# data[].attributes.attachment_link.description
Outreach Drama What is Outreach Drama? Outreach drama is a form of theatre which reaches out into the community and uses theatre to tackle issues in the community.

# data[].attributes.body
For my 20 hour placement I went to each at Team Caterlyst International also known as TCI for short. This group is mainly known for its competitors dancers as the school have performed across Europe. Recently the founder of TCI wants to move this dance school forward and develop it as a performing arts based club. When I approached Cat Deblock about my 20 hour work experience in teaching acting based stuff she thought that this would be a great trial for her to see how her students would excel with being thought how to act so when taking part in dance competitions would help the dancers get higher places on the podium as they will be showing the judging panel that they can not only act but dance at the same time. This school teaches a variety of ages from 3- 20 year olds. However I will be teaching kids from the ages of 6-16 and the claas I will be leading will be full of the kids that do competitions.

The Data Protection Act is when a place keeps all of your personal information and it is against the law for them to share it with anyone else without your permission. At my placement they hold important information like card detail, emergency contacts details and home addresses. It is important that they keep these details safe as if they did get into the wrong person for example with all of these details then a bank card could be coined or with having a person’s address someone could take it/ remember it and go to break into that person's house.

DBS is a check to see if you have any criminal records or to see if you have been barred from being around young children or vulnerable adults. This helps companies recruitment employers as then they know if tis person is safe to work with children and vulnerable adults. DBS will give a list of people to the police who should known.  I need this for my placement because I will be working children of all ages.

Equality and Diversity is all about treating people fairly, for example, some of the children in my group do have dyslexia so they sometimes take a little longer than other to pick up what I am asking them to do than others.

It is important to have all of the above in place because child safety is very important.

# data[].attributes.attachment_link.readable_text
Although sometimes used interchangeably, the terms 'equality' and 'diversity' are not the same.

Equality is about 'creating a fairer society, where everyone can participate and has the opportunity to fulfil their potential' (DoH, 2004). By eliminating prejudice and discrimination, the NHS can deliver services that are personal, fair and diverse and a society that is healthier and happier. For the NHS, this means making it more accountable to the patients it serves and tackling discrimination in the work place. (DoH 2011).

For example, occupational segregation. Women make up almost 75% of the NHS workforce but are concentrated in the lower-paid occupational areas: nursing, allied health professionals (AHPs), administrative workers and ancillary workers (DH, 2005). People from black and minority ethnic groups comprise 39.1% of hospital medical staff yet they comprise only 22.1% of all hospital medical consultants (DH, 2005).
In relation to patient care, research published in the British Medical Journal (2008) has shown that people aged 50 and over, but especially the old and frail, are not receiving basic standards of healthcare. Experts found shortfalls in the quality of care offered by the NHS and private providers to patients with conditions such as osteoarthritis, incontinence and osteoporosis.
An equalities approach understands that who we are, based on social categories such as gender, race, disability, age, social class, sexuality and religion - will impact on our life experiences.

Diversity literally means difference. When it is used as a contrast or addition to equality, it is about recognising individual as well as group differences, treating people as individuals, and placing positive value on diversity in the community and in the workforce.

Historically, employers and services have ignored certain differences such as background, personality and work style However, individual and group diversity needs to be considered in order to ensure that everybody's needs and requirements are understood and responded to within employment practice and service design and delivery.

One way in which organisations have responded to the issue of diversity in recent years has been the development of flexibility in working practices and services. For example, an employer may allow an employee to work a flexible working pattern to accommodate child care arrangements, or a GP surgery may offer surgeries at the weekends to accommodate those who work full time during the week.

These approaches recognise that in order to provide accessible services and to ensure we promote inclusive working environments organisations may need to respond differently to both individuals and to groups.

A holistic approach means making a commitment to equality through the recognition of diversity.

Why is equality and diversity important?

Equality and diversity is becoming more important in all aspects of our lives and work for a number of reasons:

We live in an increasingly diverse society and need to be able to respond appropriately and sensitively to this diversity. Learners in the healthcare setting will reflect this diversity around gender, race and ethnicity, disability, religion, sexuality, class and age.

Your organisation believes that successful implementation of equality and diversity in all aspects of work ensures that colleagues, staff and students are valued, motivated and treated fairly.

We have an equality and human rights legal framework covering employment practices and service delivery and qe need to ensure we work within this and avoid discrimination.

Exploring the topic further:

Useful equality and diversity resources

Age concern: Health and Wellbeing: http://www.ageuk.org.uk/health-wellbeing/conditions-illnesses/

Equality and Human Rights Commission, Age Concern: Life course influences and well-being in later life: a review. Institute of Gerontology, King's College London and Department for Work and Pensions (2009)

Disability and healthcare: http://www.disability.gov/health

Department of Health: Secretary of State Report on Disability Equality: Health and Care Services (2008)

Office of National Statistics: gender and health in the UK: http://www.statistics.gov.uk/cci/nugget.asp?id=1657

Gender and health inequalities in the Uk: A series of papers: http://www.lancs.ac.uk/fass/apsocsci/hvp/researchareas/gender%20inequalities.htm

Tackling health inequalities for minority ethnic groups: challenges and opportunities. Gurch Randhawa, Better Health Briefing 6 published by the Race Equality Foundation (2007)

Articles and information on race and public health: http://www.raceforhealth.org/news/archive

'Racial' and Ethnic Inequalities in Health: a critical review of the evidence - Summary. University of Warwick. (Mark R D Johnson, with Deborah Biggerstaff, Diane Clay, Gary Collins, Anil Gumber, Mary Hamilton, Kip Jones, and Ala Szczepura) 2006

Harassment and sexual orientation in the health sector. Ruth Hunt and Katherine Cowan. Stonewall publications

General Medical Council, Sexual Orientation discrimination guidelines- www.gmc-uk.org/guidance/library/valuing_diversity/sexual_orientation.asp

Department of Health Single Equality Scheme 2007 -2010
Some examples of how the NHS has mainstreamed equality and diversity into its work are:

Improving Working Lives An organisational change programme that aims to make the NHS an 'employer of choice' - particularly for women who make up the majority of staff.

Positively Diverse A strategic approach to managing and improving equality of opportunity for staff, and benefiting from the diversity of culture, skills and experience they bring to the workplace.

The Vital Connection equalities framework Aims to put values of equality, fair treatment and social inclusion firmly at the centre of NHS workforce policy and practice.

A gateway to information on the DH's equalities work on race, sexual orientation, gender identity, and disability.

'You can make a difference: improving hospital services for disabled people' Disability Rights Commission/ NHS, 2004

Age and the workplace - putting the employment equality guidelines 2006 into practice' ACAS

Maternity Care for Lesbian Mothers, Position Paper 22, Royal College of Midwives, 2000 (reviewed 2005)

Department of Trade and Industry - discrimination in employment pages

Cases for change - anti discriminatory practices, National Institute for Mental Health in England, 2007

Understanding the DDA - a guide for colleges, universities and adult community learning providers

# data[].attributes.attachment_link.description
Although sometimes used interchangeably, the terms 'equality' and 'diversity' are not the same. Equality is about 'creating a fairer society, where everyone can participate and has the opportunity to fulfil their potential' (DoH, 2004). By eliminating prejudice and discrimination, the NHS can deliver services that are personal, fair and diverse and a society that is healthier and happier.

# data[].attributes.attachment_link.description
The ancient Greeks had plays with songs, and Roman comedies included song and dance routines. But the music of these eras disappeared long ago, so they had no real influence on the development of modern musical theatre and film.

# data[].attributes.attachment_link.readable_text
Those who wish to pursue a career in the performing arts need to display certain skills and talents. Without these skills and talents, an actor, dancer or musician may fail to progress in the industry. Here are some of the skills that a performer should possess if they are hoping to make it in the world of performing arts:

Performance Skills (Acting, Dancing, Singing)

Anyone who is hoping to progress in the performing arts industry must be skilled in their chosen discipline. Without the required skills, they will not even be given the opportunity to audition. The industry is very competitive, so those who fail to make the grade will not get far.

Some performers specialise in one single discipline, whereas other performers are multi-skilled. Candidates who have been to stage school will often be able to show off a wide range of different performance skills. Candidates who have not been professionally trained may need to be more selective about the roles that they apply for.

Confidence

Performing in front of other people requires a lot of confidence. Although it is natural for performers to be nervous before they go out in front of a crowd, a performer should be able to use their nerves to better their performance.

Self-Publicist

Performers must be able to market themselves properly if they wish to get roles in future productions. Most performers will be forced to market themselves regularly if they attend auditions to try to secure work. Being good at self-publicity involves understanding strengths without overselling oneself.

Resilience and Ability to Withstand Criticism

All performers will experience rejection at some point during their career, because it is impossible for one performer to be right for every single part that they audition for. Most performers will also experience some criticism about their performances at some stage. The performing arts are often subjective, so it is unlikely that any performance will appeal to every viewer. Rather than withdrawing, a performer must be able to use criticism and rejection to help them to improve on their performance.

Self-Reflective

Great performers are self-reflective. They are able to look at each of their performances and use the information that they gather to help them to improve themselves. Being self-reflective allows actors to draw on their own performances without developing negative or overly critical feelings about themselves.

Quick-Learner

Performers should be able to learn new pieces quickly and then be able to perform those pieces without the need for additional cues. Some performers are required to learn new scenes or performance pieces within a few hours. A playwright or director may also want to change the way that a scene works, so the performer may be forced to completely relearn different material.

Flexibility

A performer will need to take on a variety of different roles over the course of their career. Being flexible will allow them to move between roles easily. This means that they should be able to play the role of a criminal in one performance and then play a hero in their next role. Dance performers may need to be flexible enough for perform dances from a wide range of different genres.

Stamina

Performers may be required to work long hours for lowish pay. In the run up to the opening night or the first performance of a new piece, those who are involved may have to work non-stop. Because there are often set deadlines with performances, those who are involved are required to keep working until everything is ready. Many performers are also required to work additional jobs outside of the performance sphere.

A lot of actors, dancers and singers in Britain also do shift work such as waitressing or working in retail. They may be required to finish their day job shift and then go straight on to the performance space.

Teamwork

There are a lot of different people involved in creating a successful performance; therefore anybody who is involved in producing a performance is required to have strong teamwork skills. Listening and communicating well with others will help the performance to come together properly. Understanding instructions and being able to carry them out as requested can help performers to meet their brief.

Analytical

A performer should be able to analyse the source material that they are given, so that they can understand the key ideas and themes of the piece. Understanding the key ideas and themes of a piece will allow a performer to improve their interpretation of the piece and enhance their performance.

Creativity

Performers must be creative if they wish to set themselves apart from others who are involved in the industry. In addition to being able to create entirely new material, a performer should be able to reimagine and reinterpret existing work. For example, an actor may be able to gain attention for himself or herself by performing a different interpretation of a Shakespearean character.

Open-Minded

Performers should be open-minded about the subject matter that they are being asked to perform. However, they should also understand that there may be criticism from some parties if the subject of the performance is controversial. Some performances may involve experimental techniques or be largely conceptual rather than following standard narrative patterns. Performers may need to think about challenging their own boundaries to produce the perfect piece of art. On the other hand, each individual must know where to draw the line and be able to say no if they believe that requests are not suitable.

Time Management and Organisation Skills

A performer should have strong time management and organisational skills. Many performers are actually required to work on more than one project at a time, so they need to be able to keep track of their schedule. It is essential for a performer to arrive at their performance space in good time or else it could hold up the entire performance. Good organisational skills will help a performer to make sure that they are adequately prepared for each different project.

# data[].attributes.attachment_link.title
Skills needed in the Performing Arts Industry

# data[].attributes.attachment_link.description
Those who wish to pursue a career in the performing arts need to display certain skills and talents. Without these skills and talents, an actor, dancer or musician may fail to progress in the industry.

# data[].attributes.attachment_link.readable_text
A form of theater developed in late-Renaissance Italy, Commedia dell'Arte ("artists' comedy") relied on a Universal-Adaptor Cast of stock characters, whose roles, characteristics, and costumes were well-defined and widely known. The troupe would take a scenario, which would outline the plot, and ad-lib all their dialog and the details of the action.

The Commedia dell'Arte is an ancestor of the British tradition of Pantomime, which also relies on stock characters and audience interaction. It also set the stage (no pun intended) for the Romantic Comedy genre, and has been emulated by the likes of Gilbert and Sullivan, William Shakespeare (The Taming of the Shrew is a particularly good example), Molière, Bertolt Brecht (expertly retooled the stock characters in Mr Puntila and His Man Matti) A. A. Milne (albeit without the romance), and the writers of Black Adder and of Fawlty Towers.

See Villainous Harlequin for a more contemporary depiction of this genre's most famous character.

Commedia dell'Arte stock characters usually included:

(innamorati) Their romance tends to drive the plot whether or not they're the main characters. Frequently rather airheaded and reliant on their much smarter servants.

The Guy (innamorato): Never masked; not especially well-developed as a character, since his only function is to be in love. His name is usually Lelio, Leandro, or Claudio. Generally in love with himself, and with the idea of being in love, and with the innamorata; if anyone gets any Character Development, it will be him learning to reverse that order.

The Girl (innamorata): Never masked; not especially well-developed as a character, since her only function is to be in love. Will have a Pimped-Out Dress. Has a good chance of being named Isabella. Generally in love with herself, and with the idea of being in love, and with the innamorato; if anyone gets any Character Development, it will be her learning to reverse that order.

The Old People (vecchi) get in the way of the lovers' happiness; often, two of them (usually the Doctor and Pantalone) are the lovers' respective fathers. The innamorato's father may want to marry the innamorata himself.

The Captain (il Capitano): Blowhard, thinks he's God's gift to women, will turn out to have Feet of Clay. Often serves as the Romantic False Lead. If the innamorato's biggest rival for the innamorata's hand isn't his own father, it's this guy. Typically a disliked foreigner, often from Spain (as Spain, the superpower of the time, held political sway over Italy). Usually has an Overly Long Name (very common in Spanish nobility). A variant is Scaramuccia.

The Doctor (il Dottore, Graziano): No, (probably) not that Doctor. Often an Absent-Minded Professor type; often the father of one of the innamorati. If he's the father of the innamorata, then he will rarely have much plot relevance, and will just sort of hang around and be funny. A parody of the Bolognese laureate intellectual (Bologna has one of the world's oldest universities). Mostly portrayed as a doctor in law, usually intersperses his lines with dog Latin and mangled renditions of commonplace Latin sayings for comical effect. Sometimes a Know-Nothing Know-It-All. May go off on long free-associating tangents in an attempt to sound intellectual.

Pantalone: Often the father of the other innamorato/a. Rich and miserly. Keeps propositioning Colombina, the Dirty Old Man. Is also a Bad Boss to Arlechino. Sometimes an Unsympathetic Comedy Protagonist. Based primarily on the stereotype of the rich Venetian merchant. Has a peculiar, shuffling walk, because he's always wearing Turkish sandals.

Tartaglia: Defined by his terrible stutter; is often blind as a bat as well. Often a priest, whose main role is to conduct whatever marriages happen at the end.

The Servants/Commoners (zanni, from whom we get the word "zany") Frequently the ones to ensure the marriages, as you can't count on the lovers being able to pull it off.

Arlecchino (Harlequin): Cheeky but loyal servant to Pantalone or the Doctor; audience favorite; usually drives the action. Can interact with the audience. Forms a Beta Couple with Colombina. Often a Big Eater or Lovable Coward, and tends to suffer Amusing Injuries. Although can also appear as an intelligent and/or amoral trickster. May also be a Bumbling Sidekick. Wears bells on his hat, and an outfit covered in red and black diamonds, and carries the original slap-stick. Known for acrobatic movements on stage. Varients include: Trivelino/Trivelin, Truffa/Truffaldin/Truffaldino, Guazetto, Zaccagnino, and Bagatino.

Colombina (Pierrette): Distaff Counterpart of Arlecchino; servant of the innamorata. Forms a Beta Couple with Arlecchino. Often the smartest/sanest person in the play. (What, you thought Women Are Wiser was a invention?) Usually plays a musical instrument, sings, dances, or does all three. Wears lots of bright colours. Also can be known as Arlecchina.

Pierrot (Pedrolino, Pedro): Loyal, hardworking, dependable servant; the story's Chew Toy. In love with someone, usually Colombina, who doesn't love him back. May be the Sad Clown. Usually dressed almost entirely in white, with a little bit of black. Variants include: Pedrolino, Burrattino, Bertoldo, Pagliaccio, Peppe Nappa, and Gian-Farina.

Brighella: Another greedy character, but much less rich than Pantalone. Sometimes a middle class shopkeeper or tavern owner instead of a servant. Has no problem lying through his teeth. Tends to be a Manipulative Bastard and a Lovable Rogue, perhaps even a Magnificent Bastard. Dresses in white with a bit of green, and probably plays the lute. Typically has a small, pointy beard. Variants include: Fenocchio, Flautino, Sbrigani, Franca Trippa/Francatrippa/Francatrippe, Turlupin/Tirelupin, Sgnarelle, and Gandolin.

Pulcinella (): A hunchback or otherwise disabled/disfigured character, based on the stooping walk of Renaissance Italian coal carriers. Can be an idiot, can be a Genius Cripple. Very violent, especially towards Arlecchino and Pierrot, and speaks in an unusually squeaky voice. His name means "little chicken".

Other characters

La Signora: Often the wife of Pantalone and/or the mistress of Pedrolino, she is tough, beautiful and calculating but narcissistic. Sometimes a courtesan and often called Rosaura.

Beltrame: similar to Brighella, was either or both a shrewd villager and a blunderer who was always trying to appear of a higher rank than he really is.

Scapin/Scapino: similar to Brighella, and often seen as his brother or son, he was the more toned-down version. He's usually more interested in charming a servant girl or eating than carrying out Brighella's villainy.

Mezzetino: Often seen as the brother of Brighella, he is fond of the ladies even if they weren't fond of him. His character has many variations: a loyal or scheming servant or a deceitful or cuckolded husband.

La Ruffiana: An "old windbag" type; like the rest of the old people, she's out to thwart the innamorati.

The Pavironica family:

Sandrone: a crude, clever, and cunning peasant.

Pulonia: the wife of Sandrone.

Sgorghiguelo: the son of Sandrone.

Examples and references in modern media:

Harlequin Valentine, by Neil Gaiman, is explicitly based on commedia dell'arte tropes, with Harlequin as a trickster spirit romancing a mortal woman (who is, in the Columbine spirit, the sanest and most sensible character, and things don't go quite as expected). Along the way, Harlequin nominates the other characters as filling various stock roles, although it's ambiguous whether this is genuine insight or just a case of labelling people according to his preconceptions.

