Lots of useful information and advice about applying and auditioning for drama school. Make yourself a cup of tea, sit down and have a read!
Q. I want to apply for drama school. What preparation should I do?
A: OK, the first thing you need to do is some research. Drama schools, like other educational institutions tend to have a new intake every Autumn, so don't leave it to the last minute. It's never too early to start your research and ideally you'll want to apply before Christmas for entry into September of the following year. Firstly you'll want to have an idea of the different Drama Schools and what they offer. A good place to start is the Conference of Drama Schools website. The CDS is made up of the 22 top drama schools and you can download or order a very informative guide that lists all the courses available (including design and technical courses as well as acting), how to apply and even some general information about funding options. The National Council for Drama Training is another very useful resource.
Once you've got a read through a copy of this and you've got a vague idea of where you may like to apply to, now's the time to send off for prospectuses. These are free, so even if you're not entirely sure about a place, there's no harm in phoning or emailing for one, just to help inform your decision.
Just because you've heard of a particular drama school, or your favourite actor went there don't assume it's automatically the 'best' or the right one for you. Every school has a different approach and atmosphere and what may suit one person won't necessarily suit another in terms of ethos and approach to training. Similarly don't assume all the best drama schools are in London - that simply isn't the case. Ask as many people as you can for their take on a school that interests you. Internet discussion forums are a good place to start. Try The Stage and The NCDT forums - although you should be aware that some people's opinions may be biased depending whether or not they were successful in auditions!
Once you've had a read through all the prospectuses, check to see whether they are holding any open days for prospective students. The whole application process can get expensive, what with travelling, audition fees, etc. - but you should try and attend an open days if possible. It'll also make you more familiar with the surroundings should you decide to audition for that school. Alternatively, see if you can arrange an informal look around the school with one of the admissions staff. That way you may be able to fit more than one in a day if the schools aren't too far apart.
Remember that you have a perfect right to ask questions about a particular course, the application and audition process - obviously don't pester the admissions staff everyday, but you can (and should) find out what you need in order to for you to follow the application procedures and give yourself the best chance of a successful audition.
Q. So how do I go about actually applying to drama school?
A. Once you've been on a few tours and open days you'll probably find that there's one or two schools that stand out above the rest as feeling just right for you. However, it is a good idea, even if there's only one school you're particularly interested in, to apply to at least three or four. Why? Well, firstly you're going to need the practice! With a bit of judicious juggling and crafty timing you may be able to schedule your auditions so that you can audition for the schools you're least interested in first.
This doesn't mean you should turn down audition dates once they have been given you - most Drama Schools will say they're not obliged to give you an alternate date unless you already told them of your availability, or something unpleasant and beyond your control happened. But if you do your homework - find out cut off dates for applications, when auditions are likely to be held etc, you should be able to time them to your advantage.
Another reason for applying for more than one is that you really are giving yourself more of a chance. If you're as brilliant as you hope you are, the worst that can happen is you have your pick of drama school places. But do you really want to put all your acting eggs in one basket?
So now's the time to start filling in the application forms. Depending on the type of course and drama school, you may have to apply through the UCAS system as you would for any university place or you may have to fill in one of their own forms. Whatever, here's a few dos and don'ts.
DO - TAKE YOUR TIME Read the form properly before writing a word. It's a good idea to photocopy the form once or twice to practice on. If you are able to download the form and type it on a computer, even better. Remember, your completed form will be the very first contact you make to the drama school. Being a 'creative type' is absolutely no excuse for poor spelling, illegible handwriting, crossings out, coffee stains etc! You'll create a good impression (and make the overworked admissions staff much happier) if you supply what they ask for neatly, on time and in the right format. Also if you're not supplied with an a SAE, make sure you apply the right postage so that the school doesn't have to pay the excess.
DO - BE HONEST! If your only role to date was the back end of a pantomime horse, say so! You might also want to add that this helped build on your team skills, or helped your increase your physical stamina - by all means put a positive 'spin' on things - but don't lie, especially about qualifications or previous experience. As long as you meet the application criteria you will be offered an audition.
