Archives for May 2013
Available Light will be holding auditions (info way down below) in a couple of weeks for our 2013-14 season. A lot of people call and/or email questions to us about auditioning, so here are a few tips from your friendly, neighborhood AVLT directors.
1. Show-up early. If someone else doesn’t show and you’re all ready to audition early, it makes a great impression. How responsible, how accommodating! Thanks so much.
2. Warm-up. ‘Nuff said?
3. Rehearse a lot. This is not the time to try out a brand-new monologue that you don’t know very well.
4. Don’t mime. Really, not even little bit. Find a piece that does not require you to mime.
5. Ideally, your contrasting monologues will contrast in more than one way. Check out this post for more on that.
6. Your audition should be one connected performance, not two disconnected pieces. It’s much more entertaining if you find a way to transition straight from your first monologue into the second rather than simply stopping and saying “now I’ll do Glass Menagerie” or whatever. You’re performing from the instant you enter, make the most of it. Put your creativity and personality into every moment.
7. Get your body involved. If you’re going to be still, really be still. Own the space. And when you move, show that you can do so with ease. Do it in your performance.
8. DO NOT look the directors in the eye while you’re acting. It’s creepy. We want to watch your scene, not be a part of it.
9. If there’s a time-limit, get under it. Not only will you perform better for yourself, you’ll impress the creative team with your preparedness and consideration.
10. When you have fun, it’s infectious. Find audition pieces that are fun for you to perform.
11. We can probably hear what’s going on outside audition the room. So don’t gossip about your fellow actors, or us, don’t yell about how badly your audition went, or complain that you got cut-off.
12. MOST IMPORTANTLY – We’re not just looking for good actors, we’re looking for good human beings, with whom we’ll enjoy spending hours upon hours in rehearsals. So don’t be a jerk at the audition, ok?
Finally, please do realize that we really want you to do well. We’re looking for good actors, so we really want you to be good. We’re on your side!
But wait, there’s more…
Don’t make excuses. We don’t want to hear that you have a cold, or that you have bed-head, or that your printer is broken. Do your best. I can’t tell you how many people come in complaining about the weather or how many auditions they’ve been on that day. People have bad days. I get it. But you’re an actor, so pretend that you’re having the best day ever . . . because no one wants to be around people that are sour-pusses.
Make your first 15 seconds count. When you meet someone for the first time, don’t you make a lot of suppositions? We do too.
Don’t take the last audition times of the day. Casting is not an easy process, and at the end of it, a creative team is grumpy, tired and wants to go home. The early actor gets the part.
Dress like you’re on a date. A first date that is. You want to treat your audition like a professional experience (see tip #1), but you don’t want to overdo it either. So dress to impress, but also make it look like you didn’t try too hard (see where the “first date” thing comes in?).
And here’s this tip on “slating,” which is simple but powerful…
There’s the good slate, and the bad slate.
The Bad Slate: “Hello, my name is so-and-so, and I’ll be doing Viola from Twelfth Night.”
Boring! Imagine how many times a day the auditors must hear that. It’ll go in one ear and right out the other.
The Good Slate: “Good evening, I’m so-and-so and this is Viola in the first act.”
That has class and distinction. Now they’re listening! (Just remember to keep it simple.)
Here are some highlights from critic Michael Grossberg’s take on AVLT’s new production – Jane Eyre: A Memory, A Fever, A Dream… “Thoughtful, moving… Beautifully acted and intelligently shaped… Jeff Horst projects marvelous depths and nuances… an ambitious and emotionally rewarding exploration of a darker and more ambitious classic.” Read it all here: http://avlt.co/janedisprev1
To learn even more about the creation of this production, be sure to check out Mr. Grossberg’s article from a couple of days ago, in which he interviews director Acacia Duncan, playwright Daniel Elihu Kramer, and our Jane, Robyn Rae Stype. Check it out: http://avlt.co/janedispprev1
Lisa Much, theatre reviewer for Columbus Underground, doesn’t seem like a fan of the novel, but had this to say about AVLT’s production, “Acacia Leigh Duncan masterfully captains this production into a seamless show… Collectively, AVLT creates a show that captures the audience in its beauty and may sweep them away…” Read it here: http://avlt.co/janeundrev001
I must tell you though, my favorite review so far came from Mr. Artie Isaac. On Facebook, he wrote, “Oh, the opening of JANE EYRE was magnificent. I’d never read the book. After last night’s Available Light Theatre performance, I could dream it.” Beautiful. Thanks, sir.
NAME: Charlotte Brontë
OCCUPATION: Author, Poet
BIRTH DATE: April 21, 1816
DEATH DATE: March 31, 1855
PLACE OF BIRTH: Thornton, Yorkshire, England, United Kingdom
PLACE OF DEATH: Haworth, Yorkshire, England, United Kingdom
NICKNAME: Currer Bell
AKA: Charlotte Brontë
Said to be the most dominant and ambitious of the Brontës, Charlotte was raised in a strict Anglican home by her clergyman father and a religious aunt after her mother and two eldest siblings died. A writer all her life, Brontë published her first novel, Jane Eyre, in 1847 under the manly pseudonym Currer Bell. Her other novels included Shirley and Villette.
Learn more at biography dot com: http://www.biography.com/people/charlotte-brontë-11919959?page=1
According to a number of critical sources, Jane Eyre is a bildungsroman.
What the heck is a bildungsroman? Let’s ask Wikipedia.
In literary criticism, a Bildungsroman (or “novel of formation,” also coming-of-age story,) is a literary genre that focuses on the psychological and moral growth of the protagonist from youth to adulthood, and in which character change is thus extremely important.
The term was coined in 1819 by philologist Karl Morgenstern in his university lectures, and later famously reprised by Wilhelm Dilthey, who legitimized it in 1870 and popularized it in 1905. The genre is further characterized by a number of formal, topical, and thematic features. The term coming-of-age novel is sometimes used interchangeably with Bildungsroman, but its use is usually wider and less technical.
The genre translates fairly directly into cinematic form, the coming-of-age film.
A few other examples:
The Life and Opinions of Tristram Shandy, Gentleman, by Laurence Sterne (1759)
David Copperfield, by Charles Dickens (1850)
Sons and Lovers, by D. H. Lawrence (1913)
A Portrait of the Artist as a Young Man, by James Joyce (1916)
The Catcher in the Rye, by J.D. Salinger (1951)
The Outsiders, by S.E. Hinton (1967)
Ender’s Game, by Orson Scott Card (1985)
The Harry Potter series, by J. K. Rowling (1997-2007)
Read more at Wikipedia: http://en.wikipedia.org/wiki/Bildungsroman