Auditions
For hundreds of years, the audition process didn't change too much. Actors would have needed to become familiar with plays, writers, styles and changes in culture, but the process was basically the same. Actors would audition face to face in front of an audition panel. The panel being responsible for casting actors for various parts. Even during the age of film and digital technology, auditions have typically been face-to-face. Actors may be cast via alternative means but auditions would have been face-to-face. Live auditions are more natural because of the direct interaction. There is an opportunity for a relationship to develop, the panel may prefer an actor for reasons other than their performance. The actor can share more of themselves and the panel may also see further potential in the actor. The live audition process can be daunting, making the actor nervous or stressed which in turn can negatively affect their performance.
Although the audition process had not changed, many styles and genres have evolved during this time. We typically consider Greek Theatre as the forbearer to modern theatre, with other styles and writers being prominent. Outside of modern/contemporary theatre, Shakespeare is extremely renowned and still performed extensively in the modern era. In the modern era, directors are likely to have their own unique creative idea's for a play.
Changes in culture have also forced some change in the industry. For example, for hundreds of years, women were not allowed to be involved in theatre (or any form of legit profession). Typically even female roles were performed by males. However, due to the use of masks in many classical styles, women may have been able to perform illegally. Since the 19th century, women have been allowed to perform professionally. Although this is a massive positive cultural and societal change, this has also lead to where women have been abused, or cast on appearance alone. In the 21st century, cultural influences such as the me2 movement have been influential on the industry. The movement exists because of Hollywood scandals and situations such as a casting couch. In the present day, these cultural changes should be reflected within the industry and will effect the audition process. How this affects an actor is that they should never feel forced to do something they are uncomfortable with during an audition. The actor has the voice to say if they have been abused in some way. They do not need to 'perform' outside of their audition. Equal rights movement have also forced the performing arts industry to offer accessibility and equal opportunity. Theatre and film should be reflective of society. If a play is set in a certain time and place, the actors should be reflective of society and involve performers of varying backgrounds. For example, the TV soap opera East Enders, if realistic, would involve more diverse cast to be reflective of the real life area. However, I have digressed. Generally speaking, a character may now be more generic in description and fluid in the actor choice. Modern characters ares not sterotyped or specific outside of their story and situation. A character may be of a certain age range (age reflects life experience, etc) but generally speaking, a character is fluid. Female and male characters can be flipped or made to work either way. When auditioning, the other actors are possibly either very similar, or hugely contrasting.
Example of Film Monologue
Audition Types
Traditional Face-to-face live auditions
During a face to face, live audition, the actor will be performing live, in front of an audition panel. The panel will include the director and casting director. The actor will need to travel to a specific venue in order to perform in the audition. The venue could be interchangeable, but is typically a theatre or rehearsal venue. Often, the actor would learn a monologue for the audition. This is especially true for a University or Drama School application. An actor may also read script using a panel member as a read in. The actor will most likely be competing against a number of actors who are attending the same venue. This can be a challenge as potentially, the actors are all in competition for the same part.
-Classical Theatre: An actor may be asked to perform a monologue in an audition for a classical theatre piece. Classical theatre is typically pre 20th century plays such as Shakespeare or Greek Theatre but could be up to the mid-late 20th century. These plays may have there own unique style of performance and the actor may need to have an understanding of the style when auditioning.
-Contemporary Theatre: An actor may be asked to perform a contemporary theatre monologue for their audition. Contemporary theatre is typically considered from Stanislavski to the present day. However, the term may vary and could be from the 1950's onwards, or even writers that are currently still living! A contemporary theatre play will be produced in lie with a directors vision. The style of plays can be hugely contrasting and mix various genres or performance styles.
As the lines between contemporary and classical theatre are somewhat blurred. There is no particular year, writer or practitioners that defines when one era ends and one begins (even though Stanislavski is an obvious milestone). It is important to take this into consideration. When choosing a classical piece is possibly a better idea to aim towards Shakespeare. When choosing a contemporary piece, it would be advisable to look for as modern as possible, at least the last 50 years. Possibly Pinter would be the very earliest. I personally feel the auditions could be more specific, such as classical literally meaning classical era Greek, with Shakespeare being another type.
Pro's
Some actors are more comfortable performing live.
Requires stage acting skills only. Does not require understanding of camera operation or need to edit, upload and send self films.
There is opportunity to interact with the panel. The panel can get to know you better and make a better judge of you holistically. If there is good chemistry between an actor and director is more likely to cast that actor, even if it's for an alternative part.
Less competition. Even though their will be more actors in the same location, overall, less actors will be auditioning for the part. To audition means to travel to the venue, which may be difficult for various reasons. Self films can be made anywhere and sent from anywhere.
Cons
The live process is more daunting. It is easy to forget script in the moment, or be afflicted with nervousness.
We don't know how we will 'feel' on the day, we could be tired, feeling sick, travelled a long distance.
The actor will need to travel for the audition. Depending on the actors location, they may need to travel a certain distance. They may need to make arrangements such as parking or booking a hotel room. There are also costs involved, so the a live audition could be an expensive day trip for an actor, with no reward if they are rejected.
Less room for error. The actor may be required to learn a monologue off script, for the audition. A self film can be recorded numerous times until the actor is happy and they send only the best film.
Self-Filmed Audition
Since the pandemic and subsequent lock downs, it has become typical in performance for self filmed audition videos to be used instead of face to face auditions. Even though many theatres and studios may offer face to face auditions, it has become prevalent outside of lock down conditions. Face-face-face auditions are most frequent in educational settings, but even then it can be optional. Therefore, even stage actors should be prepared for self Filmed auditions. The actor need to be acquainted with a video camera, having knowledge of lighting, marks, angles and general acting for camera techniques (maintaining focus, limiting movement in close ups, etc.). Although some may find it challenging to self film, there is opportunity to perfect a performance being used for the audition. It may be possible to be more confident in a familiar enviroment, with less people around (casting director, etc).
Pro's
Opportunity for perfection, can be filmed numerous times until the actor deems it to their highest standard.
Opportunity to warm up and relax. It may be difficult to find the time and space to warm and and relax during a face to face audition.
Room for 'some' creativity. The actor can use effects such as lighting and scenery to enhance the performance. An example maybe a table with some unfocused objects. It is important that the actor is the primary subject, thats the props frame the actor, rather than distract. It may also further demonstrate and actors creativity, understanding of camera or understanding of the script. However, the actor should not go overboard as the performance is more important. However, for show reels, the actor could create film like scenes using basic techniques.
Greater opportunity. The actor is not limited to auditioning for roles in there area. Actors from anywhere can audition for any part if they can make themselves available
Cons
Lack of interaction and direct feed back
Focus on face and not body, difficult to express ranged actions.