DON'T - HASSLE FOR NO REASON If the school has told you that you're not likely to hear anything for a month, then don't chase them up after two weeks. If you've got questions, check all your literature first before asking. If you still can't find the answer(s) then check to see if they prefer phone calls (and at what time of the day) or emails. As it says above, you have a perfect right to find out what you need to make a good application - but so do all the other hundreds of people applying.
DO - BE ORGANISED Keep all the literature, prospectuses, copies of applications and correspondence in one place. A big lever arch file with subject dividers for each school should do the job. Make sure all your audition dates are in a diary - and that you refer to it on a regular basis. Don't leave references to the last minute - in fact you should organise these even before you apply if possible. If you have to travel any distance to an audition, make sure any travel and accommodation arrangements are in place well in advance.
DON'T - USE HYPERBOLE OR CLICHE - most schools will ask that you fill in a personal statement of some kind, or will want to know why you are applying for that particular establishment or course. Avoid cheesy or impossible to quantify lines such as 'Acting is in my blood' or 'I've always been a natural performer'. Don't write an entire life history, talk about putting on plays for your family when you were three or write in a 'wacky' or 'entertaining' style. Give facts, supported by relevant examples of your personal development and talk about how you see drama training fitting in with your short and long term career goals. However, you're not applying to become an accountant so don't go overboard with business jargon. It's alright to adopt a more conversational tone.
Q. How do I go about finding and choosing the right audition speeches?
A. Before you head down to your local bookshop or library or start frantically surfing the internet, STOP! Have a good long look at what the drama school(s) say. Many if not all will specify particular audition requirements or will give certain guidlines as to what is suitable audition material. Most will want at least two speeches, a modern and a Shakespeare in the first instance, but don't take anthing for granted. What do they mean by modern? After 1900? Post WWII? Or in the last ten years? You may be given additional information on being allocated an audition date, but if there's no indication, try and find out.
The school may also include a list of specific speeches they don't want used. These will tend to be speeches that are either over-used, that auditionees consistently do badly or that are just unsuitable for audition purposes. Don't think that you can get away with choosing one of those speeches because you can do it better or differently or because you love it. Find something else.
Think also very carefully about the timing. Drama schools rarely want speeches more than 3 minutes long (and often 2). Do not look for speeches any longer because there is every chance that you will be stopped if you run over.
Drama schools often say they want two (or more) contrasting speeches. I think what they mean is that they want to see what kind of 'range' you have and whether you can inhabit more than one character or be believable in more than one dramatic situation. Don't feel that you have to have two completely black and white pieces (One high tragedy, one comedy, or one virgin, one prostitute). It's more a case of finding speeches that can stretch you in many ways - in terms of timing, status, sub-text and physicality. Also look for different writing styles and ways of telling a story or differences in the characters' speech patterns and language.
Here are some other common drama school do's and don'ts and the reasons why I think they exist:
DO AVOID SPEECHES WHERE THE CHARACTERS ARE OF A DIFFERENT GENDER OR AGE Pretty obvious really. Audition panels are looking for your ability to inhabit a character, but they're not keen on mimicry and broadly drawn strokes. If you're too busy pretending to be a young boy when you're actually a twenty three year old woman, you're not showing yourself in your best light!
DON'T TRY ACCENTS YOU'RE NOT FAMILIAR WITH Again, you're giving yourself extra work which will get in the way of the acting. Most people have a native accent that they can turn up or down depending on the situation (we all tend to get a bit 'posher' when we're on the phone in a work context and more colloquial with close friends) and it's probably fine to play around with that if works with the speech. But if the piece requires a strong Glaswegian accent, and you're broad West Country, then again - try and find something more suitable. A misconception amongst some new auditionees is that drama schools expect you speak in 'upper class' or BBC Newsreader tones. This is not the case. Nor do they require a roaring hammy voice for the Shakespeare speech! Accents and voice work are taught as part of the drama school curriculum. For audition purposes they are happy with a clear, expressive and natural accent.
DON'T CHOOSE MONOLOGUES FROM FILM OR TV SCRIPTS (unless it specifically states that you can) You may love Tarrantino's films but they are not suitable audition material. One reason for this is that characters are usually iconically and intrinsically linked with an actor already and it is difficult not to end up merely doing an impression of this.
DO MAKE SURE IT'S A PUBLISHED WORK You or your friend may be brilliant writers, but don't take the chance that the panel will see it that way, and at any rate, they're judging your acting skills. It's also much more difficult to be subjective about your range and abilities if you are writing your own speech.