In one of the volumes of De cape et de crocs, a group of protagonists who get captured, are forced to perform one of these for their captors.

The cast of The Rocky Horror Picture Show fit this pretty well, for the most part:

Brad and Janet are the Lovers.

Eddie makes a passing Arlecchino.

Columbia, fittingly, is a Colombina.

Frank-N-Furter has elements of both The Captain (obviously "not from around here," interested in Anything That Moves) and Pantalone (abusive of Eddie, his Arlecchino, hints of a relationship with Columbia.)

Riff Raff is a dead giveaway as the Pulcinella, hunchback and all.

The Criminologist is perfect as the Doctor.

The others are a bit of a stretch - presumably Rocky as the Pierrot, Magenta as the Brighella, and Dr. Scott as the Tartaglia.

The Marx Brothers fit the archetypes quite nicely.

Groucho: Arlecchino, though with aspects of Brighella, given his costant schemes.

Chico: Brighella

Harpo: Pierrot. A Night at the Opera even has a scene of him dressing up in the costume that he stole from a production of Pagliacci.

Zeppo: In early productions, the Innamorato. Later on, he becomes a more toned-down Arlecchino for Groucho to boss around, before leaving the pictures altogether, in favour of...

Alan Jones: Innamorato all the time.

Margaret Dumont: Columbina, or a Gender Flip of Il Dottore.

Andre Moreau of Scaramouche is a heroic fugitive who goes undercover in the commedia dell arte troupe his beloved Lenore acts in, discovering an unexpected talent for slapstick.

The cast of Beauty and the Beast fits nicely:

Belle and the Beast: Innamorati (main romantic leads of the movie, although much more fleshed out than the usual innamorati)

Gaston: Il Capitano (vain, boasting antagonist who lusts for Belle)

Maurice: Il Dottore (Absent-Minded Professor, father of the innamorata)

LeFou: Pulcinella (ugly and stupid servant of the main antagonist)

Lumiere: Arlecchino (smart, confident and flirty leader of the Beast's servants)

Cogsworth: Pierrot (Butt-Monkey, although lacks the "hopeless lover" trait of the usual Pierrot)

Mrs. Potts and Fifi the Feather Duster have the traits of Colombina divided between them: Mrs. Potts embodies Women Are Wiser, while Fifi is Lumiere's love interest

Monsieur D'Arque: Brighella (cunning and greedy minor villain)

Jean Renoir's The Golden Coach is a 1952 film Homage to Commedia'dell Arte, bringing the style to cinema with legendary actress Anna Magnani playing Colombina

Moulin Rouge! is an example with Christian and Satine as the innamorati, The Duke and, to a lesser extent, Zidler, as the Old People trying to keep them apart, and Toulouse and the Bohemians as the Servants trying to keep them together. The difference is that The Lovers are the ones clearly driving the plot while the Servants are more sidelined. It also does not have a happy ending.

It is less evident from the book's final edition, but in The Master and Margarita by Mikhail Bulgakov two of the devil's servants bear some resemblance to the most popular zanni characters. Koroviev, the talkative trickster dressed in checked clothes brings to mind Arlecchino, and in certain early version of the novel there's a character called "Fiello", a hunchbacked brute with mouth full of fangs, dressed in white, grotesque clothes with bells attached, who seems to have some of Pulcinella's characteristics. The latter was subsequently modified by the writer to become Azazello, another servant of the devil. Azazello lacks any significant resemblance to Commedia dell'Arte characters.

Commedia dell'Arte motifs figure in the later Jerry Cornelius stories by Michael Moorcock, particularly The Condition of Muzak and The Entropy Tango.

The characters do not fit the archetypes, but in The Vampire Lestat, the title character joins a Commedia dell'Arte troupe in his pre-vampire days. He plays Lelio, and counts his time as an actor among the best experiences in his human life.

In John C. Wright's The Golden Age, Phaethon donns a Harlequin outfit for the Masquerade. The Earthmind salutes his fidelity when he greets her. Possibly inspired by this, his foes don the forms of Scaramouche and Columbine to pursue him.

Agatha Christie wrote a series of stories featuring a Mr. Harley Quin, who had a knack for turning up where there were two lovers in trouble and, seemingly by chance, saying or doing just the right thing to influence events in their favour. (Being Agatha Christie stories, this often involved inspiring a Eureka Moment in somebody trying to solve a murder, but it didn't always - and there's at least one Harley Quin story in which nobody dies at all.)

The story "Puss-in-Boots" in Angela Carter's The Bloody Chamber is essentially a commedia dell'arte play in prose form, with the titular cat helping his owner get in bed with Pantalone's young beautiful wife. Several stock characters of the genre are referred to by name.

Winnie-the-Pooh, albeit without the romance or the social class:

Pooh himself, with his clumsy nature, very little brain, and great appetite, is Arlecchino, of course.

The self-important Rabbit has aspects of both Pantalone and Brighella.

Owl, a rambling fool who thinks himself a wise and learned fellow, is pure Il Dottore.

The rambunctious, unintentionally-violent Tigger is primarily a Pulcinella figure.

Both Eeyore and Piglet have aspects of Pierrot - Eeyore the perpetual gloominess, and Piglet the defeatist, timid attitude.

Kanga is a sort of a Columbina figure, albeit a fairly bland one, while her son Roo is a Pulcinella-in-training, but with some of the wide-eyed innocence of the innamoratti.

Partly-inverted in the Jeeves and Wooster series of P. G. Wodehouse. On the one hand, the manservant Jeeves is always ready with a Zany Scheme to help his social betters work their way around a Parental Marriage Veto or some other such problem. But on the other hand, he - and most other servants - are portrayed as highly dignified characters, with all of the real clowning done by the upper classes, with his master, Bertie Wooster, as a rare aristocratic Arlecchino. That said, many of the upper class characters fit these archetypes pretty well, despite not being servants, with Bertie's aunts Dahlia and Agatha representing different takes on the Signora (as Bertie puts it in a moment of hyperbole, Agatha eats broken bottles and turns into a werewolf by the full moon, while Dahlia is the sort of werewolf whom it is a pleasure to know), the constantly-infatuated Bingo Little is an innamorato (with the tendency to fall in love with barmaids; rather appropriate, given the class inversion at play here), the drippy newt-enthusiast Gussy Fink-Nottle is a Pierrot, Madeleine Basset (who believes every time a fairy blows its nose, a baby is born) is a comedic take on the innamorata, the unscrupulous bookmaker Rupert Steggles is Brighella, and the paranoiac nerve-specialist Sir Roderick Glossop is Il Dottore. Likewise, there's always a violent Pulcinella figure on hand to threaten Bertie with bodily harm, most notably the hot-tempered Tuppy Glossop and the would-be fascist dictator Roderick Spode.
Wodehouse's other most notably series, the Blandings Castle stories, also apply zanni tropes to the aristocracy, with the doddering Clarence Threepwood, Earl of Emsworth, as a kindly Dottore figure, his domineering sister Lady Constance Keeble as a Signora, their disreputable brother Galahad as an elderly Arlecchino, and Clarence's nemesis and neighbour Sir Gregory Parsloe-Parsloe as a sort of Brighella figure, and there are always a pair of innamorati on hand, one of whom will generally be a grandchild or distant in-law of Clarence. This time, however, the servants are a bit more in on the act, with the eternally put-upon butler Beach as a toned-down, non-romantic Pierrot, and the truculent gardener Angus MacAllister as Pulcinella (without the violence or threats thereof), and the opportunistic pig-keeper George Cyril Wellbeloved as a more conventional Brighella.

The theatre troupe in Players of Gor is this with the serial numbers very half-heartedly filed off - with justification, since all human Gorean cultures originated on Earth and have adapted to the local customs as necessary. Characters include Bina (a truncation of "Columbina", but also previously established as Gorean for "Slave Beads" and a common slave name) Brigella (note spelling) who is a female character, Chino and Lecchio who are an Arlecchino double-act, and Petrucchio who is often a Miles Gloriosus. As this is low art, female players are always slaves and have an alternative means of earning coins if the plays are doing poorly. (On the other hand, men do the heavy lifting and are more likely to be flat-out killed if they fall into bandit hands.)

The characters of Arrested Development can do this frequently, although the main character, Michael Bluth, can shift between an Innamarata and a Pantalone multiple times in any given episode, most of the time, however, he is Pierrot.

Rarely actually seen, but apparently a regular sketch on Show Within The Show of Studio 60 on the Sunset Strip. Nobody gets the joke, of course.

Blackadder is basically an extended series of mutations of this central trope, particularly emphasizing the social classes and power dynamics of the stock characters.

Edmund Blackadder himself is always some variant on the Brighella figure, defined by his greed, cowardice (particularly in the first series), and the fact that he is never the highest-status person around - even when he's the son of the king, he's only the second son, and as the series progresses, his rank in the world gradually drops.

Baldrick, whether the Hypercompetent Sidekick of the first series or the cheerful dimwit he is the rest of the time, is always some kind of Arlecchino, consistently the lowest-status character present, and always with some kind of 'cunning plan' on hand.

The gloomy, supercilious Percy is pure Pierrot, especially in the second series, where he's constantly hopelessly in love with some offscreen woman.

His fourth-series incarnation, Captain Darling, is more of a particularly British take on Il Capitano, however - Edmund's rival and nemesis, but more out of priggish professionalism than hammy bravado. He also occasionally borders on the Pierrot, devotedly following General Melchett's orders, often the butt of Blackadder's jokes and awaiting in vain to marry Doris...

The first series' Prince Harry is an Il Capitano.

Whenever Flashheart shows up, he's a more straightforward Capitano, with all the bravado that implies. Unlike most versions of Il Capitano though, he's The Ace, especially in the second series.

Either incarnation of Melchett - and, indeed, any character played by Stephen Fry, such as the third series' Duke of Wellington - is generally a Dottore figure.

George is an odd case. Appearing in series three as a kind of dimwitted Innamorato figure (with aspects of Pantalone, given his lechery and high-ranking position as Prince Regent), but when he returns in Blackadder Goes Forth as Lt. George - this time, subservient to Cpt. Blackadder - he's more of an assistant Arlecchino to Pvt. Baldrick.

King Richard IV of the first series is a cross between Il Capitano, given his military background and hearty, exuberant manner, and Pantalone, given his position of power and often-unreasonable nature. The second series replaces him with a much more straightforward Signora in Queen Elizabeth I.

The third series' Mrs. Miggins is a pretty straightforward Columbina, given her quasi-romantic relationship to Blackadder, middle-class social status (she owns and operates an inn/pie shop), and her collaborative role in many of Blackadder's plots. This also applies to Kate/Bob of the second and fourth series.

On The Amazing Race, a Fast-Forward task involved a routine with such a troupe. The green pass would appear during the performance, upon which it could be claimed.

"The Carnival Is Over" by Tom Springfield, a signature song of The Seekers:

Like a drum my heart was beating
And your kiss was sweet as wine
But the joys of love are fleeting
For Pierrot and Columbine.

Characters from Molière's plays tend to fit in those roles.

Carlo Goldoni's early plays are classic Commedia dell'Arte. From Momolo Cortesan onwards, though, his works take a completely new style, often violently clashing with the classic Commedia dell'Arte popular in Italy and France at the time.

In the plays of William Shakespeare:

Playfully mocked in Much Ado About Nothing. The aptly-named Hero and Claudio are the innamorati, Antonio is the tartaglia, Margaret is the colombina, etc. It's mockery because Beatrice and Benedick are the real main characters, and they are probably the only ones who don't fit any stock models. Also, the Zany Scheme is cooked up by Don Pedro, probably the highest-ranking person in the play, and his chief compatriot, Hero's father Leonato, really should be a Pantalone figure.

Romeo and Juliet is, if anything, a deconstruction. It has its eponymous Innamorati, Friar Lawrence as the Tartaglia (with the subversion that he's sort of right about everything), Lord and Lady Capulet as the pantalone and the signora, Tybalt as the Capitano, the nurse as the Columbine, Mercutio as the Arlecchino and Benvolio as the Pierrot. However, the Zany Scheme doesn't work out, the innamorati don't get a Happily Ever After, and a lot of people die.

The Merchant of Venice has Portia and Bassanio the innamorati, as well as Shylock the Pantalone. And of course, Touchstone, Bottom, Gratiano, and many others are perfect arlecchini.

The Merry Wives of Windsor has Fenton and Anne as the innamorati, the foolish doctor Caius, Evans as the priest with a "speech impediment" (actually an outrageous Welsh accent), and Falstaff of all people as a sleazy Pantalone-type.

Twelfth Night has Andrew Aguecheek as a Miles Gloriosus Scaramouche, Malvolio the Pierrot, Feste the Arlecchino, Maria is the Colombina to Sir Toby Belch's Capitano, with Duke Orsino as the hopeful Innamorato to Olivia, ending up with Viola after she reveals her disguise as Cesario, and Olivia falls for Sebastian, mistaking him for Cesario, who is really Viola, his fraternal twin sister.

At least one version of The Taming of the Shrew, produced for television in the '70s by WNET New York, is explicitly Commedia, down to the costumes and presentation style.

is a classic opera, by Ruggero Leoncavello, about a Commedia troupe. The title literally means 'clowns'. The Show Within a Show is that Colombina is cheating on Pierrot with Il Capitano, and it's played for laughs, but backstage, Canio (the actor playing Pierrot) finds out that his wife (Colombina) is actually cheating on him with the actor playing Il Capitano. He sings the classic aria Vestia la giubba ('put on the costume') and then goes mad with grief.

The Pantomime Theatre in the Copenhagen amusement park Tivoli frequently features new and old plays with this. Here the loving couple however usually is the trickster Harlequin and the beautiful Colombina. The latter is the daughter of the old rich man Kassander, who won't accept their love, but of course they always get each other in the end. The favourite of the audience is however Kassander's always unlucky and not too bright servant Pierrot. In fact Pierrot has become quite a symbol in Tivoli - and in three other Danish amusement parks which also have a Pierrot each entertaining the children.

Servant of Two Masters:

Based directly on Servant of Two Masters, Richard Bean's One Man, Two Guvnors updates the plot to 1963 Brighton:

Sweeney Todd might be seen as a very twisted version:

Anthony and Johanna, of course, are the innamorati.

Judge Turpin is Pantalone, Pirelli is il Capitano, and Beadle Bamford is some evil twin of Brighella.

Todd himself and Mrs. Lovett are Arlecchino and Columbina, making Toby Pierrot.

Aspects of this structure are present in all of Gilbert and Sullivan's works, but The Yeomen of the Guard is probably the most pronounced form it takes, albeit with a few unexpected twists.

Jack Point is introduced as an Arlecchino figure, but by the end, he's become a tragic Pierrot.

Wilfred Shadbolt is set up as the Pierrot, given his unrequited love for Phoebe, but in the end, he wins her hand (though not her love) and becomes more of an Arlecchino.

Col. Fairfax is set up as Innamorato to Phoebe's Innamorata, but we gradually learn Fairfax to be more of a Capitano.

Elsie Maynard is pure Colombina.

Lieutenant Sir Richard Cholmondeleigh probably should be Il Capitano, but he and Sgt. Meryll are both more Dottore figures in their ineffectualness and lack of insight.

Dame Carruthers is a Signora figure.

In the Giacomo Puccini opera Gianni Schicchi, much of the characterization is in the commedia dell'arte tradition. Rinucchio and Lauretta are obviously the innamorati, with nothing much to do while most of the vecchi are trying to keep them apart. Maestro Spinelloccio is il Dottore, complete with Bolognese accent. The title character combines the mercuriality of Arlecchino with the greed and magnificent duplicity of Brighella, and is the father of the innamorata.

In A Funny Thing Happened on the Way to the Forum, many of the characters from the Plautus play "Pseudolus" upon which this is based are probably the Ur-examples of several Commedia dell' Arte types, so it's not surprising that they show up here in spades:

Pseudolus is the arlecchino

Gymnasia (despite being The Speechless) is the colombina
(Speechless in the movie. Has one line in the play.)

Hysterium is the pedro

Hero is the innamorato

Philia is the innamorata

Senex is the pantalone

Lycus is the brighella

Miles Gloriosus is the capitano

In Nancy Drew: The Phantom of Venice, a crime ring uses characters from the Commedia dell'Arte as code names for the various members:

Il Capitano: Communications, Antonio Fango

Scaramuccia: Security Systems Expert, Gina

Brighella: Thief, Nico Petit

Il Dottore: Boss, Helena Berg

Arlecchino: Smuggler, Enrico Tazza

In Majora's Mask, Anju and Kafei are the Innamorati, Mayor Dotour is il Dottore, and Link seems to be a male version of Columbiana. The Curiosity Shop owner is Brighella, Tingle might be Pulcinella, and I'm sure other characters fit into other roles as well.

Commedia 2X00 uses the Commedia dell'Arte characters and plot as a vehicle, except in the skewed sci-fi/video-game setting of the Twenty-Xth Century; Dottore is a deranged cyberneticist who loses his funding for crimes against nature and arranges for his daughter Isa to marry billionaire Mr. Pants in exchange for a massive dowry, despite the fact that Isa is in love with Mr. Pants' son Flave. Dottore's project is the creation of Super Fighting Cyborgs. So far the only one we've seen is Arlecchino, who in a shout-out to Mega Man, "having a strong sense of loyalty, volunteered to be converted to a Super Fighting Cyborg."

The characters of are strikingly like Commedia characters:

As can The Simpsons:

Arlecchino: Homer/Bart

Colombina: Marge/Lisa

Pantalone: Mr. Burns

Pierrot: Smithers

Brighella: Moe

Warner Bros.' classic cartoon characters also show their Commedia roots:

Bugs Bunny: Scapino

Daffy Duck: Arlecchino - due to his tendency to receive slapstick as often as he doles it out.

Porky Pig: Tartaglia

Yosemite Sam: Il Capitano

Wile E. Coyote: Il Dottore - his "education" brings out his foolishness.

In a similar manner to Winnie-the-Pooh, is like a Goth version of the commedia, minus the romance:

Ruby herself seems a benign Arlecchino, being the one administering conflict rather than being involved.

Iris is Columbina, in the hard-working, go-getter, rational voice of reason sense, sort of combining traits with Pulchinella. Doom Kitty is a more traditional Columbina.

There are two Pierrots - Scaredy Bat with his defeatist, afraid of everything attitude, and Misery with her constant depression and well...misery.

Poe the Crow is both Pantalone in the sense of puffing himself up and Il Dottore in the sense of his claimed profession and actual class amongst the cast.

