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Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquess of Dalí de Púbol (; Catalan: [səlβəˈðo ðəˈli]; Spanish: [salβaˈðoɾ ðaˈli]; 11 May 1904 - 23 January 1989) was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work.

Born in Figueres, Catalonia, Dalí received his formal education in fine arts in Madrid. Influenced by Impressionism and the Renaissance masters from a young age, he became increasingly attracted to Cubism and avant-garde movements. He moved closer to Surrealism in the late 1920s and joined the Surrealist group in 1929, soon becoming one of its leading exponents. His best-known work, The Persistence of Memory, was completed in August 1931, and is one of the most famous Surrealist paintings. Dalí lived in France throughout the Spanish Civil War (1936 to 1939) before leaving for the United States in 1940 where he achieved commercial success. He returned to Spain in 1948 where he announced his return to the Catholic faith and developed his "nuclear mysticism" style, based on his interest in classicism, mysticism and recent scientific developments.

Dalí's artistic repertoire included painting, graphic arts, film, sculpture, design and photography, at times in collaboration with other artists. He also wrote fiction, poetry, autobiography, essays and criticism. Major themes in his work include dreams, the subconscious, sexuality, religion, science and his closest personal relationships. To the dismay of those who held his work in high regard, and to the irritation of his critics, his eccentric and ostentatious public behavior often drew more attention than his artwork. His public support for the Francoist regime, his commercial activities and the quality and authenticity of some of his late works have also been controversial. His life and work were an important influence on other Surrealists, pop art and contemporary artists such as Jeff Koons and Damien Hirst.

There are two major museums devoted to Salvador Dalí's work: the Dalí Theatre-Museum in Figueres, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida.

Salvador Dalí was born on 11 May 1904, at 8:45 am, on the first floor of Carrer Monturiol, 20 in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain. Dalí's older brother, who had also been named Salvador (born 12 October 1901), had died of gastroenteritis nine months earlier, on 1 August 1903. His father, Salvador Rafael Aniceto Dalí Cusí (1872-1950) was a middle-class lawyer and notary, an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés (1874-1921), who encouraged her son's artistic endeavors. In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24 (presently 10). Dalí later attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descendants of the Moors.

Dalí was haunted by the idea of his dead brother throughout his life, mythologizing him in his writings and art. Dalí said of him, "[we] resembled each other like two drops of water, but we had different reflections." He "was probably a first version of myself but conceived too much in the absolute". Images of his brother would reappear in his later works, including Portrait of My Dead Brother (1963).

Dalí also had a sister, Anna Maria, who was three years younger. In 1949, she published a book about her brother, Dalí as Seen by His Sister.

His childhood friends included future FC Barcelona footballers Sagibarba and Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together.

Dalí attended the Municipal Drawing School at Figueres from 1916 and also discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris. The next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theatre in Figueres in 1918, a site he would return to decades later. In early 1921 the Pichot family introduced Dalí to Futurism and Dalí's uncle Anselm Domènech, who owned a bookshop in Barcelona, supplied him with books and magazines on Cubism and contemporary art.

On 6 February 1921, Dalí's mother died of uterine cancer. Dalí was 16 years old and later said his mother's death "was the greatest blow I had experienced in my life. I worshipped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul." After his wife's death, Dalí's father married her sister. Dalí did not resent this marriage, because he had great love and respect for his aunt.

Madrid, Barcelona and Paris

In 1922, Dalí moved into the Residencia de Estudiantes (Students' Residence) in Madrid and studied at the Real Academia de Bellas Artes de San Fernando (San Fernando Royal Academy of Fine Arts). A lean 1.72 metres (5 ft in) tall, Dalí already drew attention as an eccentric and dandy. He had long hair and sideburns, coat, stockings, and knee-breeches in the style of English aesthetes of the late 19th century.

At the Residencia, he became close friends with Pepín Bello, Luis Buñuel, Federico García Lorca, and others associated with the Madrid avant-garde group Ultra. The friendship with Lorca had a strong element of mutual passion, but Dalí said he rejected the poet's sexual advances. Dalí's friendship with Lorca was to remain one of his most emotionally intense relationships until the poet's death at the hands of Nationalist forces in 1936 at the beginning of the Spanish Civil War.

Dalí's paintings in which he experimented with Cubism earned him the most attention from his fellow students since there were no Cubist artists in Madrid at the time. Cabaret Scene (1922) is a typical example of such work. Through his association with members of the Ultra group, Dalí became more acquainted with avant-garde movements, including Dada and Futurism. One of his earliest works to show a strong Futurist and Cubist influence was the watercolor Night-Walking Dreams (1922). At this time, Dalí also read Freud and Lautréamont who were to have a profound influence on his work.

In May 1925 Dalí exhibited eleven works in a group exhibition held by the newly formed Sociedad Ibérica de Artistas in Madrid. Seven of the works were in his Cubist mode and four in a more realist style. A number of leading critics praised Dalí's work. Dalí held his first solo exhibition at Galeries Dalmau in Barcelona, from 14 to 27 November 1925. This exhibition, before his exposure to Surrealism, included twenty-two works and was a critical and commercial success.

In April 1926 Dalí made his first trip to Paris where he met Pablo Picasso, whom he revered. Picasso had already heard favorable reports about Dalí from Joan Miró, a fellow Catalan who later introduced him to many Surrealist friends. As he developed his own style over the next few years, Dalí made a number of works strongly influenced by Picasso and Miró. Dalí was also influenced by the work of Yves Tanguy, and he later allegedly told Tanguy's niece, "I pinched everything from your uncle Yves."

Dalí left the Royal Academy in 1926, shortly before his final exams. His mastery of painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926.

Later that year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic Sebastià Gasch. The show included twenty-three paintings and seven drawings, with the "Cubist" works displayed in a separate section from the "objective" works. The critical response was generally positive with Composition with Three Figures (Neo-Cubist Academy) singled out for particular attention.

From 1927 Dalí's work became increasingly influenced by Surrealism. Two of these works Honey is Sweeter than Blood (1927) and Gadget and Hand (1927) were shown at the annual Autumn Salon (Saló de tardor) in Barcelona in October 1927. Dalí described the earlier of these works, Honey is Sweeter than Blood, as "equidistant between Cubism and Surrealism". The works featured a number of elements that were to become characteristic of his Surrealist period including dreamlike images, precise draftsmanship, idiosyncratic iconography (such as rotting donkeys and dismembered bodies), and lighting and landscapes strongly evocative of his native Catalonia. The works provoked bemusement among the public and debate among critics about whether Dalí had become a Surrealist.

Influenced by his reading of Freud, Dalí increasingly introduced suggestive sexual imagery and symbolism into his work. He submitted Dialogue on the Beach (Unsatisfied Desires) (1928) to the Barcelona Autumn Salon for 1928 but the work was rejected because "it was not fit to be exhibited in any gallery habitually visited by the numerous public little prepared for certain surprises." The resulting scandal was widely covered in the Barcelona press and prompted a popular Madrid illustrated weekly to publish an interview with the now controversial artist.

Some trends in Dalí's work that would continue throughout his life were already evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to the most cutting-edge avant-garde. His classical influences included Raphael, Bronzino, Francisco de Zurbarán, Vermeer and Velázquez. Exhibitions of his works attracted much attention and a mixture of praise and puzzled debate from critics who noted an apparent inconsistency in his work by the use of both traditional and modern techniques and motifs between works and within individual works.

In the mid-1920s Dalí grew a neatly trimmed moustache. In later decades he cultivated a more flamboyant one in the manner of 17th-century Spanish master painter Diego Velázquez, and this moustache became a well known Dalí icon.

In 1929, Dalí collaborated with Surrealist film director Luis Buñuel on the short film Un Chien Andalou ( An Andalusian Dog). His main contribution was to help Buñuel write the script for the film. Dalí later claimed to have also played a significant role in the filming of the project, but this is not substantiated by contemporary accounts. In August 1929, Dalí met his lifelong muse and future wife Gala, born Elena Ivanovna Diakonova. She was a Russian immigrant ten years his senior, who at that time was married to Surrealist poet Paul Éluard.

In works such as The First Days of Spring, The Great Masturbator and The Lugubrious Game Dalí continued his exploration of the themes of sexual anxiety and unconscious desires. Dalí's first Paris exhibition was at the recently opened Goemans Gallery in November 1929 and featured eleven works. In his preface to the catalog, André Breton described Dalí's new work as "the most hallucinatory that has been produced up to now". The exhibition was a commercial success but the critical response was divided. In the same year, Dalí officially joined the Surrealist group in the Montparnasse quarter of Paris. The Surrealists hailed what Dalí was later to call his paranoiac-critical method of accessing the subconscious for greater artistic creativity.

Meanwhile, Dalí's relationship with his father was close to rupture. Don Salvador Dalí y Cusi strongly disapproved of his son's romance with Gala, and saw his connection to the Surrealists as a bad influence on his morals. The final straw was when Don Salvador read in a Barcelona newspaper that his son had recently exhibited in Paris a drawing of the Sacred Heart of Jesus Christ, with a provocative inscription: "Sometimes, I spit for fun on my mother's portrait". Outraged, Don Salvador demanded that his son recant publicly. Dalí refused, perhaps out of fear of expulsion from the Surrealist group, and was violently thrown out of his paternal home on 28 December 1929. His father told him that he would be disinherited, and that he should never set foot in Cadaqués again. The following summer, Dalí and Gala rented a small fisherman's cabin in a nearby bay at Port Lligat. He soon bought the cabin, and over the years enlarged it by buying neighboring ones, gradually building his beloved villa by the sea. Dalí's father would eventually relent and come to accept his son's companion.

In 1931, Dalí painted one of his most famous works, The Persistence of Memory, which developed a surrealistic image of soft, melting pocket watches. The general interpretation of the work is that the soft watches are a rejection of the assumption that time is rigid or deterministic. This idea is supported by other images in the work, such as the wide expanding landscape, and other limp watches shown being devoured by ants.

