what we look for in an audition - csvpa.com · b. acoustic rock/pop c. acoustic folk/blues electric...

DEVELOPING WORLD CLASS PERFORMERS

WHAT WE LOOK FOR IN AN AUDITION

DEVELOPING WORLD CLASS PERFORMERSDEVELOPING WORLD CLASS PERFORMERS

If you are thinking of applying to any of our performing arts programmes at CSVPA, it is very important to read the audition requirements for the course you are apply to. Every year we sit

through a huge number of auditions, either in person at our audition days or via video audition online and the biggest piece of advice that we can give you is read the audition requirements, prepare the exact

number of pieces we ask for and practise, practise, practise!

At CSVPA we want students who demonstrate a real passion, motivation and enthusiasm for the performing arts. The following

guidelines should help you to understand what we are looking for and will ultimately make you better prepared for your audition. Good luck!

AN OVERVIEW


CLASSICAL ACTINGPlease read the audition requirements carefully and prepare the following auditions:

• 2 x monologues - 1 x classical

- 1 x contemporary

• Both 2 minutes each

• Delivered from memory, no reading your lines!

• Both pieces should be spoken and delivered in English

CLASSICAL EXAMPLES

Classical playwrights include: William Shakespeare, John Webster, Lope de Vega, Anton Chekhov and

Tennessee Williams

CONTEMPORARY EXAMPLES

Contemporary writers from 1960 onwards include: Caryl Churchill, David Hare, David Mamet, Martin

Crimp, Sue Arnold and Clare Mcintyre DRAMA

FOUNDATION

AUDITION REQUIREMENTS

CLASSICAL MONOLOGUEFemale Actors

Portia from The Merchant of Venice Act, Three Scene Two by William Shakespeare

“ I pray you tarry.......” up until line 24 “….To stay you from election.”

Male ActorsPrince Hal from Henry 1V Part Two

“O, pardon me, my liege! ......” up until “….And make me as the poorest vassal is That doth with awe and terror kneel

to it!”

CONTEMPORARY EXTRACTSFemale Actors

Rebecca from Immaculate Act Two (Oliver Lansley; Nick Hern Books)

“We’re a couple, I ’m sorry I didn’t tell you ...” to “ I ’ll be helpless and hopeless and friendless and loveless and die old alone with thread veins and bladder weakness and a

houseful of cats ...”

Male ActorsValya from Scene Three of Playing the Victim (The

Presnyakov Brothers: Nick Hern Books)

“ I was always good at thinking up ways to get out of things......” to “By the way, if people think you’re being

punished as it is , they never punish you anymore.... Yeh....”


MUSICAL THEATRE

• 1 x monologue (classical or contemporary)

• 2 minutes delivered from memory

• 2 songs taken from the musical theatre repertoire

- 1 x traditional

- 1 x contemporary

• Songs must be accompanied by piano or a backing track if you are submitting a video audition

• If you are attending an audition in person, an accompanist will be provided for your audition. Please bring sheet music for your songs in the keys in which you perform them.

EXAMPLES OF COMPOSERS

Traditional composers George Gershwin, Cole Porter, Rodgers and Hammerstein, Leonard Bernstein

Contemporary composers Stephen Schwartz, Jason Robert Brown, Tom Kitt, Stephen Sondheim


PREPARING FOR YOUR AUDITION

Always read the audition requirements and make sure you prepare and deliver the correct number of pieces.

When choosing your pieces make sure they are age appropriate. Pick something that means something to you, which speaks to you. We will be assessing your scene selection

and the suitability for you.

Keep it simple, there is no need to dance around all over the place. Simple is better!

Select a scene from something that you know well and make sure you understand the whole play. This will help you to deliver the piece better and you will know what you are

talking about.

Wear appropriate clothing, something that gives you a good line e.g. simple black t-shirt and trousers. It shows you mean business.

If you are videoing your audition, always provide one piece where we can see your whole body. Assessing how you physically handle the text is also very important.

Make sure the video quality of your audition is perfect. We need to be able to see you and hear what you are saying.

Get someone to watch your audition pieces. If they can understand what you are saying – great! We do not want to see subtitles.

Practise, practise, practise!

