GW Theatre & Dance
STOP KISS by Diana Son
Directed by Matthew R. Wilson
Auditions are Wednesday, 9/4/19, 5:30-9:30pm, and Thursday, 9/5/19, 5:30-6:30pm on the 2nd floor of the Marvin Center (800 20th St NW) in the Leggette Room (room #240). AUDITIONS ARE OPEN TO THE ENTIRE GWU COMMUNITY REGARDLESS OF MAJOR OR EXPERIENCE.
Callbacks will be Thursday 9/5 from 6:30-10:30pm in the same location.
Rehearsals will be held evenings and weekends beginning Tuesday, 9/10/19.
Performances will be Thursday, October 17, through Sunday, October 20, 2019.
For the audition, please prepare ONE of the following:
EITHER a one-minute monologue of your choice. (You will not be cut off for time, but please be brief and concise when cutting your monologue.) An ideal monologue choice would be contemporary and either dramatic or tragicomic; however, anything that you know well and are excited to perform will suffice. Make bold choices, and have fun!
OR any one-minute monologue from the sides (these sides may also be used for callbacks but you can cut down the material however you like for the initial audition) at https://drive.google.com/drive/folders/1R5Lpd00Ss0JcCHz6rbe511IhGO4BdpE5?usp=sharing
OR a two-page scene with the partner of your choice (scene excerpt should be around 3 mins—you may have to cut the material you find) from any contemporary play you like or from any of the sides available at https://drive.google.com/drive/folders/1R5Lpd00Ss0JcCHz6rbe511IhGO4BdpE5?usp=sharing
If there’s someone you want to audition with and a piece you want to do, GO FOR IT!
Any of these three options is acceptable for the initial general auditions. You may be memorized or used the script if needed (but be advised that using the script can limit your ability to move and interpret, so prep as much as you can.)
General Tips for Auditions:
(1) Know your piece as well as you can. That means not only knowing the words but also knowing why your character uses those words. Research definitions, pronunciations, and references, so you can make strong choices about why your character needs to say these words now.
(2) Use your imagination to flesh out the scene. Where are you? What do you feel, hear, smell, taste, see? How big is this location? Where are other people?
(3) Most importantly, have concrete answers for these questions: “To whom am I talking?” “What do I want from them?” and, “How am I going to get it?”
(4) Begin your audition with a “slate” by simply saying your name and the title of your piece. There is no need to provide any other information.
(5) Unlock your knees. Drop your breath. Embody the character and the moment all the way through the soles of your feet.
(6) Look for an arc so that your character—and the world—change from the beginning to the end of the piece.
(7) Treat an audition like a performance, not like a trial. Have fun, and follow this advice by Bryan Cranston:https://www.youtube.com/watch?v=v1WiCGq-PcY
Questions? Contact [email protected]
Leggette Room, Marvin Center