Dalí had two important exhibitions at the Pierre Colle Gallery in Paris in June 1931 and May-June 1932. The earlier exhibition included sixteen paintings of which The Persistence of Memory attracted the most attention. Some of the notable features of the exhibitions were the proliferation of images and references to Dalí's muse Gala and the inclusion of Surrealist Objects such as Hypnagogic Clock and Clock Based on the Decomposition of Bodies. Dalí's last, and largest, exhibition at the Pierre Colle Gallery was held in June 1933 and included twenty-two paintings, ten drawings and two objects. One critic noted Dalí's precise draftsmanship and attention to detail, describing him as a "paranoiac of geometrical temperament". Dalí's first New York exhibition was held at Julien Levy's gallery in November-December 1933. The exhibition featured twenty-six works and was a commercial and critical success. The New Yorker critic praised the precision and lack of sentimentality in the works, calling them "frozen nightmares".

Dalí and Gala, having lived together since 1929, were civilly married on 30 January 1934 in Paris. They later remarried in a Church ceremony on 8 August 1958 at Sant Martí Vell. In addition to inspiring many artworks throughout her life, Gala would act as Dalí's business manager, supporting their extravagant lifestyle while adeptly steering clear of insolvency. Gala, who herself engaged in extra-marital affairs, seemed to tolerate Dalí's dalliances with younger muses, secure in her own position as his primary relationship. Dalí continued to paint her as they both aged, producing sympathetic and adoring images of her. The "tense, complex and ambiguous relationship" lasting over 50 years would later become the subject of an opera, Jo, Dalí ( I, Dalí) by Catalan composer Xavier Benguerel.

Dalí's first visit to the United States in November 1934 attracted widespread press coverage. His second New York exhibition was held at the Julien Levy Gallery in November-December 1934 and was again a commercial and critical success. Dalí delivered three lectures on Surrealism at the Museum of Modern Art (MoMA) and other venues during which he told his audience for the first time that "[t]he only difference between me and a madman is that I am not mad." The heiress Caresse Crosby, the inventor of the brassiere, organized a farewell fancy dress ball for Dalí on 18 January 1935. Dalí wore a glass case on his chest containing a brassiere and Gala dressed as a woman giving birth through her head. A Paris newspaper later claimed that the Dalís had dressed as the Lindbergh baby and his kidnapper, a claim which Dalí denied.

While the majority of the Surrealist group had become increasingly associated with leftist politics, Dalí maintained an ambiguous position on the subject of the proper relationship between politics and art. Leading Surrealist André Breton accused Dalí of defending the "new" and "irrational" in "the Hitler phenomenon", but Dalí quickly rejected this claim, saying, "I am Hitlerian neither in fact nor intention". Dalí insisted that Surrealism could exist in an apolitical context and refused to explicitly denounce fascism. Later in 1934, Dalí was subjected to a "trial", in which he narrowly avoided being expelled from the Surrealist group. To this, Dalí retorted, "The difference between the Surrealists and me is that I am a Surrealist."

In 1936, Dalí took part in the London International Surrealist Exhibition. His lecture, titled Fantômes paranoiaques authentiques, was delivered while wearing a deep-sea diving suit and helmet. He had arrived carrying a billiard cue and leading a pair of Russian wolfhounds, and had to have the helmet unscrewed as he gasped for breath. He commented that "I just wanted to show that I was 'plunging deeply' into the human mind."

Dalí's first solo London exhibition was held at the Alex, Reid and Lefevre Gallery the same year. The show included twenty-nine paintings and eighteen drawings. The critical response was generally favorable, although the Daily Telegraph critic wrote: "These pictures from the subconscious reveal so skilled a craftsman that the artist's return to full consciousness may be awaited with interest."

In December 1936 Dalí participated in the Fantastic Art, Dada, Surrealism exhibition at MoMA and a solo exhibition at the Julien Levy Gallery in New York. Both exhibitions attracted large attendances and widespread press coverage. The painting Soft Construction with Boiled Beans (Premonition of Civil War) (1936) attracted particular attention. On 14 December, Dalí, aged 32, was featured on the cover of magazine.

From 1933 Dalí was supported by Zodiac, a group of affluent admirers who each contributed to a monthly stipend for the painter in exchange for a painting of their choice. From 1936 Dalí's main patron in London was the wealthy Edward James who would support him financially for two years. One of the Dalí's most important paintings from the period of James' patronage was The Metamorphosis of Narcissus (1937). They also collaborated on two of the most enduring icons of the Surrealist movement: the Lobster Telephone and the Mae West Lips Sofa.

Dalí was in London when the Spanish Civil War broke out in July 1936. When he later learned that his friend Lorca had been executed by Nationalist forces, Dalí's claimed response was to shout: "Olé!" Dalí was to include frequent references to the poet in his art and writings for the remainder of his life. Nevertheless, Dalí avoided taking a public stand for or against the Republic for the duration of the conflict.

In January 1938, Dalí unveiled , a three-dimensional artwork consisting of an automobile and two mannequin occupants being soaked with rain from within the taxi. The piece was first displayed at the Galerie Beaux-Arts in Paris at the Exposition Internationale du Surréalisme, organized by André Breton and Paul Éluard. The Exposition was designed by artist Marcel Duchamp, who also served as host.

In March that year, Dalí met Sigmund Freud thanks to Stefan Zweig. Dalí started to sketch Freud's portrait, while the 82-year-old celebrity confided to others: "This boy looks like a fanatic." Dalí was delighted upon hearing later about this comment from his hero.

In September 1938, Salvador Dalí was invited by Gabrielle Coco Chanel to her house "La Pausa" in Roquebrune on the French Riviera. There he painted numerous paintings he later exhibited at Julien Levy Gallery in New York. This exhibition in March-April 1939 included twenty-one paintings and eleven drawings. Life reported that no exhibition in New York had been so popular since Whistler's Mother was shown in 1934.

At the 1939 New York World's Fair, Dalí debuted his Dream of Venus Surrealist pavilion, located in the Amusements Area of the exposition. It featured bizarre sculptures, statues, mermaids, and live nude models in "costumes" made of fresh seafood, an event photographed by Horst P. Horst, George Platt Lynes and Murray Korman. Dalí was angered by changes to his designs, railing against mediocrities who thought that "a woman with the tail of a fish is possible; a woman with the head of a fish impossible."

Soon after Franco's victory in the Spanish Civil War in April 1939, Dalí wrote to Luis Buñuel denouncing socialism and Marxism and praising Catholicism and the Falange. As a result, Buñuel broke off relations with Dalí.

In the May issue of the Surrealist magazine Minotaure, André Breton announced Dalí's expulsion from the Surrealist group, claiming that Dalí had espoused race war and that the over-refinement of his paranoiac-critical method was a repudiation of Surrealist automatism. This led many Surrealists to break off relations with Dalí. In 1949 Breton coined the derogatory nickname "Avida Dollars" (avid for dollars), an anagram for "Salvador Dalí". This was a derisive reference to the increasing commercialization of Dalí's work, and the perception that Dalí sought self-aggrandizement through fame and fortune.

The outbreak of World War II in September 1939 saw the Dalís in France. Following the German invasion they were able to escape because on 20 June 1940 they were issued visas by Aristides de Sousa Mendes, Portuguese consul in Bordeaux, France. They crossed into Portugal and subsequently sailed on the Excambion from Lisbon to New York in August 1940. Dalí and Gala were to live in the United States for eight years, splitting their time between New York and the Monterey Peninsula, California.

Dalí announced the death of the Surrealist movement and the return of classicism in his exhibition at the Julien Levy Gallery in New York in April-May 1941. The exhibition included nineteen paintings (among them Slave Market with the Disappearing Bust of Voltaire and The Face of War) and other works. In his catalog essay and media comments Dalí proclaimed a return to form, control, structure and the Golden Section. Sales however were disappointing and the majority of critics did not believe there had been a major change in Dalí's work.

Dalí was the subject of a major joint retrospective exhibition with Joan Miró at MoMA from November 1941 to February 1942, Dalí being represented by forty-two paintings and sixteen drawings. Dalí's work attracted most of the attention of critics and the exhibition later toured eight American cities, enhancing his reputation in America.

In October 1942, Dalí's autobiography, The Secret Life of Salvador Dalí was published simultaneously in New York and London and was reviewed widely by the press. Time magazine's reviewer called it "one of the most irresistible books of the year". George Orwell later wrote a scathing review in the Saturday Book. A passage in the autobiography in which Dalí claimed that Buñuel was solely responsible for the anti-clericalism in the film L'Age d'Or may have indirectly led to Buñuel losing his position at MoMA in 1943. Dalí also published a novel Hidden Faces in 1944 with less critical and commercial success.

In November-December 1945 Dalí exhibited new work at the Bignou Gallery in New York. The exhibition included eleven oil paintings, watercolors, drawings and illustrations. Works included Basket of Bread, Atomic and Uranian Melancholic Ideal, and My Wife Nude Contemplating her own Body Transformed into Steps, the Three Vertebrae of a Column, Sky and Architecture. The exhibition was notable for works in Dalí's new classicism style and those heralding his "atomic period".

During the war years Dalí was also engaged in projects in various other fields. He executed designs for a number of ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, and The Cafe of Chinitas (all 1944). In 1945 he created the dream sequence for Alfred Hitchcock's film Spellbound. He also produced art work and designs for products such as perfumes, cosmetics, hosiery and ties.

Post War in United States (1946-48)

In 1946 Dalí worked with Walt Disney and animator John Hench on an unfinished animated film .

Dalí exhibited new work at the Bignou Gallery from November 1947 to January 1948. The 14 oil paintings and other works in the exhibition reflected Dalí's increasing interest in atomic physics. Notable works included Dematerialization Near the Nose of Nero (The Separation of the Atom), Intra-Atomic Equilibrium of a Swan's Feather, and a study for Leda Atomica. The proportions of the latter work were worked out in collaboration with a mathematician.

