Hi All,
So, It's been exactly a year since I found out that I got onto the RADA foundation course. And I finished the course the end of March.
During the course of this wacky and wonderful year I've had my first play produced and put on in a London theatre, I've been ill; and been stupid in trying to hide it, cried and laughed (sometimes at the same time), got recalls for Drama School (but didn't receive any places) and have come back home to Manchester to see where my life is going to go now.
I don't know if I have many words to say, except that I'm sat in front of a pile of plays and audition advice guides, more determined than ever to fulfil my goals of becoming an actor. I guess I won't ever want to stop fighting for this dream, so if anything has taught me something about myself this year - no matter how low you feel, don't give up, because I know there's a light at the end of the tunnel.
I'll let you know if you have any queries about Drama School, I'll be as useful as I can.
Yours,
Terri ;D
Thursday, 15 June 2017
Friday, 3 February 2017
The story so far...
... Hello,
So currently I am sitting in the RADA library, wearing a corset that could easily be displayed in a Cath Kidson shop, having just finished our second big project of the foundation course. And there are only eight weeks left before I leave. I am a disgusting sweaty mess and I feel all the sugar in me melting into a fizzing ball of brilliance. If you do want to be an actor, go here, go RADA, because this - this is the best feeling in the world. And I am so glad that I am a stubborn twit would can't walk in a straight line, because it got me here. And that is all I can ask for.
#Boom
Yours truly,
Terri ;D
So currently I am sitting in the RADA library, wearing a corset that could easily be displayed in a Cath Kidson shop, having just finished our second big project of the foundation course. And there are only eight weeks left before I leave. I am a disgusting sweaty mess and I feel all the sugar in me melting into a fizzing ball of brilliance. If you do want to be an actor, go here, go RADA, because this - this is the best feeling in the world. And I am so glad that I am a stubborn twit would can't walk in a straight line, because it got me here. And that is all I can ask for.
#Boom
Yours truly,
Terri ;D
Sunday, 21 August 2016
Call out for help!
Hi All!
So I've got a month until my foundation year at RADA begins!!!
But I need help - as I will be applying next year to all the drama schools again, I was wondering what sort of thing the drama schools expect from applicants who have already done a foundation year? Also what do you take to drama school?? As I'm writing this I'm surrounded by all my clothes, textbooks and plays trying to decipher what - if anything - in this pile will help me for the months ahead.
Please help!
Terri ;D
So I've got a month until my foundation year at RADA begins!!!
But I need help - as I will be applying next year to all the drama schools again, I was wondering what sort of thing the drama schools expect from applicants who have already done a foundation year? Also what do you take to drama school?? As I'm writing this I'm surrounded by all my clothes, textbooks and plays trying to decipher what - if anything - in this pile will help me for the months ahead.
Please help!
Terri ;D
Tuesday, 14 June 2016
RADA baby!
Hello all,
Well I won't keep you waiting...
Yesterday afternoon - I got the call.
I'VE GOT A PLACE AT RADA!!!!!!!!!
It's for their foundation course and I am so excited I've already started packing and googling things I will need for it.
This journey (whilst only half done) has been long, emotionally draining and pull of the tremors that not knowing what is happening in your life next brings.
Out of the three years of applying, I've only ever had one recall - and it looks like sometimes one is all you need.
To those of you who are about to start this wonderful adventure of applying/auditioning for Drama school; my best advice would be to grab failure by the balls and persue your dream with all the passion and resilience you can muster. If people say you can't do it "That's impossible" "Barely anyone gets in" "you are not good enough". Well flip 'em one and keep going because that one little phone call yesterday makes all that worth the pain.
To you internet thespians - I send all my love and jazz hands to you.
Adios,
Terri ;D
Well I won't keep you waiting...
Yesterday afternoon - I got the call.
I'VE GOT A PLACE AT RADA!!!!!!!!!
It's for their foundation course and I am so excited I've already started packing and googling things I will need for it.
This journey (whilst only half done) has been long, emotionally draining and pull of the tremors that not knowing what is happening in your life next brings.
Out of the three years of applying, I've only ever had one recall - and it looks like sometimes one is all you need.
To those of you who are about to start this wonderful adventure of applying/auditioning for Drama school; my best advice would be to grab failure by the balls and persue your dream with all the passion and resilience you can muster. If people say you can't do it "That's impossible" "Barely anyone gets in" "you are not good enough". Well flip 'em one and keep going because that one little phone call yesterday makes all that worth the pain.
To you internet thespians - I send all my love and jazz hands to you.
Adios,
Terri ;D
Saturday, 27 February 2016
National Youth Theatre Casting audition
Hi all,
Whilst this is not a drama school audition, I know a lot you applying will also be looking at applying to the National Youth Theatre too so this is a little insight as to what you do when you become a member.
So my casting audition was at the Holloway Road studios; NYT's main London base for auditions and their offices. It is also the place where I did my intake audition so going back brought up a lot of memories.
The audition started at 10 am, and we all waited in a large studio in a group of about 80 members.
The casting panel then came in to welcome us all. They talked for a little of the various opportunities that we would be auditioning for during today (opportunities including the Rep Company). They then announced that the group would be split in half, if your name was called then you would be doing your monologue to them in the morning, the other half would be doing their movement workshop and then the music workshop; you would then swap in the afternoon. I was called in the list so I went upstairs to wait to be called in to do my monologue part of the audition. When it was my turn, I had a conversation with the guy doing the audition, he asked me general questions about what I was up to and how old was I. He then asked me what my monologue was (Sara from A Shop Selling Speech by Sabrina Mahfouz). I did it. It went well, but could have been a bit tighter. He sat me back down and asked me a few more questions. I then asked further about a few of the projects available and then finished the audition by confirming my availability for the summer.
Since I had a while to kill before the afternoon part of the audition, I got talking to a few people who had been members for a while, some of them had gone to Drama school so it was brilliant just talking to people who were interested in the same thing as you. That is the best thing about NYT; whatever your background or age, you can talk to anyone there and feel welcome.
Then came the swap in the afternoon. Firstly the Movement workshop. It was ran by Kaine who is the movement director on the Rep course and happened to be the guy who auditioned me for my intake course last year - so I knew I was in for a treat.
We first started with a few basic exercises - a name game, a clapping game and then filling the space and reacting to a few phrases to create moments in the space.
We then had to get into lines and follow some choreography which was utterly fantastic to do as everyone just went for it. We then had to find ways of making shapes using just more than one body and then we had to devise a scene in groups with a given scenario - using all the skills we had just learnt. It was exceptionally fun but very hard work.
Finally we had the Music workshop - firstly the Guy leading it sat us all down in a circle and got to tell him a little of our musical experience. I have to confess it was quite daunting when loads of people were saying that they were grade 8 in like 10 instruments but it seemed fine if you didn't play instruments. He then stood us up and we warmed up our voices with a few simple exercises. He then got us to match the key he was playing the piano and went round to listen to everyone's voices.
We then gathered round the piano and had to come up with a couple of lyrics to firstly a happy theme and then a sad theme. We then had to harmonise it and sing it all together. Finally we then split into smaller groups and had to come up with a scene that used singing and music as the main theatrical force of the piece. I have to say it. But I loved doing that part of the workshop. Now I'm not a singer but it was great to play and pretend to fall in love by singing is just so much fun.
We watched everyone's pieces back and it was brilliant to see such variety in the room.
We then got to leave the audition and I headed back home.
Whatever the outcome of that audition. I had a great time and it was just brilliant to do something with NYT again.
BTW hope everyone is enjoying their Drama School auditions!
Adios,
Terri ;D
Whilst this is not a drama school audition, I know a lot you applying will also be looking at applying to the National Youth Theatre too so this is a little insight as to what you do when you become a member.
So my casting audition was at the Holloway Road studios; NYT's main London base for auditions and their offices. It is also the place where I did my intake audition so going back brought up a lot of memories.
The audition started at 10 am, and we all waited in a large studio in a group of about 80 members.
