| 1. | | | | on the character and the play. The panel will know |
| Pick Appropriate Audition Speeches | | | | many of the plays very well. They will ask you |
| You will be required by most acting schools to | | | | questions to make sure you are committed and |
| learn two audition speeches. One modern and one | | | | to ensure you‘ve done your homework. |
| Shakespeare. Modern means any play written in | | | | 4. |
| the last 100 years (roughly). An audition speech is | | | | Take Re-Direction |
| a monologue given by a character in a play | | | | If they ask you to do your speech in a different |
| directed to another character or given by a | | | | way, this is called re-direction. They are doing this |
| character speaking out their own internal thoughts | | | | to see if you can do it differently when requested |
| to themselves. The latter, Shakespeare referred | | | | or if you keep repeating it the same way. You |
| to as soliloquies. | | | | MUST take the re-direction fully. However they |
| I would recommend finding speeches said by | | | | ask for it to be redone, don’t question it, and |
| characters of a similar age and type to you. If | | | | fulfill it as fully as possible. |
| you are 18, it‘s easier for you to relate to, | | | | If you fail to take the direction, it will be a mark |
| play, and be convincing to a panel, as an 18 year | | | | against you. |
| old character from a play. Obviously, you can | | | | 5. |
| widen the age range but I would veer away from | | | | Don‘t Block In Improvisations |
| characters that are much older than you. | | | | If they ask you to improvise, just throw yourself |
| Also, find characters that you can relate to and | | | | in and don‘t block the other actors. Here is an |
| who are of a similar type. It‘s best to make | | | | example of ’blocking‘. |
| the process as simple and enjoyable as possible. | | | | Actor A: Hello, would you like to go for a walk? |
| Find characters you resonate with and enjoy | | | | Actor B: No, I don‘t want to. |
| playing. If they are of a similar type to you, it will | | | | Actor A: Oh, go on. |
| be easier to produce high quality acting for the | | | | Actor B: No, I want to be left alone. |
| part. | | | | Actor B is blocking and that won‘t be liked by |
| 2. | | | | a panel. |
| Get Professional Coaching | | | | They are looking for people to join in, |
| Most Drama Students take professional acting | | | | communicate, and create. |
| lessons and acting classes run by professional | | | | Also, don‘t take yourself out of any group |
| coaches to practice and perfect their audition | | | | situation they put you in. If you don‘t join in |
| speeches. If you decide not to do this, remember | | | | or are reticent, they will think you‘re not a |
| you may be up against students who have been | | | | team player. |
| perfecting speeches for years with professional | | | | It would be a wise move, in advance of your |
| coaches. | | | | acting training, to take acting courses in |
| 3. | | | | improvisation so you are at home with this acting |
| Know the Character and Play Inside Out | | | | technique. |
| You MUST know the character and play | | | | Following these five points will help you gain entry |
| intimately. During your Drama School auditions, | | | | into Drama School. |
| you may be asked questions by the audition panel | | | | |