In early 1948 Dalí's 50 Secrets of Magic Craftsmanship was published. The book was a mixture of practical advice on painting, and anecdotes and Dalínian polemics.

In 1948 Dalí and Gala moved back into their house in Port Lligat, on the coast near Cadaqués. For the next three decades they would spend most of their time there, spending winters in Paris and New York. Dalí's decision to live in Spain under Franco and his public support for the regime prompted outrage from many anti-Francoist artists and intellectuals. Pablo Picasso refused to mention Dalí's name or acknowledge his existence for the rest of his life. In 1960, André Breton unsuccessfully fought against the inclusion of Dalí's Sistine Madonna in the Surrealist Intrusion in the Enchanter's Domain exhibition organized by Marcel Duchamp in New York. Breton and other Surrealists issued a tract to coincide with the exhibition denouncing Dalí as "the ex-apologist of Hitler... and friend of Franco".

In December 1949 Dalí's sister Anna Maria published her book Salvador Dalí Seen by his Sister. Dalí was angered by passages which he considered derogatory towards his wife Gala and broke off relations with his family. When Dalí's father died in September 1950 Dalí learned that he had been virtually disinherited in his will. A two-year legal dispute followed over paintings and drawings Dalí had left in his family home, during which Dalí was accused of assaulting a public notary.

As Dalí moved further towards embracing Catholicism he introduced more religious iconography and themes in his painting. In 1949 he painted a study for The Madonna of Port Lligat (first version, 1949) and showed it to Pope Pius XII during an audience arranged to discuss Dalí 's marriage to Gala. This work was a precursor to the phase Dalí dubbed "Nuclear Mysticism," a fusion of Einsteinian physics, classicism and Catholic mysticism. In paintings such as The Madonna of Port Lligat, The Christ of Saint John on the Cross and The Disintegration of the Persistence of Memory, Dalí sought to synthesize Christian iconography with images of material disintegration inspired by nuclear physics. His later Nuclear Mysticism works included La Gare de Perpignan (1965) and The Hallucinogenic Toreador (1968-70).

Dalí's keen interest in natural science and mathematics was further manifested by the proliferation of images of DNA and rhinoceros horn shapes in works from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. Dalí was also fascinated by the tesseract (a four-dimensional cube), using it, for example, in Crucifixion (Corpus Hypercubus).

Dalí had been extensively using optical illusions such as double images, anamorphosis, negative space, visual puns and trompe-l'œil since his Surrealist period and this continued in his later work. At some point, Dalí had a glass floor installed in a room near his studio in Port Lligat. He made extensive use of it to study foreshortening, both from above and from below, incorporating dramatic perspectives of figures and objects into his paintings. He also experimented with the bulletist technique pointillism, enlarged half-tone dot grids and stereoscopic images. He was among the first artists to employ holography in an artistic manner. In Dalí's later years, young artists such as Andy Warhol proclaimed him an important influence on pop art.

In 1955 Dalí met Nanita Kalaschnikoff, who was to become a close friend, muse and model. At a French nightclub in 1965 Dalí met Amanda Lear, a fashion model then known as Peki D'Oslo. Lear became his protégée and one of his muses. According to Lear, she and Dalí were united in a "spiritual marriage" on a deserted mountaintop.

In 1968, Dalí bought a castle in Púbol for Gala, and from 1971 she would retreat there for weeks at a time, Dalí having agreed not to visit without her written permission. His fears of abandonment and estrangement from his longtime artistic muse contributed to depression and failing health.

In 1980, at age 76, Dalí's health deteriorated sharply and he was treated for depression, drug addiction and Parkinson-like symptoms, including a severe tremor in his right arm. There were also allegations that Gala had been supplying Dalí with pharmaceuticals from her own prescriptions.

Gala died on 10 June 1982, at the age of 87. After her death, Dalí moved from Figueres to the castle in Púbol, where she was entombed.

In 1982, King Juan Carlos bestowed on Dalí the title of Marqués de Dalí de Púbol ( Marquess of Dalí of Púbol) in the nobility of Spain, Púbol being where Dalí then lived. The title was initially hereditary, but at Dalí's request was changed to life-only in 1983.

In May 1983, what was said to be Dalí's last painting, The Swallow's Tail, was revealed. The work was heavily influenced by the mathematical catastrophe theory of René Thom. However, some critics have questioned how Dalí could have executed a painting with such precision given the severe tremor in his painting arm.

From early 1984 Dalí's depression worsened and he refused food, leading to severe undernourishment. Dalí had previously stated his intention to put himself into a state of suspended animation as he had read that some microorganisms could do. In August 1984 a fire broke out in Dalí's bedroom and he was hospitalized with severe burns. Two judicial inquiries found that the fire was caused by an electrical fault and no findings of negligence were made. After his release from hospital Dalí moved to the Torre Galatea, an annex to the Dalí Theatre-Museum.

There have been allegations that Dalí was forced by his guardians to sign blank canvases that could later be used in forgeries. It is also alleged that he knowingly sold otherwise-blank lithograph paper which he had signed, possibly producing over 50,000 such sheets from 1965 until his death. As a result, art dealers tend to be wary of late graphic works attributed to Dalí.

In July 1986, Dalí had a pacemaker implanted. On his return to his Theatre-Museum he made a brief public appearance, saying:

When you are a genius, you do not have the right to die, because we are necessary for the progress of humanity.

In November 1988, Dalí entered hospital with heart failure. On 5 December 1988, he was visited by King Juan Carlos, who confessed that he had always been a serious devotee of Dalí. Dalí gave the king a drawing, Head of Europa, which would turn out to be Dalí's final drawing.

On the morning of 23 January 1989, while his favorite record of Tristan and Isolde played, Dalí died of heart failure at the age of 84. He is buried in the crypt below the stage of his Theatre-Museum in Figueres. The location is across the street from the church of Sant Pere, where he had his baptism, first communion, and funeral, and is only 450 metres (1,480 ft) from the house where he was born.

The Gala-Salvador Dalí Foundation currently serves as his official estate. The US copyright representative for the Gala-Salvador Dalí Foundation is the Artists Rights Society.

Exhumation

On 26 June 2017 it was announced that a judge in Madrid had ordered the exhumation of Dalí's body in order to obtain samples for a paternity suit. Joan Manuel Sevillano, manager of the Fundación Gala Salvador Dalí (The Gala-Salvador Dalí Foundation), denounced the exhumation as inappropriate. The exhumation took place on the evening of 20 July, and DNA was extracted. On 6 September 2017 the Foundation stated that the tests carried out proved conclusively that Dalí and the claimant were not related. On 18 May 2020 a Spanish court dismissed an appeal from the claimant and ordered her to pay the costs of the exhumation.

From the late 1920s, Dalí progressively introduced many bizarre or incongruous images into his work which invite symbolic interpretation. While some of these images suggest a straightforward sexual or Freudian interpretation (Dalí read Freud in the 1920s) others (such as locusts, rotting donkeys and sea urchins) are idiosyncratic and have been variously interpreted. Some commentators have cautioned that Dalí's own comments on these images are not always reliable.

Food and eating have a central place in Dalí's thought and work. He associated food with beauty and sex and was obsessed with the image of the female praying mantis eating its mate after copulation. Bread was a recurring image in Dalí's art, from his early work The Basket of Bread to later public performances such as in 1958 when he gave a lecture in Paris armed with a 12-meter-long baguette. He saw bread as "the elementary basis of continuity" and "sacred subsistence".

The egg is another common Dalínian image. He connects the egg to the prenatal and intrauterine, thus using it to symbolize hope and love. It appears in The Great Masturbator, The Metamorphosis of Narcissus and many other works. There are also giant sculptures of eggs in various locations at Dalí's house in Port Lligat as well as at the Dalí Theatre-Museum in Figueres.

Both Dalí and his father enjoyed eating sea urchins, freshly caught in the sea near Cadaqués. The radial symmetry of the sea urchin fascinated Dalí, and he adapted its form to many art works. Other foods also appear throughout his work.

The famous "melting watches" that appear in The Persistence of Memory suggest Einstein's theory that time is relative and not fixed. Dalí later claimed that the idea for clocks functioning symbolically in this way came to him when he was contemplating Camembert cheese.

The rhinoceros and rhinoceros horn shapes began to proliferate in Dalí's work from the mid-1950s. According to Dalí, the rhinoceros horn signifies divine geometry because it grows in a logarithmic spiral. He linked the rhinoceros to themes of chastity and to the Virgin Mary. However, he also used it as an obvious phallic symbol as in Young Virgin Auto-Sodomized by the Horns of Her Own Chastity.

Various other animals appear throughout Dalí's work: rotting donkeys and ants have been interpreted as pointing to death, decay, and sexual desire; the snail as connected to the human head (he saw a snail on a bicycle outside Freud's house when he first met Sigmund Freud); and locusts as a symbol of waste and fear. The elephant is also a recurring image in his work; for example, Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening. The elephants are inspired by Gian Lorenzo Bernini's sculpture base in Rome of an elephant carrying an ancient obelisk.

Dalí's life-long interest in science and mathematics was often reflected in his work. His soft watches have been interpreted as references to Einstein's theory of the relativity of time and space. Images of atomic particles appeared in his work soon after the atomic bombing of Hiroshima and Nagasaki and strands of D.N.A. appeared from the mid-1950s. In 1958 he wrote in his Anti-Matter Manifesto: "In the Surrealist period, I wanted to create the iconography of the interior world and the world of the marvelous, of my father Freud. Today, the exterior world and that of physics has transcended the one of psychology. My father today is Dr. Heisenberg."

The Disintegration of the Persistence of Memory (1954) harks back to The Persistence of Memory (1931) and in portraying that painting in fragmentation and disintegration has been interpreted as a reference to Heisenberg's quantum mechanics.