Skull Boy is both a more benign Pantalone in the sense of his versatility and trying many jobs, and also a Scapino in his general attitude.

Frank and Len are both Pulchinella, being oafish and dimwitted, as well as often initiating slapstick.

# data[].attributes.attachment_link.description
A form of theater developed in late-Renaissance Italy, Commedia dell'Arte ("artists' comedy") relied on a Universal-Adaptor Cast of stock characters, whose roles, characteristics, and costumes were well-defined and widely known. The troupe would take a scenario, which would outline the plot, and ad-lib all their dialog and the details of the action.

# data[].attributes.attachment_link.description
Singing while acting is one of the toughest things a performer can do, as both of them require your full mental attention and practice. Whether you're on stage in a musical or leading a band through your set, how you act and behave while...

# data[].attributes.attachment_link.readable_text
Audra McDonald, Patti LuPone, Lin-Manuel Miranda: they're some of the definitive faces of musical theater, but they all started somewhere. Before they were multi-Tony Award winners, they were performers with ambition, just like you.

Of course, becoming a musical theater actor is easier said than done, but if performing is what you love to do, there's no reason you, too, can't make it happen for yourself. You will need a bevy of tools, though, and that's where we come in. In this guide, you will receive all the vital information you need to become a musical theater actor, from audition materials and preparation to the all-important MT terms you must know to the best survival jobs to subsidize your career at its onset and beyond. In other words, this is your shot, so don't throw it away (and no, that will not be the only reference to "Hamilton" you will read in here).
What do I need to know before beginning my musical theater career? How do I begin? What do I need to know about musical theater auditions? Living as a musical theater actor:
What do I need to know before beginning my musical theater career?

From various venues for musical theater performance to iconic performers, here's a breakdown of what to know before embarking on any MT pursuit.

Where can I perform?

When you think musical theater, is your first thought Broadway? Of course, the Great White Way is somewhat synonymous with musical theater, but it's hardly the only realm of entertainment where song meets acting. In addition to theaters on Broadway, as well as Off-Broadway, Off-Off-Broadway, and regionally nationwide. Cruise ships have also become a fertile breeding ground for successful musical theater actors, and oftentimes mount full-scale musical productions (check out the benefits of auditioning for cruise lines here).

Cabaret and open mics also provide ample opportunity for performers of varying experience levels to flex their onstage muscles. In New York City, for example, the midtown supper club Feinstein's/54 Below frequently produces minimally- or un-staged productions of cult musicals, short-lived pieces, or reunion concerts of shuttered productions.

Musical theater performance also isn't limited to strictly live and onstage; there is also musical theater on camera, a form which is currently enjoying a resurgence of popularity and relevance in the past decade thanks to television projects like "Glee," "Smash," and "Crazy Ex-Girlfriend," as well as recent musical films like "La La Land" and the live action "Beauty and the Beast." Adding to the musical-on-camera momentum is the trend of network telecasts of musicals, either performed live or prerecorded. Beginning in 2013 with NBC's "The Sound of Music" and followed by "The Wiz" the following year, fellow networks have followed suit: Fox, with its respective takes on "Grease," and "The Rocky Horror Picture Show," and ABC with its forthcoming "Dirty Dancing" remake.

What is a triple threat?

A phrase used with ubiquity in musical theater is "triple threat." But what, exactly, does that mean? In simplest terms, a triple threat is a performer who's mastered the three key elements of MT performance: singing, dancing, and acting. Do you have to be immaculately versed in all three to book gigs? Absolutely not. In fact, depending on what role in the musical theater realm you wish to fill, you will likely be stronger in two out of three.

For example, talent going out for leading roles on Broadway will undoubtedly be sensational actors and singers-but they are frequently less trained in dance. There's even an industry term for this: "Movers." On their resumes, in fact, it will say something to the effect of "moves well," as the term "dancer" has different implications. Similarly, performers who aim to fill out the ensemble of a musical will be expected to have a level of pristine dance skill, but sometimes their singing voice doesn't rank among the very best. All that being said, expertise in all three areas is still expected and the more versatile and developed a performer's skill set is, the more jobs they are likely to be seen for and book.

Who are the greats, then and now?

Though styles and content have of course evolved, musical theater has been a staple of performance for more than a century, and has been the source some of our greatest performers. Going back to the 1930s, Fred Astaire and Ginger Rogers began making movies together and went on to become two of the top box office names, starring in hit films including "Follow the Fleet" and "Swing Time." They also starred in "The Gay Divorcee," featuring the song "The Continental," which was the first-ever tune to win the Oscar for Best Original Song in 1934.

Onstage, Tony and Grammy Award winner Ethel Merman rose to prominence around the middle of that century, originating roles in musicals including "Call Me Madam" and the iconic "Gyspy." Merman is, to this day, regarded as the mother of belting on Broadway, and is cited as an influencer by some of the stage's most prominent powerhouses including Idina Menzel and Stephanie J. Block.

Speaking of today's greats, Menzel and Block number among the prolific pool of musical theater's multifaceted talents, the likes of which are too plentiful to number. Leslie Odom Jr. has become one of the most sought after names in theater following his Tony winning run as Aaron Burr in "Hamilton," starring opposite the musical's title star, Lin-Manuel Miranda, who also wrote the show, which has become a worldwide phenomenon. Talents like Laura Benanti and Megan Hilty both remain stalwarts of the stage while spreading their talents to the small screen, as well. Meanwhile, major film star and Oscar nominee Jake Gyllenhaal demonstrated his versatility starring as the eponymous artist in the recent revival of what is regarded by many as Stephen Sondheim's best work, "Sunday in the Park with George."

What industry trends should I know about?

On the subject of "Hamilton," you may be aware that the hip-hop musical depicts the founding fathers, portrayed entirely by actors of color (a stark and intentional contrast to their real life counterparts including Thomas Jefferson and George Washington, all of whom were white). While "Hamilton" may be the foremost example of diverse and inventive casting in musical theater right now, it is hardly alone. In the same Broadway season that "Hamilton" opened was the first Broadway revival of the rock musical "Spring Awakening." The production was mounted by Deaf West Theatre, a company that designs shows using sign language so they can be experienced by both hearing and non-hearing audiences. The musical was also the first-ever show on Broadway to feature a wheelchair-bound actor.

While diversity in theater still has a long way to go, there are continued efforts to cast outside the box. The current stage adaptation of "Amélie," for example, stars Chinese-American actor Phillipa Soo in the title role, and this season's hit rock-opera "Natasha, Pierre & the Great Comet of 1812," features African American actor Denée Benton in the title role opposite Josh Groban. When Groban departs the role in July, he will be replaced by Okieriete Onaodoawan (also of original "Hamilton" cast renown), marking a still-rare feat: two black actors leading a show that is not "about" black characters.

For more about diversity in theater, check out this candid discussion on the subject with Bernie Telsey and Tara Rubin, two of Broadway's most prominent casting forces.

How do I begin?

Do you have to get a degree in musical theater to book a gig in musical theater? Do you need separate training for singing and acting? Here's how you can begin to actually delve into musical theater acting:

What training do I need?

BFA/MFA programs: Many musical theater performers have gone on to find success without a Bachelor of Fine Arts or Master of Fine Arts degree. However, if higher education is in the cards for you, choosing an institution where you can study your craft will be to your benefit, especially if you plan to pursue musical theater professionally. Picking a college is a monumental feat on its own, and the additional factor of training makes it even more so. Carnegie Mellon University, regarded as a musical theater holy grail, has spawned talents including Christian Borle, Josh Gad, Renee Elise Goldsberry, Billy Porter, and countless others. Many MT actors also attend Cincinnati Conservatory of Music, New York University's Tisch School of the Arts, and the University of Michigan, all of which have renowned programs. But there are also schools not known explicitly for their musical theater programs but at which you can still receive instrumental training; these include state schools and smaller universities. For tips on pinpointing your next stop upon departing the nest, check out Backstage's College Guide.

Acting classes: This one should be obvious, but acting classes are also essential for musical theater actors of any level. Not only will you be performing in front of an audience with each session, but you will also be exposed to several other performers, all of whom could be a valuable resource or industry contact. For tips on finding the acting class that's right for you, check out Backstage's guide on How to Choose an Acting Class.

Vocal training: Even the most accomplished musical theater stars continue their vocal training at every step of their career. In addition to making you sound pitch perfect, sufficient training will help you learn techniques for keeping your instrument strong and assuring that you never hurt yourself or put too much strain on your precious chords, whether you're making the rounds as a concert vocalist or performing eight shows a week. Here, you'll find the eight things you want in a voice teacher.

Dance training: Backstage Expert and dance guru Erika Shannon advises that every single performer sign up first for a ballet class, as it will lay down a strong yet broad dance foundation. She also advises that you join the class in which you feel comfortable, regardless of whether it's you along with a bunch of five-year-olds. Check out Backstage's guide to finding the right dance class here.

Scene study: Something which we'll delve into deeper later in this guide is the misconception that musical theater actors are less skilled when it comes to actual scene work in acting. Scene study courses should go hand in hand with your vocal and dance training, to help deepen your ability to interpret.

WATCH
How to Sing Like a Broadway Star

When should I start training?

There is no definitive answer as to when you should start training to become a musical theater actor. Like everything else, it depends much more on individual circumstances and your unique abilities. That being said, if you question many of the most successful MT performers, chances are they will say they began their endeavors at a young age, not necessarily professionally, but performing in youth theater programs or in school musicals.

It's never too late, though. Maybe you've been bitten by a later-in-life show business bug. There's still opportunity to perform recreationally or in non-professional capacities, and who knows where that may lead you? An outlet for expression is valuable regardless of the outcome.

What promotional materials do I need?

Headshot: You know how vital a good headshot is, specifically, one that reflects your type and accurately represents the way you look right now (not, say, two years ago). There aren't prominent differences between headshots for musical theater and other forms of acting. For extensive guidelines on everything you should know for obtaining your best headshots, see our comprehensive Guide to Actor's Headshots here.

Résumé: Similar to headshots, when it comes to musical theater, your résumé won't greatly vary from the résumé of an actor in other performance venues. The most notable difference will be noting your vocal type (soprano, mezzo-soprano, baritone, etc.), as well as your range ("high F"). Additionally, as we noted in the "triple threat" section, musical theater actors should include their "movement" level, especially if they are extensively trained in dance. For general insight on creating and formatting your résumé, check out our Backstage Experts' tips here.

Social media: A recent shift in the musical theater world is the role of social media. Obviously, a monumental aspect of theater, particularly commercial theater, is the often-elusive task of filling seats. There's no surefire way to do it (if there were, each producer would), but it is oftentimes helpful to book an actor with a built-in fanbase, which can be aggregated in part using social media. But social media can also be highly beneficial from the standpoint of establishing your brand and solidifying your type in the eyes of the casting team. Two-time Tony Award winner Laura Benanti, for example, credits Twitter with helping establish her comedic chops after she became known for playing mostly serious soprano roles in theater.

Website: Websites fall into a similar category of social media for musical theater actors. An extensive and well-curated website isn't "necessary" for booking jobs, but it can only benefit you in terms of selling yourself as a desirable product. Similarly, supplying the link to your website in the bio section of a program is an efficient way for audience members and creative folks alike to research you after you've wowed them with your performance.

Reel: Unlike each material listed above, there are key elements which should be kept in mind when putting together a musical theater reel. Tim Grady, an actor who began making reels for his costars and now does so professionally, describes MT reels as "more to show what you can do so that you can be brought back into callbacks to be seen later at an audition," as opposed to being used to book a specific gig. For more, check out Grady's five tips for creating a strong MT reel, bullet-pointed below:

1. Come performance ready

2. Look like yourself on your best day

3. Keep it short

4. Remember that it's not for booking roles

5. Don't wait until the last minute

RELATED:

What Do Actors Need to Make a Musical Theater Reel?

What are the best musical theater resources?

Since you find yourself reading this guide, it will not surprise you to hear that Backstage is without a doubt a leading resource for musical theater performers, both those just starting out as well as those who are more established. In addition to our extensive casting notices featuring MT jobs around the country and which include union and nonunion gigs, as well as by-appointment audition opportunities, open casting calls, and everything in between, Backstage is also an unmatched source of industry insight and guidance.

We've consulted with some of the most knowledgeable folks in the business to bring you informational audition advice tailored specifically to MT actors, such as 5 Musical Theater Audition Mistakes You Can't Afford and 5 Things to Do Before Your Next Musical Theater Audition.

Additionally, Backstage has access to some of the most successful professionals working in musical theater today, and we're passing their expertise along to you. Here, you can read how two-time Tony Award winner Sutton Foster has maintained onstage resiliency for over a decade. And Jeremy Jordan, who originated the leading role in Broadway's "Newsies" before making the jump to onscreen musical projects including NBC's "Smash" and the film adaptation of Jason Robert Brown's "The Last Five Years," shared with Backstage how he learned to perform musically on-camera.

We also have unmatched insight from musical theater creatives, sharing what they most desire from prospective actors. Sarna Lapine, who directed the "Sunday in the Park with George" revival, told Backstage what she and Mr. Stephen Sondheim were looking for when casting. "There's no guessing as to what the director's take is, but you should have your own take," she explained. "You should come in with your own ideas about your own version of that character. Hopefully you come in with a better idea than the one I had. That's the actor that I'm going to hire."

RELATED:

What are the musical theater terms I should know?

If a layperson were to hear two musical theater professionals candidly chatting about the biz, it may sound to them as though they were speaking a different language. Don't be intimidated! We've rounded up a number of key phrases and lingo with which anyone peripherally related to musical theater should be familiar. From EPAs to the pit to 16-bar cuts, here are nearly 100 expressions you need to know:

What should I know about musical theater auditions?
How do I book an audition?

The first order of business for booking an audition is actually finding one. Backstage is a great place to start because, as previously mentioned, we have musical theater opportunities of all sorts. Actors of any union status, as well as in any region, can find ample audition notices in our theater casting calls here.

Additionally, fellow actors (perhaps those you met in acting or dance classes) are a great way to stay in the know about upcoming auditions. Stay on good terms with as many of your peers as possible, this way, they may even put you up for a gig if they hear of something you're right for. In the same vein, if you get wind of a job and you know someone who could be suitable, let them know and they'll be far more likely to return the favor. Contrary to some popular opinion, most actors want to see other actors working.

What should I perform for a musical theater audition?

The specifics of what you should perform in your MT audition will depend on the specific gig, but you will frequently need both a ballad and an uptempo number. When it comes to your audition selections, Backstage Expert and voice teacher Andrew Byrne insists there are five important choices you'll need to make for each song:

Key. The composer of your song selected an original key for the piece that they wrote, but you should ask yourself if the song is in the right key for you. Sheet music is available and transposable online, so if you love the piece but it doesn't feel like it's sitting right in your voice, transposition may be a good option. Many times, even a half-step up or down can make all the difference in the world. Two caveats:

There are some iconic songs where the original key is expected; we use these well-known pieces as an assessment for your vocal skills. For instance, if you sing "The Story Goes On," we expect you to sing it in C major, so we can hear how you handle the ending.

Some composers have very specific ideas about key. They may feel like a song sounds best in a certain range, and they do not want it changed. For myself as a writer, I don't mind at all if someone transposes a piece of mine, but know that others feel differently.

1. Intro. Make sure you have thought through how you will begin your song. Some singers prefer to start their pieces with a bell-tone (a single note or octave that is played to give the singer their starting pitch). The advantage of this is it gives the performer more control over when to start the song. However, sometimes it feels better to have the musical energy established before singing begins, and in those cases, you should craft a brief piano introduction. If it is longer than 5-7 seconds, it should probably be shortened; between two and four bars is usually a good musical length.

2. Tempo. For most musical theater songs, we expect a tempo that is close to the original feel from the cast recording. That being said, some performers do better with a tempo that is slightly slower or faster than the original, and it's worth experimenting with this in your own practice. If you are going to change the tempo, I recommend you create a metronome marking and write it at the top of your sheet music; if you don't know how to do that, your vocal coach can lend a hand. In your audition, you should also tell the accompanist that you will be taking a different tempo than they may be used to.

3. Cut. When you are asked for 16 or 32 bars, this is not an invitation for you to literally count the bars of your song. The people behind the table don't have a score in front of them, and can only assess whether the song feels like the right length. Therefore, I think it is better to time your song; a 16-bar cut should be around 30-45 seconds (one minute is maximum) and a 32-bar cut should be around 1:15-1:30 (two minutes is maximum). The most important thing is that the cut feel right and make good musical sense. That being said, you will occasionally run into audition pianists who will ask you to sing a "strict 16-bars" and may go so far as to count measures, so it is good to know a cut of your song that is actually 16 or 32 bars for those occasions.

4. Playout. Consider whether or not you want to use the whole playout (the last few bars of music) of your piece. Your singing voice should be the last sound that we hear in your song, so if you're worried about sustaining the last note for the entire written length, it's often best to truncate the ending slightly; when doing this, make sure that the accompaniment still resolves harmonically. If you are not sure how to decide this, ask your vocal coach for help.

RELATED:

What Songs Should Actors NOT Sing at Auditions

You will most likely be asked to perform sides from the production at hand. However, there are many instances in which the team will request a monologue in addition to or in lieu of scenes from the show. For an effective monologue, you'll want to choose a piece that is in keeping with the role you're going out for, of course, but which is also not derivative. Marketing mentor and Backstage Expert Gwyn Gilliss compiled the nine most crucial elements for a great monologue:
1. Select an entertaining one.
No one in the industry wants to watch an actor working really hard to impress them with their "acting" especially if the piece is boring or mediocre. Choose a monologue you love doing so we will love watching you.
2. Find one that "fits you like a glove" so we believe you.
Know your type and range as far as being cast. Make sure the part is age-appropriate and physically accurate. It's agonizing to watch a 25-year-old try to be 45 or a guy from Minnesota try to be an Italian Mafioso from Brooklyn or a plain Jane try to be a femme fatale. A monologue is the time to show who you are, not add layers of dialects, character traits, a limp, or something outrageous to impress. Avoid props unless it is so essential to the scene that it won't work without one. If they can't tell you are acting, that's good acting.
3. Choose one that is serio-comedic-not just comedic or dramatic.
Show us some change in emotion but keep us laughing. Serio-comedic monologues are my favorite choices. Start with a piece that is funny, quirky, and gets people to laugh and then "turn the screw." Hit them with something that's heartbreaking or touching. They're already in your corner and you've won them over! Be compelling to get them involved in liking you, loving you, and hiring you!
4. Work on one that has an "arc" or storyline.
Avoid the "Johnny One-Note" monologues that show one emotion throughout. Boring. Tedious. There is nothing worse than watching someone rant and rave angrily at the audience for four minutes. We all love to hear stories with twists and turns. Bring us along with you.
5. Keep it short.
Every agent I've ever met made up their minds about an actor in less than 10 seconds. After two minutes they change their mind and it goes the other way. Stay within their attention span, and you'll have more success.
6. Find one with an element of surprise.
If the audience is three steps ahead of you, they get bored very fast. Shift gears suddenly and change your mood or voice. Find a way to keep us on the edge of our seats, wondering what will happen next. Everyone loves to be pleasantly surprised.

