Auditions: to be or not to be...

Henson, David (2016) Auditions: to be or not to be... In: Audition Workshop, 23 Apr 2016, London, UK. (Unpublished)

[thumbnail of FAQs for Musical Theatre and Acting 4 February 2016.pdf]
FAQs for Musical Theatre and Acting 4 February 2016.pdf - Draft Version

Download (2MB) | Preview


[Workshop, film (available on request), radio 4 broadcast and documentation - research findings regarding the importance of the audition for both institution and applica]

Auditions: To be or not to be… Food for thought!

Phenomenological research regarding the problems associated with the audition process and issues that need to be considered indicates an emphasis on ‘product’ and ‘powerful knowledge’ [Young, 2012: 3] within the English/Drama curriculum, especially at the beginning of the 21st century. It is suggested from current research that the emphasis on ‘product’ has seriously impacted upon the work of the potential actor. It is noted that many prospective students when attending auditions for drama and acting courses are unable to identify the essential skills required of an actor due to a lack of understanding regarding the nature of ‘play’ and all that it involves.

In general within the audition there is a requirement to understand (i) the world of the imaginary; (ii) the ability to ‘unpack’ words to investigate their full meaning and therefore understand sub textual meanings; (iii) the symbolic signal; (iv) the world as it is; (v) historical and contemporary events; (vi) social conditions; (vii) and possess the ability to control and use sensory and emotional responses; (viii) the body as an expressive and responsive tool; (ix) the wealth of emotions to be experienced to encourage inner thoughts and fears, where appropriate; (x) the importance of the spoken word and the ability to express meaning; (xi) the ability to respond to suggestions and act upon advice in a positive manner; (xii) rehearsal techniques to explore the ideas being expressed; plus (xiii) your own thoughts and recognise the value of our own work.

All of the above are essential aspects of ‘play’ within drama in education and current research and data suggests that those wishing to study and work within the acting curriculum are hampered by the impact and power of ‘product’. These observations are as a result of working within a situation where the audience is of no consequence and the understanding of the audition situation is paramount. It is quite clear that those who succeed are those who are being educated in enlightened institutions and academies where ‘…the aims of education go wider than acquiring academic concepts and the knowledge that comes with them’ [White, 2012: 2].

With a continued growing concern regarding the status of the 'arts' within the secondary curriculum it has become necessary to identify exactly what a performance department is to expect at audition. It is my intention that this study will be published by Macmillan in the near future.

Item Type: Conference or Workshop Item (Lecture)
Additional Information: This workshop, plus video (to be uploaded) and document file (FAQs) are all part of the same audition project. The aim of the workshop project being to investigate the nature of applicants applying to London College of Music and to ensure the quality of the applicant and in turn secure retention. This has been a necessary development in order to compete with identical institutions mainly in the conservatoire sector. Interviews on Radio 4 You and Yours (April 15th, 2015) recognised the work so far undertaken concerning auditions and our current philosophy.
Subjects: Performing arts
Depositing User: David Henson
Date Deposited: 01 May 2016 18:07
Last Modified: 28 Aug 2021 07:19


Downloads per month over past year

Actions (login required)

View Item View Item