Dalí was a versatile artist. Some of his more popular works are sculptures and other objects, and he is also noted for his contributions to theater, fashion, and photography, among other areas.

From the early 1930s Dalí was an enthusiastic proponent of the proliferation of three-dimensional Surrealist Objects in order to subvert perceptions of conventional reality, writing: "museums will fast fill with objects whose uselessness, size and crowding will necessitate the construction, in deserts, of special towers to contain them." His more notable early objects include Board of Demented Associations (1930-31), Retrospective Bust of a Woman (1933), Venus de Milo with Chest of Drawers (1936) and Aphrodisiac Dinner Jacket (1936). Two of the most popular objects of the Surrealist movement were Lobster Telephone (1936) and Mae West Lips Sofa (1937) which were commissioned by art patron Edward James. Lobsters and telephones had strong sexual connotations for Dalí who drew a close analogy between food and sex. The telephone was functional, and James purchased four of them from Dalí to replace the phones in his home. The Mae West Lips Sofa was shaped after the lips of actress Mae West, who was previously the subject of Dalí's watercolor, The Face of Mae West which may be used as a Surrealist Apartment (1934-35). In December 1936 Dalí sent Harpo Marx a Christmas present of a harp with barbed-wire strings.

After World War II Dalí authorized many sculptures derived from his most famous works and images. In his later years other sculptures also appeared, often in large editions, whose authenticity has sometimes been questioned.

Between 1941 and 1970, Dalí created an ensemble of 39 pieces of jewelry, many of which are intricate, some containing moving parts. The most famous assemblage, The Royal Heart, is made of gold and is encrusted with 46 rubies, 42 diamonds, and four emeralds, created in such a way that the center "beats" like a heart.

Dalí ventured into industrial design in the 1970s with a 500-piece run of Suomi tableware by Timo Sarpaneva that Dalí decorated for the German Rosenthal porcelain maker's "Studio Linie". In 1969 he designed the Chupa Chups logo. He facilitated the design of the advertising campaign for the 1969 Eurovision Song Contest and created a large on-stage metal sculpture that stood at the Teatro Real in Madrid.

In theater, Dalí designed the scenery for Federico García Lorca's 1927 romantic play Mariana Pineda. For Bacchanale (1939), a ballet based on and set to the music of Richard Wagner's 1845 opera Tannhäuser, Dalí provided both the set design and the libretto. He executed designs for a number of other ballets including Labyrinth (1942), Sentimental Colloquy, Mad Tristan, The Cafe of Chinitas (all 1944) and The Three-Cornered Hat (1949).

Dalí became interested in film when he was young, going to the theater most Sundays. By the late 1920s he was fascinated by the potential of film to reveal "the unlimited fantasy born of things themselves" and went on to collaborate with director Luis Buñuel on two Surrealist films: the 17-minute short Un Chien Andalou (1929) and the feature film (1930). Dalí and Buñuel agree that they jointly developed the script and imagery of Un Chien Andalou, but there is controversy over the extent of Dalí's contribution to L'Age d'Or. Un Chien Andalou features a graphic opening scene of a human eyeball being slashed with a razor and develops surreal imagery and irrational discontinuities in time and space to produce a dreamlike quality. L'Age d'Or is more overtly anti-clerical and anti-establishment, and was banned after right-wing groups staged a riot in the Parisian theater where it was being shown. Summarizing the impact of these two films on the Surrealist film movement, one commentator has stated: "If Un Chien Andalou stands as the supreme record of Surrealism's adventures into the realm of the unconscious, then L'Âge d'Or is perhaps the most trenchant and implacable expression of its revolutionary intent."

After his collaborations with Buñuel, Dalí worked on a number of unrealized film projects including a published script for a film, Babaouo (1932); a scenario for Harpo Marx called Giraffes on Horseback Salad (1937); and an abandoned dream sequence for the film Moontide (1942). In 1945 Dalí created the dream sequence in Hitchcock's Spellbound, but neither Dalí nor the director were satisfied with the result. Dalí also worked with Walt Disney and animator John Hench on the short film in 1946. After initially being abandoned, the animated film was completed in 2003 by Baker Bloodworth and Walt Disney's nephew Roy E. Disney. Between 1954 and 1961 Dalí worked with photographer Robert Descharnes on The Prodigious History of the Lacemaker and the Rhinoceros, but the film was never completed.

In the 1960s Dalí worked with a number of directors on documentary and performance films including with Philippe Halsman on Chaos and Creation (1960), Jack Bond on Dalí in New York (1966) and Jean-Christophe Averty on Soft Self-Portrait of Salvador Dalí (1966).

Dalí collaborated with director José-Montes Baquer on the pseudo-documentary film Impressions of Upper Mongolia (1975), in which Dalí narrates a story about an expedition in search of giant hallucinogenic mushrooms. In the mid-1970s film director Alejandro Jodorowsky initially cast Dalí in the role of the Padishah Emperor in a production of Dune, based on the novel by Frank Herbert. However, Jodorowsky changed his mind after Dalí publicly supported the execution of alleged ETA terrorists in December 1975. The film was ultimately never made.

In 1972 Dalí began to write the scenario for an opera-poem called (To Be God). The Spanish writer Manuel Vázquez Montalbán wrote the libretto and Igor Wakhévitch the music. The opera-poem was recorded in Paris in 1974 with Dalí in the role of the protagonist.

Fashion designer Elsa Schiaparelli worked with Dalí from the 1930s and commissioned him to produce a white dress with a lobster print. Other designs Dalí made for her include a shoe-shaped hat, and a pink belt with lips for a buckle. He was also involved in creating textile designs and perfume bottles. In 1950, Dalí created a special "costume for the year 2045" with Christian Dior.

Photographers with whom he collaborated include Man Ray, Brassaï, Cecil Beaton, and Philippe Halsman. Halsman produced the Dalí Atomica series (1948) - inspired by Dalí's painting Leda Atomica - which in one photograph depicts "a painter's easel, three cats, a bucket of water, and Dalí himself floating in the air".

Dalí's architectural achievements include his Port Lligat house near Cadaqués, as well as his Theatre-Museum in Figueres. A major work outside of Spain was the temporary Dream of Venus Surrealist pavilion at the 1939 New York World's Fair, which contained a number of unusual sculptures and statues, including live performers posing as statues.

In his only novel Hidden Faces (1944), Dalí describes the intrigues of a group of eccentric aristocrats whose extravagant life-style symbolizes the decadence of the 1930s. The Comte de Grandsailles and Solange de Cléda pursue a love affair, but interwar political turmoil and other vicissitudes drive them apart. It is variously set in Paris, rural France, Casablanca in North Africa and Palm Springs in the United States. Secondary characters include aging widow Barbara Rogers, her bisexual daughter Veronica, Veronica's sometime female lover Betka, and Baba, a disfigured U.S. fighter pilot. The novel was written in New York, and translated by Haakon Chevalier.

His other literary works include The Secret Life of Salvador Dalí (1942), Diary of a Genius (1966), and Oui: The Paranoid-Critical Revolution (1971). Dalí also published poetry, essays, art criticism and a technical manual on art.

Dalí worked extensively in the graphic arts, producing many drawings, etchings and lithographs. Among the most notable of these works are forty etchings for an edition of Lautréamont's The Songs of Maldoror (1933) and eighty drypoint reworkings of Goya's Caprichos (1973-77). From the 1960s, however, Dalí would often sell the rights to images but not be involved in the print production itself. In addition, a large number of fakes were produced in the 1980s and 1990s, thus further confusing the Dalí print market.

Book illustrations were an important part of Dalí's work throughout his career. His first book illustration was for the 1924 publication of the Catalan poem ("The Witches of Llers") by his friend and schoolmate, poet Carles Fages de Climent. His other notable book illustrations, apart from The Songs of Maldoror, include 101 watercolors and engravings for The Divine Comedy (1960) and 100 drawings and watercolors for The Arabian Nights (1964).

As a youth, Dalí identified as Communist, anti-monarchist and anti-clerical and in 1924 he was briefly imprisoned by the Primo de Rivera dictatorship as a person "intensely liable to cause public disorder". When Dalí officially joined the Surrealist group in 1929 his political activism initially intensified. In 1931, he became involved in the Workers' and Peasants' Front, delivering lectures at meetings and contributing to their party journal. However, as political divisions within the Surrealist group grew, Dalí soon developed a more apolitical stance, refusing to publicly denounce fascism. In 1934, Andre Breton accused him of being sympathetic to Hitler and Dalí narrowly avoided being expelled from the group. After the outbreak of the Spanish Civil War in 1936, Dalí avoided taking a public stand for or against the Republic. However, immediately after Franco's victory in 1939, Dalí praised Catholicism and the Falange and was expelled from the Surrealist group.

After Dalí's return to his native Catalonia in 1948, he publicly supported Franco's regime and announced his return to the Catholic faith. Dalí was granted an audience with Pope Pius XII in 1949 and with Pope John XXIII in 1959. He had official meetings with General Franco in June 1956, October 1968 and May 1974. In 1968, Dalí stated that on Franco's death there should be no return to democracy and Spain should become an absolute monarchy. In September 1975, Dalí publicly supported Franco's decision to execute three alleged Basque terrorists and repeated his support for an absolute monarchy, adding: "Personally, I'm against freedom; I'm for the Holy Inquisition." In the following days, he fled to New York after his home in Port Lligat was stoned and he had received numerous death threats. When King Juan Carlos visited the ailing Dalí in August 1981, the painter told him: "I have always been an anarchist and a monarchist."

Dalí espoused a mystical view of Catholicism and in his later years he claimed to be a Catholic and an agnostic. He was interested in the writings of the Jesuit priest and philosopher Teilhard de Chardin and his Omega Point theory. Dalí's painting Tuna Fishing (Homage to Meissonier) (1967) was inspired by his reading of Chardin.

