Oh! Five pages/chapters? [director & auditions] [novice actor] [ advanced actor]


... and this page!

Any "theory" about auditioning?

Directors are from Mars, actors are from Venis...

They need each other.

Why are they so different?



Auditions as EVENT

Auditions = Interview

Pre-aiditions [portfolio, resume, letter]

Post-autions [how to be remembers]



Pre-production and auditions

And -- pre-acting ?


LUL auditions [notes for myself]

... "Help Wanted?" Yes and No.

Luck, first impression and bullshiting


Mamet on Auditions:

* The producers are not interested in discovering the new. Who in their right mind would bet twenty million dollars on an untried actor? They want the old—and if they cannot have it, they want its facsimile.

* Teachers of “audition technique” counsel actors to consider the audition itself the performance, and to gear all one’s hopes and aspirations not to toward the actual practice of one’s craft (which takes place in from of an audience or a camera), but toward the possibility of appealing to some functionary. What could be more awful?

* I knew a man who went to Hollywood and languished jobless for a period of years. A talented actor. And he got no work. He came back at the end of the period and lamented, “I would have been all right if they’d just sat me down on day one and explained the rules.”
Well, so would we all. But who are “they”? And what are the rules? There is no “they,” and there are no rules. He posited the existence of a rational hierarchal group acting in a reasonable manner.

* But how will you act when you, whether occasionally or frequently, come up against the gatekeepers?
Why not do the best you can, see them as, if you will, an inevitable and preexisting condition, like ants at a picnic, and shrug and enjoy yourself in spite of them.


Theory * Directing * Acting * 2007

TOPICS: drama + comedy + postmodern + american age + space + time + chronotope + direct + event theory + present + sex + past + marxism + shows +
Stanislavsky: «Unless the theatre can ennoble you, make you a better person, you should flee from it».

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UAF Fall 2005: Small Chekhov

Featured Pages : PS

2007 -- acting2 * auditions "actors only" page!

Look, I try to write about what NOT to do. What NOT to think about. What NOT to read. How NOT to waste your time and energy. How NOT to go in wrong directions. NOT be interested in stupid questions. NOT notice, NOT hear, NOT see....

In short, to be FOCUSED. To have directions.

YOUR OWN directions.

To know what you want is to know what you DO NOT want.

To know what you are is to know what you are NOT.

In acting theory it's called "choices"!

Means -- one, not many, not even two.

Means you have to have MANY and select ONE.

If I can see it -- you have none.

You have to learn how to NEGATE, how cut out....

Yes, I am talking about your daily existence, friend.

List what you did yesterday. And the day before. Take a good look at this list -- cross out what was the waste of your time. Because this is the time when you can -- acting!

[What does this page do in the THEORY directory?]

ANDREY. Good evening, my good man. What is it? [louder]. I say, you have come late. It's past eight o'clock... Dear old man, how strangely life changes and deceives you! Today I was so bored and had nothing to do, so I picked up this book -- old university lectures -- and I laughed... Good heavens! I'm the secretary of the District Council of which mister Protopopov is the chairman. I am the secretary, and the most I can hope for is to become a member of the Board! Me, a member of the local District Council, while I dream every night I'm professor at the University of Moscow -- a distinguished man, of whom all world is proud!
[to the mirror] If you did hear well, perhaps I shouldn't talk to you. I must talk to somebody, and, my wife, she doesn't understand me. My sisters I'm somehow afraid of -- I'm afraid they will laugh at me... Look, I don't drink, I'm not like restaurants, but how I'd enjoy sitting at some small bar at this moment! You sit in a huge room at a restaurant; you know no one and no one knows you, and at the same time you don't feel a stranger... But here you know everyone and everyone knows you, and yet you are a stranger -- a stranger... A stranger, and lonely... (
3 Sisters)


Auditions: * Performer’s name
* Short description of situation where character speaks
* Title of the Play, Writer, Character's Name

Be prepare to answer, if asked:
* Attitude/tone of author depicted in text
* What does the character want in the scene?
* What is the goal or objective?
* What is the emotional state of the character?
* Act/Scene of monologue
* What is this character like?