7. Choose one that is not full of foul language or rude sexual innuendos.

The exception here is unless it is essential to the character, who in spite of the language is funny or quirky. But be careful. Well-written monologues like that are few and far between, and most actors aren't clever enough to pull them off. You run the risk of alienating everyone within earshot, and then looking like a mediocre actor on top of it. Choose good writing over something flashy to impress.
8. Discover one that shows you're a winner.
When you leave the room, what will they think of you? What was your lasting impression? Will they cast you? Call you back or shrug? Most importantly, don't choose to play a loser, someone who whines, or is a victim. Everyone loves to watch feisty characters. They don't like to watch losers. Leave them thinking you are amazingly courageous-a pirate, a rebel, a survivor!
9. Avoid a recognizable one that a movie star did really well.
You'll be compared to that star and you won't win. (Examples include Matt Damon in "Good Will Hunting" or Angelina Jolie in "Girl Interrupted.") Those monologues are done badly with actors who simply lack the personality, not talent, to pull it off. Don't go there. You are not Matt Damon or Angelina Jolie. Find a likeable character and do the monologue your way. Then you'll be a winner!

RELATED:

What can I expect at a musical theater audition?

Musical theater auditioning is an art and one which you will become more accustomed to the more you do it. At the start of your musical theater endeavors, though, it is normal to feel a bit overwhelmed. Below, we've broken down some of what you can expect and do to prepare:

Dance vs. singing portions: For dance-heavy shows, there may be a dance call, which is separate from the singing and acting portions of the audition process. Here, prospective talent will usually be taught a combination in the room, and then expected to quickly learn and perform it in front of the creative team. If that sounds like your worst nightmare, you are not alone. However, what matters most is an air of confidence, even if your pas de bourrée is performed with shaky feet. Offering his words of wisdom for those actors "that maybe don't consider themselves dancers," Backstage Expert Benton Whitley advises that you focus on the storytelling of the dance more than a flawless technique. Your face, he says, is where the casting team will be focused, more than say on your hands or footwork.

What to bring: As an actor on the go, the art of packing a bag is nothing new. You're probably pretty accustomed to lugging around an audition outfit, a work outfit, a social outfit, your audition materials, makeup, and anything else you can manage to fit in a still-fashionable tote. But when auditioning for a musical theater gig, there are a few supplies you are perhaps less used to including in your bag of tricks, like a reusable razor or plastic bag, for example. For 20 of the essential items which you'll need to pack in your dance bag, go here.

What to wear (clothing and makeup): Dressing for an audition can be challenging, as you want to be comfortable and true to yourself, while also slightly evocative of the character. If possible, do some research for inspiration. "Personal style, comfort, and a hint of character apply," says Backstage Expert and NYC-based audition coach Philip Hernandez. "Research the project. Is it based on a book or film? Were there workshops or regional productions? For callbacks, wear what you wore the first time." As far as makeup is concerned, natural is always better. Even if the role requires a heavy face, the casting team won't appreciate being unable to see what you actually look like under a pound of caked-on foundation. Light and natural makeup is even more necessary for dance auditions, as the element of sweat is involved.

Organizing your book: Your audition binder, or "your book," is one of the rare staples of auditioning that you have complete control over. Furthermore, Backstage Expert Andrew Byrne says that, "If you're a musical theater performer, the preparation of your audition book is a clear way to show a casting panel that you are a pro. Having your sheet music well-organized and polished shows us that you understand the role of the pianist in making your performance successful." For Byrne's Expert insight on what exactly you must include in your bidner, how to organize it, and the mistakes to avoid, see his expansive guide here.

Working with an accompanist: In musical theater auditions, there will usually be an accompanist in the room for the singing portion. This can be daunting, especially if you've never worked with them before. Backstage Expert and casting director Benton Whitley says the most important thing to remember is to be kind, courteous, and clear in communicating what you need just before going into your song. How you handle yourself under pressure says a lot about you as a performer, so you want to work with the accompanist to ensure that your audition is the best it can be.

Related:

What's the Best Way to Work With an Accompanist?

Are musical theater actors taken less seriously?

Some actors may attest to a feeling that musical theater performers are taken somewhat less seriously in the industry than their straight play counterparts. As an aspiring musical theater actor, though, you know that there is just as much nuance and character development required in musical theater performance as all others. So that there's never any room for dispute, acting career coach Brian O'Neil advises you to take these five measures to ensure you and your acting are regarded highly:

1. Check out your résumé. You may be able to reposition your credits so that the emphasis is more on acting than singing. You may need to start to travel with two résumés-one with an emphasis on your singing work and one with an emphasis on your acting work.

2. Get in a good acting class. You should also take a good improvisation class. Make "Improvisation" a category on your resume. It's becoming increasingly necessary for an actor to train in this area.

3. Learn some monologues. Avoid material that only a singer would choose, like say, something from "The Glass Menagerie," which is not a very enlightened choice. If you have an agent, ask them if they'll watch you perform them in the office. Start showing up at EPAs and doing monologues instead of singing!

4. Start attending play readings at the top theaters in town. Many musical theater performers don't even know which theaters these are. Almost all readings are open to the public and almost always free of charge. Start meeting playwrights and directors and other actors at these readings-which is easy to do-instead of staying in the comfort zone with composers and choreographers.

5. Redo your résumé. Open up your credits with "Film" at the top. Don't have any? Find a writer friend and shoot a terrific scene or two with someone. In column one, give it a title. In the middle column put "Lead" (which it is), and the third column put "Independent Short" (which it is). Under the listing, horizontally place the link to the reel so anyone who sees this resume/reel will be introduced to you from the get-go as an actor. Then list your theater credits.

Do I need an agent?

Is it possible to book musical theater work without an agent? Sure it is. Are you going to book a heck of a lot more auditions and subsequent jobs with one? Also a firm yes. "Agents serve many purposes. Just the act of having one validates you to the rest of the industry," explains Backstage's resident expert on all things agent, Secret Agent Man. "It means someone known to the casting community has agreed to endorse your talent by signing you as a client. People will take you much more seriously when you have representation.

"An agent will also be your advocate. People who have to sell themselves don't usually do well. When I was an assistant eager to move up in the world, I didn't send my résumé to every company in town-that would've been a complete waste of time. Instead, I had industry friends make calls for me, which led to my very first job as an agent."

RELATED:

How do I find an agent?

Based off of the above, right about now you may be entering panic mode as to how in the world you'll actually get that agent. Well, remember how we said Backstage is your go-to resource for all things informational? We weren't kidding. In our exhaustive guide for How to Get an Agent, you will be armed with every tool and piece of knowledge you could need to land representation.

How do I survive and make a living as a musical theater actor?

By now, reader, we hope you trust us to provide you with utmost honesty, which is why we're going to be blunt when it comes to the matter of making a living as a musical theater actor: it will not be easy. Musical theater is highly competitive, and success usually doesn't come quickly. Even MT actors who have "made it," on Broadway or elsewhere often find that their status is ephemeral and can dissipate as quickly as a closing notice is issued. But you love this art form and you'll do what it takes to keep doing it, which is why we've rounded up the tools and resources you can use to subsidize your income while pursuing musical theater:

Regional theater: Regional theater is in no way a mere holdover gig or something to sneeze at. Many musical theater actors perform regionally for years before and after making their way to Broadway. The contracts tend to be on the shorter side which means less long-term stability, but booking a part regionally is very legitimate, particularly at some of the country's bigger venues including Goodspeed Opera House, the La Jolla Playhouse, the Goodman Theatre, and the Milwaukee Repertory Theatre.

Survival jobs: Depending on how long you've been performing, you are probably intimately familiar with the art of survival jobs. You love them, you hate them, you may even have one right now. What is most important to keep in mind with regards to survival jobs is flexibility. Auditions for musical theater gigs can change at the drop of a hat; the dance call could be moved to the morning instead of the evening with a few hours' notice, meaning you need to be able to instantly swap around your whole day as well. You'll only grow resentful if the job that's keeping you afloat ends up preventing you from booking gigs. Check out Backstage's roundup of the 10 Best Survival Jobs for Actors here, and our exhaustive guide to making a living as an actor here.

Voiceover work: While you certainly don't have to be a musical theater actor to book voiveover gigs, MT actors are often more dynamic performers vocally (for obvious reasons) and are therefore frequently sought for voice work. Voicing an animated character, for instance, is a fantastic way to pad both your credits and wallet, and tons of esteemed musical theater actors as well as those starting out do as much. One of Tony nominee Andrew Rannells' first roles was giving voice to a level-headed shark on the animated series "Street Sharks." Tony Award winner and original "Wicked" star Kristin Chenoweth, meanwhile, had a prominent role in the animated feature, "Rio 2." Check out our beginner's guide to voiceover right here.

Year-long contracts: When it comes to job and financial security, a year-long contract is ideal for musical theater actors, but it's also something you have very little control over. Broadway is the foremost provider of such a thing, and even then, the majority of musicals which open in this day and age don't actually run a full year (they are either limited engagements or are forced to shutter due to ticket sales). In an embarrassment of riches scenario where you're weighing two potential gigs, contract length is a factor to which you should give the utmost consideration.

Teaching classes (dance, voice, acting): If you're a performer with any reputable credits to your name, you can probably find a way to marginally profit teaching classes. Not only will you be helping to pass your wisdom and expertise down to a future generation of musical theater performers, but you will also be shocked as to how much you will learn about yourself as a performer as you are dissecting others.

Commercial work: Television, film, and, yes, theater actors have been bringing in some extra bacon with commercial gigs since the dawn of the medium. Like voiceover work, it's a great way to earn some extra cash when you're just starting out, as well as a means of additional income for more established stars. For testimonial, check out Backstage's weekly feature in which we dig up old footage from a now-major star's past, which very often includes a commercial spot or two!

Want to break into voiceover? Check out Backstage's musicals audition listings!

What did you think of this story?
Leave a Facebook Comment:

# data[].attributes.attachment_link.keywords[]
auditions | casting calls | open casting calls | casting call | open casting call

# data[].attributes.attachment_link.description
Audra McDonald, Patti LuPone, Lin-Manuel Miranda: they're some of the definitive faces of musical theater, but they all started somewhere. Before they were multi-Tony Award winners, they were performers with ambition, just like you. Of course, becoming a musical theater actor is easier said than done, but if performing is what you love to do, there's no reason you, too, can't make it happen for yourself.

# data[].attributes.attachment_link.readable_text
Every singer wants to know what his/her voice type is, but it's not always so easy to figure out the specifics. Continue reading on to learn how to find out what your particular voice type is. Soprano, mezzo-soprano, contralto, countertenor, tenor, baritone, or bass; all you need to know is in this post.

Characteristics - Variables in Determining Voice Type

Figuring out your voice type is not only a matter of looking at your vocal range, but at a number of different characteristics. For example, vocal tessitura and timbre can be more important as range can be between types. This is usually the case with sopranos and mezzo-sopranos; they might have the same range but mezzo-sopranos have a lower tessitura and darker timbre.

All together your voice type is a result of the following vocal variables:

range - the notes your body can produce

weight - light voices, bright and agile; heavy voices, powerful, rich, and darker

tessitura - part of the range which is most comfortable to sing

timbre - unique voice quality and texture

transition points - points where you change from chest, to middle, to head register

vocal registers - how extended each register is

speech level - speaking range

physical characteristics

I know that you're probably surprised at the fact that physical characteristics play a role in deciding somebody's voice type. This is because many times physique determines what roles opera singers are going to audition for.

I have seen productions where the audience bursts out laughing when the primo uomo (leading man) sings to the prima donna something along the lines of "oh, how small and fragile you are" when she is nothing close to small and fragile.

Major Category - Voice Types by Range and Tessitura

If you sing in a choir or take voice lessons, you have probably already been classified as a soprano, mezzo-soprano, or contralto (alto) if you are a woman, and a countertenor, tenor, baritone, or bass if you are a man. But are you really sure you've been classified correctly? Test your voice according to the following specifications.

Soprano

Soprano is the highest female voice type. There are many types of sopranos like the coloratura soprano, lyric soprano, the soubrette etc. which differ in vocal agility, vocal weight, timbre, and voice quality; I will talk about them in an upcoming article. All of the sopranos have in common the ability to sing higher notes with ease.

A typical soprano can vocalize B3 to C6, though a soprano coloratura can sing a lot higher than that reaching F6, G6 etc. At this point I would like to debunk a myth. It is widely thought that the higher a singer can sing, the better the singer is. This couldn't be further from the truth as range is defined by our physique and size of the vocal cords, not not how professional we are.

Mezzo-Soprano

Mezzo-Soprano is the second highest female voice type. In a choir, a mezzo-soprano will usually sing along the sopranos and not the altos and will be given the title of Soprano II. When the sopranos split in half, she will sing the lower melody as her timbre is darker and tessitura lower than the sopranos.

Though in the opera mezzo-sopranos most often hold supporting roles and trouser roles, i.e. male roles, there are notable exceptions like those of Carmen and Rosina in The Barber of Seville, where the prima donna is a mezzo-soprano. A typical mezzo-soprano can vocalize from G3 to A5, thought, some can't sing as high and some can sing as high as a typical soprano.

Contralto

Contralto is the lowest female voice type. In a choir, contralto's are commonly know as altos and sing the supporting melody to the sopranos. This doesn't mean that contraltos are not as important. On the contrary, because true altos are hard to find, a true alto has greater chances of a solo carrier than a soprano.

A contralto is expected to be able to vocalize from E3 to F5, however, the lower her tessitura, the more valuable she is. I have the pleasure to know a young Greek contralto whose range has experts puzzled. She can sing from C3 to F6! But unfortunately she has not yet been discovered. I'm trying to get her to start blogging, but for the time being, you can follow her on Pinterest.

At this point, I would like to note something about altos and choirs. I have come across many women who have been classified as altos in their choir, though their voice type is really that of a mezzo-soprano or soprano.

From what I have come to realize, many choir directors instead of spending time to work with women who sing off tune, they decide to have them sing along the altos thinking that their false singing will blend in.

This practice can be very detrimental, especially for young girls who strain their voices in order to sing lower than they can, and can produce irreversible damage. If you sing alto in your choir and you feel that you are pushing yourself to reach the low notes of your melodic line, talk to your choir director and ask him/her to consider re-classifying you as a soprano. The director might not be happy to do so, as choirs usually have more sopranos than altos, but insist that they at least test you out.

Countertenor

Countertenor is the rarest of all voice types. A countertenor is a male singer who can sing as high as a soprano or mezzo-soprano utilizing natural head resonance. As I said before, countertenors are extremely hard to come along and their ability to sing as high as C6 is admired by religious music connoisseurs.

Though extremely unique, countertenor is not an operatic voice type, as historically, it was the castrati (male singers castrated before puberty) who would be chosen for the female operatic roles - it was not proper for women to sing in the opera. Instead, countertenors were popular in religious choirs, where women were also not allowed to participate.

The castratti are out of the scope of this post, but for those who are interested to learn more about them, I would like to recommend the movie Farinelli, a literary twist on the life of Farinelli, the most famous castrato of all times.

Tenor

Tenor is the highest male voice type you will find in a typical choir. Though it is the voice type with the smallest range, it barely covers 2 octaves from C3 to B4, tenors are the most sought after choir singers for two major reasons. The first reason is that there aren't as many men singing in choirs to begin with. The second reason is that most men, singers or not, fall under the baritone voice type.

In the opera, the primo uomo is most often a tenor, and you will know he is a tenor because of the ringing quality in his voice. A true tenor has a high tessitura, above the middle C4, and uses a blend of head resonance and falsetto, as opposed to falsetto alone.

Many a baritone will try to use this technique to classify as tenor and some will be successful; you'll know who they are because of their red faces when trying to sing the high notes in the tenor melodic line. 🙂

Baritone

Baritone is the most common male voice type. Though common, baritone is not at all ordinary. On the contrary, the weight and power of his voice, give the baritone a very masculine feel, something that in the opera has been used in roles of generals and, most notably, noblemen. Don Giovanni, Figaro, Rigoletto, and Nabucco are all baritones.

In a choir, a baritone will never learn about the particulars of his voice, since he will have to sing either with the tenors or the basses. Most baritones with a high tessitura choose to sing with the tenors, and respectively, the ones with a lower tessitura sing with the basses. Their range is anywhere between a G2 and a G4 but can extend in either way.

If you sing tenor and can't reach the higher notes with ease, or sing bass and can't reach the lower notes naturally, you're most probably a baritone and you shouldn't worry about it. Let your fellow singers help out.

Bass

Bass is the lowest male voice type, and thus a bass sings the lowest notes humanly possible. I tend to think of the deep bass notes as comparable to those of a violoncello, though some charismatic basses can hit notes lower than those of a cello. A bass will be asked to sing anywhere between a D2 and an E4. A cello's lowest note is a C2.

Just with every extreme, it's really hard to find true basses and it's almost impossible in the younger ages where the male bodies are still developing.

Though in a choir basses might have rather monotone melodic lines, in the opera they have a great range of roles to choose from. Basses are used as the villains and other dark characters, the funny buffos and in comic-relief roles, the dramatic princes, the noble fathers of heroines, elderly priests and more.

Now that you have learnt all about the major categories in voice types, I'm sure you'll want to know how to distinguish between the secondary categories. Do you know the difference between a lyric soprano and a dramatic soprano or a leggero tenor and a spinto tenor? How can you tell which one you are?

Learn all this and more in the second part of this post about the German Fach system. If you haven't yet done so, subscribe to my monthly newsletter or feed, and get my post about the different subcategories of voice types delivered to you effortlessly as soon as it becomes available.

# data[].attributes.attachment_link.title
What's My Voice Type? The Different Voice Types and How to Distinguish Them - Choirly.com

# data[].attributes.attachment_link.description
Every singer wants to know what his/her voice type is, but it's not always so easy to figure out the specifics. Continue reading on to learn how to find out what your particular voice type is. Soprano, mezzo-soprano, contralto, countertenor, tenor, baritone, or bass; all you need to know is in this post.