Dalí's sexuality had a profound influence on his work. He stated that as a child he saw a book with graphic illustrations of venereal diseases and this provoked a life-long disgust of female genitalia and a fear of impotence and sexual intimacy. Dalí frequently stated that his main sexual activity involved voyeurism and masturbation and his preferred sexual orifice was the anus. Dalí said that his wife Gala was the only person with whom he had achieved complete coitus. From 1927 Dalí's work featured graphic and symbolic sexual images usually associated with other images evoking shame and disgust. Images of anality and excrement also abound in his work from this time. Some of the most notable works reflecting these themes include The First Days of Spring (1929), The Great Masturbator (1929) and The Lugubrious Game (1929). Several of Dalí's intimates in the 1960s and 1970s have stated that he would arrange for selected guests to perform choreographed sexual activities to aid his voyeurism and masturbation.

Dalí was renowned for his eccentric and ostentatious behavior throughout his career. In 1941 the Director of Exhibitions and Publications at MoMA wrote: "The fame of Salvador Dalí has been an issue of particular controversy for more than a decade...Dalí's conduct may have been undignified, but the greater part of his art is a matter of dead earnest." When Dalí was elected to the French Academy of Fine Arts in 1979 one of his fellow academicians stated that he hoped Dalí would now abandon his "clowneries".

In 1936, at the premiere screening of Joseph Cornell's film Rose Hobart at Julien Levy's gallery in New York City, Dalí knocked over the projector in a rage. "My idea for a film is exactly that," he said shortly afterward, "I never wrote it down or told anyone, but it is as if he had stolen it!" In 1939, while working on a window display for Bonwit Teller, he became so enraged by unauthorized changes to his work that he pushed a display bathtub through a plate glass window. In 1955 he delivered a lecture at the Sorbonne, arriving in a Rolls Royce full of cauliflowers. To promote Robert Descharnes' 1962 book The World of Salvador Dalí, he appeared in a Manhattan bookstore on a bed, wired up to a machine that traced his brain waves and blood pressure. He would autograph books while thus monitored, and the book buyer would also be given the paper chart recording.

After World War II, Dalí became one of the most recognized artists in the world and his long cape, walking stick, haughty expression, and upturned waxed moustache became icons of his brand. His boastfulness and public declarations of his genius became essential elements of the public Dalí persona: "every morning upon awakening, I experience a supreme pleasure: that of being Salvador Dalí".

Dalí frequently traveled with his pet ocelot Babou, even bringing it aboard the luxury ocean liner SS France. He was also known to avoid paying at restaurants by executing drawings on the checks he wrote. His theory was the restaurant would never want to cash such a valuable piece of art, and he was usually correct.

Dalí's fame meant he was a frequent guest on television in Spain, France and the United States, including appearances on The Mike Wallace Interview and the panel show What's My Line?. Dalí appeared on The Dick Cavett Show on 6 March 1970 carrying an anteater.

He also appeared in numerous advertising campaigns such for Lanvin chocolates and Braniff International Airlines in 1968.

Two major museums are devoted to Dalí's work: the Dalí Theatre-Museum in Figueres, Catalonia, Spain, and the Salvador Dalí Museum in St. Petersburg, Florida, U.S.

Dalí's life and work have been an important influence on pop art, other Surrealists and contemporary artists such as Jeff Koons and Damien Hirst. He has been portrayed on film by Robert Pattinson in Little Ashes (2008), and by Adrien Brody in Midnight in Paris (2011). The Salvador Dalí Desert in Bolivia and the Dalí crater on the planet Mercury are named for him.

Dalí produced over 1,600 paintings and numerous graphic works, sculptures, three-dimensional objects and designs. Below is a sample of important and representative works.

Dalí museums and permanent exhibitions

Dalí Theatre-Museum - Figueres, Catalonia, Spain, holds the largest collection of Dalí's work

Gala Dalí House-Museum - Castle of Púbol in Púbol, Catalonia, Spain

Museo Nacional Centro de Arte Reina Sofia (Reina Sofia Museum) - Madrid, Spain, holds a significant collection

Salvador Dalí House Museum - Port Lligat, Catalonia, Spain

Salvador Dalí Museum - St Petersburg, Florida, contains the collection of Reynolds and Eleanor Morse, and over 1500 works by Dalí, including seven large "masterworks"

In 2018, a traveling museum exhibition focusing on Dalí's illustrations for Dante's Divine Comedy premiered at the Hilliard University Art Museum in Lafayette, Louisiana. The exhibition titled Salvador Dalí's Stairway to Heaven will be touring the United States through 2021.

Important books by or about Salvador Dalí readily available in English include:

Ades, Dawn, Salvador Dalí, Thames and Hudson, 1995 (2nd ed.)

Dalí, Salvador, Oui : the paranoid-critical revolution : writings 1927-1933, (edited by Robert Descharnes, translated by Yvonne Shafir), Boston: Exact Change, 1998

Dalí, Salvador, The Secret Life of Salvador Dalí, New York, Dover, 1993 (translated by Haakon M. Chevalier, first published 1942)

Dalí, Salvador, The Diary of a Genius, London, Hutchinson, 1990 (translated by Richard Howard, first published 1964)

Dalí, Salvador, The Unspeakable Confessions of Salvador Dalí, London, Quartet Books, 1977 (first published 1973)

Descharnes, Robert, Salvador Dalí (translated by Eleanor R. Morse), New York, Abradale Press, 1993

Gibson, Ian, The Shameful Life of Salvador Dalí, London, Faber and Faber, 1997

Shanes, Eric, Salvador Dalí, Parkstone International, 2014

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Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquess of Dalí de Púbol (; Catalan: [səlβəˈðo ðəˈli]; Spanish: [salβaˈðoɾ ðaˈli]; 11 May 1904 - 23 January 1989) was a Spanish surrealist artist renowned for his technical skill, precise draftsmanship, and the striking and bizarre images in his work.

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An article with some good tips for types of monologues that work.

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10 Tips for Choosing Your Audition Monologue
Thursday, August 7, 2014 ( 0 Comments)

By Melissa Hillman

Finding the right piece can be one of the most stressful parts of a big audition. Often what works very well within the context of a full production won't serve you well as an audition monologue. Stress no more! Bay Area casting directors Amy Potozkin, Meryl Shaw, Josh Costello and yours truly weigh in on what makes a good audition monologue, as well as what to avoid.

Melissa Hilman. Photo: Lisa Keating

1. Choose material that fits you right now. Amy Potozkin says, "Select a monologue that is age appropriate, allows you to express the uniqueness of who you are and speaks to your strengths or is in your 'sweet spot.'" Choose a piece that showcases that, rather than something out of type. For example, remember "age appropriate" is what you read as, not what you are. If you're a 24-year-old woman who reads 17, don't choose older monologues because you're tired of playing young girls. Rock that type until your type actually changes; don't try to force a change with an audition piece. You won't be able to compete outside your type, but you can dominate your type with the right monologue. Age is just one example-think about all the things we consider when discussing "type": status, energy, personality.

2. Choose a monologue that's active. An audition monologue should be active and in the moment, not a character telling a story or a memory. Meryl Shaw says, "Look for pieces where the action is going on right now, right here, and where the character has something at stake. Pieces where your character wants something from the scene partner, or is having an in-the-moment discovery are the most dynamic." Find something where the stakes are high for your character. Josh Costello says, "Choose a monologue in which the character is clearly pursuing an objective with another character as opposed to just telling a story. What are you trying to get the other person to do, to feel or to understand? Do you succeed or fail?"

10. Avoid the monologues that are overdone, but don't fret about it. While most casting directors are tired of the Durang tuna fish monologue, I Hate Hamlet, the jock strap monologue from A...My Name Is Alice, the bridal registry monologue from A...My Name Is Still Alice, Margie's monologue from Loose Knit, Savage in Limbo, and Neil LaBute in general, don't talk yourself out of a monologue to which you really feel connected because you're worried about boring us. This is particularly true for classic monologues, where your choices are limited, particularly if you're a woman. "If a popular piece is perfect for you, and you do it amazingly, use it and own it," says Meryl Shaw. "I had one day at ACT generals when I had five Juliets in one day. Number four landed it so beautifully that I felt I'd never heard it before in my life, let alone that day and in three productions I'd stage managed in the past!"

Melissa Hillman is the artistic director of Impact Theatre and the casting director at Bay Area Children's Theatre. She does private audition coaching (melissahillman.com ) and blogs as Bitter Gertrude at bittergertrude.com .

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10 Tips for Choosing Your Audition Monologue - Theatre Bay Area

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Thursday, August 7, 2014 ( 0 Comments) By Melissa Hillman Finding the right piece can be one of the most stressful parts of a big audition. Often what works very well within the context of a full production won't serve you well as an audition monologue. Stress no more!

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Includes information about the WORLD MONOLOGUE GAMES - free entry!!

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The Monologue Project. 377 likes. THE MONOLOGUE PROJECT is a series of award-winning monologues, stage shows and workshops for actors and drama students. Read more on www.monologues.com.au

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An overview of Shakespearean acting if you need a classical monologue

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Shakespeare

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3 Tips for Performing Shakespeare- The Monologue Project

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Some really helpful videos from drama schools as well as overall tips by the website.

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Many of today's greatest and most talented actors have gone through drama school's training programs. British actors that have trained at some of the best UK drama schools today are revered by the audience, critics and directors alike. So it's only natural to include drama school training as the first step to launching your acting career.

However, the rumors are true - getting into a reputable drama school like RADA, LAMDA or Guildhall is not easy and it takes a lot of smart planning, determination, hard work and some talent.
For more acting training options, see 2017 London Acting Training Directory.
Places in drama schools like RADA are very limited and the number of applicants each year is in thousands (from all over the world), thus the competition is high.

For you to have a chance to get accepted, it's imperative you give yourself a fighting chance by being as prepared as possible. The audition process can vary from school to school. Some schools hold auditions only over the course of a day and others will do up to five rounds of recalls.
READ THIS: I Didn't Get Into a Drama School - What Should I Do Now?
What's the drama school application/audition process like?