The casting panel then came in to welcome us all. They talked for a little of the various opportunities that we would be auditioning for during today (opportunities including the Rep Company). They then announced that the group would be split in half, if your name was called then you would be doing your monologue to them in the morning, the other half would be doing their movement workshop and then the music workshop; you would then swap in the afternoon. I was called in the list so I went upstairs to wait to be called in to do my monologue part of the audition. When it was my turn, I had a conversation with the guy doing the audition, he asked me general questions about what I was up to and how old was I. He then asked me what my monologue was (Sara from A Shop Selling Speech by Sabrina Mahfouz). I did it. It went well, but could have been a bit tighter. He sat me back down and asked me a few more questions. I then asked further about a few of the projects available and then finished the audition by confirming my availability for the summer.
Since I had a while to kill before the afternoon part of the audition, I got talking to a few people who had been members for a while, some of them had gone to Drama school so it was brilliant just talking to people who were interested in the same thing as you. That is the best thing about NYT; whatever your background or age, you can talk to anyone there and feel welcome.
Then came the swap in the afternoon. Firstly the Movement workshop. It was ran by Kaine who is the movement director on the Rep course and happened to be the guy who auditioned me for my intake course last year - so I knew I was in for a treat.
We first started with a few basic exercises - a name game, a clapping game and then filling the space and reacting to a few phrases to create moments in the space.
We then had to get into lines and follow some choreography which was utterly fantastic to do as everyone just went for it. We then had to find ways of making shapes using just more than one body and then we had to devise a scene in groups with a given scenario - using all the skills we had just learnt. It was exceptionally fun but very hard work.
Finally we had the Music workshop - firstly the Guy leading it sat us all down in a circle and got to tell him a little of our musical experience. I have to confess it was quite daunting when loads of people were saying that they were grade 8 in like 10 instruments but it seemed fine if you didn't play instruments. He then stood us up and we warmed up our voices with a few simple exercises. He then got us to match the key he was playing the piano and went round to listen to everyone's voices.
We then gathered round the piano and had to come up with a couple of lyrics to firstly a happy theme and then a sad theme. We then had to harmonise it and sing it all together. Finally we then split into smaller groups and had to come up with a scene that used singing and music as the main theatrical force of the piece. I have to say it. But I loved doing that part of the workshop. Now I'm not a singer but it was great to play and pretend to fall in love by singing is just so much fun.
We watched everyone's pieces back and it was brilliant to see such variety in the room.
We then got to leave the audition and I headed back home.
Whatever the outcome of that audition. I had a great time and it was just brilliant to do something with NYT again.
BTW hope everyone is enjoying their Drama School auditions!
Adios,
Terri ;D
Thursday, 11 February 2016
Results are in...
Hello all,
So I've just walked through the door and found my RADA results letter.
So I opened it, assuming the worst, and...
I've been recalled for the Foundation course!!!!!
I have done a mad celebration dance and will now be scrambling to work harder on my peices to make sure that they are in tip top condition. Apparently they will send me more details at a later date,
and - as someone who hasn't been recalled anywhere before - this sort of news is very encouraging!
I'm now going to watch war and peace and eat sweets in celebration.
Adios,
Terri ;D
So I've just walked through the door and found my RADA results letter.
So I opened it, assuming the worst, and...
I've been recalled for the Foundation course!!!!!
I have done a mad celebration dance and will now be scrambling to work harder on my peices to make sure that they are in tip top condition. Apparently they will send me more details at a later date,
and - as someone who hasn't been recalled anywhere before - this sort of news is very encouraging!
I'm now going to watch war and peace and eat sweets in celebration.
Adios,
Terri ;D
Tuesday, 2 February 2016
RADA audition 2.0
Hi all,
So today I had my first audition of this Drama School system (or whatever you want to call it). And it just so happened to be RADA, one of my first choices.
Currently I'm coming down from the adrenaline rush I had doing it so it may take longer to string sentences together atm.
So I woke up far too early and ate breakfast before settling off to Manchester (where the audition was). I got there really early so I had time to limber up and talk to a few people who happened to have done NYT over the summer like me so that was nice talking to them.
They then called me in and told me their names (the man was called John) and shook my hand before sitting me down and asking the regular questions like what are you doing at the moment and asked me about NYT and a show I did with CYC that toured recently.
They then asked me to do my first two speeches which went quite well - if a little too fast perhaps with nerves.
The lady there then asked me to do my third speech as well and told me that she would probably stop me half way through. So I did it but she didn't stop me. Now with my third speech I hadn't practiced as much as the other two but I just did it with the truth that I was feeling. That speech went quite well too.
They then asked me to sit down again and asked me what actors am I a fan of, what theatre have I seen recently (both in London and locally) and where else am I applying to this year.
And then they told me I could leave.
Overall I feel happy about what I did today, whatever the circumstances of the results. Because I know that I did my best and I left the audition knowing that I had been given a fair opportunity to achieve my goals.
And now I'm eating cheesy garlic bread as a treat.
Adios,
Terri ;D
So today I had my first audition of this Drama School system (or whatever you want to call it). And it just so happened to be RADA, one of my first choices.
Currently I'm coming down from the adrenaline rush I had doing it so it may take longer to string sentences together atm.
So I woke up far too early and ate breakfast before settling off to Manchester (where the audition was). I got there really early so I had time to limber up and talk to a few people who happened to have done NYT over the summer like me so that was nice talking to them.
They then called me in and told me their names (the man was called John) and shook my hand before sitting me down and asking the regular questions like what are you doing at the moment and asked me about NYT and a show I did with CYC that toured recently.
They then asked me to do my first two speeches which went quite well - if a little too fast perhaps with nerves.
The lady there then asked me to do my third speech as well and told me that she would probably stop me half way through. So I did it but she didn't stop me. Now with my third speech I hadn't practiced as much as the other two but I just did it with the truth that I was feeling. That speech went quite well too.
They then asked me to sit down again and asked me what actors am I a fan of, what theatre have I seen recently (both in London and locally) and where else am I applying to this year.
And then they told me I could leave.
Overall I feel happy about what I did today, whatever the circumstances of the results. Because I know that I did my best and I left the audition knowing that I had been given a fair opportunity to achieve my goals.
And now I'm eating cheesy garlic bread as a treat.
Adios,
Terri ;D
Wednesday, 6 January 2016
The Game is on!
Hello all, and hellloo 2016!
As it's a new year, I've been hit with the knowledge that my auditions for Drama School are just around the corner.
Now since this is going to be my third attempt at cracking this theatre nut; I think I'm in a good position to let you lot know some stuff that I've learnt along the way...
1. Learn your lines - And more importantly, learn the right lines! I am an example of one of those idiots who failed to prep properly last year which is why I'm back to square one. I also heard from one girl that at her recall for Central, one of the lads had failed to learn the correct speech so they sent him packing. infront of everyone! Also the fact remains that if you know your lines you are going to be more confident than the guy gibbering in the corner over his script.
2. Read the play- This is so you actually know what you are talking about in the audition. I suspect that panels can detect the bullshitters a mile off.
3. When waiting for the audition, don't listen to the person who apparently knows everything and everyone in the business - I swear they are put there to make you even more nervous than it is physically possible. So don't listen to them (refer back to the point about the bulshitters for these humans).
4. Be yourself. - This is definitely something to consider for The National Youth Theatre auditions, from what I understand that if you bring you to both the role and the interview, then you are bringing your own truth to the situation; which frankly is what acting is about.
5.Breathe - You'll be surprised how easy it is to forget that necessary bodily function.
6. Be an active participant- Watch theatre, watch good quality films, read lots (I'd recommend Andy Johnson's Audition guide for great tips) and just be passionate about the industry you want to enter because it's a brilliant creative circus to be a part of.
7. Know why you are doing this- And be able to express this in words. Yes I know it seems impossible but sit yourself down, get pen to paper and keep scribbling until you've figured it out.
