• Open Call - where anyone can audition. no previous experience is needed

• Panel Audition - where a panel of people sit and audition you, often the directors and casting directors

• Cold Readings - where you are given or scene on the spot, usually read with another actor

• Callbacks - after the first audition, your invited back to test chemistry and to finalise casting

• Workshops/ R&D - where you would workshop a new script and the casting directors could watch you in action.

• Group auditions - you would be called in with a group of people so the directors can see how you work with other people and understand you in a working environment.

WHAT MAKES A GOOD AUDITION?

• know your material and your lines. if its a monologue, have it memorised with clear choices of emotions and intention.

• do your homework. if the audition material is adapted from a book, read the book. and if you have time, read the play.

• make strong choices. put yourself out there and show the panel a clear point of view of your character.

WHAT ARE CASTING DIRECTORS LOOKING FOR?

• they normally aren’t just looking for the best in the room, while talent is a big deal, so is the way you present yourself as a person.

• respect and kindness towards others, it costs nothing to be a good person. if you aren’t a nice person to be around then casting directors aren’t going to want to work with you.

• strong choices and showing confidence in these choices. intent is everything.

• positive attitude. if it comes across that you don’t want to be there then why would anyone cast you.

HOW SHOULD YOU PREPARE?

• don’t just memorise the script, understand the story, the relationships and the context.

• analysis the monologue to gain understanding on the character. who am i? where am i? what do i want? ect.

• try different choices. play around with tone pace and emotion so your not restricted to performing it in one way only.

HOW CAN NERVES BE MANAGED?

• prepare properly, the better you know your material the less likely you are to mess up.

• visualise success, picture yourself walking in confidently, acing your monologue and leaving proud of yourself.

• reframe nervous thinking. instead of thinking “I’m really scared” try thinking “I’m super excited”

• don’t doubt yourself. the more you think about it going wrong, the more likely it will go wrong. manifest your own success.

WHAT SHOULD YOU AVOID?

• don’t be late. shows your unreliable before you even start your audition.

• don’t look unprepared. if you walk in looking unsure, the panel wont have much faith in you.

• dress appropriately, not according to the character but an appropriate attire for an audition. not too much but enough to showcase some personality.

• NEVER APOLOGISE! 90% of the time the panel wont be reading along with you so if you mess up, play it off and make it look intentional.

WHAT TO DO IF YOU MAKE A MISTAKE?

• keep going, 90% of the time the panel wont be reading along with you so if you mess up, play it off and make it look intentional.

• stay in character, make the mistake look like a character choice.

Mickey Johnstone, around his late 30s, is a working class man with a twin brother called Eddie who was raised completely opposite from Mickey. Eddie is a middle class man with a stable income and in Mickeys eyes, zero struggles. Mickey had been in and out of jail and lost his job prior to this monologue. Mickey can be fiery and aggressive but his past allows the character to show more depth than just anger.

WHERE AM I?

this monologue is set outside, on the street near his home. Mickey is back in his rough estate, frustrated that he cant get work. While Eddie is living comfortably somewhere else. The location of this scene acts as a reminder to Mickey if where he has come from and the struggles he has had to face without Eddie.

WHEN IS THIS HAPPENING?

There arent scene numbers in blood brothers so its half way through act 2. Act 2 is set in the late 70s to 80s.

WHAT DO I WANT?

To make Eddie realise the privilege his life holds and that Mickey doesn’t ever get to experience that. The contrast of their lives aggravates Mickey.

WHY DO I WANT IT?

Mickey feels that life has dealt him a different hand of cards to Eddie, leaving Mickey feel somewhat humiliated. Mickey wants to understand why his life is so unfortunate compared to Eddie to almost feel closure .

WHAT DO I DO TO TRY TO GET IT?

Mickey confronts Eddie and expresses the way he feels and has been feeling for a long time.