Greater opportunity but also increased competition due to wider pool of applicants. Anyone reviewing the self films may have possibly already seen hundreds of films that day.
Requires addtional equiptment. A SMART phone may be ideal these days, but equiptment such as a boom mic and tripod will be helpful.
Requires a recording space. The space needs neutral background. Background noise needs to be limited.
Requires additional training, skills and knowledge such as operating with camera.
Unable to form chemistry with panel. Chemistry is important in art and especially acting. Chemistry between actors and actor with directors.
Workshop auditions
An actor may be required to work in a group setting for their audition. Instead of learning a monologue, they are more likely to partake in workshops such as warm up games, devising, script writing, hot seating, skill training and producing small performances. The actors will be assigned into teams as part of the workshop. With this type of audition, there is more freedom and less pressure. It is a natural play area which is more regards to getting to know the actor rather than judging them on a monologue. Even though it is a more relaxing and friendlier environment, the actor is still in competition, if they are in a team that are for example, not focused or do not have chemistry, this may reflect badly on the individual actor.
Pro's
Does not need to perform a monologue. It can be difficult to learn a monologue and recall it on the spot during the audition, whilst also applying direction. The workshop setting is flexible and not so specifically demanding.
Is not focused on the role exclusively. The actor presents themsleves, their creative abilities and team work capability. You get opportunity to showcase skills beyond performing the monologue.
Gives opportunity to network. The actors may spend all day together, making friends and there fore may want to work together in the future.
Team play. The whole is greater than the sum of it's parts. Actors work with actors who are not direct competitors for particular roles. The team may be cast together so will work together during the workshop and be on friendlier terms. Good chemistry enhances the team. High collective creativity leads to enhanced ideas and style.
The environment is friendlier and more relaxed
The actor can devlope chemistry with the group. If a group has a good chemistry, they (collectively) are more likely to be cast.
Con's
A weak team, or a team without chemistry, may reflect badly on all actors in that team. However, an actor may also stand out if in a weak team, but this is less likely due to generally receiving less attention.
Some actors are more comfortable learning monologues than workshop auditions.
A large group can be overwhelming.
Yuu may be completely overlooked. Even if you fluff an audition, you will get your chance. During a workshop, you may mostly work with other actors, but the directors, coaches or indiviuals running the workshop may not know of your existence.
Duologue
Although typical actors perform monologues, an actor may be required to perform a duologue with another actor. The actor will need to learn their characters part and then during the audition read with the other actor. The actors may not be familiar with each other or do not form a good chemistry and in turn this may affect the result. A duologue will typically be performed face-to-face as both actors would need to be in the same location.
Pro
Good chemistry means both actors stand a better opportunity of gaining the roles they are auditioning for.
Actor may be more comfortable performing with another actor, rather than recalling a monologue or working with a read in.
The actors can be supportive of each other. Actors are generally not as nervous as when they are performing with another actor.
Con
Requires good chemistry. Both actors need to be able to work to the same level.
The actors may be given little opportunity to work together before the audition
Casting Type
Each character in a play will have some specific traits applied to them. In the modern era, the characters are requirements are limited to age and gender, although age and gender is not always specified or is flexible (to the directors discretion). The actor will not necessarily be limited to a character age that specifically matches their age. The character will normally have an age range, such as teenager, early twenties, later twenties, 30-40, etc. An actor themselves may have a wider range or alternative range of age. An actors playing age may vary to their real age. For example, I may have a slightly more youthful appearance than most males my age. Although I am a college student, I do not look too much out of place and possibly look around mid 20's when dressed as a student (In hoody)and fully shaved. However, I am capable of growing dense facial hair, and have a receding hairline, which could push my playing age to years above my real life age. This would put my playing age from 25-40+. This is useful knowledge and this provides actors a wider range of opportunity. However, when applying for parts actors should be aware if their playing age is within that required of the character.
When choosing pieces for the monologue an actor should suit plays and characters that are highlight their strengths. However, the actor may also look to challenge themselves in various styles of performance if they feel capable with practice or are interested in a particular play and character. An actors strengths may be their physical or vocal acting skill. It may be their control over emotions or preference for certain emotions. For example, an actor my like to utilise anger or other extreme emotions such as 'unspecified film actors'. Some actors may be suited for a straight (mentally not sexually) character, versus a crooked/awkward/funny/clownish/(insert contrast) character. Other actors may be over dramatic in their body language and expression. Other actors may be more expressive with their facial features such as the eyes. Each actor will have something unique, be it their performance, their voice or their appearance. If the actor plays to their strength, they are able to express themselves fully and show what they exclusively have to offer that is different to the 100s of other live auditions and especially self films, they panel have seen during the audition process.
Due to my natural child like personality, I feel like my casting type is ideally suited to playing child like characters. This is brought me a connection to the 'Peter and Alice' play, as although I have adult experiences and skills, I feel I am a child at heart. I don't want to let go of it and become an 'adult' but embrace the inner child through performing. Therefore, I see myself as like a 'Peter Pan' character. Although I will physically age, I do not think my personality will change 'dramatically' (no pun intended) as I get older, I will be a child for life. At college I am Robin Williams version from the Hook Film, much older than the other students, but learning to fly again.
If I were cast as a family member, I feel I would be best suited as an older brother type character to young adults. I also could be like an uncle to young character. I could also play a son for an older character.
Having played several characters that utilises emotions such as anger or rage, I have been often type cast into these roles at college. Anger is an emotion I feel I can tap into, but it requires a lot of energy and is draining.
I feel I am able to play robotic or android like characters. For example could be like a Terminator or 'David' character in the 'Prometheus' films. I am able to play emotionless characters.
I feel also I could be capable of auditioning for acting roles that require additional performing skills.
I feel I am physical person, and would like to audition of physical roles. Roles that include fighting, sports or climbing would be ideal roles for me.
Although I feel I could perform varying roles within my age range, I do not feel confident enough to take on lead roles at this time. As an actor, I would prefer support or cameo roles. I have only so much experience as an actor, I do not know if I would be capable of learning a full script for a play. IN this moment, it can take me time to learn a script. Once I have it, I can recall freely for as long as required. This would mean that I could work on performances that have an extended production period, but I could find learning a script at short notice, very challenging.
Audition Etiquette
Although the formality of auditions may change from each audition to the next, there are some generally accepted 'rules' for actors to follow when attending the audition.