8. Keep pushing - This is tough, physically, emotionally. Just prep, prep real hard and try your hardest. And if you don't get it the first time then keep pushing, consider different strategies and/or different routes into this mad world. Just always know that if you know that if this is what you really want then keep going dude!
9. Play to your strengths- When picking monologues, read the audition advice carefully and go for peices which show off your strengths as an actor. Drama school is the place to experiment, the audition is a sample of what you can do so just say away from the crazy, hair raising experimental stuff that "stretches you".
^ Also do not pick a peice which mentions genitals or you pulling your hair out (I have seen both- both made a little part of me die with embarrassment inside).
10. Enjoy it! - You've paid to be there, you're doing something that you love, just go for it and enjoy the ride!
If you are curious about anything above then feel free to ask me about it in the comments section below.
Adios, oh and happy new year!
Terri ;D
P.S yes the title is a reference to Sherlock. Wasn't the last episode fabulous!
As it's a new year, I've been hit with the knowledge that my auditions for Drama School are just around the corner.
Now since this is going to be my third attempt at cracking this theatre nut; I think I'm in a good position to let you lot know some stuff that I've learnt along the way...
1. Learn your lines - And more importantly, learn the right lines! I am an example of one of those idiots who failed to prep properly last year which is why I'm back to square one. I also heard from one girl that at her recall for Central, one of the lads had failed to learn the correct speech so they sent him packing. infront of everyone! Also the fact remains that if you know your lines you are going to be more confident than the guy gibbering in the corner over his script.
2. Read the play- This is so you actually know what you are talking about in the audition. I suspect that panels can detect the bullshitters a mile off.
3. When waiting for the audition, don't listen to the person who apparently knows everything and everyone in the business - I swear they are put there to make you even more nervous than it is physically possible. So don't listen to them (refer back to the point about the bulshitters for these humans).
4. Be yourself. - This is definitely something to consider for The National Youth Theatre auditions, from what I understand that if you bring you to both the role and the interview, then you are bringing your own truth to the situation; which frankly is what acting is about.
5.Breathe - You'll be surprised how easy it is to forget that necessary bodily function.
6. Be an active participant- Watch theatre, watch good quality films, read lots (I'd recommend Andy Johnson's Audition guide for great tips) and just be passionate about the industry you want to enter because it's a brilliant creative circus to be a part of.
7. Know why you are doing this- And be able to express this in words. Yes I know it seems impossible but sit yourself down, get pen to paper and keep scribbling until you've figured it out.
8. Keep pushing - This is tough, physically, emotionally. Just prep, prep real hard and try your hardest. And if you don't get it the first time then keep pushing, consider different strategies and/or different routes into this mad world. Just always know that if you know that if this is what you really want then keep going dude!
9. Play to your strengths- When picking monologues, read the audition advice carefully and go for peices which show off your strengths as an actor. Drama school is the place to experiment, the audition is a sample of what you can do so just say away from the crazy, hair raising experimental stuff that "stretches you".
^ Also do not pick a peice which mentions genitals or you pulling your hair out (I have seen both- both made a little part of me die with embarrassment inside).
10. Enjoy it! - You've paid to be there, you're doing something that you love, just go for it and enjoy the ride!
If you are curious about anything above then feel free to ask me about it in the comments section below.
Adios, oh and happy new year!
Terri ;D
P.S yes the title is a reference to Sherlock. Wasn't the last episode fabulous!
Friday, 23 October 2015
And so it begins (again)
Hello all!
Blimely I haven't written in a while, so firstly my apologies' - I have been extraordinarily busy that I haven't had much chance to sit down and write to you lovely lot.
So recently, I've...
- Joined the National Youth Theatre and spent two fantastic weeks in London learning some brilliant skills from the facilitators and the group #13MangoesandaYupee4eva!
- Written and performed my own one woman show with the theatre company Word of Warning - a show which explored dementia and the affects in family
- I'm currently in the middle of a UK tour of Contact's show Under the Covers where we are heading off to the Southbank tomorrow!
- Worked with the Roundhouse and BBC Radio1Xtra to create and perform poetry for film and radio (catch the broadcast at 4pm Sunday BBC Radio1Xtra).
- Started work on my third show with Contact, working with the theatre company Common Wealth.
^So yeah, I've been busy.
But, I'm back, and about to get cracking with another year of drama school auditions!
So this year, this third time round feels like my year to get it. Because I actually know what I want to do, so I won't be faffing round traveling to weird schools that I just don't want to attend. Plus I've got experience, because I actually took a year off and pushed myself to do things I wouldn't usually be comfortable doing. Which is one thing that I would advise you to do if you are thinking of drama school. Explore loads of different avenues so you know where your strengths are.
So this year I've got my top choices:
- RADA BA acting
- Central's CDT BA acting
- National Youth Theatre's Rep company
I'm applying to a few others (Rose Bruford, Guildhall, and Royal Conservatoire of Scotland) but those three are the big 'un's that just make me tingle with excitement every time I think about one of them.
So yeah. I'm starting, starting, now!
Blimely I haven't written in a while, so firstly my apologies' - I have been extraordinarily busy that I haven't had much chance to sit down and write to you lovely lot.
So recently, I've...
- Joined the National Youth Theatre and spent two fantastic weeks in London learning some brilliant skills from the facilitators and the group #13MangoesandaYupee4eva!
- Written and performed my own one woman show with the theatre company Word of Warning - a show which explored dementia and the affects in family
- I'm currently in the middle of a UK tour of Contact's show Under the Covers where we are heading off to the Southbank tomorrow!
- Worked with the Roundhouse and BBC Radio1Xtra to create and perform poetry for film and radio (catch the broadcast at 4pm Sunday BBC Radio1Xtra).
- Started work on my third show with Contact, working with the theatre company Common Wealth.
^So yeah, I've been busy.
But, I'm back, and about to get cracking with another year of drama school auditions!
So this year, this third time round feels like my year to get it. Because I actually know what I want to do, so I won't be faffing round traveling to weird schools that I just don't want to attend. Plus I've got experience, because I actually took a year off and pushed myself to do things I wouldn't usually be comfortable doing. Which is one thing that I would advise you to do if you are thinking of drama school. Explore loads of different avenues so you know where your strengths are.
So this year I've got my top choices:
- RADA BA acting
- Central's CDT BA acting
- National Youth Theatre's Rep company
I'm applying to a few others (Rose Bruford, Guildhall, and Royal Conservatoire of Scotland) but those three are the big 'un's that just make me tingle with excitement every time I think about one of them.
So yeah. I'm starting, starting, now!
Wednesday, 29 July 2015
Plans
Hello all,
So I'm almost at the end of my gap year, which is quite terrifying because it means that I've having to begin looking at the different options I have for next year. Now as I didn't get into drama school, I won't be setting down to London in september as I would of wanted to. However another year out means another year full of potential oppotunities. Especially because after the National youth theatre course this summer I will be able to apply for the different options they offer such as their Rep company, summer casting and Playing up course.
But like me if you are trying to plan a year out and fit it around drama school auditions then you should consider the following:
- Employment - Do you get a job, and if so do you want a full time or part time job? Consider your skill set and what vaccencies will be flexible enough for you to attend auditions. For example this last year I had a 30 hour p/w Christmas job as a customer assistant then opted for a Saturday job as a librarian after the Christmas period. This allowed me to get enough for the auditions and travel expenses but then I was able to persue theatre work and have enough to tidy me over for the rest of the year. This worked particually well for me but everyone is different.
- Travel - Do you travel? If so where and for how long for? It is important to understand thatddrama school auditions are between November and May so you should try and avoid that period for traveling in. It's also important to consider the costs of the trip and would you have enough for both traveling and auditions. - I didn't go traveling this year due to financial difficulties however I am planning to apply for Camp America next summer if I don't receive any offers from the national youth theatre, and go see my relatives in Australia during their winter.