As noted above, there are several stages to getting accepted into a drama school. Here's how this goes:

1. Submit your application and personal statement. If considered, you:

2. Get invited for your first audition and the interview. If done well, you:

3. Get invited for a second audition (recall). If done well, you:

4. Get invited to do one or two workshops, and another audition. If done well, you:

5. Get a place to study in a drama school for the next 3 years.

As you can see, for the most reputable, well-known drama schools, the process is not simple and takes multiple steps. Some drama schools will do several workshops plus a third audition to further look at your skills and work ethic, while others may do just the first round of auditions and no workshops. For example, take a look at RADA's audition process.

If you want to get accepted, it's important to do well at every one of these stages. However, the most important part of the whole process is #2 - your first audition. And this is what we're going to focus on in this article and talk how you can nail that first drama school audition.
RELATED: How to Choose a Drama School (7 Tips From Pros)
15 Tips To Nail Your Drama School Audition

1. Research Before Applying to Drama Schools

Spend some time researching as much as you can about the drama school prior to your audition. The school website itself is a good place to start, but also speak to friends and research on social media.

It will give you a good idea if there is anything in particular they look for in candidates (other than the most overused one - talented) and it will also be worthwhile if you manage to speak to anyone who has attended an audition at the drama school, just to give you a rough idea on how they found the experience.

Don't know where to apply? Take a look at our 2017 Acting Training Directory for more ideas on what drama school, acting classes or drama clubs to attend.

2. Don't Attend Just One Drama School Audition

As competition is so high and places are very limited it is always a good idea to have a few auditions to attend as this will give you a better chance of getting into one of the schools.

Lots of budding actors audition for a few different schools and if you are lucky enough to be selected for more than one you are in a great position to decide what is best for you.

3. Budget and Plan Accordingly

An audition is not cheap (although it's not going to break your bank either). There are usually audition fees (ranging from £30 to £150) and you may need to take into account travel and accommodation if your audition is not close to your home.

Book your train or coach tickets in advance. Having all of this arranged and in place before your audition will mean you will have one less stress to worry about on the day.

You will be nervous enough and it will help if you don't have to worry about your travel tickets or accommodation on the big day.
RELATED: How to Fund the Pursuit of Your Dream
4. Do Any Paperwork Necessary Before the Audition

Do not leave anything for later, and try to be a professional and good student before you even start studying in a drama school. Get into this habit, because that's going to be necessary later on.

It is normal procedure that you will have to fill out forms and hand them in at the audition. If it is possible - download them, print them off and fill them in so you can spend your time preparing mentally for your performance rather than have to spend time filling in forms.

5. Get Some Drama Coaching Before the Performance

This can help you a great deal as an acting coach will even be able to help you rehearse and prepare your performance before you do the audition itself. Even just an hour session with an acting coach will be of some benefit to you.

A good acting coach will be able to advise you on how to make your performance stronger and give you tips. It will also be good practise for you to do your performance in front of a critical eye. You can find a list of some good London acting coaches here.

Some drama coaching is especially useful if you have not had much experience in acting and most aspiring actors make use of private drama/acting coaching, no matter where they are in their careers. In fact, even famous A-list actors still take private acting coaching sessions.

Coaching is expensive, however, and will only give you an hour of work (unless you pay more). Alternatively, you can explore acting classes and take them in the evenings or weekends for weeks or months before going to your drama school audition. Check our Acting School Directory to find tons of acting classes in London.

6. Choose a Monologue That Works for You

Most drama schools, but not all, will ask you to perform a classical Shakespearian piece and a contemporary piece. Make sure that you choose monologues that you connect with and completely understand.

If you don't understand the words you are going to speak, how can you expect the people you are performing in front of to understand what you are portraying? If you are not an avid Shakespeare fan, do some research and choose one of his characters that are similar to you in thoughts, age or sex, for example.

Then find resources to do a translation of the monologue you have chosen so you know exactly what the words mean. Study it as much as possible so you know the whole play in and out.

As for the modern/contemporary monologue piece, it means just that. Contemporary. So don't choose something that is 50 years old and again, make sure you can connect to the character and understand the dialogue you are going to perform. Usually, these are easier for drama school applicants.

7. Read the Whole Play (don't just learn your chosen monologue)

Again, this can't be stressed enough. Don't just choose a piece to recite from one act that you know well. You must read the whole play to make sure you know what your character is doing, feeling and thinking during the words you recite.

The drama school audition panel may even ask you questions about the play and not knowing the answers or not having an opinion will make you look sloppy and not dedicated to your craft. Study this play like you're preparing for a math exam (which it essentially is, in a way).

8. Rehearse

This should go without saying - you'll need to prepare well. This is clearly important and something that you start working on as soon as you have planned what monologue you will be using.

Rehearse as often as you can and if possible, get some feedback from other acting friends. This is the time to make mistakes and improve, experiment and fail, to ensure you are as ready as possible for when you do your performance in front the people who will make you nervous.

9. Give Some Thought to Your Performance

Firstly, plan when and how you are going to 'start' your performance. By this we mean don't launch into your dialogue straight away. Make sure you absorb your audience first so they can come on a journey with your character. However, don't dilly dally - just take enough time to calm your nervous and accept the imaginary circumstance you're in.

Think about what your character is doing before he/she speaks. How is s/he feeling? What movements is s/he doing before s/he speaks and during the monologue? Just standing there and appearing like you are 'going through the motions' will not make you that memorable or stand you out from the others auditioning.

10. Use Your Own Dialect

Whatever you do, don't try to speak in another dialect unless you are 100% confident you can do so perfectly. Anything short of doing a perfect accent is not good and will not work in your favor.

Speaking in a dialect that is not your own can often sound really fake or at worst, sound silly and take away from your whole performance. The panel will also be looking to see you in the performance as well as see the character. As a standard rule, I'd say forget the accent and just speak in your natural dialect. Focus on performance.

11. Think of Your Performance As a Two-minute Play

If you can imagine that you are carrying out a two-minute play, it will enable you to change gears, so to speak.

When you're doing a drama school audition, you are putting on a show and your show has to have changes of mood, tone, pace and atmosphere. Change is crucial, even in a two-minute show.

12. Imagine Other Characters Are There As Well

No matter what monologue you have decided to do, you are probably connecting with other characters, whether they are in the scene with you or not. Unless you picked a play that's a one-man show (which is not recommended), you need to be aware of the characters that exist in your world.

It all comes back to understand the whole play and putting yourself into the imaginary circumstances. This way you will create a world for your character. Your character is not the whole focus of the monologue and the other person should be constantly involved with you as well in some way.

13. End your monologue well

Sometimes actors come out of character too quickly and abruptly which can show you have not engaged with the character if you can disengage in seconds. Avoid looking fake; avoid "acting."

Normally, drama school auditions are allowed up to 2-3 minutes per monologue, so you can use that time. Stay in character for a few moments afterwards until you are settled and come out of character naturally.

14. Bring Yourself

You will most likely be interviewed by the panel as well so let them see the real you. Don't try to put on a mask, and don't try to be "the next greatest eccentric actor." Just be yourself.

The panel will want to engage with you as a person who has goals and who wants to join a drama school. They want to find out some of your likes and dislikes, and get an idea of the type of person you are because you'll be working with plenty of other people.

15. Don't Expect an Acceptance or Rejection Straight Away

Depending on the school, it is unlikely you will hear on the same day whether you have been accepted, invited back for another audition or rejected. This process can sometimes take a week or more depending on how many auditions the school are dealing with.

But remember, knockbacks are an everyday occurrence for actors and if you are rejected try not to see it as a reflection on your talent. Just dust yourself down and proceed to the next audition.

16. Take Chances

Just don't be another brick in the wall.

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15 Tips To Nail Your Drama School Audition (And Get Accepted)

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Many of today's greatest and most talented actors have gone through drama school's training programs. British actors that have trained at some of the best UK drama schools today are revered by the audience, critics and directors alike. So it's only natural to include drama school training as the first step to launching your acting career.

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A casting website with lots of articles and information about Drama Schools, Universities and Auditions

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Help us to improve our website by telling us what you think

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A backing track with lyrics

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WICKED - One Short Day (KARAOKE) - Instrumental with lyrics on screen

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Musical theatre characters, by their very nature, tend to be stereotypical. The descriptions and titles used in this character breakdown list were chosen in the interests of brevity, and are not meant to be offensive to anyone. If you would like to suggest a better title for a personality type, or another personality type that is not yet listed, please e-mail me. Many of these profiles are visitor-submitted and your input is appreciated.

Note: I am not demeaning the quality of the characters mentioned in these lists or suggesting that these are the only qualities of a particular character. I am merely stating that they are similar enough to be of interest to those searching for audition materials.

To use this info: Go to the show that you are auditioning for, and click on the name of the character you are auditioning for (or, click one of character descriptions on the left). You will then see a list of characters that are similar - and a song that one of these characters sings might be the right audition song for you.

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Musical theatre characters, by their very nature, tend to be stereotypical. The descriptions and titles used in this character breakdown list were chosen in the interests of brevity, and are not meant to be offensive to anyone. If you would like to suggest a better title for a personality type, or another personality type that is not yet listed, please e-mail me.

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Something I think we can all be guilty of sometimes and a way to calm down and focus.

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3 ways to fix a nervous singing voice - Sing with confidence!

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Psychological explanations and how to fix things. Sorry if it gets a bit deep!

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Why does your singing voice feel trapped or stuck?

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Singing exercises #9+breathing techniques 

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Singing exercises #9+breathing techniques 

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Meghan Trainor - All About That Bass (Official Video)

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Damien Rice - The Blower's Daughter - Official Video

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Jason Mraz - I Won't Give Up (Official Video) [4K]

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Mama Cass Elliot   Dream A Little Dream Of Me TOTP '69Z

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Sara Bareilles - Love Song (Official HD Video)

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Whether you're the next X-Factor superstar, or just a karaoke wannabe singing into your shampoo bottle, we all love to sing. Even if you don't think you're that great at it, singing feels amazing.