Here's a couple of other questions that seem to crop up all the time:
Q. Is it alright to use a monologue from a monologue collection book?
A. Many experts and some schools say that you should avoid taking a speech from a audition monologue collection as the chances are it will have already been done to death. Whilst this is true to some degree, there are some good collections out there and not all speeches are done with the same regularity. It also happens that you may find a perfectly good speech through the normal methods which feels perfect for you, and then later find out it has been included in a compilation book.
If you are choosing a monologue from a collection, here's some things to bear in mind: The speech may have some accompanying notes or suggestions, but do not treat these as a subsitute for reading the whole play. You always need to read the whole play. Also do not take these notes as complete and irrefutable direction. Look to see how old the collection is. There are new ones and they should be constantly updated with newer plays added. If in doubt whether a piece has become overused, ask around, either via internet forums or the school itself. It's also worth investigating whether the play itself is regularly part of the GCSE or A' Level Drama or English curriculum - If it is, there is far more chance that it has been overdone on the audition circuit.
Q. Is it true that an audition panel would be really impressed with a really powerful speech with lots of shouting/swearing/being mad?
A. A good actor should be able to work with any script, but it does seem that audition panels get a little weary with confrontational auditionees roaring directly at them or rocking back and forth in the grip of madness. More about this in the next section, the actual audition. But when choosing a monologue try not to be seduced by anything simply because of it's shock value or tragic quality alone. You are better than that!
So now you know what to look for, you probably want to know where to look for it...
Shakespeare is less of a problem, mainly because it's quite easy to search on the internet both for monologues and for study notes, plot and character breakdowns etc. 15 - 20 lines is perfectly adequate for audition purposes, so don't feel you have to go for a pages long speech. Again, you still need to read the play, however much of a task this may seem to you. There are certain famous speeches that are done all the time. Simon Dunmore's Alternative Shakespeare Audition books are very good with plenty of fresh ideas for monologues from some lesser-known plays. He also gives sound and useful advice on background audition technique.
For modern plays it can be more difficult, but the internet is still a good place to start so have a surf around. If you live in Cardiff check out the Drama Association of Wales. They have a huge library of modern and not so modern plays. You do have to join to take books out (current fee is less than £20 per year for individuals). However, it's money well spent as it means you have access to all sorts of plays. Local university and college libraries are also good places, and although you may not be able to take anything out, you can spend as long as you like looking through plays. Strangely, I find certain charity shops to be quite good for searching for odd plays, particularly Shakespeare, and some of the more established playwrights (Shaw, Pinter, etc). They are also very good for Shakespeare study guides. Also, make sure you see as many plays as possible for ideas. (You should be going to see performances on a regular basis, anyway!)
Finally, although heavy editing and rewrites are definitely not encouraged, it's perfectly alright to join up to shorter passages to make a monologue if the small amont text inbetween can be removed with no loss of understanding or impact.
Q. Now that I've found some speeches I like, how should I prepare for my audition(s)?
A. Hopefully, if you have planned things well you will have at least a few weeks to learn and rehearse your speeches. So lets go over some basics:
How many speeches? You may have gathered together more speeches than you need for any particular audition requirment, and you will probably favour one or two of them above the others. However, if you have the time, I would advise that you have at least four memorised and 'ready to go' - 2 modern and 2 classical. If you're lucky enough to be offered a recall audition you may be asked to present some totally new monologues. Quite often recalls are sent out with not much more than two or three weeks notice, so it's good to have something in reserve that you can pull out with the minimum of stress and preparation. Also, you never know when you may want to change what you're doing at the last minute - For instance, you're waiting with other auditionees and you overhear that someone is doing the same speech as you, or you've had some upsetting news a day before the audition and feel that you would find another speech easier to cope with than the upbeat energetic one you were going to use.