- Education - Have you considered applying to other short term courses that are related or non-related to acting and theatre work? It is common knowledge that only a tiny percentage of actors are working full time, therefore it is essential to have a wide skill set to see you through the tough times and a gap year may be the perfect oppotunity to gain skills. - This last year I have been working towards gaining a LAMDA diploma; which is equivilant to a A-level in English but also means that I would be qualified to teach drama in schools. Whilst I have no intention of becoming a full time drama tutor it gives me options for the future.
Theatre work - whether you intend to persue professional or non-professional acting work, you have before you a whole year to do exactly what you love doing the most, acting! Whatever sort of theatre work you love doing, spend some time looking at all your local theatre's and see if they are auditioning for new members, I would reccomend looking at the major theatre's in your nearest city too as they will probably be able to offer more oppotunities.
So I'm almost at the end of my gap year, which is quite terrifying because it means that I've having to begin looking at the different options I have for next year. Now as I didn't get into drama school, I won't be setting down to London in september as I would of wanted to. However another year out means another year full of potential oppotunities. Especially because after the National youth theatre course this summer I will be able to apply for the different options they offer such as their Rep company, summer casting and Playing up course.
But like me if you are trying to plan a year out and fit it around drama school auditions then you should consider the following:
- Employment - Do you get a job, and if so do you want a full time or part time job? Consider your skill set and what vaccencies will be flexible enough for you to attend auditions. For example this last year I had a 30 hour p/w Christmas job as a customer assistant then opted for a Saturday job as a librarian after the Christmas period. This allowed me to get enough for the auditions and travel expenses but then I was able to persue theatre work and have enough to tidy me over for the rest of the year. This worked particually well for me but everyone is different.
- Travel - Do you travel? If so where and for how long for? It is important to understand thatddrama school auditions are between November and May so you should try and avoid that period for traveling in. It's also important to consider the costs of the trip and would you have enough for both traveling and auditions. - I didn't go traveling this year due to financial difficulties however I am planning to apply for Camp America next summer if I don't receive any offers from the national youth theatre, and go see my relatives in Australia during their winter.
- Education - Have you considered applying to other short term courses that are related or non-related to acting and theatre work? It is common knowledge that only a tiny percentage of actors are working full time, therefore it is essential to have a wide skill set to see you through the tough times and a gap year may be the perfect oppotunity to gain skills. - This last year I have been working towards gaining a LAMDA diploma; which is equivilant to a A-level in English but also means that I would be qualified to teach drama in schools. Whilst I have no intention of becoming a full time drama tutor it gives me options for the future.
Theatre work - whether you intend to persue professional or non-professional acting work, you have before you a whole year to do exactly what you love doing the most, acting! Whatever sort of theatre work you love doing, spend some time looking at all your local theatre's and see if they are auditioning for new members, I would reccomend looking at the major theatre's in your nearest city too as they will probably be able to offer more oppotunities.
Wednesday, 10 June 2015
London Road film review
Firstly, picture a musical. Seeing all the big numbers like defying gravity and One day more (that's Les Mis folks) and the backing dancers smiling like they have a gun pointed at their heads? Yup. Then put all that in a film - in comes John Travolta in a woman's body suit - and still more cheese and glitz is crammed in to make your normal musical movie bonanza.
Well put all of that on the scrap heap because London Road is nothing like that! There are no glittering costumes or RP lardidar singing numbers in sight. And by god it is brilliant for it.
Set in 2006/2007 in Ipswich when five prostitutes were murdered by Steve Wright, who lived on London Road when he committed the murders. It is a musical retelling of how a community re-healed itself and just kept on going despite the circumstances.
If that's not unusual enough it was all done using verbatim theatre, meaning that the interviews conducted by writer Alecky Blythe with residents were spoken word for word by the actors. Including copying the individual's speech patterns and faults!
I was completely swept away by it, yet I didn't feel patronised or belittled by the way the story was set out, which sometimes happens in musicals. And above all, the people felt real and normal, like the sort of people who walk past you in the street.
Directed by Rufus Norris and a cast staring Olivia Coleman, Anita Dobson and Tom Hardy this film is a must see. And worth all the five star reviews it will attract.
A National Theatre Live production, out on general release 12th June.
Terri :D
Well put all of that on the scrap heap because London Road is nothing like that! There are no glittering costumes or RP lardidar singing numbers in sight. And by god it is brilliant for it.
Set in 2006/2007 in Ipswich when five prostitutes were murdered by Steve Wright, who lived on London Road when he committed the murders. It is a musical retelling of how a community re-healed itself and just kept on going despite the circumstances.
If that's not unusual enough it was all done using verbatim theatre, meaning that the interviews conducted by writer Alecky Blythe with residents were spoken word for word by the actors. Including copying the individual's speech patterns and faults!
I was completely swept away by it, yet I didn't feel patronised or belittled by the way the story was set out, which sometimes happens in musicals. And above all, the people felt real and normal, like the sort of people who walk past you in the street.
Directed by Rufus Norris and a cast staring Olivia Coleman, Anita Dobson and Tom Hardy this film is a must see. And worth all the five star reviews it will attract.
A National Theatre Live production, out on general release 12th June.
Terri :D
Friday, 24 April 2015
National Youth Theatre Results...
Hi all,
Firstly I hope everyone is enjoying the unusual sunny weather we're experiancing here in England.
However what I really came here to write about was the fact that - as some of you already know - the results came for the National Youth Theatre auditions yesterday. And after three years of trying...
I FINALLY GOT INTO THE NATIONAL YOUTH THEATRE!
I'm so overwhelmingly happy! I cannot express the joy I'm experiancing here with mere words it is utterly... gshfehqfwhg
I cannot wait for summer now, like I've already set up a Facebook page for the summer Course so I can start to get to know my fellow NYT peeps. So please join if your coming to this years course so we can chat and get to know each other and plan the ball of fun that I'm predicting it will be!
All I can say to anyone who's thinking of applying or re-applying for NYT is go for it, and, as my dad said to me this morning "there's a lot to be said about persistance".
Adios (and I hope there are many film geeks enjoying Age of Ultron)
Terri :D
Firstly I hope everyone is enjoying the unusual sunny weather we're experiancing here in England.
However what I really came here to write about was the fact that - as some of you already know - the results came for the National Youth Theatre auditions yesterday. And after three years of trying...
I FINALLY GOT INTO THE NATIONAL YOUTH THEATRE!
I'm so overwhelmingly happy! I cannot express the joy I'm experiancing here with mere words it is utterly... gshfehqfwhg
I cannot wait for summer now, like I've already set up a Facebook page for the summer Course so I can start to get to know my fellow NYT peeps. So please join if your coming to this years course so we can chat and get to know each other and plan the ball of fun that I'm predicting it will be!
All I can say to anyone who's thinking of applying or re-applying for NYT is go for it, and, as my dad said to me this morning "there's a lot to be said about persistance".
Adios (and I hope there are many film geeks enjoying Age of Ultron)
Terri :D
Friday, 17 April 2015
Why I'm successful amongst my failings
Firstly hello all.
It's been ages since I wrote on here, but don't fret I haven't forgotten about this beautiful little site. I have been intending to write on here for a while but alas I have been rather dyslexic and not known how to string the words together.
So lets get straight to the point. I have finished my drama school auditions this year and have had a groundbreaking ZERO recalls. Ensuring that I will not be attending drama school next year.
Now many people who have been through the drama school process - twice like me- would be feeling pretty disheartened and would be giving up on the dream of attending drama school. But no sir! Not I! This biatch ain't hauled herself round the country just to give up when a couple of people sitting behind a desk decide that your not right for them.
Besides I've learnt so freaking much this year I would say that I've scored lucky in not getting in this time round because when I do get in I'm going to have so much more to give to the industry when I graduate.
PLUS it means I get another chance to get into RADA and Guildhall again!
This next year I'm nailing down exactly what I want from Drama School and ensure that I get the experiance I've paid for.
Have started my personal statement draft and have found a few plays I want to investigate further, so yeah third time lucky I guess.
