Annika Bluhm - The Theatre Arts Audition Book for Men

The Theatre Arts
Audition
Book for Men

The Theatre Arts
Audition
Book for Men

Compiled by Annika Bluhm

Published in the USA and Canada in 2003 by

Routledge

711 Third Avenue,

New York, NY 10017

Routledge is an imprint of the Taylor and Francis Group, an informa business

Copyright in this selection 2002 by Annika Bluhm

First published in Great Britain in 1989 by Methuen Drama

This revised and updated edition first published in 2003 by

Methuen Publishing Limited

These extracts are fully protected by copyright. Any enquiries concerning the rights for professional or amateur stage production, broadcasting, readings, etc. should be made to the authors agents and not to the publisher.

This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition, including this condition, being imposed on the subsequent purchaser.

Library of Congress Cataloging-in-Publication Data

The theatre arts audition book for men / complied by Annika Bluhm.

p. cm.

Theatre Arts book.

ISBN 0-87830-172-0 (alk. Paper)

1. Acting. 2. Monologues. 3. ActingAudtions. 4. Drama20th century. 5. MenDrama. I. Bluhm, Annika.

PN 2080.T47 2003

822.0450891dc21

2002036978

ISBN 13: 978-0-87830-172-0 (pbk)

Contents

by Annika Bluhm

by Jim Cartwright

by Timberlake Wertenbaker

by Elizabeth Kuti

by Michael Wilcox

by David Greig

by David Edgar

by John Retallack, adapted from the novel by Melvin Burgess

by Howard Brenton

by Stephen Poliakoff

by Edward Bond

by Terry Johnson

by Alan Ayckbourn

by Richard Cameron

by Michael Wilcox

by Robin Soans

by Manfred Karge

by Edward Bond

by Barrie Keeffe

by Edward Bond

by Ron Hutchinson

by Kevin Hood

by Max Frisch

by Philip Ridley

by Willy Russell

by Ken Bourke

by Ntozake Shange

by Iain Heggie

by Peter Whelan

by Michael West

by Caryl Churchill

by Peter Morris

by Dermot Bolger

by David Edgar and Susan Todd

by Richard Cameron

by Mtwa/Ngema/Simon

by Martin McDonagh

by Howard Brenton

by Sue Townsend

by David Mercer

by Gary Owen

by Terry Johnson

by Shelagh Stephenson

by Terry Johnson

by Howard Korder

by Nick Dear

by Shelagh Stephenson

by Deepak Verma

by John Hegley

by Simon Stephens

by Christopher Luscombe, adapted from the play and short story by Nol Coward

Thank you to Andrew, Griffin and Arden Farrow.

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 actors 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 m 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.

Opinions differ as to how much an actor can show about the way he/she works in an audition. One felt that it was a genuine opportunity for an actor to display their work; another, that little could actually be revealed by the presentation of a speech auditioning being an artificial performing situation and that the actor should concentrate on presenting themselves as well as possible, on maximizing their presence. Clearly in an ideal audition one should do both. One should be clear, concise and, equally important, unpretentious. One director talked of avoiding the temptation to be arch. Another was looking for assurance with natural reticence, which she went on to explain as including the director in the audition in an open way, talking with, rather than at, him or her.

Most key points as regards the selection and presentation of the audition piece are common sense, but easy to overlook in the attempt to impress. For instance it would be unwise to attempt a speech using a particular accent unless it was well within your capabilities and it would be sensible to choose a role within your own age-range. In the event of an audition being for a specific role, select a pertinent piece: if the production is to be a comedy, present a comic speech. It should be emphasized that there is no substitute, when preparing an audition speech, for reading the play in its entirety.

Everybody acknowledged the advantages of doing a witty or comic piece mainly because they enjoyed being able to laugh. They felt that it was extremely hard for an actor to play a highly emotional scene in an audition without resorting to a good deal of tension, both physically and vocally.

How can you make auditioning a less nerve-racking affair? Most directors agreed on this. Get a good nights sleep, wear comfortable clothes, arrive early and find a quiet place to calm down and centre yourself. Above all, everyone stressed, have fun!

Some speeches are amalgamated. This is indicated by punctuation: [ ].

by Jim Cartwright

Road is an episodic play set in a street in Lancashire where unemployment and despair is rife. Throughout the play different characters reveal the state of their lives.

Skin is one of these characters. This speech is the only time Skin appears in the play. However, it is imperative to read the whole play to understand this character.

Lights come up on aYoung Mansitting on a wooden chair. A bare light bulb is dangling.

Skin Om. He opens his eyes. He sees you. He wants to tell you the story. He feels the need to drift back on the tide of his memory, back, back, back. And Im the lonely skinhead again. Jogging away, every day, to the best, to be the best. And the press-ups. And the situps. And the 1-2-3, 1-2-3, 1-2-3, 1-2-3. And youve gotta be fit to fight, and I do, every Saturday night, with my friends at weekends, fight. Do you know about fighting? No. Ill tell you in my story. And I want to be the best skinhead and I want to give everything, every single thing, to the experience of the tingle. Ill tell you about the tingle later. And youve got to be fit to fight, and practise tactics every night.