Useful book to read: So you want to be an actor? by Timothy West & Prunella Scales

WHAT NOT TO DO IN AN AUDITION

• Don’t just learn the scene, understand the whole play

• No need for movies – keep it simple

• No costumes

• Don’t play madness

• Don’t play fairies or unearthly creatures

• Don’t play drunks

• No subtitles on video auditions

• No videos of you in a drama production – we won’t know who we are looking for!

ADDITIONAL THINGS TO THINK ABOUT

In your audition, it is important to demonstrate to us that you are passionate about a career in the performing arts. If you are attending an audition day or skype interview we will ask you about why you want to come and train with us. If you are sending in an audition video to assess, we would recommend that you video yourself to camera

answering the following questions

Why do you want to come to CSVPA for the Drama Foundation?

What do you want to do in life, what is your ambition?

What theatre piece has inspired you the most and why?

What actor do you look up to, who do you aspire to be like?

What acting experience have you had, either at school or outside of school?


MUSICFOUNDATION

PIANO

• Two pieces contrasting in style representative of two different historical periods of piano repertoire.- Scales played two octaves hands together in the keys of: E major, Bb major, d harmonic minor

- Etude*

• Applicants may be asked to sight read if auditioning in person.

*Definition of an Etude: a study of technique. Many dif ferent composers have written pieces called Etudes which focus on

a particular technical issue (e.g. Chopin Op. 10 and Op. 24) and by practising these pieces it will help you e.g. pieces that

focus on your left hand.

SINGING

Classical Singing• Two pieces of contrasting styles representative of two different historical periods of vocal repertoire.

• It is preferred that you sing at least one piece in a language other than your own native language.

Pop Singing• Two pieces of contrasting styles (eg rock, pop, jazz, blues).

GUITAR

• Two pieces of contrasting styles from the following lists:

Nylon-Stringed Classical/Spanish GuitarA. Classical/Flamenco

Steel-Stringed Acoustic Guitar

B. Acoustic Rock/PopC. Acoustic Folk/Blues

Electric Guitar

D. Rock (Rock, Blues, Funk, Metal, Pop etc.)

Jazz-style Guitar (or Electric)E. Jazz

WOODWIND/BRASS

• Two pieces contrasting in style: one lyrical and one technical showcasing musicianship and sound.

• Both pieces should show developing tone production and finger technique.

• Please prepare all major scales up to four sharps and four flats.

AUDITION REQUIREMENTS


PREPARING FOR YOUR AUDITION

Read the audition requirements carefully and send in the right number of pieces. Make sure you send in two separate pieces.

Practise, practise, practise!

So many students do not know their pieces well enough and we end up sending them away, encouraging them to practise some more and audition again. Know your piece well before

you send in your audition.

When sending in a video audition make sure the video quality is good and clear. If you are playing the piano, please make sure the keyboard of the piano is visible in the camera shot.

If you are sending in a video from a formal performance or recital then make sure the video recording is good and clear.

Make sure you read about and have an understanding of the composer as well as the period the piece was written in. It will help you to understand the style of the piece and how to

play it.

Spend the time thinking about the musical communication of the piece as well as the technical preparation.

Finally remember this is an audition for the next steps in your education. Our programme is all about helping you progress to university; therefore make sure your video is as good as it can be. We want to see you at your very best so we can see what you have to offer.

Providing pathways in Drama, Music, Fashion and Art & Design, Cambridge School of Visual & Performing Arts continues to develop the talents of many aspiring performers and artists.

Our school offers a unique and highly personalised method of learning in an inspiring and intensely creative environment designed to encourage and nurture these talents.

You will not only be actively supported through a hands-on approach and extensive contact time with lecturers, but will also be given the space and time to discover and develop your own personal ‘voice’ as a creative artist. Our goal is to provide the most fertile ground possible for

you to grow and flourish.

CAMBRIDGE SCHOOL OFVISUAL & PERFORMING ARTS

DEVELOPING WORLD CLASS PERFORMERSTel: +44 (0) 1223 345 698 | Fax: +44 (0) 1223 346181 | Email: [email protected]

www.csvpa.com

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what we look for in an audition - csvpa.com · b. acoustic rock/pop c. acoustic folk/blues electric...

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