events in an audition such as audience response, an actor going up briefly on lines, or an unanticipated disruption in the audition. It is often the actor's primary instinct in these auditions to use every possible moment to demonstrate their ability, when in almost every case the exact opposite instinct is a more effective way to accomplish that goal. When thinking about length in the selection of material, candidates and coaches are strongly advised to remember that LESS REALLY IS MORE at every level of the auditions.
* Coaches and candidates may also wish to keep in mind the following criteria now used by judges at every level of the auditions when selecting and preparing material for the auditions:
a). Ability to urgently pursue strong, clear objectives. (Has the actor identified a strong goal or task to pursue in the scene and are they consistently in ³high stakes² pursuit of that task)?
b). Ability to partner. (Is the actor genuinely and significantly connected to, and in relationship with their acting partner throughout the scene? Are they listening, responding and pursuing task through partner)?
c). Ability to make varied, specific and bold acting choices. (Is the actor employing different tactics in pursuit of the overall task, are those tactics clear, interesting and specific? Is the actor avoiding the traps of generalizing, emoting, and playing a single character ³color² or ³quality² throughout the scene)?
d). Mastery of an expressive and flexible vocal and physical instrument. (Does the actor have vocal and physical control? Can they be heard and understood throughout the audition? Is the audition free of superfluous energy or tension vocally or physically)?
e). Facility with language and clear understanding of the text. (Has the actor met the specific demands of the language in the text? Do the actor's choices seem grounded in, and informed by a broader understanding of the entire play)?
f). Demonstration of range and contrast. At each successive level of the audition-- as it journeys from the preliminary to the final round-- the actor is expected to show increasing degrees of range and contrast. In the preliminary round the actor will be evaluated primarily on the range and variety of choices within a single scene. In the semi-final round, the actor will be expected to demonstrate range and contrast in the material they select to perform as well as the choices they make within each scene. In the final round, the actor is expected to present three selections that demonstrate the broadest possible range and contrast.
This criteria has been developed to ensure that the actor demonstrates some ability in the craft of acting in addition to native talent, charisma and stage presence, and selecting material that enables the actor to demonstrate a genuine understanding of craft is strongly encouraged.
Actors and coaches are also strongly encouraged to remember that all auditions will be evaluated primarily on an actor's ability to demonstrate the acting competencies listed above, whether the material selected is from contemporary drama, rock opera, musical theatre, Shakespeare, Moliere or Christopher Durang. Actors are expected to illuminate the truth of a character within the context of the world the playwright has created in keeping with the stylistic demands of the play, rather than use the material as a vehicle solely to illuminate their own beautiful singing voices, their dazzling sense of comedy and style, or their ability to entertain an audience. The advice below is particularly useful in helping the actor find and frame material that meets those expectations.
* Find material that you could be cast in today.
* Use material that is within your age range, your vocal range (especially if you're singing), your emotional range, and within the scope of your movement skills.
* Avoid material that requires a dialect.
* Choose material has a clear beginning and moves to a conclusion.
* Use material that focuses on (or showcases) your character.
* Avoid material that you have performed in a complete production.
* Discuss your choice of material with your director, and your other acting teachers to ascertain that it is 1) suitable for presentation at the regional and national festivals and 2) that you have acquired performance rights and/or permission to perform the material.
* Make certain that you select clearly contrasting material.
* Choose material in which you have faith, and that which allows you to gain confidence as you rehearse.
REHEARSING THE MATERIAL
* Make strong, positive and varied choices aimed at putting your character in charge of the scene.
* Locate and exploit counterpoints and tensions between yourself and the character, tensions within the character, tensions between the character and the dramatic situation.
* Take a journey and allow the text to surprise you. Use discoveries, realizations and unusual tactics in the scene to keep the journey the character makes spontaneous and surprising.
* Give movement specificity, dramatic validity, and theatrical finish. Simple but completely realized movements and gestures are the most effective. Avoid literal interpretations of the text in movement and gesture.
* When staging the scene be sure you are ³sharing your work² so that it is open and available to the audience vocally and physically, no matter how intensely involved you are with partner. Avoid upstaging yourself and staging too much of your work in a scene, song or monologue in profile.
* Avoid working on too many physical levels (on chairs, tabletop, etc.) simply to dazzle the audience with unusual staging choices. Look for staging choices that grow more from a thorough understanding of the text than a desire to use the audition venue in a unique and clever way.
* Maintain vocal control throughout the scene. Don't let emotions drive you beyond vocal expression you can control.
* Imagine the physical space appropriate for your scene; set the boundaries and maintain control of that space during the performance.
* Movement should develop organically from the material; the connection between the physical action and its emotional source should be strong and clear.
* In the regional semifinal round and beyond, be sure to clearly specify the ending of the one piece and the beginning of the next. Do not run scenes together. Do allow for audience reaction. To avoid going over the time limit, a good rule of thumb is to use no more than 2 minutes, 45 seconds total in the preliminary round, 4 minutes, 45 seconds in the semifinal round, and 5 minutes, 45 seconds in the final round. This will allow a 30 second cushion (which includes a 15-second grace period) to accommodate audience response.
* Time the performance carefully so that it is always within the required limits; audience laughter is part of your time-you don't get extra time if they're laughing too hard to press forward. Carefully weigh the decision of how long you wish the preliminary round scene to run. If you decide to consume all three minutes in the preliminary round scene, you will have only two additional minutes to perform a contrasting scene in the semifinal round. The choice is entirely yours, but plan accordingly. The confidence, poise, and polish characteristic of outstanding auditions is the result of dedicated, concentrated rehearsal and astute coaching.
* Ask your acting teachers and your coaches to help you with your audition. Bug them until they do. Don't let the regional festival be the first place your audition will be seen by others. Feedback from coaches and as much rehearsal in front of others as possible is essential.
* Adequate rehearsal is vital. A five minute presentation should be rehearsed a minimum of six hours, excluding time spent learning the material and discussing it with coaches.
* Your introduction is an important part of your audition. Make it count. Script and rehearse it as if it is an additional scene in your audition. Be sure both you and your partner are introduced by name (but do not identify your school), and that you identify the title of each piece you are performing. Keep the introductions brief, personable and professional.
AT THE AUDITION
* Wear simple, attractive, comfortable clothes and shoes suited to your movement choices. Current Stylistic trends are not necessarily the most professional attire. Remember, your clothes aren't auditioning‹you are.
* Minimize jewelry. Style your hair so that it flatters your face, not hides it.
* Warm up your voice and your body. Take time to connect to your partner.
* Assess the acoustic qualities of each performance space and make choices regarding how much vocal energy you will need to be heard.
* Command your space. We are watching you even as you place the furniture in preparation for the audition.
* At the beginning of the audition, state your name, your partner's name, and the titles of the pieces you will perform.
* Do NOT state the name of your university or college.
* You may certainly end your audition with "Thank you."