Attire
Although, the panel may be focused on the performance, there is potential for distraction via clothing. For example, logo's or 'slogans' may be distracting to the panel. Other distractions may include pocket items, watches, etc. Therefore, the actor should wear clothes that are basic. An example of what actors could wear are 'drama blacks'. 'Drama Blacks in the 21st century is mostly comprised of all black hoodie, t-shirt, joggers and trainers. Any further markings, colours, etc should be as little distracting as possible. Even if an actor has a specific costume for the character, they should choose to wear 'drama blacks' or similar attire. If the actor has long hair, they should also tie there hair back to reveal a full face.
Research
The actor should have advanced knowledge of the play they are performing. This is not just the monologue or the scene, but the entire play. Preferably the actor has seen the play, a film adaption or read the full script. Although not advisable, it is sometimes not possible for reasons such as time, accessibility or inexperience. Therefore the actor should research the play as much as possible via alternative means and least gain an understanding of the synopsis and the character. This is important not only from an acting perspective, but the panel are likely to ask the actor questions in regards to the play, the scene and their preference for the play/monologue.
Importantly, the actor should arrive on time (preferably earlier), in the given slot. There is potential for the actor to fill in a later slot, but it's is not always going to happen. Being late for audition is similar to being late for an interview or for work. It could cast doubt on the actor, ie for poor time keeping, or they are not interested enough. Being early gives the actor more time to mentally prepare and familiarise themselves with the surroundings. They also have some time to go over their script. The actor should wait patiently to be called, there may be a number of actors auditioning at the same time.
The actor should be friendly at all times and not resentful of rejection. Even if the actor is not successful in casting, or even completely mess up their monologue, they may be considered for other roles in the same play, or alternative plays that members of the panel are involved with casting. Even if they are not suited for a role, the director might like the actor or see them in an alt role. Therefore, it is important to maintain a positive attitude throughout the auditioning process.
When called an intro an audition there is general a standard protocol or basic template to follow.
-Introduce yourself (My name is..)
-What you are performing. Monologue, classical/contemporary? what play? what act/scene? what writer?
-Enters neutral pose transition to monologue)
-Perform monologue
-Enter neutral pose
-Questions
-Leave
Rejection
It is very unlikely that you will be told you have been cast during the audition. The panel will have numerous actors to audition. The entire process could take days or even weeks. Even if you perform to an extremely high standard, it is still possible to be rejected. Often, the director will have a particular vision for a play, a particular look for a character. On the flip side, the monologue performance could be less than perfect, but if the panel like you, they see you in the role, they see the potential as that character, it may be possible you are cast. Rejection is a massive part of acting, and the actor will need to be accepting of this. It is important to keep auditioning and not let rejection affect you. A failed audition can encourage the actor to work harder, to be better prepared. They can focus on finding more suitable monologues and/or characters. I have found that because of my failings in auditions, I have learned that I over complicate things. I am also not always as prepared as I need to be. This is not just the performance, such as spending time learning the lines, but also answering potential questions from the panel. I might know the answer, but in the audition situation, I am unable to recall. This information needs to be as fresh as the monologue. It can show I understand the play, the characters, the concept. An audition is always going to be raw, so showing a greater understanding beyond the monologue further enhances an actors audition.
Live Audition
Classical Theatre Monologue Audition Piece
Play: Julius Caesar
Writer: William Shakespeare. Born in Stratford but spent some time in London at a place called the Globe Theatre. He was a play write during the Elizabethan Theatre who was involved in the radicalisation of theatre in England. Most of his plays have been performed live in the modern era, some reimagined, many also adapted for film. Shakespeare is arguably the most influential play write off all time. Shakespeare was middle class-upper class, but if Shakespeare lived today, the combined value of his works would probably make him the wealthiest writer in history of the Earth
Synopsis: The play revolves around the Assassination of Julius Caesar by a number of political rivals such as Cassius and Brutus. Caesar had been seen as becoming a tyrannical megalomaniac who needed to be removed from power. A conspiracy to assassinate Caesar in order to remove him from power evolves. As the council meets, the assassins begin to group together and wait for the moment to strike. Julius Caesar is stabbed continuously by his rivals, with the character Brutus delivering the fatal blow. The assassination is carried out in front of all council members as was custom within the Roman period. Marc Anthony later learns of Caesar's assassination and laments over his dead body. He was a friend of Julius Caesar and evokes the masses to start a civil war against the conspirators and opposition to Julius Caesar,such as Brutus.
Character: Marc Anthony. Anthony is a general of the Roman Legion and close friend of Caesar. He is upset by Caesar's assassination and starts a civil war in order to vanquish the rebels. Although a general of the Roman Legion, Anthony is a passionate an emotionally driven character. He is not as politically orientated as characters such as Brutus.
Act III Scene I
“Friends, Romans, countrymen, lend me your ears:
I come to bury Caesar, not to praise him.
The evil that men do lives after them:
The good is oft interred with their bones.
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious:
If it were so, it was a grievous fault,
And grievously hath Caesar answered it.
Here, under leave of Brutus and the rest
(For Brutus is an honourable man;
So are they all, all honourable men)
Come I to speak in Caesar’s funeral.
He was my friend, faithful and just to me;
But Brutus says he was ambitious;
And Brutus is an honourable man.
He hath brought many captives home to Rome,
Whose ransoms did the general coffers fill.
Did this in Caesar seem ambitious?
When that the poor have cried, Caesar hath wept:
Ambition should be made of sterner stuff.
Yet Brutus says, he was ambitious,
And Brutus is an honourable man.
You all did see that on the Lupercal
I thrice presented him a kingly crown,
Which he did thrice refuse. Was this ambition?
Yet Brutus says he was ambitious,
And sure he is an honourable man.
I speak not to disprove what Brutus spoke,
But here I am to speak what I do know.
You all did love him once, not without cause:
What cause withholds you then, to mourn for him?
O judgment, thou art fled to brutish beasts
And men have lost their reason. Bear with me.
My heart is in the coffin there with Caesar,
And I must pause till it come back to me.”
This speech/monologue occurs during Caesar's funeral and spoken to a mass of people attending the funeral. Marc Anthony is being slandered by the crowd and they are making claims of statement he may have stated against Brutus. Even though Marc Anthony was a fiends of Caesar's he is allowed to give a speech However, there is one condition. He is allowed to speak as long as he does not implicate the conspirators. Although it does not directly refer to Brutus as being involved in the conspiracy. Anthony is able to subtlety implicate Brutus by questioning the accuracy of his words, bringing into account Caesar's previous rejection of the crown. If Caesar is so ambitious, why did he reject the crown? Therefore Marc Anthony has his own 'truth' of the situation and this drives his motivation to quash the rebels.
Lupercal= A cave in Rome
Why did I choose this piece?