Read the plays! It's absolutely essential, yet it's amazing how many people think they can get away with just reading their particular scene or skimming a couple of internet reviews. Excuses such as 'I didn't have the time', 'It was really long and boring', or 'I didn't think I needed to', will not cut much ice if you can't answer a relevant question about your character or the play. Auditioners are not looking to catch you out but they do want to see that you have an awareness and an interest about the play, it's characters, themes and style. Not reading the play means you'll be making unfounded assumptions about the extract and the character which will most likely lead to unconvincing, unoriginal or inaccurate choices in your performance. If you also get the chance to see a performance or film of your play(s), then that's useful too, but don't, whatever you do, get seduced into recreating an existing performance. The auditioners will want to see what you can do with the text.
Learn the speeches! There is no shortcut to this I'm afraid. You have to learn the text, and you need to learn the words well enough so that you can forget about remembering them, and concentrate on acting, if that makes sense! Some people have a natural facility for learning and retaing text, others find this part an absolute ordeal and test of all their mental powers. To the latter group, here's a few tips which may help you: Everyone has their own methods of learning, so what works for one person may not work for you. Dictaphones can be useful, especially as you can play back the text as you do other tasks. Make sure you speak back the lines to the tape, not just mouth or whisper them, this helps get them in your 'physical memory'. Writing out the speeches in long-hand whilst you slowly speak the words is a good starting point as well. Try and match up visual images in your head as you learn the words. Ones that can create an emotional attachment, relevant to the speech. Concentrate on one paragraph or section at a time so as not to get daunted by a large amount of text. Remember, your speeches should be no longer than about 2 minutes anyway.
Make notes, make connections... Remember that an audition is not just about learning lines and reciting them back in a way that makes sense. You need to interpret the text, make it your own and make interesting, yet truthful dramatic choices. You need to connect to your character and the situation they're in and the way to do this is to think about your character's intentions. Frame your character's needs - for each moment, for the duration of the speech, and for the whole play. Think about sub-text, that is, what is not spoken. Think about the speech in terms of a journey - has your character changed during the course of the speech? Write these ideas down. This will not make you less spontaneous, it will help you order your thoughts and apply them to the text.
...But don't go for the obvious, or make too many judgements... What I mean by this is that people, and in turn characters in a play, are complex and don't always do the obvious thing in any given situation. Angry people don't always shout, sad people often put on a brave face and laugh at jokes, not all estate agents are slimy go-getters (at least not outwardly - they'd get less work!). When you make your notes, try to keep to plain positive facts rather than becoming your character's psychiatrist!
So, for instance rather than write stuff like -
'In this speech X just wants to impress Y but she is angry that he isn't responding'
Go for something more like -
'In this speech X wants to impress Y. Y is looking at the TV'.
This is a important difference. It means you aren't restricting your character in anyway - she may well be angry that Y isn't responding, but she may well be frustrated, upset, bemused, resigned - all in the same speech. If you supply yourself with just the facts, you're actually leaving yourself with more room for an original and believable interpretation. Also, notice that the word 'just' was dropped - we don't 'just' do anything. We either do it, or we don't! Here's another example. Instead of this:
'X is insecure because she was abandoned by her promiscuous mother when she was only 9. Because of this she's very insecure that everyone is going to abandon her and none of her relationships last very long'.
Try this:
'X's mother ran away with the milkman when X was 9. X is now 25. She has not yet had a long-term relationship with anyone'.
The first one makes some fairly broad (not to mention cliched) assumptions. 'Insecure' is a catch-all word and one that could actually describe a variety of different behaviours. Do we know for sure that the mother is promiscuous purely because she ran away with the milkman? Using the word 'abandon' also add unnecessary colouring to the facts. Was X mature for 9 or not? Did the mother mean to 'abandon'? Applying this one incident in X's life as the reason for all her relationship failures is also a rather convenient and stereotypical connection and one that could lead to cliched characterisation. Remember also that just because a character has followed a certain pattern so far doesn't mean they always will, which is why it's more useful to say 'she has not yet had a long-term relationship with anyone'.
Hopefully you're getting the idea now!
... and don't choreograph your speech(es). Although making notes is something you should be doing, both on and off script, make sure you don't choreograph every movement and inflection. This will lead to a stilted and untruthful audition piece, which becomes boring for you to do, and even more boring to watch. You will disconnect from the text and the words will cease to become your own. You need to be trying out different stuff all the time - you may discard choices that are less successful, but you need generating them anyway.