Did you know that singing can actually have health benefits too? From releasing a stress-busting hormone called cortisol to improving your posture and the way you breathe, busting out your favourite song can improve your physical and mental health in many ways.

Like any instrument, learning how to use your voice takes time and practice. Why not search for a singing tutor near you who can help you as you learn to sing and develop your voice.

Experienced tutors can teach you how to sing and work on your vocals from beginner level to advanced. Unlock your inner pop-star by booking a singing lesson through Tutorful today.

As learning to sing becomes more popular every year, we've done some exploring and found the best online resources for aspiring singers. Check out these apps, tools, and websites that can help you improve no matter what level you're at.

If you know one method already works for you, use these handy quick links.

Apps

1) Learn to Sing - Sing Sharp

Learn to sing with the first gamified training program for singing. This free app helps singers learn and practice their singing anytime and anywhere. Using Sing Sharp's What You See Is What You Sing™ technology, you can see your singing pitch accuracy in real-time, so that you can tune your voice accordingly. Train yourself to become a pitch-perfect singer!

Download from Google Play | iOS App Store

2) Swiftscales

SWIFTSCALES was created by singers, for singers, and is the first app to simulate sitting at the piano with a vocal coach. Unlike other apps & audio lessons, SWIFTSCALES moves with you, as high or low, fast or slow as needed. You control every session in real-time or passively, the only limits being the 88 keys of the piano and your imagination. No musical knowledge required! In fact, vocal coaches themselves can use SWIFTSCALES on the go to train and warm up students with exercises they already teach thanks to the app's endless flexibility, customization, and cloud sharing capabilities.

Download from Google Play | iOS App Store

3) Vanido: Learn to sing

Daily singing lessons are delivered to train your voice and ear. Pick your favourite songs to train with on the app! Each session is personalized according to your vocal range and past performance. You can track your pitch in real-time, review recordings and evaluate your progress.

Download from iOS App Store

4) SingTrue

Worried that you have a bad voice? Always told you're out of tune or off-key when you sing? Many people think they can't sing because they don't have "natural talent" or weren't born "musically gifted". The surprising truth is that anybody can learn to sing well, even those who feel totally unmusical. SingTrue helps you discover your inner musicality and gain control over your voice to become a natural, confident, powerful singer.

Download from iOS App Store

5) 7 Minute Vocal Warm Up PRO

7 Minute Vocal Warm-Up is a simple application to help singers and public speakers quickly warm up their voice, developed by professional vocal coach Indra Aziz who has trained many professional vocalists for more than 15 years. Included in this app are some breathing exercises, warm-up exercises, cool-down exercises, and a few easy exercises to help vocalists who are recovering from vocal fatigue or vocal injury, although the exercises are not meant as a substitute for medical treatment. Each exercise is accompanied by a short explanation and uses a general key center for every voice type to follow.

Download from Google Play

6) Complete Vocal Technique - Introduction

Unlock the sounds you want in your own voice with simple tools, visuals, sound examples, and training tips. The Complete Vocal Technique app helps you reach higher, lower, longer, and faster notes in all volumes, pitches, and sound colours, with any vocal effect in a healthy manner. Complete Vocal Technique (CVT) is the world's biggest singing technique and it has helped professional singers from all over the world for more than 25 years.

Download from Google Play | iOS App Store

7) 14400 karaoke songs with notes Vocaberry

Vocaberry Karaoke is a karaoke application through which you can learn the real notes that the singer sings. You can also change the pitch of the song so that it's convenient for you to sing and change the tempo. You can roll the song forward or backward and replay those moments of the song you want to learn better. With this app, you can understand whether you are getting into the real notes of the performer or not. And also learn how to get into rhythm and notes. The application will help you to sing karaoke songs more cleanly.

8) Voice Training - Learn To Sing

Voice Training - Learn To Sing is an educational app co-designed by a professional singing teacher to help students to sing in perfect pitch and expand their vocal range. There are numerous exercises that simulate the singing class environment. With over 5 million downloads it has proven to be really popular and has achieved much success. See the positive reviews on the app store pages!

Download from Google Play | iOS App Store

9) Yousician

Yousician is the fast, fun way to learn, play and master the Piano, Guitar, Bass, Ukulele, or Singing / Vocals. The app listens to you play and gives instant feedback on your accuracy and timing. Our curriculum, designed by expert music teachers, will help musicians of all levels improve, from complete beginners to professionals. Step-by-step video guides help you through each lesson. Fun gameplay tracks your progress and keeps you motivated to practice and learn. You'll simply be amazed at how fast your skills advance. So go grab your guitar, bass or ukulele, go sit at your piano or keyboard, or warm up to sing and start playing now!

Download from Google Play | iOS App Store

10) Learn to Sing with Max&Maxine

A complete singing course in the app that puts the fun into learning. Have fun learning with Max and Maxine, who will guide you through the levels in their unique, fun way. Control your pitch thanks to the Pitch Control. Record and post your songs to the Maxingers, your Sing-Up Community on Facebook. The entry with the most likes wins a monthly prize!

Download from Google Play | iOS App Store

11) Karaoke voice sing & record

Have you ever dreamed of becoming a super-star pop idol - a famous actor and singer? Karaoke voice sing & record is a mic recording app with lyrics for the best sing-along experience. Use free tunes to learn how to sing in tune and in time, before uploading your favourite music & party favorites!

Download from Google Play

12) Riyaz - Learn Singing - Vocal lessons and exercises

Riyaz has fulfilled the dreams of 10,00,000+ passionate singing aspirants. Learn and practice singing with precise, live feedback that guides you optimally to overcome your mistakes! With Riyaz, anybody can learn to sing! Come give it a shot!! Download now and have ready access to hundreds of practice lessons in Western and Indian classical music styles! The smart vocal monitor in Riyaz helps you know and fix your mistakes before anyone else can.

Download from Google Play | iOS Store

13) Vocal Trainer - Learn to sing

Everybody can sing better. Improve your vocal skills in a fun and educational way. The vocal trainer is a vocal calculator to help you understand your vocal abilities, help to improve them and train you in notes structure and logic. It uses your device recorder to analyze incoming sound data and to guide you to improve the accuracy and strength of your voice. The app has several exercises you can use to train, each trains a specific vocal ability and they all help in improving accuracy and knowledge.

Download from Google Play

14) Perfect Ear

Perfect Ear provides you with high quality, unique ear training, rhythm training, solfège lessons, music theory, and note reading lessons. It doesn't matter if you are a beginner or a professional, ear training is essential, and you will always find something that will make you a better musician or singer. Across the globe, music teachers recommend Perfect Ear to their students every day.

Download from Google Play | iOS App Store

15) Complete Rhythm Trainer

Learn to read, recognize, tap and write rhythms from simplest to most advanced. Rhythm is one of the most important aspects of music and one that every musician should become proficient with. Designed like a video game and with strong pedagogical concepts in mind, this app will make you master rhythm while rendering the learning process enjoyable.

Download from Google Play

SingAlong app is best suited for the aspiring singer and voice artist who wants to create great music. Select your favourite karaoke or background music. SingAlong's built-in AI will analyse your karaoke audio and suggest lyrics for it.

Download from Google Play

Articles

1) 5 Secrets To Make Your Voice Sound Better

As one of the top vocal coaches in the world, I frequently hear: "What are your top vocal tips for singers?" Well, I could rattle off a long list, and yammer on for hours. (I'm a nerd's nerd when it comes to vocals...) And I have a long list of favorite tricks up my sleeve from more than 20 years of coaching singers... But I love a challenge - so I pretended that I had only 5 minutes to tell you my top ones and so I wracked my brain to come up with the Top 5.

Click here to read the full article
2) How to Sing Better: 16 Strategies Your Vocal Coach Won't Teach You

From those who want more than anything to become great singers themselves but are trapped by the all-too-common belief that "It's something you're born with" and "you either have it, or you don't." The truth is that singing is a skill-set, just like any other and it CAN be learned!
Click here to read the full article
3) Sing Better Than Ever: 6 Tips to Improve Your Present Singing Voice

You may think that you're stuck with the voice you have, but this isn't true. You can actually change the way your singing sounds today and end up singing better than ever. Sound too good to be true? Well, it's not.

Click here to read the full article
Blogs

1) The Naked Vocalist

The Naked Vocalist (aka, the naked guys) are Chris Johnson and Steve Giles; two industry vocal coaches based in the UK. They have spent years working with experts from around the world to bring the best in vocal technique and artistry, right to you. Their guests include top vocal coaches Dave Stroud, Jamie Vendera and Jeannie LoVetr and top scientific minds such as Dr Ingo Titze and Karin Cox. On this website, there is something for everyone, and The Naked Guys cover everything from increasing your confidence to using a drinking straw to improve your singing.

Visit their blog
2) All Things Vocal - Judy Rodman

All Things Vocal blog shares training & insights for stage and studio singers, speakers, vocal coaches and producers from professional vocal coach and author Judy Rodman. All Things Vocal Podcast audio links are included with many posts. With almost 2 million views, the post content ranges from Judy's articles on vocal technique, vocal career advice, performance and songwriting tips to her interviews with industry experts.

Visit their blog
3) Improve Singing Online

This website aims to provide readers with the best information about singing, music, and art. Whether it is to improve their singing or clarifications about technical details, or even what song to choose on karaoke. Take a look for tips on how to prepare the voice and keep it strong for performances, how to juggle singing with a jam-packed schedule, and the need to operate on a schedule.

Visit their blog
Websites

1) Musical U

Come and join an online community that is dedicated to helping you to become more musical. Through the podcast "Musicality Now", thousands of free articles and tutorials, a flagship membership program and dedicated online courses, Musical U helps passionate adult musicians to tap into their "inner natural", develop their true musicality and realise their full potential.