Though I have exposure to Shakespeare and his works, I have little little experience Shakespeare as a performer. Although the plays can be confusing, I have great respect for Shakespeare. His plays help bring together different levels of societal hierarchy. His plays help develop the English language from regional to a standard, universally accepted language. Before Shakespeare each region of England would have there own variation of English based around several languages and localised understanding. Therefore, this seemed like the ideal situation to explore Shakespeare (though I met live to regret it later).
I choose Juliet Caesar because it did not seem as typical a play as Hamlet or Macbeth. I am aware of the characters, but not the story. Maybe MacBeth would be the obvious choice, but I was drawn to Julius Caesar because it was new to me and I wanted to find out more about the story. However, it does have renowned monologues that I was not originally aware off!
I had originally looked at performing a monologue (Act 2 Scene 1) from the character Brutus in the same play. I had liked the play and come familiar with it, but I found the chosen monologue too challenging at the time. This is mostly because I have little experience of Shakespeare, especially as a performer. The reason I found the monologue challenging is the style and structure of the text. I understood what was being said in each line, the modern day translation, but found it particularly difficult to recall the exact structure of the script. It will be interesting to watch some Shakespeare at the RSC to gain a better understanding of the style and form, with Julius Caesar being a potential option. Instead, I have chosen a monologue (Act 3 Scene 1) from the character Marc Anthony. Despite being more familiar, with notable actors such as Charlton Heston, Marlon Brando and Damian Lewis performing the role, I am not in competition, I feel I can gain from their experience. I feel the script will be more suitable for my audition. This is mainly because of it's structure but also because it allows greater emotion. I also feel the script is more in line with modern English, which for the time being, will be more suitable for my current level of experience. I also feel that for casting purposes, I am closer to the age range of Anthony (younger male) than Brutus (older male).
The monologue is powerful and emotive. Marc Anthony is upset by Caesar's death and the accusations being made against both himself and Caesar. Due to their close relationship,he has his own perspective of Caeser reign. He is attempting to turn the crowd in his (and Caesar's) favour and to revolt against the conspirers.
First Read Through (Brutus)
I have jumped into this monologue but I am not sure if it is right for me. This is a political character with little emotion. I feel the piece makes me sound like a newsreader. I do not feel there is emotional flexibility. I am not enraged, or any other emotion, I am calculated. The monologue is very challenging with words being all over the place, but with time, I can learn it. I am still drawn to the script due to the description of Caesar and he impact of the words. It is where Brutus has suggested the idea of assassinating Caesar.
Rehearsal
I am still struggling to come to terms with the script. I am unsure with the flow of each line. The words are in a confusing order. It's very new, but this seems more Shakespearian than normal. I feel as though it's like German translated into English. There are some words seem difficult to pronounce. I also don't feel comfortable performing the monologue in front of others. Maybe it's not right for me or maybe I'm over complicating things! Probably both.
In this I feel I have mixed characteristics of different monologue characters and have moved away from Brutus. I do not perform as the politician Brutus but too much like Peter. This is maybe because I am focused on Peter and Alice or because I have not been able to compartmentalise during this time. Although generally I feel much more comfortable reading, I do not feel anywhere nearer to coming off script. This is concerning, as I am much more comfortable with the Peter and Alice monologue.
Mock Audition
I am still no closer to being off script and coming closer to making the decision to switch to another. I have been practising for weeks now and still no closer. I perhaps know half the lines but I still need script prompting. I also feel like this piece is too rigid in emotion, although I do like the style of the writing. I can consider this the script that broke me, but from this I have gained experience.
As I am familiar with the play, I am looking at alternative characters and monologues. Although it is well known, Act 3 Scene 1 “Friends, Romans, Countrymen” is top of my shortlist. The character Marc Anthony is almost a contrast of Brutus and can be considered his main rival. The monologue is a speech and requires varying levels of emotion. The speech is passionate and allows greater use of each emotion.
First Read Through (Mark Anthony)
https://youtu.be/D1u1iXMSjl0
I already feel more comfortable with this monologue than I do the previous monologue. The structure I less puzzling than the Brutus monologue. Although the language is Shakespearean, the structure is closer to modern English. I need to work on this in order to be able to recall the script fluidly. I am still struggling to come to terms with Shakespeare, but generally feel more capable of learning monologues.
Rehearsal
I already feel I have a more of a grasp of this particular. I am pushing harder to be off script. I am reading lines when needed, but I am able to achieve some flow if I have confidence with the line. I need to add more energy to this but I will work on this before the audition. I am looking a methods too help me remember the script asap. I have thought of a new idea using the first letter of each word. I find I can remember most of the script this way. Having failed before, I feel more relaxed with this monologue, I am already grasping it in a shorter period than I had with Brutus.
Audition
Having failed catastrophically during a mock audition of Brutus, I had to quickly turn around and learn a new script, pronto. I had spent considerable time with Brutus and wasn't able to get a hold of it. However, I was able to grasp this monologue in only a brief period of time. I decided to make this performance as if orating to an audience. I have some anger coming from Caesar's death. I wanted to make this part of the performance, to make it at the core of the characters feelings, but not outwardly expression. I feel considering that I had a short amount of time to work on this monologue, I am really proud with what I have achieved. I like the variation in the emotional expression and tone. I am snide when referring to Brutus as honourable but angry when refuting accusations made against Caesar. I lament when I acknowledge Caesar funeral and the relationship between Caesar and MA. This monologue has provided the experience of choosing the right monologue. Between Brutus Act 2 Scene 1 and MA Act 3 Scene 1, it was clear to me that MA was much more suitable. However, hindsight is 20/20, but I have gained experience from the journey. Being prepared to make the change with an impending deadline, was the right decision. Although auditions are sometimes mortifying, it always good to remember there are more terrifying or challenging situations such as going to the dentist or burying dead pets. If I can reason with myself in this regards, auditions should not be so intimidating in the future.
I enjoyed performing this piece, even during the audition. I was amazed how quickly I was able to recall this script and how much more natural is came than the Brutus monologue. I felt, ready, prepared and confident. I may use this piece at my next University audition at Gloucester University. I can consider this monologue as a guide because I felt I had improved as an actor during the process of finding this monologue and performing in the audition.
Contemporary Theatre Monologue Audition Piece
Play: 'Peter and Alice'
Writer John Logan. He is an extremely successful modern day screen writer. His works include both stage (Red) and screen plays (Skyfall).
Synopsis:
The play creates an imagined version of a real life meeting between the characters Alice and Peter. The meeting takes place at the Louis Carroll exhibition, who is the writer of Alice in Wonderland. Alice of the Alice in Wonderland story is based on Alice Liddell, who is also the character Alice in this play. She is in her 80's at this point. The character Peter is based on the real life person, Peter Llewellyn, who, along with his brothers, is said to have influenced the character 'Peter Pan' in the Peter Pan stories. Peter at this moment is in his 30's. Although the meeting actually took place during the exhibition during the 30's, the play itself imagines the encounter. The characters reveal moments of their lives to each other and also reveal imagined stories based on their fictional characters. During the performance the play switches from moments showing 'real life' and moments where the inner, imagination is revealed. This is done by use of changing in scenery, with backdrops changing from the exhibition to the internal worlds.