Don't use props - or mime them. Some of the worst auditions I've seen involve elaborate but inaccurate mimings of combing hair, eating, dialing a telephone. It comes across as pointless and boring fluff, and it's not really acting. Real props are just as bad - one auditionee I remember wore a big hat and spread out a tablecloth to signify the fact she was having a picnic! Another used a scroll which she then ripped up - in turn facilitating a painful and silent wait at the end while she gathered up all the pieces! You may have the option of using a chair - but think carefully about why you need that chair and whether it is absolutely necessary for your piece.
Maintaining perspective and getting help. Practicing your speech alone can be a bit of a daunting and peculiar task. Try and put aside some time each day, even if it's just ten or twenty minutes when you are sure you will not be disturbed and in a place where you feel feel comfortable and secure and can loose any self-consciousness you may have about talking to no-one! Try to avoid doing your speech in the mirror if you can. You will get into a habit which will be impossible to recreate in an audition situation.
At some point you should perform your speech to others, even if you are absolutely convinced that it's as good as it can be. You need to see that you can communicate it effectively to an outside eye. Whether you decide just to perform your material in front of a friend or family member or chose to take some lessons with a drama tutor is a choice only you can make - Some friends provide useful and relevant feedback, some tutors do not have much knowledge of the drama school audition system and can give poor advice.
If you feel you need some extra professional help with rehearsing and presenting your speeches, try and do as much preparation as you can beforehand. If at all possible, find your speeches and learn them before you book any lessons. If you are really stuck, many tutors will be able to find speeches for you, but this will lengthen the process and cost you more money. Try to find a tutor through a recommendation, rather than through a 'phone book. If you have a drama school locally, try ringing them up and ask whether they know anyone who gives private lessons.
Email me if you would like to find out more about the private tuition I offer.
Q. What about the audition itself? Any advice or tips?
A. I think Drama School auditions can be in some ways likened to a driving test - They are both slightly false, encapsulated ways of presenting your skills at a particular point. If you drive, you probably don't drive now anything like you did in your test - you've learnt an awful lot more since, have become more confident and assured and take more risks, but at the time, your driving test was the most effective way of showing the examiner what you were capable of.
It may seem that the audition process feels slightly unfair: After all your weeks, perhaps months of hard work on your audition speeches, not to mention the amount of money you've forked out on travel expenses and fees, you may have no more than four or five minutes in front of the audition panel to shine and to prove to them you're worthy of a place. This is one of the reasons why it is a good idea to go to as many auditions as possible, partly to give yourself the best chance of success, and to get yourself 'audition-savvy'. Remember, of course, that Drama Schools get thousands of applications every year. It may all feel a bit impersonal and 'cattle-market' to you, but the sheer number of auditions mean that as much as they may want to, audition panels simply haven't got the time to give you the amount of attention you may feel you deserve.
Hopefully, you'll be told ahead of the audition what exactly it will entail. Some schools will want you to take part in a group workshop (probably impro based) before you present your speeches. You may also be asked to take part in a movement workshop or asked to prepare a song. To those who have little or no movement or musical experience, this can cause a lot of anxiety. Musical Theatre auditions are a different kettle of fish altogether and I'm assuming that if you've applied for a MT course you'll already be of a certain level and will have sought the appropriate advice elsewhere. All the advice given on this website is concerned wholly with straight acting courses.
Movement - if you're not a natural mover and you are asked to take part in a group movement exercise or workshop try and resist the temptation to bury yourself where you're least likely to be seen. Concentrate on what the workshop leader is asking of you, keep your head up and try your absolute hardest to enjoy the experience even if you're convinced you have two left feet. The auditioners would much rather you 'had a go' at what's asked of you, and to see that at least you have a certain confidence in yourself and your body than see you skulking at the back looking pained and uncomfortable. Remember, with this part of the audition, as with the rest, the auditioners are looking to see your potential for training. It's not always about the individual either - but about being an effective part of a team, so similarly if you are confident in your movement skills, don't push your way to the front with a fixed smile and 'jazz hands'!