Visit the website
2) Musicisum

Learn to sing from home. Watch on-demand lessons on any computer, tablet, or smartphone. Start from singing your very first note. If you're a complete beginner - Musicisum has got you covered. Follow their specialised course to learn how your own voice works and how to get the most out of it. Get the most out of your time with exercises and practice tools.

Visit the website
3) Open Mic UK

Open Mic UK is all about developing aspiring singers and providing the tools and opportunities they need to succeed. Head to their website where you will find articles covering many topics from singing and songwriting to self-promotion and social media. Visit regularly to read new articles and fresh content to support you in all aspects of singing and performing.

Visit the website
4) The Singer's Corner

The voice you're born with is not the voice you're stuck with. We are often told or think that the natural way we sound is all we have to work with. That's not true. Like any muscle in your body, you can train your voice to be stronger and work better. So don't ever feel like you "can't sing." You just need to train. So what's the best way? First, know what the important areas of your voice are. Then do exercises that train these areas regularly.

Visit the website
Youtube Channels

1) Ken Tamplin Vocal Academy

Isn't it time you actually learned from someone who can "Show You" rather than "Tell You" how to sing? Learn how to sing better with vocal lessons that teach you how to sing like a pro. Whether you want to learn how to sing for beginners or how to take your singing to the highest professional levels, learn to do it right with Ken Tamplin Vocal Academy. KTVA's singing lessons online can teach you how to sing rock, pop, soul, country, or classical. Any genre, get top-notch lessons that can make all the difference in your voice.

View their Youtube channel
2) Felicia Ricci

Felicia is a professional performer, author, singer and voice finder who loves sharing her gifts and giving tips to help people find their voice. From free online tutorials and vocal technique videos, Felicia helps singers of all levels because she believes anyone can sing - all it takes is the right teacher. With experience including playing Elphaba in the touring production of Wicked and teaching all over the country, Felicia is well equipped to help you improve your singing.

View their Youtube channel
3) EricArceneaux

Eric is a New Orleans native who has been blessed with success as one of the youngest vocal coaches in the industry today. As a recording artist, he has earned the respect of industry heavyweights, like Brett Manning, Lis Lewis, and Jennifer Hudson. He loves hearing from those who enjoy his content and welcomes anyone to get in touch with questions and comments about signing.

View their Youtube channel
4) Madeleine Harvey

Madeleine is a voice teacher and songwriting teacher in West Palm Beach. With a love of country music, her YouTube channel is home to video responses and video blogs about voice lessons, singing techniques, songwriting tips, and performance best practices. Take a look and if you too love the good ole' twang of a banjo.

View their Youtube channel
5) Freya Casey

Freya is a vocal coach and trained opera singer who loves to help students discover the awesomeness of their own voice! With more than 20 years professional singing experience, Freya is comfortable teaching all genres from opera and musical theatre to pop, rock, soul, folk and much more. Watching her videos can teach you methods and techniques to keep your voice in shape, and how you can sing in a healthy and sustainable way for the rest of your life.

View their Youtube channel
6) Verba Vocal Technique

Verba Vocal is all about supporting your vocal discovery and development. It does not matter what level you are at or how long you have been singing, if you love singing then nothing should stop you. They provide online videos to help you achieve your goals and discover fabulous exercises for your fabulous voice.

View their Youtube channel
7) Jacob's Vocal Academy

This Youtube channel has a range of videos including vocal warm ups and training techniques to help you become the best singer you can be. With easy to follow instructions and guides, and accessible on Youtube, Spotify, Apple Music and more, these tips are the perfect addition to the training of any singer.

View their Youtube channel
8) Power to Sing

Whether you sing for profit or pleasure, Power to Sing will teach you how to sing amazing high notes with a voice that's powerful, without straining and yelling, so your voice will last a lifetime. If your voice is weak it will become strong. Your singing will become confident and inspiring, just like you've dreamed. Simple vocal exercises are clearly explained and demonstrated so you can do them and you're invited to participate in live broadcasts every Tuesday afternoon.

View their Youtube channel
9) Dr Dan's Voice Essentials

Daniel (aka Dr Dan) is an award-winning freelance artist and educator, predominantly teaching in his private studio (Djarts) and performing Australia wide. Daniel regularly presents for conferences as a Singing Voice Specialist, providing workshops and practical learning activities to contemporary vocalists across Australia and abroad.

View their Youtube channel
10) Eric Bruner Voice Teacher

With more than 30 years of experience providing voice lessons, Eric specialises in vocal technique and helping students to sing in any style. Aiming to give singers the confidence to sing in the effortless voice used when simply speaking.

View their Youtube channel
11) SingWise

Karyn O'Connor is a writer and singing teacher who uses her channel SingWise to discuss various vocal topics with a focus on practical solutions and exercises. Discover content rooted in current voice science, improve your singing voice, and reach your training goals with weekly instructional videos.

View their Youtube channel
12) Sing2Guitar

Sing2Guitar produces acoustic guitar backing tracks for your favorite vocal songs. With full versions available on iTunes, the channel is regularly updated with new videos, songs, and releases from a range of genres and styles.

View their Youtube channel
13) Ron Anderson

Don't just sound good when singing, learn how to truly sing well. While others focus on your sound, Ron's channel allows you to focus on how you produce the sound! Knowing how the instrument works is more important than the instrument itself! Learn how to sing for beginners all the way to professional levels. The top vocal coaches have trained with Ron and one point or another and The Voixtek Method is highly sought after. Why? Because IT WORKS! The Voixtek Method can be used online and on a VR Headset.
View their Youtube channel
14) Adam Mishan

Adam Mishan is a singer/songwriter and vocal coach who uploads cover songs, singing tips and original songs to his Youtube channel. He encourages you to take advice from his videos and share amongst other performers to share the enjoyment of singing.

Here's Adam describing his channel!

"AM Vocal Studios is here to help ANYONE learn to sing, my name is Adam Mishan, I'm a vocal coach who was NOT born with a good singing voice. I developed my voice from scratch and can show you how to do the same! My video that shows how I developed my voice now has 4 million views on YouTube
I am living proof that you DON'T have to be born with a good voice to learn to sing really well. I can show you step-by-step how to take your voice to the next level whether you are a beginner or professional singer."
View his Youtube channel
But online tools aren't the only way to learn. If you're looking for a more personal experience when learning to sing, Tutorful can help you find your perfect singing tutor. With lessons starting from just £15 an hour, it's easy to find an experienced singing teacher to help you expand your singing talents.

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As learning to sing becomes more popular every year, we've done some exploring and found the best online resources for aspiring singers. Check out these apps, tools, and websites that can help you improve no matter what level you're at.

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As you learn how to improve your singing voice with private lessons, you can also make the most of your time in between the lessons with helpful online resources, websites, and videos. Read on as Gambrills, MD teacher Shannon F. shares some of her favorites...
The Internet is a big place. There are so many websites, videos, and blogs for singers of all ages and ability levels. Sifting through them can be daunting, but having too many helpful resources is a good problem for students and teachers alike! In the past few years, I have found some incredibly useful aids that voice students can use outside of lessons, from extra tips for how to improve your singing voice to new vocal warm-ups. Here are just a few of them:

TakeLessons' Singing Tutorials

With over 30 videos, this playlist runs through the gamut of great vocal warm-ups like slides, lip rolls, head voice, and breathing exercises. They range from simple to more difficult and make for a wonderful exercise sequence that is accessible for young singers. And the best part? They're super fun!

Aussie Vocal Coach on YouTube

One of my favorite vocal coaches on YouTube is Ian Castle, also known as the Aussie Vocal Coach. His vocal warm-up videos are great for intermediate through advanced singers. They contain unique exercises that help students move seamlessly from warming up to practicing songs and technique. He also has a number of technique videos, such as his "Riffs and Runs Masterclass", which pinpoints specific vocal issues in a way that is easy to understand. He encourages viewers to only do what is physically comfortable, which can be said for all vocal warm-up and technical exercises.

Musictheory.net

Musictheory.net has been around a while, and for good reason. It is a wonderful online resource for learning ear training and music theory. I especially like the interval, scale, and chord ear training sections for singers, because the exercises and theory can be directly applied to warm-ups and songs. Singers are musicians, too, and learning music theory is essential to becoming a successful singer!

Get Body Smart

Understanding how the body works is an essential part of my voice lessons. Get Body Smart is an anatomy and physiology eBook where students can learn all about the human body. For starters, visit the respiratory system section and find out how the larynx, pharynx, and lungs function. Some of the language might be a little difficult for younger singers to understand, but the images and slideshows are still extremely helpful in understanding the vocal instrument.

Felicia Ricci on YouTube

For quick tips on specific songs, solutions to technical issues and breaking down mental boundaries, check out Felicia Ricci. Another one of my favorite vocal coaches on YouTube, she has a knack for getting right to the heart of the matter in a lighthearted and easy-to-understand way. In videos like "Find Your Chest Voice", she explains the link between singing and speaking and makes healthy vocalizing more accessible to all singers.
Still want more? Here are four more resources for singers! Shannon F. teaches audition prep, ear training, music performance, and vocal training in Gambrills, MD. She has studied music at both George Mason University and University of North Texas, and has been teaching students since 2007. Learn more about Shannon F. here!
Since most of us spend a lot of time on the Internet, having free online resources make achieving singing goals easy and fun! YouTube videos and websites make practicing much simpler to incorporate into a singer's daily routine, and are great supplements to lessons with a teacher. Use these videos, blogs, and websites to learn how to sing online, and you'll improve quickly!

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5 Excellent Online Resources for Singers

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As you learn how to improve your singing voice with private lessons, you can also make the most of your time in between the lessons with helpful online resources, websites, and videos. Read on as Gambrills, MD teacher Shannon F. shares some of her favorites... The Internet is a big place.