Character: Peter. Peter is a child like character in his mid 30's. His persona does not change much regardless of the content of dialogue. Peter is based on the real life person, Peter Llewellyn, who in turn was the primary inspiration for J.M Barrie's, Peter Pan character. This suggests Peter (Lwellyn) may have qualities that are associated with Peter Pan such as being youthful and having an active imagination.
Monologue Script
"Once war came, everything you thought you knew......"
"One day I killed a man you see. In the deep, dark woods. The forests was choked up with bodies and mud. I was knee deep in it. If you step on a body you can split the stomach and release the gases, and each stench is appalling, so I was looking down trying not to step on any corpses. I looked up and the fellow was suddenly just there in front of me and I shot him...
I didn't even know he was a German, his uniform was so muddy. I just shot him in the chest. I was so scared....I sat down on the ground and watched him die. I knew he was dead when he didn't move, but the fleas did. They crawled away from him, like they knew, like they were abandoning him, it was so sad.....I sat on the ground and I watched him die....Then I went mad.
Shell shock they call it, but it wasn't a shock, it was numbing. I felt absolutely nothing as my life cracked open and spilled out of my head, started pooling around my feet. I was seconded home, in shame. I went to asylums. Light bulb never off, suicide watch. Rubber mouth guard so I wouldn't bite my tongue off...But my life was still pooling around me feet. I couldn't stop it. I was all cracked open.
Maybe there was a time but...The war ditched me really, and then Michael's death. The nightmares are pretty unspeakable. You see, when I close my eyes, I see them, my family... and I feel...I feel they are waiting for me. As if I would be betraying them if I didn't join them. for we are a family defined by our sadness...To this day I am frightened to close my eyes, because when I do I see them, that line of corpses, lunging for me in the dark....MY father, gaping in that monstrous leather jaw...My mother falling in the parlour, hand outstretched.....My brother George, bloody hands gripping the barbed wire tight....MY brother Michael, eyes staring up, sinking down reaching for me....I see them.....Even now....Even now
I found this script in a book that has a selection of monologues for actors of various age range. I flipped to the appropriate age range and read through many of the monologues. When I found this monologue, it stuck out at me. I was drawn to this monologue due to it's graphic and visual language. The characters are interesting, their alter egos turn the play into something that switches between fantasy and reality. The content is dark, going into detail of the character recollection of his personal experience of war, mental health and loss. Having further researched the origin of the monologue and I was able to find out more of the play. The play seemed intriguing I was drawn to the characters, who they represented and the possibility of a situation that is unveiled during their encounter. I was drawn to the Peter character due the association with Peter Pan. The character is child like and imaginative. I felt this is a character I could connect with as I feel I am like this. I feel this character was broken by his experience of the war, but has reformed into a child like adult. Although this play is contemporary and seems to be unknown among the drama crowd I associate with, the play has actually been performed by renowned actors Judi Dench and Ben Whishaw as the lead characters.
First Read Through
https://youtu.be/e36UgR3yTXM
I feel I need to work towards finding some naturalism. I am not a reader I am an actor. I have to break down the false voice I am using and instead apply emotion directly. The Miasner Technique could be helpful. I am more drawn to this monologue than other monologues I have read, including my other choices. I like that the language is visual and the character is telling a story of through their inner world. I feel I can connect to this character. I feel a lot of emotions during this, I emphasise with the characters situation. I imagine this is how I would be in a war. I would go mad one way or another. We are both fragile and sensitive. The character killed a man during the war, but it could be overlooked that he did not know the person was an enemy who is possibly trying to kill them. The trauma for him is the same as killing any man, regardless of the situation. He also experiences many other traumas. This is the first script I have read where it has sunk into me. I still need to learn the monologue off script and add more emotion and expression to the performance.
Rehearsals
https://youtu.be/-oLSIp3ukB4
In this performance I feel I have moved towards using my own voice. However, I feel this performance is rushed. I need to definitely add more contrast and some pauses. I do however feel I am finding some flow with this piece. There are ebbs and flows within the piece where some are soft spoken and some points harsh. I feel this piece needs to show more emotion in regards to the character inner feeling. I want to move it towards a point where the character is at breaking point inside, but they are holding back. This is to bring in line my view of the characters current emotional state.
I feel again I am moving closer to my natural voice. I like the energy of the piece. The subtle changes between speaking slowly or speaking with pressure. There are many tempo changes with this, but I am ensure to match actions to this monologue. I feel its a conversation, one person revealing their emotions. I am emphasising with the character, their story. I am able to clearly visualise their experience and this helps me relate to the experiences. I still feel that the performance is too quick and needs some pauses.
During a Mock Audition scenario, I still do not feel 100% confident off script. I am most focused on this script at this time due to this being the monologue I intend to use at my HCA audition. I am coming close to the character I want, I have some clear visualisation. Perhaps I can use this to help to remember the script. I need to find better techniques for remembering monologues.
I am now off script with this Monologue. There are still some parts I need to clarify but I am almost there. An emotional connection to the monologue and character has contributed, but the visual language probably helps. I need to find a better approach. The Meisner will help me focus on how I want to begin the Monologue. By repeating the phrase, I will be able to pinpoint the emotion and tone required. When I watch this, I do feel like I have come close to creating a representation of a child like and vulnerable character. Although I am mostly off script at this point, I need to find the jump between verses. This will help with clarity, flow, diction and confidence.
Audition
https://youtu.be/8w-Dp_8Mu18
Although this is not the best audition of all time and certainly not going to be winning any awards for it, but I am super proud of being able to get through this. I was extremely nervous going into the audition. This was mostly because I did not feel confident with my classical theatre piece. I also had every 'distraction' picked out when stepping before a panel. This included my wallet, cigarette lighter, cigarette papers, throat sweet and also the actual inside of the pocket that was sticking out. Thankfully they didn't point out the loose piece of hair on my face that must have sneaked from my hair band that may be too distracting, or the white soles of my trainers. There is also some slight discolouration on the tips of my toes, that thankfully was also overlooked. As brutal as it was, this basically broke me. I found the breakdown immensely humerus and found it difficult to compose myself. Sometimes you just got to take one for the team. Eventually I was able to perform the monologue.
Thankfully I did not have a break down during the audition at HCA.