# data[].attributes.body
It is very hard to become an actor or actress as there is so many people to compete against. It is shocking how little time you can spend doing your dream job. However you shouldn't let this stop you as you need to be determined and show how much you want this job when auditioning.

# data[].attributes.attachment_link.readable_text
Following a glittery Baftas bash recently - and with the Oscars just around the corner - it's easy to see the appeal of a career in front of the camera or on stage.

But away from the boards and red carpets, breaking into acting and performance can be tough. While singing and acting lessons are prohibitively expensive for aspiring stars, it can also take years to get noticed. Samuel L Jackson was 45 years old when he got his big break in Pulp Fiction, while Harrison Ford was in his 30s and working as a carpenter when he was spotted by director George Lucas.

In fact, the average number of weeks per year that UK actors work professionally are only 11.3 and just 8% of UK-based actors are in work at any given moment.

Bagging a major role in film, theatre or TV is more than just the perfect CV or audition - you need to show you have the skills, experience and determination to succeed. Taking classes or studying for a degree is a good start but not suitable to all. "You don't need to learn how to act, you need to learn how to sell yourself," says Paul Roseby, artistic director at the National Youth Theatre.

So, what is the best way to break into a career in acting and performance? Join us on Thursday 19 February from 1pm to 3pm GMT for a live chat with our experts. We'll be discussing:

* If attending university or taking classes is essential

* Cost effective ways to get training

* Unusual ways to get spotted in the industry

* Tips for finding an agent

* How to keep motivated following rejection

The Q&A takes place in the comments section below this article. Taking part is easier than ever: create a free Guardian account, or log in using your Twitter or Facebook profiles to comment. Alternatively, you can tweet us @GuardianCareers or email your questions to charlotte.seager@theguardian.com who can post them for you.

Panel

Paul Roseby is chief executive and artistic director of the National Youth Theatre. In over 10 years leading the NYT, Paul has commissioned over 100 new plays and directed productions. He has also established the NYT REP Company - a free alternative to formal training.

Emily Tilelli is a London-based casting director and founder of ET Casting. As a member of the Casting Directors Guild, and with 15 years of experience within the industry, Emily works closely with actors throughout the audition process.

Mariel Witmond is the company director of Casting Networks in Europe and South Africa. Formerly an agent working in New York and then Los Angeles, Mariel has comprehensive knowledge of the casting industry.

Fiona Graham is convenor for the MA writing for performance and dramaturgy course at Goldsmiths College, London University. She has worked for thirty years in theatre as an actor, director, writer and dramaturge.

Mark Summers is a casting director who has previously casted for Madonna, Mercedes and Beyonce; he was also the UK casting director for Michael Jackson's "This Is It" tour. Back in 2003, Mark won the British Advertising Craft award for best casting director.

Emma Dyson is the PR manager for Spotlight and trained at the Guildford School of Acting. Previously she was an agent in a leading West End agency and has six years of experience in the performance industry.

Annelie Powell is the assistant casting director at The Royal Shakespeare Company and has worked as a freelance casting director for over seven years.

Charlie Walker-Wise is the senior business development manager at RADA. Charlie also teaches acting and communication skills at RADA and RADA in Business, and is a freelance theatre director. He trained as an actor and graduated from RADA back in 2005.

Dr Michael McKinnie is senior drama lecturer at Queen Mary, University of London. McKinnie has taught theatre theory, history and practice. He is also the author of City Stages: Theatre and Urban Space in a Global City. Before becoming an academic, Michael worked in new play development.
This content is brought to you by Guardian Professional. To get more content and advice like this direct to your inbox, sign up for our weekly update and careers ebook.

# data[].attributes.attachment_link.title
Your big break: how to get a career in acting and performance - live chat

# data[].attributes.attachment_link.description
Following a glittery Baftas bash recently - and with the Oscars just around the corner - it's easy to see the appeal of a career in front of the camera or on stage. But away from the boards and red carpets, breaking into acting and performance can be tough.

# data[].attributes.body
As an actor it is important to have things like an actor's CV and an Showreel. Some option in become an actor or an actress are as followed: Take a course, sign up for an online agency, sign up with an agent and join a local theatre company.

# data[].attributes.attachment_link.readable_text
There's no one way to become an actor-whether you end up in a West End play, on a television show or on the road to Hollywood, there are many paths your career can take.

"I made some mistakes in drama. I thought the drama was when actors cried. But drama is when the audience cries". So says Frank Capra, director of It's a Wonderful Life. Here he touches upon what is so powerful about being an artist in any form-to have the ability to make an impression on people and influence how they feel. It's a power that many, many people seek via acting as they see it as a glamorous lifestyle, but in truth it's a tough path to tread. It's highly unstable, often badly paid and an open door for criticism and cynicism.

If you're thinking of becoming an actor, don't let that put you off-passion and tenacity will see you through, but do bear in mind it's not straight-forward, and you should be informed about the process before you embark on your acting career.

What do I need to know before beginning my acting career?

Make your own opportunities.
People will always tell you what a competitive industry this is, and I can't emphasise this enough-there are a lot of people grappling for a comparatively low number of jobs. Work won't just fall in your lap. Unless you're one of the lucky ones who is plucked from obscurity, you will need to work to make your own opportunities.

Make your own work.
Write your own plays or short films or sketches-wherever your strengths lie. Call upon your friends and loved ones to help promote your work, just as you in return can help spread the word about your fellow actors' projects.

Find your tribe.
Making it as an actor is often directly linked to remembering that your competitors are also your compadres. So one must keep the mindset that your fellow actors are potential future collaborators. You'll have a better chance of progressing with each other's support.

Work on that stiff upper lip.
If you don't have one already, be prepared to grow a very thick skin. Even successful, established actors will encounter dismissiveness and impatience from people throughout the industry, and you'll have to learn to not only brush off the bad experiences but to learn from them.

Do. Your. Research.
Speaking of the industry: learn about it! With no knowledge, you won't feel like a part of it. Do your research. There are a lot of resources available to you, so if you're serious about the industry you should make it your business to know as much as you can about who is who and who is working on what, otherwise you'll feel like you're on the periphery.

Get an agent.
Finding an agent who works hard for you is imperative. Some will disagree and say this is situational, but if your agent has strong relationships with casting directors you will go out on far more auditions than those who don't. Agents often attend drama showcases and make regular theatre trips on the look-out for clients, but you can't rely on being found on your own. You will need to be proactive about inviting them to shows you're in, or emailing when you're in an episode requesting they tune in, or asking for a meeting via their assistants. However, as with everything there's a fine line between being proactive and pestering people-if they're interested, they will let you know.

Budget for your dreams.
Until you 'make it', you will potentially need to invest quite a lot of money to get there. Putting aside the cost to train if you so choose, you'll need headshots and a showreel before you even begin trying to land auditions, membership to a resource like Backstage so casting directors can find you, quality recording devices and editing software so you can self-tape at home, and of course you'll need to get yourself to and from auditions under your own steam. 99% of actors will need a secondary gig as support between acting jobs, and the nature of flexible work is usually that it's not very well paid, which is another consideration to bear in mind. You might have to accept roles in projects that you don't even like, but that's entirely normal. Christopher Lee was once quoted as saying, "Every actor has to make terrible films from time to time, but the trick is never to be terrible in them".

How do I begin?

Amateur dramatics, the production of theatrical performances by non-professionals, is a great way to start, not just so you can participate in acting projects but so you can also meet fellow actors and potential future co-creatives. It's a great way to hone your craft, learn from your peers and build up your confidence as you develop as an actor. There are resources available online that extensively list drama groups and opportunities, like Acting in London if you're looking in the London area, or Theatre Wales compiles all amateur dramatics societies in Wales, for example-just get Googling, or, of course, visit Backstage to search for up-to-date opportunities by location.

Try to land as many auditions as you can when you're first starting out. If you're invited to audition, then the casting director thinks you have a chance of landing the role, and you will learn from every meeting, even if it doesn't go your way. You won't always be given feedback, but you'll start to become adept at reading people's reactions and tuning into the subtleties of their responses to you, which you wouldn't learn if you hadn't have had that time with them in the room.

In addition to learning what to expect from the audition process, why not create your own opportunities? A way to practice your acting, develop your skills and build your confidence is to write scripts for yourself and enlist the help of other actors to bolster your project. Learning to listen to the feedback is crucial, and performing or screening these projects for your family and friends will ease you into the experience.

None of your friends with 'normal' jobs will understand your lifestyle-only fellow actors will relate to your struggles and often they can provide really helpful insight, so be sociable! Meetup is a fantastic way to find groups in your area specific to actors (or anything else you're interested in) and you never know what can come from the relationships you develop with fellow creatives.

Do I want to pursue theatre /musical theatre, film, or television acting?

Do you have to decide? Whilst perhaps musical theatre trainees are quite specific, going into the industry deliberately limiting yourself is a mistake. With self-tapes and opportunities to cast internationally, you don't need to decide if you don't want to, but be prepared for very different casting processes for each.

Taped auditions.
The key thing to remember is to keep it down. Whilst theatrical productions require you to perform to the back of the room, the camera will pick up on tiny nuances and flickers of action and reaction, so don't overdo your performance. As subtlety is the key here, you are obligated to learn your lines so your head is up for the duration of the taping. The tip of keeping it down applies to the volume of your voice also-you don't need to project any more than you would in a normal conversation. Bear in mind the director is often not in attendance for auditions such as these.

Theatre auditions.
In contrast to taped auditions, it's more acceptable to have your script in hand to refer to during your read, but that doesn't mean you shouldn't prepare - Casting Directors and Directors will instantly pick up on it if you're not familiar with what you're reading, and not everyone will give you another go at it. You'll be expected to demonstrate your emotions in a more obvious way, although often theatre auditions are also in close proximity and you might be sat right opposite your reader and the Director. If you are auditioning for an understudy role, don't be surprised if you're auditioning for the Assistant Director and not the Director.

Musical theatre auditions.
You'll be expected to be at your biggest here - you'll need to project and exaggerate and stand out as best you can! Arrive warmed up, and if there's an accompanist it's likely you'll need to provide them with sheet music. If dancing is part of the audition, you'll be expected to pick up a potentially tricky routine very quickly, perform it back accurately and in time and then somehow outshine your competitors all at once.

RELATED:

What promotional materials do I need?

Headshots
This is one of the main components you'll need to invest in. Even though, you'll rarely be expected to turn up to auditions with expensive prints these days, you will need to make sure the quality of the photographs are high. If you're fortunate enough to know someone who can shoot you for free, or for a low price, make sure you're still happy with the outcome or else it's a fruitless exercise.

Make sure your headshots do you justice, as they're the first thing a casting director sees.

Don't rely solely on black and white shots; they're aesthetically pleasing, but people want to see you look like, so make sure you have colour shots also, if not entirely.

Overly flattering photos are also a bad idea-you may be tempted to edit your photos on Photoshop or wear a tonne of make-up, or even submit photos from fifteen years ago, but don't! You'll create a dishonest impression, plus you might count yourself out of a job that you're suited to if a casting director deems your photo too generic.

CV
Approach your acting CV as you would any job CV: keep it clear, concise, and professional. List project details transparently and don't over-do the detail. Bear in mind your showreel is where the casting director will get a sense of your personality; your résumé is a reference document. Looking at your CV, a casting director will want to establish:

What acting jobs you have done (preferably listed in chronological order)

If you have any training

A list of special or unique skills (if any)

How to contact you

If you're new to the game you might need to pad it out a bit with school plays or amateur dramatics, which is absolutely fine. Just make sure to edit as you develop and eventually you can take these off when you have more experience to add.

You don't need to list your date of birth-your age range (or 'playing age') is important, as is your height, eye colour and hair colour. We also want to know what accents you can do, and if you're a singer, what your vocal range is.

Be sure to keep your CV down to a single A4 page, which you can staple to the back of your headshot.

Showreel
Your showreel is crucial. Make sure you keep it up-to-date, exhibiting only work that you feel represents you well, and remember to keep it under three minutes. Often, people disagree on what is acceptable and what isn't in a showreel; they question whether montage intros (an edit together of quick clips of yourself as a way of introducing your showreel) are dated, for example, but as someone who works in casting, I personally feel there's room for a bit of creative flair as long as the main point is correctly communicated, and that is your acting ability.

For more information on reels, check out our in-depth guide: "How to Create Your Demo Reel"

Online presence
Having your own website can be a very useful way of collating everything you want a CD or the public to know about you, and you can be in charge of what to include and what you would rather forget! Squarespace is a good option, as it's user-friendly, has professional-looking templates, and offers reasonable monthly rates (between £10 and £20). You can expect a free trial as a new customer, and you can find discount codes by listening to podcasts, which they rely on heavily for advertising (I can always hear Squarespace promoted on the Adam Buxton podcasts for example, worth listening to in their own right as he often interviews actors).

You should give plenty of thought to your social media presence. Twitter or Facebook can be great ways of engaging with the public and expressing your personality, but make sure you are representing yourself professionally. Always bear in mind you're offering information about yourself publicly, so don't let yourself down. It's never a bad idea to share updates about what productions you're in (if you have permission) and you can increase viewership of programs if you Tweet your followers to remind them to tune in.

Always be extremely careful about your social media use on set-a lot of sets are very private and cast members have been reprimanded and sometimes even removed if they take pictures on set and post them to social media.

What are some other good resources to bear in mind?

Publications
Backstage is the premium, trusted, casting platform for actors and performers, casting over 6,000 roles a week, as well as editorial coverage that provides actors and performing artists with a wealth of advice, guides, news, interviews and resources. You can also check out the Opportunities section where you search for jobs by location.

Another valuable resource for UK actors with a well-kept website, The Stage has excellent reviews in particular, although it is more theatre-centric than Backstage.

Also check out Fourthwall and Sight & Sound (BFI)-the articles are well-researched and the website includes a Player section where you can stream BFI films, some for free. Empire has great events listings and is a useful resource for cinefiles in particular.

Workshops
Companies like Casting Workshops sell limited numbers of tickets to actors to spend the day learning face-to-face from casting directors of specific fields, to help hone their skills and get direct feedback, not just on their performances but their headshots and CVs.

What are some key terms I should know?

Slate: If you're filming a self-tape, a slate, or ident, is really useful for a casting director. It's a short intro in which you state your name, agent (if applicable) and height, and often other information the casting director might have asked you to include like profiles (see below), shots of your hands, and possibly experience or skills that you have that are relevant to the project (e.g. if the role involves being on a wire, you could mention any aerial experience you have, or if the part requires you to speak another language you could demonstrate your fluency level with a sentence or two). These are often recorded at the beginning or end of your audition also.

Profiles: Shots of one side of your face and then the other, so the director can see what you look like from different angles.

Sides: The lines or information you're given to prepare for the audition. Most of the time it will be text pulled from the script, unless the contents of the script is heavily protected (you would find this mainly with major studio productions like Warner Bros) and you're given text from another source. It might also contain the outline of a scenario rather than text, and you'll be expected to improvise some action or dialogue around the scenario.

Optioned: This applies most commonly to TV, where production teams have yet to schedule the project but wish you to stay available for a certain period of time in case it does get green-lit. It might be that the first series you participated in is yet to air and therefore they haven't yet been able to gauge its success, and won't know if they wish to make a second season. It might be that the series will go ahead, but they're still deciding upon their schedule or trying to secure a location. There are many reasons, but traditionally you will be given a "pick-up date" (a date by which they have had to decide by), and you should be financially compensated for remaining available throughout this period.

Generals: These are invaluable for actors climbing the ladder. An actor and a casting director have a casual chat with the intention of putting said actor in a casting director's mind's eye. If you are set up on a general with a CD, make sure you research them and their work first, read their signals as to when is an appropriate time to wrap up the conversation, and make sure you show an interest in them and their work-you never know what journey will be kick-started from a short chat. A general will not cost you anything other than whatever you spend on travel to see the CD, and you should not be expected to part with any money for the meeting. You should only expect to part with money at an organised, informative event like a workshop where you would receive some form of coaching.

Where should I consider training and why?

The U.K. is a fantastic location to study acting, if you choose to train, with an abundance of schools boasting excellent educators and extensive lists of successful acting alumni. Suitability should be based on your budget, your objectives and your choice of commitment level, so if you do choose to study it's crucial to do your research. Part of your consideration as to which school should always be, why NOT this school? Lots of establishments are competitive, with high standards and a focus on the "breaking down" of its students with a view to making you a more malleable actor.

Ask yourself what you are hoping to achieve from the training process, and assess whether your expectations are realistic.

Notable UK schools include (but are not limited to):

London Academy of Music and Dramatic Arts (LAMDA)

Royal Academy of Dramatic Art (RADA)

Oxford School of Drama

Royal Welsh College of Music and Drama

Central School of Speech and Drama

Bristol Old Vic Theatre School

Royal Conservatoire of Scotland

RELATED:

Where should I consider living and why?

Again, this is up to you. There's no right or wrong answer here, and there are plenty of opportunities open to you in any part of the U.K. You might assume London is the obvious choice for actors seeking work, but with self-tapes becoming more acceptable forms of casting, all you'd potentially need to book a job is a smart phone and decent internet speed.

Having said that, if you do choose to live outside the main cities, you should be open to travelling in for castings if that is what is asked of you. There are many actors who settle in rural areas, but you must be happy with getting into town at your own expense if CDs want to meet, which, more often than not, they will. I've never worked on a theatre job that didn't require a face-to-face meeting, as they are always attended by the director so they can assess not just if you're right for the part, but if they want to spend time working extensively with you, as is required in theatre jobs.

Here are some alternatives to London to potentially settle in:
Bristol, England
A bustling city with a similar arts scene to London (just on a smaller scale), Bristol has a fine reputation for theatre and is still within reasonable travelling distance if you are called to the capital.

Manchester, England
Since the BBC moved up north, Manchester has seen a huge increase in TV production and created lots more opportunities for northern-based actors.

Edinburgh, Scotland
Home to the world-famous Edinburgh Festival, it's an amazingly cultural city housing lots of creativity. It's particularly good for those looking to get into comedy.

Dublin, Ireland
The capital of Ireland (and home to the Guinness brewery, as an added incentive!) Dublin is home to some exciting casting directors like Louise Kiely and Amy Rowan.

How do I find roles to audition for?

When it comes to finding roles to audition for, there's no better source than Backstage, especially for early-career actors! If you don't have a manager or agent who's in direct cahoots with casting directors of various acting projects, Backstage is the No. 1 trusted source and top casting platform-for over 50 years-to kick-start your career, land your next (or first!) role, and get discovered. The casting notices on Backstage can help you bolster your demo reel and get you an agent to take your career to the next step. Plus with thousands of vetted casting opportunities across smaller projects like student shorts, web series, and regional theater productions all the way to larger blockbuster features and productions on the stage, you know that with Backstage, you're always getting reliable information and scam-free gigs.