Singing - If you're sure you can't carry a tune in a bucket, again it's still about doing the best you can, with a healthy dose of natural unforced confidence. If you are auditioning for a straight acting course, then the singing part of the audition is just another way for the panel to see what you're about and also how you cope with new and unsual situations - it's not that they're looking for the next X-Factor winner! Do not explain or make excuses or apologies about your voice, say you have a cold, sore throat etc. Chose a song with a simple melody (quite often you will be asked to sing the song unaccompanied, so it makes sense not to chose a song with a huge range, in case you start on a wrong note and run out of room at the top or bottom end). Concentrate as much on getting the idea of the song's lyrics across - think of it almost as another speech, but one with a melody. Simplicity and purity of emotion will always win out over vocal pyrotechnics that have no bearing to the meaning of the lyrics. Keep your posture relaxed and open. As with the rest of the audition - try to enjoy yourself. If you're really terrified about this part, it may be worth having a few lessons with a qualified singing teacher, so that you can gain a little confidence, learn how to breathe effectively, etc.
Now for some general do's and don'ts.
Do - check and re-check audition dates and times - and whether you need to ring up, or return any forms to say that you will attend. If you turn up at the wrong time, or when you weren't expected you'll have had a wasted journey and won't have created a favourable impression.
Do give yourself lots of time, much more than you think you need. If you're even slightly worried that a train or bus may run late either take an earlier one, or plan some accomodation so that you can stay overnight. It's far better to be an hour early (you can mooch around the college and get a feel for the place, or find a nearby cafe so you can relax a bit), than be even one minute late (out of breath, full of apologies, wanting the loo, you get the picture!)
Do get an early night! I'm sure you'll be full of nervous energy and will find it hard to sleep, but try your best - hot bath, milky drink, that kind of thing! Check and re-check your alarm clock and DO NOT DRINK THE NIGHT BEFORE!
Do make a checklist of things to take with you - ideally this would include, all audition paperwork, including the invite letter and directions, a copy of each of your speeches, movement/dancewear (if specified by the school), plenty of water and a light snack - you don't know how long you may be waiting and keeping your energy levels up is very important. A banana, cereal bar or something digestible and healthy (rather than fizzy pop and junk food!) will stop you from crashing and burning!
Do dress appropriately. Even if you aren't required to take part in a movement workshop, wear clothes that you can move easily and comfortably in. Don't wear the following if you want to make a good impression: High heels, flip flops or heel-less shoes or sandals, low-rise or very tight trousers or jeans, tummy skimming tops or t-shirts, excessive or clunky jewellery, chains or belts or obvious logos or slogans on clothes, . Remove any tounge, lip or eyebrow piercings and keep ear and nose piercings to a simple small studs. (all other body piercings shouldn't be visible anyway!!!) Women should keep any make-up subtle and light and floppy fringes and long hair should be kept off the face. What you don't want to be doing is tugging away at ill-fitting t-shirts, brushing away hair off your face, or limiting your movements because you're scared of showing too much flesh! Go for layers in case you get too hot or cold, natural fabrics and non-statement pieces rather than high fashion.
Don't get psyched out by other auditionees. Nearly always, there's one auditionee that has been there, done that and has the certificates to prove it! They may be doing over- elaborate warm-up exercises or talking about all the professional productions/TV/films they've been in recently, when you've only been an understudy in local am-dram. Whether they mean to or not, this kind of behaviour can easily distroy your confidence if you let it. Concentrate on yourself and what you need to do and remember - if they were that brilliant, they'd already be very successful and wouldn't need to audition! In some schools, you will be asked to audition in front of other auditionees and watching (what you think) are extremely good auditions can also start to errode all the good work you've already done on your own speeches. Again, keep your own counsel and think only about what you're doing, not what others are doing.
Don't create the wrong kind of impression. Big no-nos include shouting parts of your speech confrontationally at the audition panel, or including them within your speech as though they were also actors (they're not - they're the audience, remember), being pushy and over-zealous in team exercises (just as bad as being completely reticent), being argumentative or bolshy with auditioners or any other representative of the Drama School... Apart from assessing your acting skills, the panel are also assessing whether you are someone who can take direction, work effectively as a team member, and generally has the right attitude to become a successful actor.
Don't panic! If you have a complete blank and forget your lines (and it can happen, even if you have learnt them very well) stay calm, take a few seconds to re-assess and then carry on. If you are very near the beginning of your piece you may politely ask if it's alright to start again, but if you are half way through this probably isn't a good idea. Remember that quite often, if you do remain completely calm, and just go on to the next lines there's a chance that no-one will notice. In any case, even if they do notice, a panel will be interested in how you deal with the problem.