I will have to ensure that I have joggers in future and to put all my pocket contents in my bag. I would try and find another time to perform this particular monologue as I feel I can add more to the performance. In that moment, after the breakdown, I was thankful of surviving the day. I was too static due to nerves and wasn't sure where to position myself due to camera and panel. I felt this restricted my area for movement so I did not want to add too much movement to the piece. It felt good to be able to perform but I felt less confident than when I performed audition at HCA. I know is mainly due to the conflict with the Shakespeare. I am a connection with this monologue, I think this is important to me. I think the characters, their combined story and visual language are the primary reasons. I feel great empathy with the character because of their experiences. During this particular audition, I got part of the monologue wrong. I used half of one sentence in another. This threw me off. Literally my whole world almost fell part in that moment and I was prepared to walk at this point. Several expletives went through my mind in a single moment. Somehow, in that moment, I was able to rationalise with myself and have a conversation how to resolve this. My mind said in simple Jonathan language“just play off those 2 sentences as one and continue to the next bit, this would be more natural than trying to correct myself”. To me it felt like at least 20 seconds had passed, but actually it was barely noticeable. It's strange how in certain moments time seems to freeze but when given an opportunity to look back, it is actually only seconds.
Self Film Audition Monologue
Film:12 Monkeys
Synopsis: Post Apocalyptic time traveller is send back in time to find a solution to a future issues. Jeffrey is a character that the protagonist meets in a psychiatric ward when he is sent back to the 20th century. The protagonist is considered be mentally ill due to his assertion that he is from the future. The plot evolves around the protagonist developing allegiances with characters with varying states of mental health. They are working to prevent the future destruction of the human race. This story has some 'Terminator' vibe to it The film is very gritty and the future is a particular harsh. The protagonist story is interesting having to convince others he is genuine in his assertions. The character has a naivety to him, that he doesn't realise that it may sound crazy to suggest he is from the future and revealing the plight of the human race.
Original Character: Jeffrey. Jeffrey is an inmate at the asylum that James (protagonist) is sent to. Due to Jeffrey being a conspiracy theorist (at the minimum).
Script
"WHO CARES WHAT PHSYCHIATRISTS WRITE ON WALLS? (moves to Fale, jabs with finger) You think I told her about the army of the 12 Monkeys? Impossible! Know why, pathetically ineffectual and pusillanimous “pretend friend-to-animals”?! I'll tell you why: because when I had anything to do with her six years ago, there was no such thing – I hadn't even thought of it yet!
(Jeffrey abruptly switches from rage to good humour, adopting and supercilious smile and a patronising tone)
Here's my theory on that. While I was institutionalised, my brain was studied exhaustively in the guise of mental health. I was interrogated, x-rayed, studied thoroughly. Then, everything about me was entered into a computer where they created a model of my mind.
Then, using the computer model, they generated every thought I could possibly have in the next, say ten years., which then filtered through my probability matrix to determine everything I was going to do in that period. So you see, she knew I was going to lead the Army of the twelve Monkeys into the pages history before it even occurred to me. She knows everything I'm ever going to do before I know it myself. How about that? Now I have to get going – do my part. You guys check all this stuff and load out the van. Make sure you have everything, I'm outta here."
Pusillanimous=Timid
I like this monologue as there are a range of emotions involved. The character has some mental issues, such as a short temper and paranoia. I wanted to explore these emotions and I liked the attitude of the character, I wanted to play off this character as being like an oddball, conspiracy theorist in a group of friends. He likes to rant about a conspiracy whilst they are doing things. He thinks he is at the centre of a massive conspiracy and is trying to push forward his beliefs to his friends. After his rant and causing distress, he leaves. This character is hugely contrasting to the other characters and the monologue style is also different. Although there are existing versions of this monologue, I feel I can be my own version as my body language and interpretation of emotions are different. I am debating if this should be Americanised or kept natural, but I feel working towards an Americanised version will add more of an attitude and be more truthful to the character. My favourite part of the script is the insult, which has some unusual words and is otherwise funny.
First Read Through
Rehearsals
First thoughts are that I need to apply more attitude to this. I need to apply energy and emotions such as angry. I need to be able to switch between emotions as directed. During the first verse I need to be irate and expressive. I need to be paranoid and condescending during the second verse. A lot of work to go, but I feel at least an understanding of what I need to work towards.
In this read through, I feel I have worked closer to the energy and contrast required in the performance. I am pressing and snappy. I do feel my diction is weak in some places, I am too fast with some of the pronunciation, particularly during the first verse. I still need to work on this performance, I feel some parts need to be exaggerated where as other sections, more subtle.
During this performance, I feel I working closer towards what I want, but I have lost some attitude. I want to work closer to 'Americanising' the performance. I feel at this moment, yes, I have my own twist, but it does not have the attitude and energy I want throughout the performance.
Audition Film
With Americanising of the monologue, it has helped me work towards expressing the energy and emotion of the scene. I feel this script has a mix of emotions that need to be expressed throughout along with a consistent, easily irate attitude. At times the character needs to explode in a rage, other times, be sarcastic. It's difficult self filming, as there is a narrow window of focus which the actors needs to restrict themselves too. I found with this character, it made filming awkward, so it may be worth considering different monologues, based around less movement, or can be done with a close up angle. I feel I have worked towards where I want to be with this monologue, but I would like to explore monologues outside of the criteria in future. However, actors need to be open to parts that they may not prefer, so it is always useful to be prepared in different styles of monologue and auditions. If I want to be able to create self filmed monologue, it may be worth investing time in creating a film space and purchasing some additional filming equipment, possibly even a new camera/smart phone. A camera operator may also be helpful in choosing angles and ensuring I am hitting marks. They will also be able to offer advice on lighting or other effects. However, it is most important to focus on the performance and ensuring the character is being expressed. Although self filming has it challenges, it allowed freedom and flexibility in performance. I was able to film in my own time and I felt less pressure with the performance. If I messed up, I was able to start again. The main challenges were finding a suitable space without being disturbed and having to remain restricted to camera view. I also found I become more focused on live audition monologues as I they are more challenging and required greater preparation.
Workshop Audition
The class were required to take part in a group workshop audition. Workshops are different to monologued auditions, as they involve partaking in games and activities. During the audition a number of games had been selected for the class participate. The games were orientated around child play, using games such as tag, stuck in the mud, sly fox and taking shape of items. We had to think about how it felt, such as the physical demands of playing children's games. This encouraged us to get into a state of mind of a child and use our imagination. During the 2nd part of the workshop, we used scripts from the Dennis Potter play “Blue remembered Hills). The primary scene involved was of chasing and killing a squirrel. Each student choose a character from the play to perform during the scene. The characters would be varied and contrasting. They will react differently during the situation. For example, when they kill the squirrel, some characters will enjoy the moment and others will be upset.