Once you're subscribed to Backstage, you can go backstage.com to edit your public profile. This is the page that casting directors see when booking talent for their latest project, so make sure your headshots and résumé are up to date, and link or embed your reel, website, social media accounts, and other fun extras as you see fit.

Does Backstage work? Academy Award winner Sandra Bullock told us that "Every single thing I have today is because I picked up Backstage every Thursday." And she's in good company! Just ask some of the other stars below.

Scarlett Johanson: "How did I get into acting? Well, I read a lot of Backstage. Everybody got Backstage. That's so funny. Backstage, wow. Doesn't every unemployed actor have their Backstage? That's the first step."

James Franco: "Backstage was one of my first introductions to the business."

Amy Schumer: "Like every other actor in New York, L.A., or Chicago, I have such a relationship with Backstage. As soon as I got out of college, I would go through the magazine and circle [casting notices]... Those taught me so much and they connected me with people that I still work with now."

Kathryn Hahn: "I got my first play in New York from Backstage. It was part of the festival at Theater for the New City, and I got a role in a play called 'Bar None' that starred a woman named Avocado Tit. I'm not even kidding. So I have a long history with Backstage."

Matthew Rhys: "For actors, you know that Backstage is of your own people. It's instrumental."

Here are some other resources to keep in mind:

Spotlight. Most professionals are signed up to Spotlight and it costs around £150 per year. In order to be eligible for membership, you must have had four or more professional credits in featured, speaking roles in film, television or theatre, or else have at least one year's training from a full-time accredited drama school or course.

Casting Call Pro. A really useful tool for actors who are just starting out in particular, as lower-profile jobs are great to build up your CV and help flesh it out whilst you're still finding your acting feet.

Your agent. This is a chicken and egg situation, as you need to be working in order to invite an agent to see and evaluate your work. They really are the best way to inspire the casting director's confidence in you, however, and they will have the best leverage when it comes to getting your foot in the door.

Do I need an agent?

Yes-unless you're Bill Murray, you should have an agent. For every one dubious agent that will take your commission and sit waiting by the phone, there are 20 hard-working, assertive, and motivated professionals who will emotionally share in your successes and failures.

There are a lot of awkward conversations that need to happen in order to book jobs, and your agent is your filter. They negotiate terms on your behalf so you don't have to.

Being represented by an agent who has strong relationships with casting directors will always bolster your chances of getting seen and therefore getting cast, so just as agents will assess what you will bring to their table, make sure you understand their position within the industry.

It's crucial you maintain a good relationship with your agent. You can't expect them to work hard for you if you are not holding up your end of the bargain. Stay organised and on top of your diary, respond to their queries as quickly as possible and don't harbour resentment if you don't get cast-they're there to get you in the room, it's up to you to book the job.

How and when should I create my own work?

There's never a bad moment to be in control of your work. Whenever you have the time, the inspiration, and the wherewithal, is a great time to be creating your own work. If you're experiencing a lull, you have nothing to lose. If you're riding a wave of success, you're more likely to secure funding.

The how is obviously the harder part, but there are lots of resources available for those hoping to pen their own projects. For the early stages of development, Raindance offer one-day writing courses at very reasonable prices (often discounted via organisations like Groupon), as an example, for those seeking help during the creative process.

Once devised, check out BBC Writers Room, to which you can submit original scripts. If they respond to your work highly enough, they will help you to develop the project and get it off the ground.

In between creating and producing, there's the proof-reading, feedback stage, in which you are looking to tweak and perfect your script. Organisations like Actors and & Writers London (AWL) might take your script and perform it using a group of actors, who will provide invaluable feedback and insight into how they perceive it, and where its strengths are or how it can be improved. This is also another great way to meet fellow industry professionals, and is generally considered a fun way to network.

Also, check out the London Screenwriters Festival (LSF) which is an invaluable event for those penning their own film or TV projects and yet another great way to connect with people who will help you in your career.

If I'm an actor from the U.S. looking to head to the U.K., what do I need to know?

If you're not already established, it's likely to be quite tricky. Unless the production is specifically looking for an actor from the U.S., for example, or if you have worked with a dialect coach a very convincing British accent (bearing in mind there are many U.K. accents outside of Received Pronunciation), you're going to find that opportunities are limited. The best advice that comes to mind is to come with your own brand. If you have a strong sense of who you are and what you have to offer, you're more likely to be recognised and remembered.
Now check out Backstage's London audition listings!
What did you think of this story?
Leave a Facebook Comment:

# data[].attributes.attachment_link.keywords[]
auditions | casting calls | open casting calls | casting call | open casting call

# data[].attributes.attachment_link.description
There's no one way to become an actor-whether you end up in a West End play, on a television show or on the road to Hollywood, there are many paths your career can take. "I made some mistakes in drama. I thought the drama was when actors cried.

# data[].attributes.attachment_link.readable_text
Finding a new job in the art world is tough so here are a few points to help you stay ahead, progress to more senior roles or change to other sectors of the market.

Research

Any job, whether in contemporary art or working with old master paintings, requires a great deal of research. The ability to research works of art, or the market itself, is very useful and will make you a more desirable candidate.

Taking on your own projects for fun can be a great way to learn about new areas of the art world. Putting together small reports on the market is as important as researching specific works of art or artists.

Online resources, such as Artnet, Art Info and Art Tactic, can keep you informed about new sectors of the industry. Likewise, if you visit an exhibition you enjoy, conduct reports on the artist, their market position or the gallery or museum they are showing in. Keep a record of all the exhibitions you have worked on, by holding onto a catalogue, press release or exhibition announcement so you can refer back to them and discuss them at interview.

Gaining an insight into what is showing where, what is being sold to whom and which shows are doing well will prove very beneficial at interview. Don't forget to take your portfolio of exhibitions and market research to any interviews as this will impress a potential employer.

Appraisals

To get into a specialist role, learn about valuations. You must be able to appraise and value works of art in order to move up in an auction house or become an adviser. Shadow colleagues, study art market reports, get auction results and catalogues and know your figures. You will need to recognise, clarify provenance and value works of art at interview so get as much experience as you can.

Archiving

Take on archiving projects or manage a project for an artist or gallery. For example, you could transfer all the works from an artist's estate onto a database. Take ownership of a project like this so you can demonstrate your archiving experience; this will help you secure a position as an artist liaison, for instance.

Social media

Being able to navigate social media platforms is an increasingly desired skill. Start a blog and publish your research projects, talk about trips to galleries with photographs of your favourite pieces, post links to other interesting sites and publicise your Twitter. Showing you can be creative online will really help you move ahead.

Calendar

Know the seasonal art world inside out. Make sure you are aware of all the important monthly auctions, fairs and exhibitions - and try and get to as many of them as you can. Attending Asian Art Week in London in November, Old Master Picture Week in London in June, the auctions of impressionist art in New York in May, Maastricht for the TEFAF art fair in March and the contemporary auctions and Frieze art fair in London in October. These are must-sees and should be followed from afar if you cannot attend them all.

Languages

This is increasingly important as the art market grows and diversifies. If you have the option of taking an extra course to perfect any basic language skills you have, then do.

Reading

This sounds obvious but there is so much that you are not taught about the art market and it is important that you educate yourself. Reading arts newspapers, publications, magazines, blogs and forums is highly recommended so you understand all about every aspect of the market. Publications, such as The Art Newspaper, Apollo, the Antiques Trade Gazette and the collecting section of the FT Weekend are all useful, as are online articles, such as in Bloomberg and The New York Times. Find a journalist you like, such as Carol Vogel, and sign up to receive their posts.

Networking

It is an old adage that who you know in the art world really matters. While it is not the only way to get ahead, it certainly helps. Attending private views, fairs, talks and events and meeting as many people as you can will help you gain further reach when looking for a job. The more people that know you are looking, the better. Regularly meet with groups of professionals or friends and go to exhibitions and shows.

Creating partnerships

Every exhibition or event needs support. If you could secure this through your own connections, or by brokering a sponsorship deal for a single or series of exhibitions, it will prove invaluable. This could be a financial arrangement or support with the event, publication or press.

Throughout your career in art, however, you must be realistic. If you decide on a change of path within the art world, such as moving to exhibitions from sales, then be prepared to take a step back in order to get there. If you are passionate about the change you will soon move ahead and bring the experience you do have to this new realm.
Sophie Macpherson is the founder of This content is brought to you by Guardian Professional. To get more content and advice like this direct to your inbox, sign up for our weekly Careers update.Sophie Macpherson Ltd. You can find her on Twitter at @ArtWorldJobs Topics

# data[].attributes.attachment_link.description
Finding a new job in the art world is tough so here are a few points to help you stay ahead, progress to more senior roles or change to other sectors of the market. Any job, whether in contemporary art or working with old master paintings, requires a great deal of research.

# data[].attributes.attachment_link.readable_text
Your dream is to be a working actor. You've always been told you "have it," but the phone doesn't ring for callbacks.

What separates professionals from wannabe talent show prodigies isn't inspiration. It's preparation and execution. Take control of your audition with these ten helpful tips to improve your skills.

1. Confidence. It sounds simple but it takes practice. Walk in the door with your held head high. Be wary of shuffling feet. You don't get sympathy points if you're nervous, not feeling well, or having a bad day. Leave it outside the door. You are being sized up the minute you walk in, so practice good posture and body language before you arrive. And don't forget to smile - that's the lasting impression you want to leave.

2. Personality. Let it shine through. Don't give one-word answers when having a conversation with the casting director. Ask questions! The industry is looking for smart, curious actors.

3. Connection. Make one with the reader. Memorize the material or be familiar enough with it to maintain eye contact. Knowing the dialogue is important, but making a connection with the reader is what will make the scene natural and believable.

4. Character. Know the character. Read the entire script beforehand to pick-up as many clues as possible. We know about a character by the following:

What he/she says about himself/herself

What other characters say about him/her

What the playwright or screenwriter says about him/her

5. Objective. Go underneath the dialogue. What does he/she want from the other characters? What is the character's purpose in the scene/story?

6. Obstacle. What's in the way of the character getting what he/she wants? Acting is what happens to you as you TRY to get your objective met, in spite of the obstacle.

7. Opposites. Yelling isn't the only way to show hatred or anger. Sometimes being quiet as you make your point is a powerful display of emotion. Playing opposites is a much more interesting choice than the obvious.

8. Love. Find the love in the scene. Even nasty characters should be likeable on some level. Find a moment in the scene where the love can show through.

9. Act. Acting means TO DO, not to talk. Find your actions and play them! (A wonderful resource is the book "Actions: The Actor's Thesaurus" by Marina Caldarone & Maggie Lloyd-Williams.)

10. Variety. Feel the levels and dynamic in the scene. Don't play one emotion. If the character is angry or tough, when might he/she show some vulnerability?

Wannabe? Not you! Interesting, memorable auditions will start to happen for you when you dig into scripts with these thoughts in mind before and during your auditions.

Master your craft! Empower yourself! Enjoy the journey...
Inspired by this post? Check out our audition listings! Denise Simon is an acting coach and career consultant who has been involved in the entertainment industry for more than 25 years as an actor, teacher, director, and personal talent manager. Want more audition tips? Watch here: You can visit Denise on the web at www.simoncoachinggroup.com and like her on Facebook and follow her on Twitter.
What did you think of this story?
Leave a Facebook Comment:

# data[].attributes.attachment_link.keywords[]
auditions | casting calls | open casting calls | casting call | open casting call

# data[].attributes.attachment_link.description
Your dream is to be a working actor. You've always been told you "have it," but the phone doesn't ring for callbacks. What separates professionals from wannabe talent show prodigies isn't inspiration. It's preparation and execution. Take control of your audition with these ten helpful tips to improve your skills.

# data[].attributes.attachment_link.readable_text
The insider guide to successful preparation, to ace that upcoming audition.
Acting auditions can be sudden and stressful. Here are Katie Redford's top hints and tips to making the most of that precious audition prep time - whether you've got only got a few hours, or have been blessed with a few days!

One of the first bits of advice my dad ever gave to me was this: "Fail to prepare, prepare to fail." He was actually referring to my first ever interview that was at my local hairdressers... [but] it always stands me in good stead. Cheers dad.

Set the scene: it's a Tuesday afternoon. Acting work is quiet. All you've had in the past month is a Dyson hoover call back so it's safe to say you're feeling a tad restless. Suddenly, your phone rings. It's your agent. You've got an audition for an exciting new project. Hurrah! They need you off book. Obviously. Oh, and it's for tomorrow. Aaaaand panic.

Ok, so there are the obvious tips on how you can prepare for your audition:

Do your research;

Print your sides off to take with you;

Familiarise yourself with the lines;

Read the entire script (if it's possible to get hold of) not just your scenes;

Plan your journey/outfit.

Recently, Spotlight published casting director Kate Rhodes-James ' suggestions on audition prep. However, from one actor to another, I thought we'd take a different route and look at the not-so-obvious tips. I've collected together advice that has been passed on to me from various people that I've actually found to be really beneficial.

One of the first bits of advice my dad ever gave to me was this: "Fail to prepare, prepare to fail." He was actually referring to my first ever interview that was at my local hairdressers, Choppy Chops and I'm still not entirely sure how much I could have prepared for making tea and sweeping up hair... but anyhow, I've continued to apply his advice to auditions and it always stands me in good stead. Cheers dad. So, here are my top 5 tips on how to successfully prepare for an audition. Love from me, Bryan Cranston and my dad.

Inspire yourself silly

Apologies to the person sitting opposite me in Costa at Waterloo station last Wednesday morning for having a mini breakdown. It's just that I was watching Beyoncé and Alexandra Burke duet on the 2008 X-Factor and got a bit caught up in the moment.

Whilst we're on the topic of mind-blowing inspirational footage (if you please) if you haven't already, give Bryan Cranston's Advice to Aspiring Actors a watch. There's something so comforting about him reassuring us not to worry about the outcome and to just simply enjoy the audition, doing what we do best. Walter White, you absolute babe.

Watching certain footage can really inspire me just before an audition. Whether it's your favourite sitcom, actors' audition tapes or certain talent show auditions. There's something about watching someone else performing at the top of their game that makes me just want to do exactly the same. Now, obviously it depends on what you're auditioning for, so tailor it to your needs. A few months ago, I auditioned for a part in a really gritty drama where the character I was up for has to hear some gut-wrenching news. I thought back to moments in my life that absolutely shook my world. So I YouTubed the moment in ITV's Cold Feet where Rachel got hit by a lorry. Honestly. I can't even.

Break into a sweat

I'm not suggesting Tough Mudder, but doing something to energise yourself before an audition can be extremely beneficial. A gentle jog always helps me to not only feel more alert but also helps to relax me. When you're in the audition room, you need to be present. The feeling I get post-exercise always helps me to achieve that. Or you might prefer a physical vocal warm up. Shake your arms and legs like your life depends on it, whilst jumping up and down and reciting the alphabet. Do whatever floats your boat. Just do us a favour: perform your warm ups in the comfort of your own home. There's something about an actor lunging into downward dog in the Spotlight waiting room that feels, well, wrong.

Move to music

Depending on what sort of text you've got, listen to a piece of music that resembles it and say your lines/perform it over the piece of music. This not only physically frees you up when rehearsing for your audition but it also helps with getting those lines nailed too. Experiment with the tempo and use the music to help you find stuff that you might not have found before. ***WARNING*** It is worth mentioning what you're about to do to whoever you live with, so that you can get some privacy. I learnt the hard way and assumed everyone was out, so thrashed myself around the living room to No Doubt's Don't Speak whilst reciting lines, only to open my eyes to one of my flatmates staring at me, deeply confused (she works in advertising). You can't explain that stuff to anyone with a 9 to 5. In the end, I just said I'd had a bad day. And now she thinks I'm unstable. Ah, the price you pay for the love of your art, eh?

Keep perspective

Do yourself a favour and take the pressure off where you can. You'll enjoy the audition more. Wouldn't it be great to go into auditions and just enjoy the process without the dilemma of not getting the job? Be honest, when you have an audition, do you ever think the following things?

If I get this...

The money will make a huge difference to my life. Keep perspective by knowing that one minute, you'll have money and the next you won't. That's just how it's going to be. Yes, money will always be great, but without it you'll do alright. You'll make it work, just like you always do.

It will give me a huge confidence boost. Keep perspective by finding something else that gives you this! If you get your confidence from acting jobs, God help you. Do something that allows you to see your own progression: dance classes, language classes, knitting... literally anything other than acting.

If I get this job, I'll make my family proud. Keep perspective by knowing they're already proud. Everyone who knows you, deep down, admires you for going after what you want to do. Even if you don't think you're doing that well, you'd be surprised at how well everyone else thinks you're doing.

So keep things in perspective and don't lose yourself in the chaos of it all. Stay rational and prepare as well as you can. You've done brilliantly to even get in the room. And if this audition doesn't 'go your way', something else will. Just take it from Bryan. And my dad.

Plan something for afterwards

A director once told me that there were always 3 auditions:

1. The one you do in your bedroom;

2. The one you do in the audition room;

3. The one you do on the way home (which is always the best one).

Sometimes, I actually can't remember my journey home after an audition, as I've been too busy replaying the audition in my head and going over how I could have done things differently. I remember in one audition a few years ago, I was so nervous that I ended up talking about trees. The audition had absolutely nothing to do with trees. No-one asked me about trees. I just started talking about them. How big and... green they were. I hated myself afterwards. Couldn't look myself in the eye. I went home and watched endless episodes of Gogglebox and devoured my own body weight in tiramisu. Anything to erase the memory of the whole tree business. So, get a coffee with a friend, go to the cinema, go to an exhibition, do anything to prevent yourself from the mental torture of wishing you'd said the line "But how?" differently. No-one else cares, so neither should you.

I'll wrap it up now. But good luck! Just stay focused, don't talk about trees and you'll smash it.

And just in case you need it, I'm gonna leave Beyoncé and Alexandra's inspiring performance here.
Katie Redford is an actress & writer originally from Nottingham, now based in London. She recently won BBC Comedy Writersroom and has also just joined the cast of Radio 4's The Archers. When she's not in work, you can find her in the soft play centre in Epsom where she takes the children she nannies for, so she doesn't have to do any actual work.

# data[].attributes.attachment_link.description
The insider guide to successful preparation, to ace that upcoming audition. Acting auditions can be sudden and stressful. Here are Katie Redford's top hints and tips to making the most of that precious audition prep time - whether you've got only got a few hours, or have been blessed with a few days!

