Theatre Arts Audition Book for Women

Introduction
In the course of compiling this book I spoke to a number of directors working in various areas of theatre, from drama schools to the National Theatre. Nearly everyone agreed that an actor's most important attribute was self-knowledge. Self-knowledge can be expressed in a variety of ways: through wit, intelligence, verbal and physical dexterity, an assertive, as opposed to an aggressive manner. There is a great difference in approach to auditioning in Britain and the United States. In America cut-throat competition has engendered a highly professional attitude. Actors tend to arrive fully prepared for an audition, on time, with well-rehearsed speeches from plays that they have taken the time to read in their entirety. In
contrast directors spoke about the appalling diffidence of many actors in Britain, who arrived in no way prepared, appearing to feel that the audition was something of an imposition and that performing was the last thing in the world they wanted to do. Directors were keen to emphasize the fact that an audition is not a test but a meeting between the actor and director to assess the possibility of working together. Many felt that auditioning should be more of a two-way process and that actors should accept more power or responsibility for themselves when auditioning. In other words, actors should not be tempted to play down their own intelligence, to act according to what they think the director wants, but to see themselves as professionals…

About the Author
Annika Bluhm trained at the Guildhall School of Speech and Drama in London. She has worked as an actor, a literary agent, and a script editor. She is currently the development executive for a Teleivsion production company.