[ selection of monologue should be appropriate to the ability, age, and sex ]


Film casting and other "casting" pages: Cast in directing, Typecast in BioMethod, Actors and Cast in Method.
* one act fest
Relaxation / Concentration: to arrive at a "neutral state" ("tabula rasa" -- blank slate) -- to create you must first have a blank slate -- an empty canvas -- on which to place their art. Actors must find vaious ways to achieve this... Wilson and Goldfarb use the term "centering." (45)


3 basic ingredients of the actor: 1. native ability (talent) 2. training (including general education)3. practice

Method: Mono, Monologues I, Monologues II
Biomechanics: Mono I, Mono II
Acting One: Monologue, Mono I, Mono II



Assistant Director AD

Stage Manager SM


and other "characters"...



Casting Director

and etc.


"cold reading" and "call-backs"

And here is a list of miscellaneous tips from various producers (copied from and used with permission of Summer Theatre Directory, 2000.)

Take a chance.
Be specific in your goals.
Don't do "cute."
It's fine to smile! (a common refrain)
If you can sing/dance - show it.
Never apologize, never explain.
Don't make excuses why you're not in voice "today."
Don't get bent out of shape if things go wrong.
Don't try to show every human emotion in 90 seconds.
Never audition a capella (unless it's asked for in a call-back).
Use material appropriate to the season being cast.
If you have the opportunity, a firm, solid handshake.
Be nice to everyone you meet connected with the audition. (There are spies everywhere!)
Be yourself.

How NOT to audtion (to write)

acting2 + directing groups

... "Actor's Script" -- Andrey (Chekhov, 3 Sisters) Andrey1 + Andrey2 monologues


Index * Theatre w/Anatoly * Books * Stagematrix.06 * Students * Spectator * Virtual Theatre * Script Analysis * SHOWS * Film Theory * Film Directing * Plays * Write * Web * Classes * Bookmark vTheatre! Mailing List & News -- subscribe yourself * Method Acting for Directors * Acting 101 *

Auditions According to Director

2005 : Auditions
I resisted, I didn't want to have this page.

Maybe, I thought, I will make it one day in -- Director's book.

All acting textbooks have it -- How to Audition.

You know, you read them.

I understand; after all the auditions is THAT thing between you and the show.

Since you read about auditions, I don't have to repeat what you already should know.

I rather make a few points about the sensitive matters. Like.... a talent.

Does it exist?

Oh, yes, it does!

How about "luck"?


But if you are lucky, you do not have to do anything, do no need to skills or knowledge, nothing -- including the talent, right?

But what is this thing "T"?

Listen, can you tell me first, why do you want to know? What difference would it make if I will tell that you have a talent? Will you work more or less?

If you will work more, I am telling you -- Yes, you have it!

If you work today less than yesterday, my answer is -- No, you have no talent!

Russian pianist and composer Anton Rubinstein used to say that when you do not practice one, you notice it it. Two days -- your friends notice it. Three days -- the public knows it.


Actors (short list):

Generally remain within your own basic age range and physical type.
Select characters with whom you can identify.
If you'll audition with two selections, try to provide monologues with distinct contrasts.
Use material that reflects clarity and unity.
Read the whole play not just the extract.
Time your selections carefully.
A good monologue selection is one that causes the actor to do something, and if it's physical all the better.
Try not to use material that has been made into a popular movie. There's no need for comparison.
It's o.k. if you take material from a novel instead of a play.
Don't confuse a comedic monologue with a stand-up act. tour-acting



Auditions are no less important for a director. Every director knows it. Real director, I mean.

[ see other auditions pages in acting directories! ]

Mono Studies:

ANATOL: There really isn't any more to it. I had known her only two hours and I knew that I would probably never see her again once the evening was over--she told me so herself--and yet I had the feeling that I was loved madly in that moment. It wrapped me round--the air was heavy and fragrant with this love--do you understand? And again I had the foolish and divine thought--"you poor, poor child." The episodic character of it all came so clearly to my consciousness. While I still felt her warm breath on my hand, I seemed to be living it over in my memory--as if it were already a thing of the past. She was just another one of those over whom my path led me. The word came to me then--that arid word "Episode"--and yet I seemed to feel myself as something Eternal. I knew that this poor child would never lose the memory of this hour--I had never felt so sure of it as in just this case. Oh, I often realize that by next morning I will be quite forgotten. But this was different--I was all the world to this girl who lay at my feet--I felt the sacred, enduring love with which she surrounded me--one can feel that--I know that in that moment she had thought for nothing but me--and yet for me she was already something that was past--something that was fleeting--an Episode. (The Affair of Anatol, Arthur Schnitzler)

