4d - Literature

As this is an ongoing task, I intend to continue to update this blog when needs be as I discover other published pieces that support or give new light to my line of enquiry, where I want to discover if auditionee's feel they were/are prepared for the rigorous process.

My first port of call was 'summon' where I typed in the key word 'audition'. This lead me to numerous documents that I sifted through until I found '"DS" 2009 Auditions Guide: Impress and Be Your Best: 10 Tips for Audition Excellence' (Levy, Monica Dance Spirit; Feb 2009; 13, 2; Performing Arts Periodicals Database pg. 66) which caught my attention instantly as I always find top tips can make light of something and as all performers know, the technique of a perfect audition, most would argue, goes beyond ten tips.

Nevertheless, I began to read. I don't get offered a job from every audition I go to, who does? So maybe this article might shed some light on something we are all missing.

the top ten tips for audition excellence and a brief summary of the tip, were as follows;

1. Exude professionalism - discusses the power of the way you enter a room. States that a persons attitude can be felt immediately.
2. Be 'on' at all times - takes note on an auditionee's keenness to learn. 
3. Get pumped - mentions the importance of what an auditionee does with there time before the audition begins
4. Don't stress - argues that your nerves make a panel anxious
5. Always know what you're auditioning for - discusses the importance of doing your research on the company you are auditioning for and dressing appropriately
6. Arrive at least an hour before - states that being late gives off the worst impression and that if you are late for an audition the casting team will assume you might be late for a show.
7. Be (the best version of) yourself - suggests heeding the other tips but not losing yourself in the process
8. Focus, focus, focus! - states the importance of getting in the zone and not thinking about anything else other than the choreography
9. Be mindful of interactions with other dancers - discusses the importance of the creative team being able to see that you work well with other performers
10. A botched first impression doesn't have to be your last chance - discusses the idea of a first impression not being the end of the world. If you aren't great the first time but go away and come back having improved, then you still have a chance.

As my enquiry is focusing on how auditionee's deal with the process of an audition I was interested to see what my SIG group made of this list article. The discussion that followed was long and very interesting as all of my fellow auditionee's within my SIG group stated that, yes, in essence, all of these points were valid. However everyone also agreed that there was a lot more to successfully auditioning than ten points and other factors had to be considered. When I asked the group what other factors needed to be considered, they added this to the equation...

11. Preparation - have the correct dance shoes, a selection of different song choices, different outfits, spare pares of tights, hair bands, extra makeup, a paper copy of your cv and headshot, plan your route the day before so you know how long it will take you to get there, prep some food and drink incase you are there all day for recalls and don't get a break, dress appropriately for standing outside (this happens at pineapple all the time at open auditions)

the SIG group also felt that because of the format of this article, the points didn't go into enough detail. for example they would add;

Tip 2: Be 'on' at all times - takes note on an auditionee's keenness to learn. 

But there are levels to this. You can't dance full out at the sides of the room while another group is having there go. If the panel say its alright to mark, then you can mark, just don't mark your arms, ever! 

Tip 3: Get pumped - mentions the importance of what an auditionee does with there time before the audition begins. 

The article doesn't actual mention the importance of warming yourself up, whether this be vocally or physically before an audition. A panel should give you time to do this, but it doesn't always happen, so make sure you spend your time wisely leading up to the audition and make this a priority. 

Tip 4: Don't stress - argues that your nerves make a panel anxious. 
My SIG group simply said this was easier said then done! They all agreed that as a performer, you have to learn to channel your nerves into adrenaline that actually helps your performance. Its not about losing a sense of fear, but using it to assist you. 

Tip 10: A botched first impression doesn't have to be your last chance - discusses the idea of a first impression not being the end of the world. If you aren't great the first time but go away and come back having improved, then you still have a chance. 
My SIG group strongly disagreed with this. They agreed that a panel (if they remembered you) might accept that you had improved. But felt that getting your face recognised for the right reasons was vital and that walking into a room for a second time in front of a panel who were not impressed by their first meeting with you makes your life so much harder. 

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My SIG group had previously mentioned how auditioning is getting even tougher because roles that would usually be cast to trained professionals are going to celebrities off the back of talent shows such as the X Factor. this led me to my next article 'It's a hard knock life' (Reischel, Jennifer

The Stage; Apr 14, 2011; Performing Arts Periodicals Database pg. 22) as I was interested to see how other professionals felt towards the growing popularity towards the celebrity, and the fact that more and more casting directors are now using 'celebrities' in lead roles in order to sell tickets. 