# data[].attributes.attachment_link.readable_text
From the Greek chorus to Commedia dell'arte to Japanese Noh, movement has been a key element of storytelling since the earliest days of the theater. Often incorporating elements of music, dance, and fine art, physical theater is a diverse style that blends traditional and less-than-traditional techniques. Lovers of clown work, Viewpoints, and corporeal mime take note: Here are 13 companies producing physical theater all over the world.

t (Los Angeles)
Founded in 2004, this relatively young physical theater ensemble aims to "move, innovate and inspire."Not Man Apart blends dance and the spoken word to create compelling theatrical events; their recent piece "Ajax in Iraq" used haunting physicality and the Ajax myth to tell the story of the first female military combatants in U.S. history.

(Copenhagen, Denmark)
This Copenhagen-based theater company emphasizes collaboration above all else, creating ensemble-based multi-disciplinary works with community integration in mind. Current pieces include " Georgette va au Supermarche ," a woman's absurd journey through the supermarket performed in French and English, and "," one man's profound exploration of connection in the aftermath of his neighbor's death.

(Arlington Va.)
Synetic's Paata and Irina Tsikurishvili moved to the United States from Georgia in the 1990s and founded Synetic as a fusion of American and Georgian storytelling styles. The company uses stunning physicality to express classical texts with or without words, and has earned 94 Helen Hayes Award Nominations and 25 wins in its 11-year history. Current productions include physical adaptations of " The Island of Dr. Moreau ," " Beauty and the Beast " (Dec.3-Jan 4), and " Much Ado About Nothing " (Feb.-March 2015).

(Brisbane, Australia)
This Brisbane-based physical theater creates compelling work that combines ancient Asian dance-theater with pop-culture and the avant-garde movement. Productions range from stylized to shocking, such as "" based in Queensland, Australia, interactive ghost story " Prophets of the Underworld ," and comic adventure " Marcus and the Manic Music Makers ."
Inspired by this post? Check out our theater audition listings!
What did you think of this story?
Leave a Facebook Comment:

# data[].attributes.attachment_link.keywords[]
auditions | casting calls | open casting calls | casting call | open casting call

# data[].attributes.attachment_link.title
13 Innovative Physical Theater Companies

# data[].attributes.attachment_link.description
From the Greek chorus to Commedia dell'arte to Japanese Noh, movement has been a key element of storytelling since the earliest days of the theater. Often incorporating elements of music, dance, and fine art, physical theater is a diverse style that blends traditional and less-than-traditional techniques.

# data[].attributes.attachment_link.readable_text
At its simplest, you could define Physical theatre as a form of theatre that puts emphasis on movement rather than dialogue. But remember there are a huge number of variations as the genre covers a broad range of work. But essentially Physical theatre is anything that puts the human body at the centre of the storytelling process. As a result it's often abstract in style, using movement in a stylised and representational way. With the expression of ideas choreographed through movement, such performers use very little or no dialogue at all.

DV8 are arguably among the main practitioners of Physical theatre as a 'full' art form. They focus on looking at the dramatic potential that can be unlocked from movement. Their work is often described as existing at a crossroads where dance, sound and drama meet. DV8 are well known for using Physical theatre to explore complex aspects of human relationships and social or cultural issues.

In DV8's production, Can We Talk About This? the director and performers used Physical theatre to express extremely complicated and delicate political and social issues. The main theme of the production looked at multiculturalism , separatism and militant Islam . Words and bodywork were combined to express what's sometimes difficult to put into words alone.

# data[].attributes.attachment_link.title
BBC Bitesize - GCSE Drama - Physical theatre - Revision 1

# data[].attributes.attachment_link.description
At its simplest, you could define Physical theatre as a form of theatre that puts emphasis on movement rather than dialogue. But remember there are a huge number of variations as the genre covers a broad range of work. But essentially Physical theatre is anything that puts the human body at the centre of the storytelling process.

# data[].attributes.attachment_link.title
What is PHYSICAL THEATRE? What does PHYSICAL THEATRE mean? PHYSICAL THEATRE meaning & explanation

# data[].attributes.attachment_link.description
What is PHYSICAL THEATRE? What does PHYSICAL THEATRE mean? PHYSICAL THEATRE meaning - PHYSICAL THEATRE definition - PHYSICAL THEATRE explanation. Source: Wikipedia.org article, adapted under https://creativecommons.org/licenses/by-sa/3.0/ license. Physical theatre is a well known genre of theatrical performance that pursues storytelling through primarily physical means.

# data[].attributes.attachment_link.readable_text
When we are feeling something, we don't really stop to define that emotion or think about the exact emotion that we are experiencing. We just feel and go through it; may it be sadness, anger or happiness. As human beings, we experience a plethora of feelings and emotions in our lifetime that range over several forms and types. This article is an attempt to list down an extensive list of those emotions.

# data[].attributes.attachment_link.title
An Extensive List of Human Emotions and Their Meanings

# data[].attributes.attachment_link.description
When we are feeling something, we don't really stop to define that emotion or think about the exact emotion that we are experiencing. We just feel and go through it; may it be sadness, anger or happiness. As human beings, we experience a plethora of feelings and emotions in our lifetime that range over several forms and types.

# data[].attributes.body
As an actor it is important to have good fitness.

# data[].attributes.attachment_link.readable_text
How fit are you? See how you measure up

Ready to start a fitness program? Measure your fitness level with a few simple tests. Then use the results to set fitness goals and track your progress.
By Mayo Clinic Staff
You probably have some idea of how fit you are. But knowing the specifics can help you set realistic fitness goals, monitor your progress and maintain your motivation. Once you know your starting point, you can plan where you want to go. Get started with the simple assessment below.

Gather your tools

Generally, fitness is assessed in four key areas: aerobic fitness; muscular strength and endurance; flexibility; and body composition. To do your assessment, you'll need:

A stopwatch or a watch that can measure seconds

A cloth measuring tape

A yardstick

Heavy-duty tape

A scale

Someone to help you record your scores and count repetitions

You'll also need a pencil or pen and paper to record your scores as you complete each part of the assessment. You can record your scores in a notebook or journal, or save them in a spreadsheet or another electronic format.

Aerobic fitness: Heart rate at rest

Your heart rate at rest is a measure of heart health and fitness. For most adults, a healthy heart rate is 60 to 100 beats a minute.

To check your pulse over your carotid artery, place your index and middle fingers on your neck to the side of your windpipe.

To check your pulse at your wrist, place two fingers between the bone and the tendon over your radial artery, located on the palm side of your wrist below the thumb.

When you feel your pulse, look at your watch and count the number of beats in 15 seconds. Multiply this number by 4 to get your heart rate per minute. Let's say you count 20 beats in 15 seconds. Multiply 20 by 4 for a total of 80 beats a minute.

Aerobic fitness: Target heart rate zone

The target heart rate zone is an increase in your heart rate - 50% to 85% of the maximum heart rate for your age - great enough to give your heart and lungs a good workout. Aim for 50% to 70% when you do moderately intense activities and 70% to 85% when you do vigorous activities.

You can use the target heart rate zone as a guide for making sure your exercise is intense enough. If you're not reaching your target zone, you may need to increase the intensity. If you're achieving a target rate in the lower end of the target rate zone, you can set goals for gradually increasing your target.

If you already exercise regularly, you can stop to check your heart rate sometimes during an aerobic workout. If you don't exercise regularly, you can do a simple test by checking your heart rate after a brisk 10-minute walk.

Age

Target heart rate zone: Beats a minute

Maximum heart rate: Beats a minute

Aerobic fitness: Running or jogging test

Another way to assess your aerobic fitness is to time yourself on a 1.5-mile (2.4-kilometer) run or jog. The following times are generally considered indicators of a good fitness level based on age and sex. A lower time generally indicates better aerobic fitness, and a higher time suggests a need for improvement.

Muscular strength and endurance: Pushup test

Pushups can help you measure muscular strength and endurance. If you're just starting a fitness program, do modified pushups on your knees. If you're generally fit and able to do them, do classic pushups. Follow these steps for both types:

Lie facedown on the floor with your elbows bent and your palms next to your shoulders.

Keeping your back straight, push up with your arms until your arms are extended.

Lower your body until your chin touches the floor.

Do as many pushups as you can until you need to stop for rest.

The following counts are generally considered indicators of a good fitness level based on age and sex. If your pushup count is below the target number, the target can serve as a goal to work toward. Counts above the targets indicate better fitness.

Muscular strength and endurance: Situp test

The situp test measures the strength and endurance of your abdominal muscles. Here's how to do the test:

Lie on the floor with knees bent at a 90-degree angle and feet flat on the floor. A partner holds your feet firmly to the floor. Another option is to place your feet on the wall so your knees and hips are bent at a 90-degree angle. Cross your arms across your chest. This is the down position.

To move into the up position, raise your head and shoulders off the floor. Don't lift your buttocks off the floor.

Return to the down position.

Each time you move to the up position is counted as one situp.

Do as many situps as you can in one minute.

The following counts can generally be considered markers of a good fitness level based on age and sex. If your situp count is below the target number, the target can serve as a general goal to work toward. Counts above the targets can generally mean better fitness. However, pushup count may be a more accurate indicator of your fitness.

Flexibility: Sit-and-reach test

The sit-and-reach test is a simple way to measure the flexibility of the back of your legs, your hips and your lower back. Here's how:

Place a yardstick on the floor. Secure it by placing a piece of tape across the yardstick at the 15-inch (38-centimeter) mark.

Place the soles of your feet even with the 15-inch (38-centimeter) mark on the yardstick.

Slowly reach forward as far as you can, exhaling as you reach and holding the position for at least 1 second.

Note the distance you reached.

Repeat the test two more times.

Record the best of the three reaches.

The following measurements can generally be considered indicators of good flexibility based on age and sex. If your result is below the target number, the target can indicate a goal to work toward. Measurements above the targets can mean better flexibility.

Body composition: Waist circumference

If your waist circumference is greater than your hips - you carry more weight above the hips - you have an increased risk of heart disease and type 2 diabetes. The risk is even greater for women with waist circumferences of 35 inches (89 centimeters) or more and for men with waist circumferences of 40 inches (102 centimeters) or more.

With a cloth measuring tape, measure your waist circumference just above the hipbones.

Body composition: Body mass index

Your body mass index (BMI) is a calculation that indicates whether you have a healthy amount of body fat. You can determine your BMI with a BMI table or online calculator.

If you'd rather do the math yourself, divide your weight in pounds by your height in inches squared and multiply by 703. Or divide your weight in kilograms by your height in meters squared. (To determine your height in meters, divide your height in centimeters by 100.)

The following BMI results demonstrate whether you are at a healthy weight.

Stay active

The results of your fitness assessment can help you set goals for staying active and improving fitness outcomes. The Department of Health and Human Services recommends these exercise guidelines:

Get at least 150 minutes of moderate aerobic activity or 75 minutes of vigorous aerobic activity a week, or a combination of moderate and vigorous activity.

Do strength training exercises for all major muscle groups at least two times a week.

Moderate aerobic activity includes:

Walking fast

Water aerobics

Bicycling on mostly level ground

Pushing a lawn mower

Vigorous aerobic activity includes:

Running

Swimming laps

Fast bicycling or biking hills

Playing basketball or soccer

Playing singles tennis

Muscle-strengthening exercises include:

Lifting weights or using resistance bands

Calisthenics that use body weight for resistance

Heavy gardening or yardwork

Monitor your progress

Keep track of your progress in improving your fitness. Take the same measurements about six weeks after you begin an exercise program and periodically afterward.

Each time you repeat your assessment, celebrate your progress and adjust your fitness goals accordingly. Share your results with your doctor or personal trainer for additional guidance.

Get the latest health advice from Mayo Clinic delivered to your inbox.

Sign up for free, and stay up-to-date on research advancements, health tips and current health topics, like COVID-19, plus expert advice on managing your health.

Email field is required

Include a valid email address

Learn more about our use of data

To provide you with the most relevant and helpful information and to understand which information is beneficial, we may combine your e-mail and website usage information with other information we have about you. If you are a Mayo Clinic Patient, this could include Protected Health Information (PHI). If we combine this information with your PHI, we will treat all of that information as PHI, and will only use or disclose that information as set forth in our notice of privacy practices. You may opt-out of e-mail communications at any time by clicking on the Unsubscribe link in the e-mail.

Thank you for Subscribing

Our Housecall e-newsletter will keep you up-to-date on the latest health information.

We're sorry! Our system isn't working. Please try again.

Something went wrong on our side, please try again.

Show references

1. Know your target heart rates for exercise, losing weight and health. American Heart Association. https://www.heart.org/en/healthy-living/fitness/fitness-basics/target-heart-rates. Accessed Aug. 21, 2019.

2. Physical Activity Guidelines for Americans. 2nd ed. U.S. Department of Health and Human Services. https://health.gov/paguidelines/second-edition. Accessed Aug. 20, 2019.

3. AskMayoExpert. Physical activity (adult). Mayo Foundation for Medical Education and Research; 2019.

4. Assessing your weight and health risk. National Heart, Lung, and Blood Institute. https://www.nhlbi.nih.gov/health/educational/lose_wt/risk.htm. Accessed Aug. 20, 2019.

5. About adult BMI. Centers for Disease Control and Prevention. https://www.cdc.gov/healthyweight/assessing/bmi/adult_bmi/index.html. Accessed Aug. 20, 2019.

6. Riebe D, et al., eds. Health-related physical fitness testing and interpretation. In: ACSM's Guidelines for Exercise Testing and Prescription. 10th ed. Wolters Kluwer Health Lippincott Williams & Wilkins; 2018.

7. Physical Fitness Assessments and Norms for Adults and Law Enforcement. The Cooper Institute; 2013.

See more In-depth

# data[].attributes.attachment_link.title
Measure your fitness level with these simple tests

# data[].attributes.attachment_link.description
Ready to start a fitness program? Measure your fitness level with a few simple tests. Then use the results to set fitness goals and track your progress. By Mayo Clinic Staff You probably have some idea of how fit you are. But knowing the specifics can help you set realistic fitness goals, monitor your progress and maintain your motivation.

# data[].attributes.attachment_link.readable_text
Been hitting the gym on a consistent basis for quite some time now but don't practise any particular sport to find out just how much all your hard work has paid off? Don't fret, attempt the six fitness tests outlined below to test just how far you've come and how well your fitness stacks up against your average Joe.

What it targets: Your core strength

How to do it: Hold your body in a straight line from head to heels. Keep your feet together and your elbows beneath your shoulders. Look straight down and brace for as long as you can. Focus on keeping your hips from sagging. When they do the test is over.

To improve: Perform the plank with your hands, feet or both on an unstable surface such as a gym ball. You won't be able to hold it for long, but it'll make doing this test on stable ground easier.
RECOMMENDED: Try the Side Plank
Bodyweight squat

What it targets: Your core, quad and hamstring strength

How to do it: Keep your feet shoulder-width apart and toes turned out slightly. Brace your core and lower until your thighs are parallel to the floor and your knees are in line with your feet. Push back to the start through your heels. The test is over when you can't maintain perfect form.

To improve: Perform walking lunges with light dumb-bells to build muscular strength in your glutes and legs.
RECOMMENDED: The Jockey Fitness Test
What it targets: Your chest, shoulder and triceps strength

How to do it: Keep your body in a straight line and your elbows pointing back, not to the sides. Lower until your chest is a fist's height off the floor, then push back up. The test is over when you can't maintain perfect form.

To improve: Complete a set to failure, rest for a few minutes and start again. This will overload the targeted muscles, making them grow stronger.

1km run

What it targets: Your cardiovascular system

How to do it: Set the treadmill elevation to one degree. Keep a constant pace.

To improve: Do sets of all-out sprints of between 500m and 800m to improve your ability to maintain a maximum speed for longer.

500m row

What it targets: Your cardiovascular system and muscle co-ordination between the upper and lower body

How to do it: On a Concept2 rowing machine, select level ten resistance. Sit upright with your shoulders back and core braced. Drive with your legs.

To improve: Perform sets of max- effort 250m rows, separated by a few minutes of gentle rowing, to improve your endurance.

What it targets: Your upper back strength

How to do it: Grip the bar overhand, extend your arms fully and let your body hang. Pull up until your chin is over the bar, squeezing your lats. Lower again without swinging. The test is over when you can't maintain perfect form.

To improve: Do a max set, rest for a few minutes and repeat. Try lat pull-downs on a machine to build back strength.

# data[].attributes.attachment_link.description
Been hitting the gym on a consistent basis for quite some time now but don't practise any particular sport to find out just how much all your hard work has paid off? Don't fret, attempt the six fitness tests outlined below to test just how far you've come and how well your fitness stacks up against your average Joe.

# data[].attributes.attachment_link.readable_text
Remember when you were a kid and you kept a diary next to your bed and wrote down everything you did and thought about that day? Those childhood habits were actually great training for what you should be doing as an actor. Tracking every meeting and audition is a good habit to get into.

I've been preaching this to my classes and my coaching clients for years now. They always come back to thank me and point out that this one thing has changed their perspectives on their careers. Sometimes what you do as an actor-the prep, the auditions, the sheer tenacity you apply to your career to get an acting job-can be an intangible thing when you don't actually get the job and effectively have nothing to show. But, like I always say, "This is not a sprint; it's a marathon." So much effort goes into getting the job that keeping a diary or a journal of all your auditions will help you see your progress in black and white.

I suggest you keep a notebook and write down every meeting and audition you have. List the people you've met and their positions, the project, the role, what you wore, and what choices you made for your audition. Take short notes on what you discussed if you got into a chat with the director. When it starts getting busy during pilot season and you're going on several auditions each week (and hopefully getting callbacks), it'll be great to know exactly what you did on each audition that got you back in the room a second time.

You're going to have a long and busy career, and you will probably have a few different people represent you along the way. When you start a new relationship with an agent or manager, wouldn't it be great if you could give him or her some actual tools to help you? You can sit down in your initial meeting and give a list of people who are your fans, casting directors who consistently bring you back, and those to whom you need an introduction. This way you can plan a strategy for which rooms you need to get into.

Actor friend William Mapother goes a step further, using an Excel spreadsheet. "I keep an auditions spreadsheet in Excel. It has six columns: CD, Date, Project, Role (character name), Type (feature, pilot, recurring, guest), and Studio/Co./Network," he says. "I use Excel because it allows me to easily sort the data to see how many times I've seen a CD or to see how many appointments I've had over any period of time."

Here's the part I love: "When I book a job I change the font in that row to red. Also, once I book via a CD, I make that CD's name red throughout the document."