Hope to write more soon,
Terri :D
It's been ages since I wrote on here, but don't fret I haven't forgotten about this beautiful little site. I have been intending to write on here for a while but alas I have been rather dyslexic and not known how to string the words together.
So lets get straight to the point. I have finished my drama school auditions this year and have had a groundbreaking ZERO recalls. Ensuring that I will not be attending drama school next year.
Now many people who have been through the drama school process - twice like me- would be feeling pretty disheartened and would be giving up on the dream of attending drama school. But no sir! Not I! This biatch ain't hauled herself round the country just to give up when a couple of people sitting behind a desk decide that your not right for them.
Besides I've learnt so freaking much this year I would say that I've scored lucky in not getting in this time round because when I do get in I'm going to have so much more to give to the industry when I graduate.
PLUS it means I get another chance to get into RADA and Guildhall again!
This next year I'm nailing down exactly what I want from Drama School and ensure that I get the experiance I've paid for.
Have started my personal statement draft and have found a few plays I want to investigate further, so yeah third time lucky I guess.
Hope to write more soon,
Terri :D
Thursday, 8 January 2015
Helllooo 2015/ Manchester Met Audition 2.0/BSA audition/ tones more
Hello All!
First things first- HAPPY FRICKING NEW YEAR- hope you all had a good 'un.
Now many of you may be complaining that I haven't wrote anything in a while. Thats because I had nothing to write about, with my boring job and lack of auditions. BUT NOW I only work saturdays and boy do I have alot going on.
I've had two auditions and two workshops and it's only the first week of january. My First Audition I had was Manchester Met, which I won't go into huge detail about as you can refer back to my first audition post of the school (see Jan 2014). However this time I experianced the weirdest thing yet.to.date.
It was in the audition (to fill you in it's important to know that at Man Met you do your peices in front of a small group who are also auditioning) and the first girl got up. She was doing Constance from King John as her Shakespeare. During the speech she pulled out a chunk of her hair, scattered it on the floor and kept repeating "I'm not mad".
Personally I thought otherwise.
But then for her second peice, the whole monologue was about her and her mates waxing their viginas, and halfway through her pretended to stare at a lazered vigina and grinned.
I was not prepered for that.
The girl next to me was in hysterics, the lady on the pannel was trying so hard to keep her face straight that she looked like a lipless tomato.
So it any of you guys meet a girl called Julia doing a King John speech- brace yourself.
Still yet to hear from that.
I had BSA yesterday- got the rejection letter today 😁. But to be honest I enjoyed the day so much that I'm happy to have the oppotunity to go back there again 😄.
I'm going to reserve a whole post so I can talk about that audition process propperly so you guys know what to prepare.
Also (in other news); I started the Contact Young Company programme yesterday, which was fabulous! If you don't know Contact theatre is a contempary theatre in Manchester and hold a young persons company that you have to audition for, and luckily I got in along with 4 others. I have been told by several people that it is the place to go if you are serious about working in theatre and need experiance, because they treat you like professional actors and there is a high chance to get work out of it.
Also just had a workshop with Ian Smith from the Television Company in Leeds, I won a place via the ideastap website. You had to learn a bit from a play called he's talking by Nicholas Wright. It's a really interesting play and I'm very tempted to use it as part of my audition peices.
Ian Smith I found him very rude but very funny, and I can see that he's great at bringing people out of their shells.
It might lead on to something else but I'm not sure if I'd want to do that.
Got My Royal Conservatoire of Scotland audition next week which I'm very excited for. Then LAMDA after!
Cannot bloody wait.
Adios then,
Got to hop on a train.
Terri :D
Monday, 17 November 2014
7 tips for Drama school audition's Repost
Hi everyone
Sorry once again for not writing in a while, since starting my Christmas job, I've not had a great deal of time to do much else.
But since I've got my first audition in 3 weeks... IM SOOOOO EXCITED! I have been reading some blogs to help me out, and I loved this one and wanted to share it so enjoy!
7 tips for drama auditions
ANDY JOHNSON 3 FEBRUARY 2014
Auditioning for drama school can be a nerve-wracking experience. Andy Johnson is an actor, a director, and the author of 'The Excellent Audition Guide'. He shared 7 tips for engaging an audition panel, and keeping yourself engaged too.'The Excellent Audition Guide' is available from Nick Hern Books.
1. Don’t ‘just start’
Over eighty per cent of the people I see doing an audition just launch in.They simply ‘do’ their monologue, without giving much thought to the world they’re creating, or the audience they’re playing to.Some are not that bad – even quite good. But because of the way they ‘just start’, it is plain that they’re only going through the motions. Your job in any performance is to invite the audience into the world of your character. This has the effect of creating a distance between them and their audience – and you don’t want that.Your job in any performance, and especially in an audition, is to invite the audience into the world of your character. The members of the audition panel need to enter that world with you.They have to become engrossed and absorbed. If you ‘just start’, it is harder for them to do this. You must give them a chance to come with you.
2. Think of it as a two-minute play
To really maximize your chances of succeeding in your audition, you need to think of it as a two-minute show.More than that, think of it as a show the panel will watch with all the focus and attention with which they would watch a two-hour show, only condensed down into an intense two minutes between you and them.Therefore, as with any play, your show has to have changes of mood, tone, pace and atmosphere. Change is crucial, even in a two-minute show.Think about it. Nobody would sit through a play that stays in the same gear the whole time.Any text or production that flatlines into one mood will prove boring and colourless. This applies whether the mood is sadness, anger, grief, or anything else.A good show needs to be a journey. It should employ movement and surprise in the telling of the story. Change is good.
3. Evoke the world of the play
Bring the whole of the world of the play onto the stage with you. It’s not just about the bit you’re doing for your audition, in isolation.An entire universe of events, ideas and moments must take shape in those two minutes. Everything needs to be distilled into an intense, rich experience.To bring the world of the play onto the stage with your character, ask yourself these questions:Who are you?Where have you just come from or been?What happened to bring you here?Why are you here now?What do you want? And how badly do you want it?Who are you talking to?Why are you talking to them? And what makes you start talking?What are you afraid of? What would be the worst outcome for you?How are all these things affecting your behaviour?Work with these questions often. They will be of use continuously.
4. Fix your focus before you begin
For your sake and that of the panel, take time to connect with what you want to achieve, or even avoid, in your performance.Remind yourself not to wonder if the panel likes you or what you are doing.Resolve not to judge them, or your work. Time and effort spent on wondering, judging and conjecture is wasted focus and energy.Tell yourself that you are not here to get into drama school – you are just here to do your best, most focused and connected work.Assure yourself that nerves are good, because you can use those nerves as a positive force, instead of allowing them to work against you.When you’ve done this, create the physical world and surroundings of the character. Where are you? What time is it? Are you hot or cold? Is it winter or summer? Get into detail.If you spend time on this in your rehearsal work, you can ‘pop’ all of this into place in seconds. You will then be in your world and that of the character, not in the dreaded audition room – bonus!
5. Give your character a reason to start speaking
Hear in your head the lines that have just been said to your character. This may well be what is prompting your character to react, to decide to speak. Hear in your head the lines that have just been said to your character. Alternatively, run through what has just happened to you and why it happened. This will propel you into why you are speaking and what you, as the character, want.Remember: we speak because we have to. Just before we utter words, there is a compelling urge, a tingle, to vocalise our thoughts.We may be reacting to what’s just been said. We may have to seek justice, put facts straight, change someone’s mind or actions, get somebody to do something.There are many reasons to pipe up. But they are all driven by a thought.We speak until that thought has been given expression, and then, unless there’s another thought, we stop.
6. See your monologue as a duologue waiting to happen
Quite often, auditionees make their own character the only focus of the monologue.Get used to including the other person in your thinking and ideas, from early work right up to and including the execution of your audition.They, the other person, should be constantly involved.What do they look like, sound like, smell like? Do you want them to speak or react?
