2008 AUDITIONS
for SCHOLARSHIPS,
STIPENDS, and
TOUR GROUPS
Saturday, March 1st
Alys Stephens Center
1200 10th Avenue South
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| APPLICATION |
Everyone applying
for a scholarship or stipend
must fill out a formal application.
Here's the application form for new AND returning students.
Everyone applying for a scholarship or stipend must also bring copies of an up-to-date résumé.
Student designers must present a portfolio. Student performers must present prepared audition pieces.
Students applying for a scholarship who are neither performers nor designers should come to the auditions for an interview with the
faculty -- no portfolio or audition is required.
TIME SLOTS FOR RETURNING DEPARTMENT MAJORS:
- Portfolio review: 9:00 am and 9:50 am
- Acting audition: 10:00 am - 11:30 am
- Singing audition: 11:30 am - noon
- Interviews for general studies students: 10:00 am - noon
TIME SLOTS FOR ALL NEW STUDENTS:
- 1:00 pm - 3:00 pm
ALL ACTORS MUST BE ONSTAGE AND READY BY 12:45
For more information on any aspect of these auditions, contact
Professor Cheryl Hall at Theatre UAB:
(205) 975-6454
challthr@uab.edu
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| DESIGN / TECH |
| You will have a total of five minutes in
which to present a design portfolio or annotated
production book. Allow two minutes for your
presentation and the remainder for answering
questions. Be sure you bring copies of your
current résumé so you can leave those with the appropriate
faculty members.
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| ACTORS |
| Be prepared to present two contrasting monologues:
one comedic, one serious. Each monologue
should be no longer than 90 seconds. You
should also bring copies of your current
résumé, including a recent headshot. |
| SINGERS |
| Be prepared to sing 16 to 20 measures of
a song for which
you have brought clearly
marked sheet music
for our accompanist. |
| FOR ALL ACTORS & SINGERS: |
Here are some guidelines to follow:
SELECTING MATERIAL
- Find material that you could be cast in today.
- Use material that is within your age range, your vocal range (especially if you're singing), your emotional range, and within the scope of your movement skills.
- Avoid material that requires a dialect.
- See that the material moves to a conclusion. Begin somewhere and go somewhere through the material.
- Use material that focuses on your character.
- Avoid material that you have performed in a complete production.
- Discuss your choice of material with your director, and your other acting teachers
- Choose material in which you have faith, and as you rehearse allows you to gain confidence.
REHEARSING THE MATERIAL
- Make strong, positive choices aimed at putting your character in charge of the
scene.
- Locate and exploit counterpoints and tensions between yourself and the character,
tensions within the character, tensions between the character and the dramatic situation.
- Allow time for audience reaction when the character has to make a choice. Share
choices with the audience.
- Give movement specificity, dramatic validity, and theatrical finish. Simple butcompletely realized movements and gestures are the most effective.
- Avoid literal interpretations of the text in movement and gesture.
- Keep body and face forward. Avoid too much profile.
- Maintain vocal control throughout the scene. Don't let emotions drive you beyond vocal expression you can control.
- Imagine the physical space appropriate for your scene; set the boundaries and maintain control of that space during the performance.
- Movement should develop organically from the material; the connection between the physical action and its emotional source should be strong and clear.
- Clearly specify the ending of the first piece and the beginning of the next. Do not
run the two scenes together.
- The confidence, poise, and polish characteristic of outstanding auditions is the result of dedicated, concentrated rehearsal and astute coaching. Ask your acting teachers and your coaches to help you with your audition. Adequate rehearsal is vital.
AT THE AUDITION
- Wear simple, attractive, comfortable clothes and shoes suited to your movement choices. Minimize jewelry.
Style your hair so that it flatters your face and does not hide it.
- Warm up your voice and your body.
- Assess the acoustic qualities of the performance space and make choices regarding how much vocal energy you will need to be heard.
- At the beginning of the audition, state your name, and the titles of the pieces you will perform.
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