Continuing, Mapother says, "I also keep another Excel spreadsheet in which I note lessons I've learned in various areas and make notes to avoid recommitting horrendous blunders. I've noted when circumstances before an audition have helped or hurt me-being hungry, working out, interacting with other actors who are waiting. The purpose is to experiment and identify what helps me. Another lesson came not from my experiences but from reading. One of Pixar's rules: Errors are inevitable, so make them ASAP. Experiment early. I noted this in my lessons as 'Be wrong as quickly as you can.' "
Known for her work in film and television, Casting Director Marci Liroff has worked with some of the most successful directors in the world such as Steven Spielberg, Ridley Scott, Mark Waters, Christopher Nolan, Brad Bird, and Herbert Ross. While working at Fenton-Feinberg Casting, she, along with Mike Fenton, cast such films as "A Christmas Story," "Poltergeist," "E.T. - The Extra Terrestrial," "Indiana Jones and the Temple of Doom," and "Blade Runner." After establishing her own casting company in 1983, Liroff cast "Footloose," "St. Elmo's Fire," "Pretty in Pink," "The Iron Giant," "The Spitfire Grill," "Untamed Heart," "Freaky Friday," "Mean Girls," "Ghosts of Girlfriends Past," "Mr. Popper's Penguins" and the upcoming "The Sublime and Beautiful," which she produced as well. Liroff is also an acting coach, and her three-night Audition Bootcamp has empowered actors to view the audition process in a new light. The class spawned a , which features the highlights of the Audition Bootcamp classes.
What did you think of this story?
Leave a Facebook Comment:

# data[].attributes.attachment_link.keywords[]
auditions | casting calls | open casting calls | casting call | open casting call

# data[].attributes.attachment_link.title
How Keeping a Diary Can Help You Book the Job

# data[].attributes.attachment_link.description
List the people you've met and their positions, the project, the role, what you wore, and what choices you made for your audition. Take short notes on what you discussed if you got into a chat with the director.

# data[].attributes.attachment_link.readable_text
"When planning drama experiences teachers should provide students with many opportunities for reflection and self-evaluation. Through reflection students may extend and clarify their understanding of dramatic art form and topics they choose to explore. They may also assess their own contributions to the drama work and their ability to work with others." ~ Curriculum Requirements, Saskatchewan Education.
Journaling is a vital part of the drama classroom. The journal gives students the opportunity to self-reflect and self-evaluate, and to practice assessing and evaluating others. Not only are these elements essential to the classroom, they also help students build real world skills. The ability to evaluate what you do and what others do in a constructive manner is incredibly useful in every walk of life.

What happens in performance is rarely the only area where learning has occurred in the drama class. What goes on in rehearsal, what happens between actors, how problems arise and are solved, these are all elements which can't be quantified in a final product. Journaling provides a way for students to record, monitor and reflect on these learning areas.

It's good for students to have a place to generate and gather source material for written work. The journal can be used to brainstorm, to jot down ideas, to work out creative possibilities. The majority of drama classes will include some kind of writing project and the journal is one way to keep create thoughts collected in one area.

The drama journal is the place to:

Assess and Evaluate.

Respond and Reflect.

Create and Brainstorm.

Offer suggestions, ask questions.

Record thoughts and concerns

Discuss the positive and the negative.

What should go into a drama journal?

Questions and answers.

Reflection on a particular exercise or class.

Assessment/Evaluation of a student's own work and the work of others.

The tracking of personal growth.

The addressing of challenges and possible solutions.

Expectations and goals.

Ideas/Research for an upcoming piece.

Character work for a scene.

Reaction to a performance.

A record of achievements and areas of improvement.

What should stay out of a drama journal?

A journal is not a diary. It is a classroom tool. It's easy for students to misunderstand the purpose of the drama journal. It can often be mistaken for a diary, which is not its intended purpose. Personal response and reflection is different than writing in a personal diary or having a personal emotional outburst. It's one thing to criticize yourself or a fellow performer. It's another to critique a performance, providing reasons for your opinion and offering suggestions of improvement. It is in this way that journaling is a learning tool and an opportunity to improve a skill.

If you cannot increase reflective power in people, you might as well NOT teach, because reflection is the only thing in the long run that teaches anybody. Reflection is what makes the knowing something that can be touched on and assimilated for further use. ~Dorothy Heathcote
See the end of the post for a PDF Journal Topic Guide, with suggestions for each topic area!
Personal Reflection

This area has students consider who they are as human beings, where they would like to change and grow, and how they see their place in the world. It is a reflection of the self. Encourage the use of collage, drawings, or other tools to form personal reflection journal entries. They do not necessarily have to be written. Some students respond to visual rather than written mediums.

Drama Reflection

This area has students consider their personal views on theatre and drama. It offers students the opportunity to define why they are in the class, what expectations they have, and what they would like to learn. This is something that would be well suited to the beginning of the term and then answered again at the end. Have students note any changes in their answers.

Extra Tip: Create a skills checklist that students can keep in their journal. A list of the skills that they are expected to learn throughout the class. Have them refer to it once a month. What new skills have been checked off? Have students reflect on how far they've come in class, and if nothing new has been checked off why is that?

Critical Reflection

This area has students consider their own work (rehearsal and performance self-evaluation) as well as examine the work of others. Critical reflection deals with assessment and evaluation. Critical Reflection is the hardest and the most important. Student can easily fall into being critical of themselves and their peers which is not the point. It's also easy to resort to "I liked it. I didn't like it." These are not helpful statements. Seeing your own work and the work of others with a critical eye encourages students to ask questions, to draw conclusions based on what they see, and to offer suggestions for the future.

Critical Reflection Exercise: When students are working in a group, make it the responsibility of one person (which will change from rehearsal to rehearsal) to write a critical reflection of the rehearsal.

How is the scene progressing?

How is the group working together?

Is there one leader, or does everyone participate?

What has changed since the last rehearsal?

A comment for each actor in the group.

Creative Work

This area has students brainstorming ideas, completing warm up exercises, writing monologues, or using sentence starter prompts to get the creative juices going.

Journal entries should use complete sentences unless otherwise specified (e.g. a collage). Every journal entry should start with the date. A standard length should be between 200 and 300 words.

In terms of content, the purpose of journal entries is to show the teacher that the student understands and is able to comment thoughtfully on a specific experience. The aim of the student is to demonstrate a skill - whether it be assessment, reflection, or creative brainstorming. To use the journal as a personal outburst or diatribe is inappropriate. To say I don't know, I don't understand, or I have no answer is inappropriate, unless there is follow up explanation for the confusion. There is always an answer when it comes to personal reflection because there is always a personal point of view.

How do I get students to avoid one word answers in their journals?

To make the most of a journal entry, there has to be more than, "This was good, this was bad, I don't know what I learned." There has to be an effort. Having said that, some students don't know where to start and thus offer shortened answers simply because they have never had to write in this manner before.

To encourage a fully realized response, journal entries can follow two templates:

The WHAT of the situation followed by the WHY.

If a question asks students to give their opinion (WHAT struck you about the performance of Group A?) they must follow up their opinion with reasons WHY. This way, students can practice moving beyond simply criticizing what they see, because they have to back up their opinion. Students should be aware that the WHY is the most important part of the answer because it shows thought and consideration.

A second template is:

The WHAT of the situation, followed by the HOW.

The HOW portion of the answer allows students to break down experiences beyond blanket statements. It's more than, "I acted in a scene." Students have to consider how they approached the character, how they worked in their group, how they came up with the blocking. Here are some WHAT/HOW examples:

What exercise did you do?/ How did you approach it?

What was the audience response?/ How would you evaluate your work?

What can you change for next time?/ How can the exercise change?

What was the outcome of the exercise?/ How can you improve?

What did you learn? / How will this apply to future exercises?

What did you dislike about the exercise/ How can you improve the experience for yourself?

What was it like to work with your group?/ How well do you work with other people?

Assessment is the process of gathering information from a variety of sources (including assignments, day-to-day observations, conversations or conferences, demonstrations, projects, performances, and tests) that accurately reflects how well a student is achieving the curriculum expectations in a subject. As part of assessment, teachers provide students with descriptive feedback that guides their efforts towards improvement. Evaluation refers to the process of judging the quality of student work on the basis of established criteria, and assigning a value to represent that quality. ~ The Ontario Curriculum, Arts

What is the difference between Evaluation and Assessment?

These are two words that tend to get bandied about quite a bit. Sometimes the line between the two can get blurred. It's important for students to know the difference so that when they can respond accordingly.

Assessment: This is an ongoing gathering of information which can help the student improve.

For example, assessment would occur during the rehearsal period where students would reflect on the various elements that went into their process during that time - character development, ensemble dynamics, script analysis. Assessment would not address the quality of the performance, but what led to the performance. Sample work might include a character profile, or a question and answer sheet about the themes of the play, or a journal entry about a rehearsal discovery. With assessment there is also consideration of improvements for future work.

Evaluation: This occurs at the end of a project where a definitive mark or grade is given.

For example the evaluation of a performance. With evaluation there is no reference to what could be done in the future, only a decision on the quality of performance on the day.

The importance of having students practice both assessment and evaluation is that it helps avoid the trap of, "that was good" and "that was bad" with no tracking of the work that led up to that declaration. Students can learn to separate out the various elements that go into the larger picture of a finished product.

You know your students best. You know if the act of old fashioned pen and paper writing in a notebook will inspire or repel them. Maybe they make videos instead. Maybe they create collages. Maybe they use Tumblr. The form of the journal is not as important as the act. The act of self-expression, creative expression, self-evaluation and peer-evaluation is what matters. The act of journaling is a skill that will serve your students for years to come.
Click here for a PDF download of a Drama Journal Topic Guide

# data[].attributes.attachment_link.description
"When planning drama experiences teachers should provide students with many opportunities for reflection and self-evaluation. Through reflection students may extend and clarify their understanding of dramatic art form and topics they choose to explore. They may also assess their own contributions to the drama work and their ability to work with others."

# data[].attributes.attachment_link.readable_text
In the Young Vic's Clare studio, about 30 women are on stage dancing. None of them are professional performers. They're carers, all of them. Some are young, some old, some black, some white. Some are full-time carers, some part-time, but all of them are unpaid, save for a weekly carer's allowance of £61.35, and all of them live locally. Today, all of them are dancing on stage at the Young Vic under a burst of golden confetti.

Their dancing isn't particularly polished. The choreography is simple and the execution is rough round the edges, a little syncopated here and there. There's the odd misstep and the occasional missed beat. It is not, in other words, what you'd ordinarily expect from a theatre like the Young Vic, where world-class artists and actors routinely tread the boards. In the main space, next door, Janie Dee, Dominic Rowan and Ashley Zhangazha are performing Eugene O'Neill's comedy Ah, Wilderness!

Well, hurrah for that, I say. For too long, participation and outreach work has been deemed distinct - secondary, even - to a theatre's main programme of work. It has been self-contained and kept separate: managed by its own administrative teams, conducted by specialists and held at one remove from the work the public gets to see.

That is changing. Participatory work is becoming increasingly integrated. More and more, you'll find it presented in-house, alongside professional shows, not simply as an added extra or an aside, as something that happens elsewhere, in local communities or behind closed doors.

Each year, the Young Vic runs a series of parallel productions, in which non-professionals make work in response to its main stage shows. The carers performing in the Clare had seen Natalie Abrahami's production of Happy Days next door. Made with the director Laura Keefe, Turning a Little Further likened their day-to-day experiences, always tied down by their responsibilities, to Winnie's situation, buried up to her neck in sand. They ran through all the things that kept them going - their own happy days.

Sometimes these productions are simply a matter of handing the same material over to others, meaning that the Young Vic ran two concurrent versions of The Scottsboro Boys and A Streetcar Named Desire last year, with pros and with young people. Elsewhere, it might be a new play written in tandem, as with Anna Beecher's The Surplus, which jumped off from Golem. In each case, the end result is a piece of art in its own right, playing on a Young Vic stage.

The National has a similar response to Light Shining in Buckinghamshire programmed in the Dorfman this month, while its temporary theatre is hosting Islington Community Theatre in July. The Sheffield Crucible is working with Slung Low on a large-scale community show Camelot: The Shining City that will deploy a cast of 150 around the city centre, while in Manchester, Home will use a community chorus in its production of the Oresteia, as National Theatre Wales did for its Mother Courage in Merthyr Tydfil Labour Club.

All this represents newfound joined-up thinking. "It's more than creating a show with carers," Imogen Brodie director of Taking Part at the Young Vic, says of Turning a Little Further. "It's more than Happy Days existing here on its own. It's actually a dialogue between those two things. How do the plays that we present here connect to people in a really profound way?"

Outreach departments blossomed under New Labour. In order to increase arts funding, the Blair government relied on an instrumentalist argument, pushing the arts to prove their social worth. Widening access became an end in itself, rightly so, but it also left a schism at the heart of many organisations: art on the one hand, outreach on the other.

"Funders and the organisations they funded had a choice," writes Robert Hewison in Cultural Capital, his book about arts policy since New Labour came to power. "They could expand their current programmes and adopt new ones aimed at 'outreach,' or they could fundamentally change the way they worked. For the most part, they preferred the former course."

In other words, while outreach departments upped the inclusivity stats, doing their thing in isolation, artists reaped the benefit of additional funding and largely carried on as they were - a case of never the twain shall meet. However, by the time coalition cuts came into play, that left outreach departments isolated and vulnerable. In 2012, after losing its local authority funding, Hampstead Theatre dropped its creative learning department.

Belatedly, the two are being woven together - ironically in part as a result of funding cuts, both in theatre and beyond it. Theatres are becoming increasingly conscious of their civic role, as well as their artistic one, and squishing outreach and output together recognises both.

Only last week Battersea Arts Centre announced its new mission - no longer 'to invent the future of theatre', but a more rounded, community-focused aim.

"Our definition of theatre and what it can achieve has become much broader," wrote artistic director David Jubb. "Battersea Arts Centre's new mission recognises that we not only make theatre but that we use it to create change. It recognises that we are not only an arts organisation, we are also a learning organisation and a social change organisation."

All this is good for everyone concerned. It takes participation seriously, placing it more on a par with professional work and bringing participants into an organisation, rather than going out to them. It makes for a genuine exchange and it becomes an invitation. It lets participants feel better able to come back.

Brodie tells me a story about a young man waiting to see The Scottsboro Boys in the West End. A man asked him why he'd come. "It's my theatre," he replied. The man was David Lan, the Young Vic's artistic director.

There's a tendency to think of outreach work as being of lesser quality, as something worth shielding from audiences (or maybe shielding audiences from it?) However, the reality is that it works to an entirely alternative set of standards, with a different balance between process and product, between participants and audience.

However, for a good process to happen it still needs to aspire towards quality. Bringing the results in-house, presenting them as such, can only be a good thing. Besides, audiences are also increasingly used to seeing real life on stage, be it verbatim or Rimini Protokol-style testimonial work.

It works for emerging artists, too, as a showcase for young directors and designers, who get an opportunity to work in-house at a major venue without the usual pressures of a paying audience. It's a particular challenge for them as well, since working with non-professionals requires a different skillset and clarity of communication.

Ethically, too, one's practice shifts - in a way that could, over time, have far-reaching consequences. Working with participants requires an additional level of care in the rehearsal room, but it can also instil theatremakers with a wider sense of purpose, one that runs beyond their own emergence and development.

That can only bode well for the theatre of tomorrow. The more central we make participation, the more we embed theatres (and theatre) into community, the more necessary the art form becomes.

# data[].attributes.attachment_link.title
Matt Trueman: Outreach theatre is finally coming of age | Features | The Stage

# data[].attributes.attachment_link.description
In the Young Vic's Clare studio, about 30 women are on stage dancing. None of them are professional performers. They're carers, all of them. Some are young, some old, some black, some white. Some are full-time carers, some part-time, but all of them are unpaid, save for a weekly carer's allowance of £61.35, and all of them live locally.

# data[].attributes.attachment_link.description
"It's hard to find words to explain the magic of Bare Bones - it's certainly no ordinary drama club - the kids are given freedom and encouragement to explore their imaginations, every idea is grasped and grown and built into something special."

# data[].attributes.body
Regret

# data[].attributes.body
Old

# data[].attributes.body
What methods do you use if some of your students are misbehaving?

I give each of my students a warming and if I feel like they have missed behaved after me having a work with them then I will have a conversation with there gaiden.

How many students will there be in my class?

You will have around 23 students that will turn up to your session.

Where will my sessions take place?

Your sessions will take place in large hall at the Lichfield community centre.

How long will I be teaching my sessions for and what time will they beggin?

You will be teaching for 1-2 hours and your session will start at 5:30 and end at 7:30.

Is there anything that you would like me to teach in particular?

Yes I would mainly like you teach my students skills and techniques to help them develop as all round performers.

# data[].attributes.body
They are very keen to learn especially the younger ones.

Listen well to instructions and putting effort into what they have been asked to do

I noticed that some find it harder than others to pick up routines especial the children under 10.

In Between instructions the class is quite chatty

Flexibility could be improved

A lot of the girls and boys find it hard to improvise

Facial expressions aren't being used when performing

I asked the class what they wanted to learn and 9 of the girls agreed that they would like to learn audition techniques as they have auditions for BOA coming up, so this could something that I included in my sessions.

Some of the older girls wanted to learn different styles of performing as well as learning techniques.

# data[].attributes.body
Date: 29th February 2018

Dear Sir or Madam

Dance in Education/Outreach Drama

I am currently studying acting Level 4 Higher National at Burton and South Derbyshire College and I am required to carry out a teaching placement with in a community drama setting as part of my unit Outreach drama.

I would like to Do my 20-hour placement at Team Catalyst International as I think that I could teach the children something new. I have had previous experience working with child such as being a child's entertainer at Drayton Manor Theme park. I have also had experience teaching and leading workshops to children within acting, dancing and singing. Within this placement I will do 20 hours of leading workshops that will help develop the children's skills such as confidence, momentum and physicality as well also improving there Maths and English skills.

If you could please contact me by mobile: 07773189756 or email: Nicole99.James@gmail.com

Much appreciated,

Nicole James.

# data[].attributes.attachment_link.title
Microsoft OneDrive - Access files anywhere. Create docs with free Office Online.

# data[].attributes.attachment_link.description
Store photos and docs online. Access them from any PC, Mac or phone. Create and work together on Word, Excel or PowerPoint documents.

# data[].attributes.body
sadness

# data[].attributes.body
Friendship

# data[].attributes.body
Famous

# data[].attributes.body
Fight

# data[].attributes.body
crazy