7. End the monologue well
A lot of performers end really badly, without style or conviction. Stay with the end moment. Let the glow settle. They disengage from the world of the character way too soon after the last line. This gives the impression that they have not engaged at all.Stay with the end moment, and let the glow of what you have been doing settle. Stay in it and be proud.Don’t step away with any kind of sheepish, self-destructive look.Don’t apologise verbally, or with a self-effacing countenance.Even if you think you were rubbish, the panel may well have seen something that interested them. In all probability, you will be your worst critic.Let them be the judge of all that. Free yourself from that burden.End with a bang, not with a whimper. You owe it to yourself.7 tips for drama auditions
ANDY JOHNSON 3 FEBRUARY 2014Auditioning for drama school can be a nerve-wracking experience. Andy Johnson is an actor, a director, and the author of 'The Excellent Audition Guide'. He shared 7 tips for engaging an audition panel, and keeping yourself engaged too.'The Excellent Audition Guide' is available from Nick Hern Books.
1. Don’t ‘just start’
Over eighty per cent of the people I see doing an audition just launch in.They simply ‘do’ their monologue, without giving much thought to the world they’re creating, or the audience they’re playing to.Some are not that bad – even quite good. But because of the way they ‘just start’, it is plain that they’re only going through the motions. Your job in any performance is to invite the audience into the world of your character. This has the effect of creating a distance between them and their audience – and you don’t want that.Your job in any performance, and especially in an audition, is to invite the audience into the world of your character. The members of the audition panel need to enter that world with you.They have to become engrossed and absorbed. If you ‘just start’, it is harder for them to do this. You must give them a chance to come with you.
2. Think of it as a two-minute play
To really maximize your chances of succeeding in your audition, you need to think of it as a two-minute show.More than that, think of it as a show the panel will watch with all the focus and attention with which they would watch a two-hour show, only condensed down into an intense two minutes between you and them.Therefore, as with any play, your show has to have changes of mood, tone, pace and atmosphere. Change is crucial, even in a two-minute show.Think about it. Nobody would sit through a play that stays in the same gear the whole time.Any text or production that flatlines into one mood will prove boring and colourless. This applies whether the mood is sadness, anger, grief, or anything else.A good show needs to be a journey. It should employ movement and surprise in the telling of the story. Change is good.
3. Evoke the world of the play
Bring the whole of the world of the play onto the stage with you. It’s not just about the bit you’re doing for your audition, in isolation.An entire universe of events, ideas and moments must take shape in those two minutes. Everything needs to be distilled into an intense, rich experience.To bring the world of the play onto the stage with your character, ask yourself these questions:Who are you?Where have you just come from or been?What happened to bring you here?Why are you here now?What do you want? And how badly do you want it?Who are you talking to?Why are you talking to them? And what makes you start talking?What are you afraid of? What would be the worst outcome for you?How are all these things affecting your behaviour?Work with these questions often. They will be of use continuously.
4. Fix your focus before you begin
For your sake and that of the panel, take time to connect with what you want to achieve, or even avoid, in your performance.Remind yourself not to wonder if the panel likes you or what you are doing.Resolve not to judge them, or your work. Time and effort spent on wondering, judging and conjecture is wasted focus and energy.Tell yourself that you are not here to get into drama school – you are just here to do your best, most focused and connected work.Assure yourself that nerves are good, because you can use those nerves as a positive force, instead of allowing them to work against you.When you’ve done this, create the physical world and surroundings of the character. Where are you? What time is it? Are you hot or cold? Is it winter or summer? Get into detail.If you spend time on this in your rehearsal work, you can ‘pop’ all of this into place in seconds. You will then be in your world and that of the character, not in the dreaded audition room – bonus!
5. Give your character a reason to start speaking
Hear in your head the lines that have just been said to your character. This may well be what is prompting your character to react, to decide to speak. Hear in your head the lines that have just been said to your character. Alternatively, run through what has just happened to you and why it happened. This will propel you into why you are speaking and what you, as the character, want.Remember: we speak because we have to. Just before we utter words, there is a compelling urge, a tingle, to vocalise our thoughts.We may be reacting to what’s just been said. We may have to seek justice, put facts straight, change someone’s mind or actions, get somebody to do something.There are many reasons to pipe up. But they are all driven by a thought.We speak until that thought has been given expression, and then, unless there’s another thought, we stop.
6. See your monologue as a duologue waiting to happen
Quite often, auditionees make their own character the only focus of the monologue.Get used to including the other person in your thinking and ideas, from early work right up to and including the execution of your audition.They, the other person, should be constantly involved.What do they look like, sound like, smell like? Do you want them to speak or react?
7. End the monologue well
A lot of performers end really badly, without style or conviction. Stay with the end moment. Let the glow settle. They disengage from the world of the character way too soon after the last line. This gives the impression that they have not engaged at all.Stay with the end moment, and let the glow of what you have been doing settle. Stay in it and be proud.Don’t step away with any kind of sheepish, self-destructive look.Don’t apologise verbally, or with a self-effacing countenance.Even if you think you were rubbish, the panel may well have seen something that interested them. In all probability, you will be your worst critic.Let them be the judge of all that. Free yourself from that burden.End with a bang, not with a whimper. You owe it to yourself.
Sorry once again for not writing in a while, since starting my Christmas job, I've not had a great deal of time to do much else.
But since I've got my first audition in 3 weeks... IM SOOOOO EXCITED! I have been reading some blogs to help me out, and I loved this one and wanted to share it so enjoy!
7 tips for drama auditions
ANDY JOHNSON 3 FEBRUARY 2014
Auditioning for drama school can be a nerve-wracking experience. Andy Johnson is an actor, a director, and the author of 'The Excellent Audition Guide'. He shared 7 tips for engaging an audition panel, and keeping yourself engaged too.'The Excellent Audition Guide' is available from Nick Hern Books.
1. Don’t ‘just start’
Over eighty per cent of the people I see doing an audition just launch in.They simply ‘do’ their monologue, without giving much thought to the world they’re creating, or the audience they’re playing to.Some are not that bad – even quite good. But because of the way they ‘just start’, it is plain that they’re only going through the motions. Your job in any performance is to invite the audience into the world of your character. This has the effect of creating a distance between them and their audience – and you don’t want that.Your job in any performance, and especially in an audition, is to invite the audience into the world of your character. The members of the audition panel need to enter that world with you.They have to become engrossed and absorbed. If you ‘just start’, it is harder for them to do this. You must give them a chance to come with you.
2. Think of it as a two-minute play
To really maximize your chances of succeeding in your audition, you need to think of it as a two-minute show.More than that, think of it as a show the panel will watch with all the focus and attention with which they would watch a two-hour show, only condensed down into an intense two minutes between you and them.Therefore, as with any play, your show has to have changes of mood, tone, pace and atmosphere. Change is crucial, even in a two-minute show.Think about it. Nobody would sit through a play that stays in the same gear the whole time.Any text or production that flatlines into one mood will prove boring and colourless. This applies whether the mood is sadness, anger, grief, or anything else.A good show needs to be a journey. It should employ movement and surprise in the telling of the story. Change is good.
3. Evoke the world of the play
Bring the whole of the world of the play onto the stage with you. It’s not just about the bit you’re doing for your audition, in isolation.An entire universe of events, ideas and moments must take shape in those two minutes. Everything needs to be distilled into an intense, rich experience.To bring the world of the play onto the stage with your character, ask yourself these questions:Who are you?Where have you just come from or been?What happened to bring you here?Why are you here now?What do you want? And how badly do you want it?Who are you talking to?Why are you talking to them? And what makes you start talking?What are you afraid of? What would be the worst outcome for you?How are all these things affecting your behaviour?Work with these questions often. They will be of use continuously.