This article asked a lot of the questions I have asked in regards to my enquiry. Jennifer Reischel begins by discussing the ever growing popularity of the TV Talent Show 'where Maria's, Nancy's and Joseph's are being selected for west end musical prominence', and stresses her concern of the ability of the public to recognise what makes a leading West End star. Peter Barlow suggests that large scale West End productions should not be placed on the shoulders of a new comer with little or no experience as 'they do not necessarily endorse the ongoing commitment to the craft of acting, and the persistent dedication required to sustain a life long career treading the boards'  This quote sums up, in my eyes, why many of my SIG group are so anti talent shows as many of them feel angry and almost robbed of work after training for years and spending a lot of money pursuing a career and then watching jobs go to the winner (or runners up) of a TV show. 

The article goes on to then list the benefits of professional training; tutorials in application letter writing, interview practice, networking opportunities, self marketing and tax related matters, before rounding up by questioning the responsibility of professional colleges to prepare the performer for long term career prospects. This ties in with my inquiry greatly as in my opinion colleges should have a duty of care to prepare students for the audition process, resulting in success or rejection.

It is important for me to be able to recognise that other professionals within the industry are asking the same questions that I am, as this means there is a general interest in my line of enquiry and definitely something to research that may benefit others.

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Looking at the preparation needed for the level of rejection acquired in the life time of a performer led me to reading 'Spotlight on Young Performers: That's Show Biz, Kids! A Complete Guide To A Career As A Young Performer' (Castellani, Catherine. Back Stage; Mar 30, 2001-Apr 5, 2001; 42, 13; Performing Arts Periodicals Database pg. 32 ) which discusses whether you can tell from an early age if the performing arts world is for you. Even though I am not intending to research/interview anyone under the age of 18, it is interesting to read and definitely a point to consider, that in fact rejection is a fundamental part of learning, whether you are a performer or not, and understanding that rejection is part of life stems from the way you are taught from an early age and brought up, suggesting that on some level, and going back to my enquiry, that parents/guardians are also responsible for preparing us for how we deal with whatever life throws at us, the example in regards to my enquiry being rejection or success. 

If this is the case then why is a career in performing arts deemed so much harder? What makes an audition more physically and mentally demanding than an interview process for any other job? 

According to a study completed by health.com, being a performer is one of the top ten careers with the highest rates of depression. In the article it puts this down to this area of work bringing in irregular pay checks, uncertain hours and isolation and it goes as far as stating that in men it is the job category most likely to be associated with an episode of major depression.

I took these further questions in relation to the article and my findings back to my SIG group who all felt very strongly that the audition process is tougher than a standard interview because its so personal. Many of my SIG said that they connect emotionally with a dance or song and therefore you are giving a part of yourself every time you perform in an audition. They also brought up the harshness of an audition, as you can often be cut publicly for all to see, rather than a private interview where they might email you a few days later to say you had been unsuccessful. They discussed that, when an audition is public, you are constantly comparing yourself (even though we shouldn't) with the other people in the room, on every level. Am I as flexible, Am I too short, Am I too fat, Should I have picked a different song etc.  I attach below a link to a song from the musical 'The Last Five years' by Jason Robert Brown, which perfectly sums up what goes through the majority of auditionee's heads at some point during the process, and which was mentioned in my SIG group as being hilariously true.

'Climbing Uphill' Written by Jason Robert Brown and performed by Anna Kendrick for the movie adaptation of the musical 'The Last Five Years'.

https://www.youtube.com/watch?v=xl3VhuNCPKg


REFERENCES

"DS" 2009 Auditions Guide: Impress and Be Your Best: 10 Tips for Audition Excellence
Levy, Monica
Dance Spirit; Feb 2009; 13, 2; Performing Arts Periodicals Database pg. 66

It's a hard knock life
Reischel, Jennifer
The Stage; Apr 14, 2011; Performing Arts Periodicals Database pg. 22 

'Spotlight on Young Performers: That's Show Biz, Kids! A Complete Guide To A Career As A Young Performer' (Castellani, Catherine. Back Stage; Mar 30, 2001-Apr 5, 2001; 42, 13; Performing Arts Periodicals Database pg. 32 )

http://www.health.com/health/gallery/0,,20428990,00.html/view-all

https://www.youtube.com/watch?v=xl3VhuNCPKg