MAX: Well, friend, you have the solution of one of those enigmas which have puzzled the most brilliant men for ages, in your own hands: you need only speak, and you will know all that you wish to know. One question -- and you will know whether you are one of the few who are really loved exclusively -- or you can learn who your rival is and how he won his victory over you -- and yet you will not speak this word. You have been permitted to question Fate -- and you will not. You torture yourself day and night, you'd give half your life for the truth, and yet when it lies before you, you will not stoop to pick it up. And why not? Because it might happen that a woman whom you love is really just as you would have her, in all your imaginings, and because your illusion is a thousand times dearer to you than the truth. Enough of this trifling now. Wake the girl up, and be satisfied with the proud consciousness that you -- might have accomplished a miracle.

Cosider auditions a performance... for the best audience!

Never mind your questions! Do me and yourself a favor. Introduce yourself, your character, the play, the writer. Turn around and turn back in character. When you are done, bow -- and don't say "that's it" and etc.

Don't ask questions. Answer them.

Next: spectator
Quotes & Thoughts:
@2000-2004 thr w/anatoly *


Twelve Step Plan to Becoming an Actor in Dawn Lerman

The Ultimate Audition Book for Teens: 111 One Minute Monologues (The Ultimate Audition Book for Teens, Volume 4) by Debbie Lamedman

More Alternative Shakespeare Auditions for Men by Simon Dunmore, William Shakespeare

Shakespeare for One: Women: The Complete Monologues and Audition Pieces by William Shakespeare, Douglas Newell (Editor)

Shakespeare for One: Men: The Complete Monologues and Audition Pieces by William Shakespeare, Douglas Newell (Editor)

Leading Women: Plays for Actresses II by Eric Lane (Editor), Nina Shengold (Editor)

Fifty African American Audition Monologues by Gus Edwards

How to Completely Blow Your Competition Away at Any Audition!: What by Caterina Christakos

Thank You Very Much: The Little Guide to Auditioning for the Musical Theater by Stuart Ostrow (Paperback - May 2002)

The Spirited Actor: Principles for a Successful Audition by Tracey Moore-Marable (Paperback - April 2002)

Audition Monologues: Power Pieces for Kids and Teens by Deborah Maddox (Paperback)

Audition Speeches for Younger Actors 16+ by Jean Marlow (Paperback)

The Audition Sourcebook: Do's, Don'ts, and an Online Guide to 2,100+ Monologues and Musical Excerpts by Randall Richardson, Don Sandley (Paperback)

Pocket Classics for Women by Ian Michaels (Editor), Roger Karshner (Paperback - November 2001)

An Actor's Dickens: Scenes for Audition and Performance from the Works of Charles Dickens by Beatrice Manley (Editor), Charles Dickens (Paperback - October 2001)

Audition Monologs for Student Actors 2: Selections from Contemporary Plays by Roger Ellis (Editor) (Paperback - October 2001)

Actor's Guide to Auditions and Interviews by Margo Annett (Paperback - September 2001)

Audition Speeches for Men by Jean Marlow, Elizabeth Ewing (Paperback - September 2001)

Scenes I'Ve Seen...: A Casting Director's Original Scenes and Interpretive Notes (Monologue and Scene Series) by Dorian Dunas (Hardcover - September 2001)

Auditioning: An Actor-Friendly Guide by Joanna Merlin, Harold Prince (Preface) (Paperback - May 2001)

Monologues for Women by Susan Pomerance (Paperback - April 2001)

Even More Monologues for Women by Women by Tori Haring-Smith (Editor) (Paperback)

Neil Simon Scenes: Scenes from the Works of America's Foremost Playwright by Neil Simon, Roger Karshner (Editor) (Paperback - October 2000)

The Monologue Audition: A Practical Guide for Actors by Karen Kohlhaas, David Mamet (Paperback)

The Sanford Meisner Approach: Workbook IV Playing the Part (The Sanford Meisner Approach) by Larry Silverberg (Paperback)

Outstanding Stage Monologs and Scenes from the '90s: Professional Auditions for Student Actors by Steven H. Gale (Editor) (Paperback - July 2000)

The Ultimate Audition Book for Teens: 111 One-Minute Monologues (Young Actors Series) by Janet B. Milstein (Paperback - July 2000)

More Alternative Shakespeare Auditions for Women by William Shakespeare, Simon Dunmore (Editor) (Paperback - May 2000)

Contemporary Scenes for Actors: Men by Michael Earley (Editor), et al (Paperback - December 1999)