4. Fix your focus before you begin
For your sake and that of the panel, take time to connect with what you want to achieve, or even avoid, in your performance.Remind yourself not to wonder if the panel likes you or what you are doing.Resolve not to judge them, or your work. Time and effort spent on wondering, judging and conjecture is wasted focus and energy.Tell yourself that you are not here to get into drama school – you are just here to do your best, most focused and connected work.Assure yourself that nerves are good, because you can use those nerves as a positive force, instead of allowing them to work against you.When you’ve done this, create the physical world and surroundings of the character. Where are you? What time is it? Are you hot or cold? Is it winter or summer? Get into detail.If you spend time on this in your rehearsal work, you can ‘pop’ all of this into place in seconds. You will then be in your world and that of the character, not in the dreaded audition room – bonus!
5. Give your character a reason to start speaking
Hear in your head the lines that have just been said to your character. This may well be what is prompting your character to react, to decide to speak. Hear in your head the lines that have just been said to your character. Alternatively, run through what has just happened to you and why it happened. This will propel you into why you are speaking and what you, as the character, want.Remember: we speak because we have to. Just before we utter words, there is a compelling urge, a tingle, to vocalise our thoughts.We may be reacting to what’s just been said. We may have to seek justice, put facts straight, change someone’s mind or actions, get somebody to do something.There are many reasons to pipe up. But they are all driven by a thought.We speak until that thought has been given expression, and then, unless there’s another thought, we stop.
6. See your monologue as a duologue waiting to happen
Quite often, auditionees make their own character the only focus of the monologue.Get used to including the other person in your thinking and ideas, from early work right up to and including the execution of your audition.They, the other person, should be constantly involved.What do they look like, sound like, smell like? Do you want them to speak or react?
7. End the monologue well
A lot of performers end really badly, without style or conviction. Stay with the end moment. Let the glow settle. They disengage from the world of the character way too soon after the last line. This gives the impression that they have not engaged at all.Stay with the end moment, and let the glow of what you have been doing settle. Stay in it and be proud.Don’t step away with any kind of sheepish, self-destructive look.Don’t apologise verbally, or with a self-effacing countenance.Even if you think you were rubbish, the panel may well have seen something that interested them. In all probability, you will be your worst critic.Let them be the judge of all that. Free yourself from that burden.End with a bang, not with a whimper. You owe it to yourself.7 tips for drama auditions
ANDY JOHNSON 3 FEBRUARY 2014Auditioning for drama school can be a nerve-wracking experience. Andy Johnson is an actor, a director, and the author of 'The Excellent Audition Guide'. He shared 7 tips for engaging an audition panel, and keeping yourself engaged too.'The Excellent Audition Guide' is available from Nick Hern Books.
1. Don’t ‘just start’
Over eighty per cent of the people I see doing an audition just launch in.They simply ‘do’ their monologue, without giving much thought to the world they’re creating, or the audience they’re playing to.Some are not that bad – even quite good. But because of the way they ‘just start’, it is plain that they’re only going through the motions. Your job in any performance is to invite the audience into the world of your character. This has the effect of creating a distance between them and their audience – and you don’t want that.Your job in any performance, and especially in an audition, is to invite the audience into the world of your character. The members of the audition panel need to enter that world with you.They have to become engrossed and absorbed. If you ‘just start’, it is harder for them to do this. You must give them a chance to come with you.
2. Think of it as a two-minute play
To really maximize your chances of succeeding in your audition, you need to think of it as a two-minute show.More than that, think of it as a show the panel will watch with all the focus and attention with which they would watch a two-hour show, only condensed down into an intense two minutes between you and them.Therefore, as with any play, your show has to have changes of mood, tone, pace and atmosphere. Change is crucial, even in a two-minute show.Think about it. Nobody would sit through a play that stays in the same gear the whole time.Any text or production that flatlines into one mood will prove boring and colourless. This applies whether the mood is sadness, anger, grief, or anything else.A good show needs to be a journey. It should employ movement and surprise in the telling of the story. Change is good.
3. Evoke the world of the play
Bring the whole of the world of the play onto the stage with you. It’s not just about the bit you’re doing for your audition, in isolation.An entire universe of events, ideas and moments must take shape in those two minutes. Everything needs to be distilled into an intense, rich experience.To bring the world of the play onto the stage with your character, ask yourself these questions:Who are you?Where have you just come from or been?What happened to bring you here?Why are you here now?What do you want? And how badly do you want it?Who are you talking to?Why are you talking to them? And what makes you start talking?What are you afraid of? What would be the worst outcome for you?How are all these things affecting your behaviour?Work with these questions often. They will be of use continuously.
4. Fix your focus before you begin
For your sake and that of the panel, take time to connect with what you want to achieve, or even avoid, in your performance.Remind yourself not to wonder if the panel likes you or what you are doing.Resolve not to judge them, or your work. Time and effort spent on wondering, judging and conjecture is wasted focus and energy.Tell yourself that you are not here to get into drama school – you are just here to do your best, most focused and connected work.Assure yourself that nerves are good, because you can use those nerves as a positive force, instead of allowing them to work against you.When you’ve done this, create the physical world and surroundings of the character. Where are you? What time is it? Are you hot or cold? Is it winter or summer? Get into detail.If you spend time on this in your rehearsal work, you can ‘pop’ all of this into place in seconds. You will then be in your world and that of the character, not in the dreaded audition room – bonus!
5. Give your character a reason to start speaking
Hear in your head the lines that have just been said to your character. This may well be what is prompting your character to react, to decide to speak. Hear in your head the lines that have just been said to your character. Alternatively, run through what has just happened to you and why it happened. This will propel you into why you are speaking and what you, as the character, want.Remember: we speak because we have to. Just before we utter words, there is a compelling urge, a tingle, to vocalise our thoughts.We may be reacting to what’s just been said. We may have to seek justice, put facts straight, change someone’s mind or actions, get somebody to do something.There are many reasons to pipe up. But they are all driven by a thought.We speak until that thought has been given expression, and then, unless there’s another thought, we stop.
6. See your monologue as a duologue waiting to happen
Quite often, auditionees make their own character the only focus of the monologue.Get used to including the other person in your thinking and ideas, from early work right up to and including the execution of your audition.They, the other person, should be constantly involved.What do they look like, sound like, smell like? Do you want them to speak or react?
7. End the monologue well
A lot of performers end really badly, without style or conviction. Stay with the end moment. Let the glow settle. They disengage from the world of the character way too soon after the last line. This gives the impression that they have not engaged at all.Stay with the end moment, and let the glow of what you have been doing settle. Stay in it and be proud.Don’t step away with any kind of sheepish, self-destructive look.Don’t apologise verbally, or with a self-effacing countenance.Even if you think you were rubbish, the panel may well have seen something that interested them. In all probability, you will be your worst critic.Let them be the judge of all that. Free yourself from that burden.End with a bang, not with a whimper. You owe it to yourself.
Sunday, 2 November 2014
Out of the Fire and into the frying pan!
Firstly, Hello you lot!
Secondly, bugger roo I haven't written in over 6 weeks!
This post is just to let you guys know that I haven't died and I'm still totally in for the big guns when I get round to applying to Drama School.
I have just been extremly busy.
For example; During the past 6 weeks I have:
-Applied to over 50 jobs (and managed to get 1!)
-Been on several open days to Guildhall, Rose Bruford and RCS
- Seen the most amazing theatre including the RSC's Henry the IV (parts 1 & 2) and Much ado about Nothing, Romeo and Juliet, Frankenstein and Hamlet (again)
-Been to Rome
- Gone on two Acting course's with the RSC and NYT
- Applied to ten Drama School's
-Wrote a 5000 word essay on temptation in literature
- Seen the most incredible musicians like George Ezra live
- Had the best coffee cake ever.Fact.
So you could understand why I haven't had the opportunity to write recently.
Will also inform you that I am going to get even more busy as I will be starting my new job tomorrow so wish me luck!
Will probably write when my first audition comes up (The Lir in Ireland)
But for now,
TALLY HO!
Secondly, bugger roo I haven't written in over 6 weeks!
This post is just to let you guys know that I haven't died and I'm still totally in for the big guns when I get round to applying to Drama School.
I have just been extremly busy.
For example; During the past 6 weeks I have:
-Applied to over 50 jobs (and managed to get 1!)