Don't be put off by what looks like the audition panel's lack of interest. There can be nothing more off putting than a row of impassive, stern looking faces. Sometimes it will appear that the auditioners aren't even looking at you or taking any notice. I promise you, they are; they are seasoned professionals with an awful lot of experience of auditions, if they're not looking at you, they can still hear you and they are probably writing notes at the same time so that they can remember just who you are and what you did. Also they have to be seen to be treating everyone in exactly the same way without any favouritism. What may be construed as unfriendliness is more likely to be briskness - they don't necessarily have the time for all the social niceties and they have to keep the proceedings moving along!
Q: So what happens next, and how should I prepare for it?
As I mentioned, you may have had very little time in front of the panel, and you almost certainly will not get any kind of feedback from them. (In fact, most Drama Schools do not offer feedback at all, even if you phone them up or write to them - there's just too many people auditioning to be able to). Almost certainly you'll have a real sense of anti-climax! Most Drama Schools will let you know either way within a few weeks, and if they liked what they saw they will invite you back for a recall audition. If you get this far - Well done! Quite often this will mean you will have to prepare some new speeches, so as I said in a previous section, it's a good idea if you've already prepared some extras. The format of recall auditions also vary depending on the school. With some, this is the point where you will have to spend a whole day, or perhaps even a weekend in various workshops. With others, it'll simply mean presenting two more speeches and maybe taking some direction from the panel, or taking part in movement or voice workshops.
This can often be the stage where nerves really kick in. Up to this point, the thought of attending drama school may have been nothing more than an ambition or dream, and suddenly there’s a very real chance (if you do things right!) that it can all become a reality. At this point it may be worth taking stock. What was it about your 1st round audition (in your opinion) that made the panel want to see you again? Don’t be falsely modest or overly conceited - be honest! What good points do you think you didn’t get a chance to demonstrate? What would you have done differently?
Whether you are working with the same speeches or new ones for your 2nd audition, you will almost certainly be given some direction to take on board and this can be where things start to go a bit pear-shaped. Some auditioners will be purposely vague (ie: “Can you do it again as if you’re in a hurry?” or, “with a bit more energy”). Some will ask you to do a physical task at the same time (ie: “Can you try and leave the room, with someone stopping you?”) Some will give you precise instructions and some will just be baffling! With all direction remember the following:
They want you to be great, and for you to pleasantly surpise them. For all it may seem to the contrary, auditioners aren’t trying to catch you out. They want to see how your thought processes work. Will you go for the obvious choice, or will you try something more interesting and truthful? They want to see as much of your acting talent as possible (within the time constraints). As I’ve said above, don’t over-choreograph your speeches. This is the point where it’ll be even more obvious to the auditioning panel if you’re stuck in a certain performance rut and cannot respond positively to direction.
Take a leap of faith! Both in yourself and in the panel. If something really isn’t clear and you need to ask a question or two then that’s fine, but also be prepared to plunge in with whatever they ask and don’t use multiple questions as a stalling tactic. The panel will appreciate your fearlessness a lot more than confused looks and defeatist slouching etc.
What does your character want and how will it be achieved? This is the crux of the matter. If an auditioner has asked you to do the speech as if you are trying to get out of the room, for instance - your character could try a lot of tactics to achieve this result: truncate proceedings, cajole other people, make excuses, apologise, perhaps they will even intimidate or threaten. As always, think in clear ‘doables’ (cajole, apologise, threaten) over vague emotions (angry, upset, guilty).
Carry though the direction from beginning to end (or until you’re stopped). Don’t ‘give up’ halfway through. Don’t make excuses at the beginning or the end because you thought it didn’t work.
Q: I tried auditioning for the first time this year, but I didn’t get anywhere. What now? Should I give up?
A: No! It took some drama school graduates two, three or even four attempts before they got in. In between auditions they probably gained as much experience as they could by reading loads of plays and taking part in many different performance and training opportunities. They learnt as much as they could from their unsuccessful attempts so that eventually they were successful. If after three or four years you still haven’t gained a place then whilst drama school may not be the way in to an acting career, there are still many other options open to you. See the next lot of faqs for lots more information.