This type of audition was enjoyable and I preferred the workshop to learning a monologue. Learning a monologue is a lonely experience and the audition is a high pressure, demanding situation. The workshop is relaxed and allowed me to be myself. I enjoy playing games and getting to be like a child. The workshop involves working with others and everyone had something to contribute. The skills involved are different to learning a monologue. During a workshop, the actor gets to demonstrate some raw attributes and personality traits. For example, participating in the games demonstrates an actor is child like, playful and willing to do some daft things. The workshop also requires the use of the imagination, creative skills, improvisation and team working.
I would like to run these types of workshops at some point. I feel this type of workshop could be beneficial to adults of all backgrounds, not just actors. Classes like these can allow adults to break down barriers and inhibitions without needing alcohol. It can improve well being and encourage a better relationship with their children.
I appreciated the material being used as a base for the workshop. 'Blue remembered hills' is based around children during WW2. The play is set in the Forest of Dean and the writer, Dennis Potter, is from the area. Due to my Forest background , I feel a connection to the play. I feel I would want to be involved in a production of this play. I could perform, but I feel I could offer direction as to Forest customs (accent, etc) or produce because of my personal interest in the play. The play is is horrifying, but I can imagine people like my parents, uncles, aunties, primary school teachers and others I know from the area and the kind of things they got up to during their childhood. They were children in the 50's which at this time, was isolated from modern conveniences such as cars, indoor toilets and electricity. Typically activities included playing cowboys+Indians, playing in streams, climbing tres, making bows and arrows, bases/camps/dens and fires (definetly not killing people).
Script Learning techniques
Due to my lack of confidence of learning monologues and scripts in general, I felt I needed to try and find some techniques to help me. These are some Script Learning techniques I have utilised on my audition journey, some of which I have used before. Some techniques are common sense and some are what I devised in desperate moments. I do feel I have improved in this area, but I still consider this to be my primary weakness as a performer.
First Filter: First filter is reading the material passively as possible. Not trying to remember, but engaging interest. Reading without performing. It allows the script to filter in and become part of the subconscious mind. This is particularly useful when staring to engage with scripts that are being performed further down the line and can't be focused on immediately.
Characterisation: Characterisation is the application of the developed character. When performing the script in character, the script is applied to the characters actions. The emotion can quick in and become part of the routine. Characterisation also applies to the characters background and knowing their role within the play.
Pattern Recognition: There can be patterns in a script. The script can be broken down into these patterns and help each word flow into the next and so on. Unless it is a new paragraph, the content of each line of a monologue relates to the previous. As each line is performed, the next line should have some connection to the previous. The lines will evolve depending on what has previously been been said.
Listening to music: I have found listening to music such as dark academia or choosing music based on the emotion of a scene as being useful for learning monologues. It mainly functioned to help me focus and block out distractions whilst rehearsing.
Recording and listening: It's not always possible to read the script, for example, when walking, lying in bed or driving. However, it is possible to listen to the script. We can listen to our recording of the script whilst are in varying transition states. A smart phone is more accessible than a paper script!
Paper script > Electronic script: Electronic scripts have there uses, particularly for creating shortlists. However, when it comes to rehearsing a paper script is generally superior. A tablet may however, become an effective replacement. Why paper is better? Mainly annotations. Actors can make notes in their scripts. Paper scripts are also useful when combining other styles. They are reliable, they do not switch off. They can be placed anywhere. You can film with your own smartphone whilst reading the script.
Original Acting > Mimicry: Obviously, a monologue performance associated with a particular actor may be highly renowned. It therefore could be easy to try and re-interpret their performance. However, although it may be useful for research purposes, it is wiser to try an perform naturally or too ones original concept. This shows the true actor, their interpretation and understanding the character and the story. In regards to learning script, you spend more time developing you own performance and using the paper script and less time watching and trying to be (which ever actor) as that character. I helps developing and performing as an original interpretation of that charterer, rather than playing an actor, playing a character.
Failure is key: We are all prone to hiding behind a script (or sheet music). I am a very obvious example of this. When we are struggling to recall its easy to keep referring to the script. It's more important to try and recall as much as possible.
Take a break: It is possible to over do and lose motivation. It can feel painful reading a script for 100th time and still not remember the first line. Don't fret. Relax and take a break. Let it process, think about it a little bit, but allow time for it to sink in. Come back and then apply other techniques.
Limit Information (Focus on script): I found it to helpful to limit the information I was processing. There is some fluff information I can not avoid. There is some that is necessary. There is some that is helpful or complimentary. However, did I really need to read that or watch that, or listen to that? The more I can focus my information loading into a script, the more freely I can compartmentalise and therefore remember thus script. Once it is processed, I can take on board other scripts, but it has been beneficial to limit information during the monologue/audition process.
Line cover: Simple method of uncovering line one line at a time. An in correction means returning to previous line(s), verse or starting over. Trying to imagine or visual the next line if it is challenging. Where is the previous line leading? Is there a break? How is the character feeling in that time?
Repetition: Nothing beats repetition, the more the actors repeats the monologue the more automatic and natural it becomes. It needs to be as natural as driving a car or riding a bicycle. Applying repetition allows for times of nervousness or tiredness, the performance is automatic.
Finding the right monologue/Knowing when to quit: Monologues all vary. Their common link is that they are all 1+ minute. The story and context can change from play to play and between characters. Actors may be more natural at certain characters or styles. If a monologue isn't working, find an alternative. A monologue that works will make sense to the actor. If the actor connects with the content, they will be able to absorb the monologue. I found that monologues or characters that meant more to me were easier to remember and perform.
The 1st letter script: The 1st letter script is one of the most effective technique I have found to help me with recalling script and only recent trick I devised. I had a short period of time to prepare for the audition due to changing of the monologue. I spent time learning the new monologue but still got stuck on some bits. I needed a technique where by I can have prompts without using a script. I went with the 1st letter of each words of the monologue, but alternative prompts could be used. I found with this, I knew most of the monologue but just needed those few prompts. I practised using the 1st letter script several times and found I was able to come off script sooner than I had at any time before. The monologue choice helped, as did the character change, but the 1st letter gave new incite. I discovered that I didn't have a memory deficit as such, but just fragmentation. The 1st letter filled or narrowed the gaps in my memory, or allowed me to figure out the missing links with relying on the original script. I am more freely able to find the word therefore more freely move through the script. I don't know the exact sconce behind this but probably helps develop memory patters more quickly or form stronger memory links. I need to test this further to see if helps me learning or monologues. There may be also other associations I could use that act as further prompts. It may also be like a data categorisation for the brain. The brain remembers the order of the script via a single letter. The letters arrange represents the script in the data centre of the brain. As all (or most) of the words are already categorised in our memory, we only need to recall what the letter means. We do not need to remember to the every words, but what words we need bring forth from our existing memory. If technique proves to be consistently effective, I can feel more positive and confident of my capability to learn scripts. This is because I already know most of the words (if it is in English) I just need to (unconsciously) remember which ones I need and where they need to go!