Stanislavski was known for creating the Stanislavski system or method. which is an acting technique that emphasises realism and authentic emotional expression to help actors “live” their role rather than just perform it. This system consists of exercises designed to bring out emotional expression and believable action.

Key components include The Magic “If”: answering the seven questions of “Who am I? Where am I? When is it? What do I want? Why do I want it? How will I get it? What do I need to overcome?” another key component is emotional recall. Which is using personal experience and memories to connect with and express the emotional state of your character.

The Stanislavski system is important because it lifted acting from a surface level style to more of a emotionally realism style. thus forming the foundation of modern acting training emphasising the importance of deep character analysis, genuine emotional expression and truthful interaction within the suitable context.

• Orlando, the hero of As You Like It, a noble yet uneducated young man who is mistreated by his cruel brother, Oliver. He is characterised by his goodness shown by his care for the aging Adam and when he saves Oliver’s life from a lioness. Orlando feels anger towards his brother because he treats him like one of his slaves and not a brother.

WHERE AM I?

• this monologue takes place on Oliver’s land in his estate. this scene is normally set under a tree, or on a bench or on the grass. Orlando is ranting to Adam about Oliver mistreating him.

WHEN IS THIS HAPPENING?

• this monologue takes place at the very start of the play in act 1 scene 1

WHAT DO I WANT?

• Orlando wants respect and recognition because he feels cheated by his brother. as the son of a noble man he expects to be treated as a gentleman but instead is treated like a farmhand. he also wants education. he sees his brother jaques at school and doing well and wants that opportunity for himself.

WHY DO I WANT IT?

• he wants it because of his father’s legacy. his father was a well respected noble man and Orlando feels he has the same noble spirit inside him. to be denied education is not just unfair, its an insult to his father’s memory.

WHAT DO I DO TO TRY AND GET IT?

• he vents to Adam and pours out his frustration to someone he trusts. its his first step of claiming his own voice. he also compares himself to his brothers. how Jaques goes to school and Oliver’s horses are treated better than him.

dear diary, i’m struggling if i’m being honest. i haven’t been out of prison long and the only thing that makes me feels something apart from anger is them stupid fucking pills me doctor prescribed me. and i know i shouldn’t enjoy taking them but i do, i can function if i don’t. and im so fucking sick of eddie acting all high and mighty just cus hes had a better life than me. telling me i need to seek help and that what im doing aint good for me like he’d have a fucking clue whats good for me. i just wan him to understand that we are completely different and we will never be the same. he cant understand my experiences in life cus his were so fucking different. and maybe if he wasnt such a bellend maybe he would be able to grasp that but hes just so oblivious to everyone around him apart from himself. and linda wont piss off either? its like their talking to eachother about me behind my back trying to “help” me but they dont understand that they just cant. its ironic ent it, theyd be perfect together. both nagging pricks. either way im sick of their shit an i ent putting up with it no more.

dear diary, i miss my father. so much so that it consumes my being. he was a nobleman, a respected one and his legacy lives on but only through my brother jaques and oliver. they get their good lives with their education and wealth and i get nothing but the crumbs off their plates and as much as my father left me in olivers care, im treated like a peasant. this isnt just insulting to me, its disrespectful to my fathers name. i should grow up to be just as respected as my father but i dont even get education. i cant take it any longer.

Whereas Stanisvlaski believed in using personal memories and experiences to relate to a character or scene, Adler believed in using the actor’s imagination and thorough text analysis to create an authentic and believable performance.

Adler believed that relying on personal experience could limit an actors depth. instead she encouraged actors to use their imagination to create their characters past and emotional situation. Adler, alike with Stanisvlaski, believed that actors should thoroughly analysis text and create the given circumstances for their character.

Shakespeare's reputation was established in 1592. it was around this time that he wrote his earliest works including Titus Andronicus. after the plague, Shakespeare and many other actors combined to form the lord chamberlains men and for almost 20 years Shakespeare was its regular dramatist, producing an average of 2 plays a year. from here his reputation skyrocketed and he rose to fame.