-Been on several open days to Guildhall, Rose Bruford and RCS
- Seen the most amazing theatre including the RSC's Henry the IV (parts 1 & 2) and Much ado about Nothing, Romeo and Juliet, Frankenstein and Hamlet (again)
-Been to Rome
- Gone on two Acting course's with the RSC and NYT
- Applied to ten Drama School's
-Wrote a 5000 word essay on temptation in literature
- Seen the most incredible musicians like George Ezra live
- Had the best coffee cake ever.Fact.
So you could understand why I haven't had the opportunity to write recently.
Will also inform you that I am going to get even more busy as I will be starting my new job tomorrow so wish me luck!
Will probably write when my first audition comes up (The Lir in Ireland)
But for now,
TALLY HO!
Wednesday, 17 September 2014
The Old Vic's A Streetcar Named Desire: The Review.
Hi again,
So yesterday I watched the Old Vic's latest production of A streetcar named desire, directed by Benidict Andrews, via the National Theatre Live scheme at my local cinema.
Having not much knowledge about the play before seeing it, I didn't know what to expect. So I let my Dad tag along and watch it with me. It was quite ranchy, which made the experiance of watching it with my Dad quite arkward...
But it was brilliant all the same.
To people who haven't heard of the play, it was written by Tennesse Williams and it was the 1952 movie version of this play that help start Marlon Brando's acting legacy. The play is set in southen america and there are three main characters. Estella, her Husband Stanley and her drunkard sister Miss Dubuoise who has come to stay with them in their tiny place while she gets her life back into order, but its already too late for that.
Gillian Anderson, who play the miserble drunk sister, was good. But I felt that it took her a while to really get into her role and show us her skills. The real attraction of the play was Stanley himself. As while he didnt have that much to say, he was able to create the tension and the unearthing sense that he was going to snap at any second whenever he came onto the stage.
The play itself was set in the round and the set, ie a see through rectangular apartment, revolved so the audience members each had a different perspective of the play, an idea which I found unique and interesting to watch.
I would compleatley recomend going to see this play as it was gripping, mesmerising and a utter joy to watch.
In terms of what I'm doing next - in terms of drama school applications - I've applied for a audition at an agency in manchester and I'm going to be seeing a performance of romeo and juliet at the Victoria Baths in Manchester next week, so I will write a review of that when I have time.
For now though,
Cheerio,
Terri ;D.
Tuesday, 16 September 2014
The Royal Exchange's Hamlet: A review
Hello again,
So many of you will starting to get yourselves ready for all the drama school audition's coming up. I know that with eleven around the corner I just want to get cracking. But first I want to talk about the production of Hamlet which I saw yesterday. Starring Maxine Peakes as a female Hamlet, the first thing that really stood out to me was the gender split of the cast, which was pratically 50/50, with a large number of male role's being cast as female. I loved that, mainly because I a great annoyance about the fact that males get a higher proportion of roles in both TV and screen. I Also loved the way the actors used the stage, with it being in the round, it definitely gave the play the edge over other productions of Hamlet,
However, one thing that I wasn't sure of was the young actors used as the players. Now I know that it was to show the link between old members and the new, but for me... it just felt a bit tacky, and took the point away from the meaning of why the actors were being used.
Anyway tonight I'm seeing A streetcar named desire at the Cinema with the NT live scheme. I've also booked to go to the Rose Bruford open day on thursday and the Guildhall open day next month so things have started to roll now. Cannot wait to start auditioning again. I'm so excited!
Hope to write some more soon.
Adios,
Terri ;D xxx
So many of you will starting to get yourselves ready for all the drama school audition's coming up. I know that with eleven around the corner I just want to get cracking. But first I want to talk about the production of Hamlet which I saw yesterday. Starring Maxine Peakes as a female Hamlet, the first thing that really stood out to me was the gender split of the cast, which was pratically 50/50, with a large number of male role's being cast as female. I loved that, mainly because I a great annoyance about the fact that males get a higher proportion of roles in both TV and screen. I Also loved the way the actors used the stage, with it being in the round, it definitely gave the play the edge over other productions of Hamlet,
However, one thing that I wasn't sure of was the young actors used as the players. Now I know that it was to show the link between old members and the new, but for me... it just felt a bit tacky, and took the point away from the meaning of why the actors were being used.
Anyway tonight I'm seeing A streetcar named desire at the Cinema with the NT live scheme. I've also booked to go to the Rose Bruford open day on thursday and the Guildhall open day next month so things have started to roll now. Cannot wait to start auditioning again. I'm so excited!
Hope to write some more soon.
Adios,
Terri ;D xxx
Tuesday, 9 September 2014
Guildford School of Acting: Open Day
Hi there!
So last Saturday I went to the open day/ tour of the GSA (Guildford School of Acting) facilaties, and to be quite frank. I'm not compleatley sure what my feelings are about the place.
So to give you an overview of the place, I will just tell you the main parts of what I learnt about it.
- The GSA is part of the University of Surrey and is set within its campus. Which is massive.
- GSA is still regarded as a conservatoire however - in being part of the University of Surrey - you do need to get top grades to secure a place (ie AAB/ABB Alevel grades).
^ This is the part that I don't understand, and what tinges my opinion of the school. As no other drama school, weather associated with a University or not, has such abnormally high academic grade expectations.
- They only offer 36 places and around 1,500 people applied last year
- Has a minimum of 30 contact hours each week and, while it has a core staff unit there teaching full time, they regually have directors come in and give lectures.
-The BA acting course is accedited by Drama UK
- The facilities are fabulous, they even have a Starbucks in the GSA building which is very cool.
- With the audition process they do have regional auditions in some major cities across the UK
-Around 30% of applicants are recalled to the second round.
Overall the day was pretty interesting and I learnt a lot from it. Still uncertain weather I will be applying there but I'll let you know asap.
In terms of the other stuff that I'm up to at the moment, This is the start of my gap year (which is very terrifying to think about) so I'm in the middle of filling out a vast deal of job applications as well as learning monologues and applying to short acting courses to help boost my drama school applications this year. Including a drama school audition masterclass week with the National Youth Theatre.
I should be going to a Rose Bruford Open day next week so I will write more about that then.
But until then.
Adios,
Terri ; D
- The facilities are fabulous, they even have a Starbucks in the GSA building which is very cool.
- With the audition process they do have regional auditions in some major cities across the UK
-Around 30% of applicants are recalled to the second round.
Overall the day was pretty interesting and I learnt a lot from it. Still uncertain weather I will be applying there but I'll let you know asap.
In terms of the other stuff that I'm up to at the moment, This is the start of my gap year (which is very terrifying to think about) so I'm in the middle of filling out a vast deal of job applications as well as learning monologues and applying to short acting courses to help boost my drama school applications this year. Including a drama school audition masterclass week with the National Youth Theatre.
I should be going to a Rose Bruford Open day next week so I will write more about that then.
But until then.
Adios,
Terri ; D
Friday, 29 August 2014
Lucy Kerbel on 100 Great Plays for Women by National Theatre - Podcast
Lucy Kerbel on 100 Great Plays for Women by National Theatre
Hi!
So as might be expected I am very busy at the moment learning my monologues for Drama School auditions. But during my research I came across this brilliant podcast by the National Theatre on plays that are female dominated. And I thought that you guys would also benifit from listening to it too!
Anyway enjoy, Im going away to London this weekend and will be watching the musical Matilda! Also 1 year til I go see Hamlet starring Benidict Cumberbatch. I cannot wait!
Bye,
Terri ;D
Hi!
So as might be expected I am very busy at the moment learning my monologues for Drama School auditions. But during my research I came across this brilliant podcast by the National Theatre on plays that are female dominated. And I thought that you guys would also benifit from listening to it too!
Anyway enjoy, Im going away to London this weekend and will be watching the musical Matilda! Also 1 year til I go see Hamlet starring Benidict Cumberbatch. I cannot wait!
Bye,
Terri ;D
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