Another benefit of the 1st Letter script script can be written on a small scrap of paper as it uses 1 letter for a word. This scale makes it helpful for rehearsing with actions as it can be folded and kept in the palm. It interferes less with the rehearsal actions and is more accessible. Looking at the script I do however have to navigate to the next line/letter, but this further enhances the learning the process. I only have my memory and the 1st letter to work with.
An example of a 1st letter script may read
F, R, C, L M Y E
This can be easily translated into
Friends, Romans, Countrymen, Lend Me Your Ears.....
Difficult words can be added if needed. Letters can be marked off when it is cemented to memory. It makes sense, because we already know most of the words in the script, it's just the order. There are some words that may need to research their meaning (Lupercal=Cave near Rome). What is unique, are how the words have been arranged into the story. I do need to remember an attire script, just what the 1 letter means. When I have the pattern, I can recall the script. When I can freely recall the script without having to think about it, I can focus into the character, into their situation.. Focus on building emotions and tweaking the energy levels.
Knowing the story: The story applies context to the monologue. What happened before the scene? Who is the character? What are their feelings? Apply meaning to the scene and characters. These are not just important for learning the monologue, but relevant questions may also be asked during the audition.
Find your learning/memory type: Different people have different ways of forming memory or find certain things easier to remember. Some people might learn/remember visually, or by audible means. This could be music, voice or general sounds. Others may remember text more easily than spoken word. Some people have a strong muscle memory, where they are also to perform sequences that they are unable to consciously recall. Emotionally memory is a strong memory, if we feel a characters emotion in that particular moment, what are they saying in that moment? There are also memory associations with smell, touch and colours.
We develop memories that we associate with the 'data' we receive, such as meaning. What is this (data package) I see before me? It means something. It is a metallic object. It's shiny, its strong.. It is sharp, pointy, it can cut, stab, kill. We may even apply meaning to the object. History. A name. We are then able to recall that it is in fact a dagger that I can see before me. This forces me to in turn ask the question, what is a name? A name, is everything applied to that word, condensed into one single word. My name does have meaning, it is the accumulation of everything about me, my genetics, my history, my form. Every atom that is part of me and every part of the universe that I am part of.
Each memory type also has different approaches for learning. Each memory is enhanced by using the corresponding learning technique. In my opinion, acting requires the use of many learning types. An actor should be able to use all learning types to some varying degrees. Any enhancement in a certain learning type is a bonus.
When exploring myself, I found I am strongest in visual, muscle and emotional memory. These were useful as I could apply them to the performance and script learning. Emotional memory was most helpful as I understood the characters feeling in each moment, I had a clearer understanding of where I am in the performance. I can learn the emotion faster than the words, but then the words come more clearly when recalled. What the character saying if they feel a certain emotion was like recalling lyric when music is playing. I can then channel the inner voice through the emotion and the words come with it. This, in a nutshell, IS acting.
Stanislavski: Using Stanislavski techniques will be helpful for learning script. There are many benefits to using his techniques and too many to cover. Basic Stanivslaki would be analysing the play, the script, the character, their situation and the subtext. Applying emotion rather than imitating emotion. Trying to feel what the character feels, and perform via channelling those emotions, rather than presenting their feelings. Even if the play or style has different demands, basic Stanivslaki techniques are very helpful for script recall.
Meisner Technique: I found this technique most useful for finding natural voice and working of the right way to initiate voice. If am able to guide myself into the script, I am able to set myself up for a delivery. I am able to tune in a find the right pattern and frequency of emotion.
Unit Evaluation
Auditioning is certainly a different challenge to workshops and devising performances. I am used to performing but auditions are still a relatively new concept. It almost feels alien, but it will become normal. I need to find a way of managing nerves and also focus more into learning scripts and monologues. This is not purely time, but also information. I can reflect that if I am comfortable with a script I am more confident with the performance. I have found some techniques to help me, such as listening to recordings when I can't read. I have also found there are key words in each sentence. By remembering the word, I can build the sentence. However, not every technique works with Shakespeare!
Studying Performing Arts at Gloucester College has helped me regrow after illness and regain confidence. It has provided focus and new challenges. I feel more as myself and in an environment where I am around like minded people. I enjoy performing, but at this time I have challenges learning script. I feel I have improved since last year. Although I am not 100% positive of the auditions process, I have enjoyed the term. I have felt sharper mentally than last term. I am more myself, able to process information and have provided the 'odd' one liner. I feel more like an actor or someone who belongs in that world. I feel more part of the group, even though we have worked individually. Everyone is always supportive and we help each other through each given situation.
Even though some days were very challenging I have enjoyed every class. I have reduced extra curricular activity and become more focused on study. I am more reflective of each class such as the funny conversations with others. I have also worked with students on their own performances, learning a fight scene for a film. The fight scene is interesting an I feel more comfortable with a fight scene than learning a monologue. Reducing other activities was essential in order to manage the workload of studying performing arts, managing information, practising for auditions and dealing my personal 'stuff'. It was a good decision because I feel I have benefited mentally from reducing non college activities. I spend more time with the students as they always have funny stuff to say, one liners, quotes from films, play on words. I feel I can learn from them and be myself around them.
I have learned of the audition process, not be studying the process, not by successfully performing a monologue, but for my failures. It has pushed me to become more focused and dedicated to learning script. By being torn apart for every trivial pocket accessory that was deemed a 'distraction'. This has provided the drive to become more disciplined. That by wearing simpler clothes I am able to dedicate myself to the craft. Let go of the ego and focus 100% on the character.
Many of the students have grown (not physical size) noticably this term . Some are becoming proactive, purchasing film equipment and writing their own scripts. This proactivity will enhance their career, as it provides a platform for their talent. They are more likely to be noticed or engaging in networking opportunity. Although I would like to be more proactive in different areas, I am more focused on managing my health issues during this moment. I will need to overcome this if I am able to move forward in the industry.
Overall, this has been the hardest unit so far. It did not have the same over burden as last term with production and performing in the Murder Mystery, but instead provided a shorter burst challenge. Due to the unit being split over 2 terms, it was difficult to focus last term due to other priorities. Therefore, the unit feels condensed into half a term. That's a problem I have allowed, but it still feels this way. I did not feel I would be able to learn a monologue in this time and perform it to a panel. I also had the HCA audition recently. I overcame the challenge and feel I have gained from the experience, both as an actor and also as a person.
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