How to Get the Part...Without Falling Apart! by Margie Haber, et al (Paperback - October 1999)

Audition Monologs for Student Actors: Selections from Contemporary Plays by Roger Ellis (Editor) (Paperback - August 1999)

Tight Spots: True-To-Life Monolog Characterizations for Student Actors by Diana M. Howie (Paperback - August 1999)

The Stage Directions Guide to Auditions (Heinemann's Stage Directions Series) by Stephen Peithman (Editor), et al (Paperback - April 1999)

Acting Scenes and Monologs for Young Women: 60 Dramatic Characterizations by Maya Levy (Paperback - March 1999)

Cold Reading and How to Be Good at It by Basil Hoffman (Paperback - February 1999)

Scenes for Women by Women by Tori Haring-Smith (Editor) (Paperback - February 1999)

Arthur Schnitzler : Four Plays (Great Translations for Actors Series) by Arthur Schnitzler, Carl R. Mueller (Translator) (Paperback - 1999)

Pocket Monologues: Working-Class Characters for Women by Susan Pomerance (Paperback - 1999)

The Flip Side: 64 Point-Of-View Monologs for Teens by Heather H Henderson, Ted Zapel (Editor) (Paperback - October 1998)

Great Scenes and Monologues for Actors by Michael Schulman (Editor), Eva Mekler (Editor) (Mass Market Paperback - September 1998)

The Theatre Audition Book: Playing Monologs from Contemporary, Modern, Period, Shakespeare and Classical Plays by Gerald Lee Ratliff (Paperback - September 1998)

Pocket Monologues for Men by Roger Karshner (Editor) (Paperback - July 1998)

Two-Minute Monologs : Original Audition Scenes for Professional Actors by Glenn Alterman, Theodore O. Zapel (Editor) (Paperback - June 1998)

The Perfect Monologue: How to Find and Perform the Monologue That Will Get You the Part by Ginger Friedman (Paperback - May 1998)

A Guide to Scenes & Monologues from Shakespeare and His Contemporaries by Kurt Daw, Julia Matthews (Paperback - April 1998)

Alternative Shakespeare Auditions for Men by Simon Dunmore (Editor), William Shakespeare (Paperback - March 1998)

Alternative Shakespeare Auditions for Women by Simon Dunmore (Editor), William Shakespeare (Paperback - March 1998)

For Women: Pocket Monologues from Shakespeare by William Shakespeare, et al (Paperback - January 1998)

Another Perfect Piece: Monologues from Canadian Plays by Tony Hamill (Editor) (Paperback - October 1997)

Pocket Monologues for Women by Susan Pomerance (Paperback - July 1997)

Monologues on Black Life by Gus Edwards (Paperback - February 1997)

Next!: An Actor's Guide to Auditioning by Ellie Kanner, et al (Paperback - January 1997)

Baseball Monologues by Lavonne Mueller (Editor), Lee Blessing (Introduction) (Paperback - September 1996)

Classical Audition Speeches for Men by Jean Marlow (Compiler) (Paperback - September 1996)

Classical Audition Speeches for Women by Jean Marlow (Paperback - September 1996)

More Monologues for Women by Women by Tori Haring-Smith (Editor) (Paperback - August 1996)

For Women: More Monologues They Haven't Heard by Susan Pomerance (Paperback - July 1996)

Kids Stuff by Ruth Mae Roddy (Paperback - July 1996)

Neil Simon Monologues: Speeches from the Works of America's Foremost Playwright by Neil Simon, et al (Paperback - July 1996)

Voices by Lydia Cosentino (Editor) (Paperback - July 1996)

The Audition Process: A Guide for Actors by Bob Funk (Paperback - April 1996)

Next: Auditioning for the Musical Theatre by Steven M. Alper, Herbert Knapp (Illustrator) (Paperback - February 1996)

The Contemporary Monologue: Men by Michael Earley (Editor), et al (Paperback - December 1995)

The Contemporary Monologue: Women by Michael Earley (Editor), et al (Paperback - September 1995)

Getting the Part: Thirty-Three Professional Casting Directors Tell You How to Get Work in Theater, Films, Commercials, and TV by Judith Searle (Paperback - September 1995)

... "Monologue" pages @ acting1,2,3

... "Monologue Study" ( -- drama analysis)


... [ monologue presentation is required for the first class of acting2 ]


Total Directing Up-level

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