BOOK OF THE MONTH
The Methuen Audition Book For MenA collection of fifty audition speeches for men selected from the finest plays of the last twenty years. There are pieces from mainstream contemporary classics such as Jim Cartwright's ROAD, Caryl Churchill's SERIOUS MONEY, David Edgar's MAYDAYS and John Godber's HAPPY FAMILIES, as well as keynote plays like Martin McDonagh's THE BEAUTY QUEEN OF LEENANE, John Retallack and Melvyn Burgess's JUNK, Ron Hutchinson's RAT IN THE SKULL, Nigel Williams's CLASS ENEMY and many more. They cover a wide range of mood and character, from comedy to tragedy, from youth to old age. Each piece is accompanied by a synopsis setting the extract firmly in its context. The volume is introduced by the editor with a note of advice drawn from interviews with experienced directors. (See below) |
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The Methuen Audition Book For WomenA collection of fifty audition speeches for women selected from the finest plays of the last twenty years. There are pieces from mainstream contemporary classics such as Willy Russell's EDUCATING RITA, Stephen Poliakoffs CITY SUGAR, Jim Cartwright's ROAD and Caryl Churchill's SERIOUS MONEY, as well as keynote plays like Mark Ravenhill's SHOPPING AND F***ING, Timberlake Wertenbaker's OUR COUNTRY'S GOOD, Lee Hall's SPOONFACE STEINBERG, David Mamet's OLEANNA and many more. They cover a wide range of mood and character, from comedy to tragedy, from youth to old age. Each piece is accompanied by a synopsis setting the extract firmly in its context. The volume is introduced by the editor with a note of advice drawn from interviews with experienced directors. |
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IntroductionIn the course of compiling this book I spoke to a number of directors working in various areas of theatre, from drama schools to the National Theatre. Neatly everyone agreed that an actor's most important attribute was self-knowledge. Self-knowledge can be expressed in a variety of ways: through wit, intelligence, verbal and physical dexterity, an assertive, as opposed to an aggressive manner. There is a great difference in approach to auditioning In Britain and the United States. In America cut-throat competition has engendered a highly professional attitude. Actors tend to arrive fully prepared for an audition, on time, with well-rehearsed speeches from plays that they have taken the time to read in their entirety. In contrast directors spoke about the appalling diffidence of many actors in Britain, who arrived in no way prepared, appearing to feel that the audition was something of an imposition and that performing was the last thing in the world they wanted to do. Directors were keen to emphasize the fact that an audition is not a test but a meeting between the actor and director to assess the possibility of working together. Many felt that auditioning should be more of a two-way process and that actors should accept more power or responsibility, for themselves when auditioning. In other words, actors should not be tempted to play down their own intelligence, to act according to what they think the director wants, but to see themselves as professionals. Opinions differ as to how much an actor can show about the way he/she works m an audition. One felt that it was a genuine opportunity for an actor to display their work; another, that little could actually be revealed by the presentation of a speech auditioning being an artificial perforating situation-and that the actor should concentrate on presenting themselves as well as possible, on maximizing their presence. Clearly in an ideal audition one should do both. One should be clear, concise and, equally important, unpretentious. One director talked of avoiding the temptation to be arch. Another was looking for 'assurance with natural reticence', which she went on to explain as including the director in the audition in an open way, talking with, rather than at, him or her. Most key points as regards the selection and presentation of the audition piece are common sense, but easy to overlook in the attempt to impress. For instance it would be unwise to attempt a speech using a particular accent unless it was well within your capabilities and It would be sensible to choose a role within your own age-range. In the event of an audition being for a specific role, select a pertinent piece: if the production is to be a comedy, present a comic speech. It should be emphasized that there is no substitute, when preparing an audition speech, for reading the play In Its entirety. Everybody acknowledged the advantages of doing a witty or comic piece mainly because they enjoyed being able to laugh. They felt that it was extremely hard for an actor to play a highly emotional scene in an audition without resorting to a good deal of tension, both physically and vocally. How can you make auditioning a less nerve-racking affair? Most directors agreed on this. Get a good night's sleep, wear comfortable clothes, arrive early and find a quiet place to calm down and 'centre' yourself. Above all, everyone stressed, have fun! |
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Book for Men
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Book for Women