Austin Improv

Oh, another really important thing (for all auditions, but especially improv): show that you can take direction, if it's given. If the director asks for something, give it to them. If you show that you're not flexible or willing to try stuff, it's kind of a red flag.

kbadr wrote:Maybe I did a round of scenes to give everyone the chance to get it the hell out of their system, though. I can't remember at this point.

Oh, yeah. That may have been what I was thinking of.

kbadr wrote:Oh, another really important thing (for all auditions, but especially improv): show that you can take direction, if it's given. If the director asks for something, give it to them. If you show that you're not flexible or willing to try stuff, it's kind of a red flag.

oh, one hundred percent this. i've known directors (and have done it myself a few times) who, even if the audition itself was fantastic and perfect, will give a note or an adjustment...JUST to see how well you listen and incorporate it. so don't get frazzled and think you did something wrong or stubbornly stick to your guns. take a second, take a breath, really absorb what they said...and then do it.

frankly, i tend to be more worried when i get done with an audition and they just say "that was great, thanks! we'll be in touch!" lol

kbadr wrote:Oh, another really important thing (for all auditions, but especially improv): show that you can take direction, if it's given. If the director asks for something, give it to them. If you show that you're not flexible or willing to try stuff, it's kind of a red flag.

It sounds kind of weird and could potentially border on cruel but I remember directors asking me to do crazy things in college theater just to see how quickly and how hard I was able to commit. One example comes to mind, I was instructed to "drink poison from a glass and immediately die" The play had no mention of poison in it, but you could see that the reluctant auditoners didn't seem like much fun to work with.

This applies for film auditions too:


Go in with a bold choice. Be prepared to take adjustments.



often your willingness to try the adjustment is enough.

A bit of advice from Wil Wheaton that I like:

"This is something I tell actors all the time: you have to find ways to enjoy auditions, and as hard as it is, as counter intuitive as it is, you just can't make success or failure about booking the job. You have to make success or failure about enjoying yourself. You've got to enjoy the process of creating the character, preparing the audition, and then giving the people on the other side of the desk whatever your take on the character is."

--
peter rogers @ home | http://hujhax.livejournal.com

Amateurs look for inspiration; the rest of us just get up and go to work.
      -- Chuck Close

Spots wrote: Go in with a bold choice.

the flip side of this is remember basic improv: don't try to be clever or funny. be natural, be obvious. but absolutely do it bold.

Face forward. Talk loud. Die slow.

I try to portray the fact that I can commit by finding a spot to do slow motion in. No one can do slow motion well without 150% commitment.

hujhax wrote:A bit of advice from Wil Wheaton that I like:

"This is something I tell actors all the time: you have to find ways to enjoy auditions, and as hard as it is, as counter intuitive as it is, you just can't make success or failure about booking the job. You have to make success or failure about enjoying yourself. You've got to enjoy the process of creating the character, preparing the audition, and then giving the people on the other side of the desk whatever your take on the character is."

Honestly, that sounds like good life advice too. I love finding joy in every single part of a process, not just the final product or the easily appreciable parts.

At least one other person mentioned this, but definitely be willing to take adjustments. Be excited to explore something else/more. It can feel like criticism but it's not. Be excited to collaborate with the director/auditioner and your scene partner.

I could swear this piece of advice came from you jill, but it's what I tell everyone who asks for advice on auditioning, especially newer improvisors. Treat every audition as a free workshop. Which means giving the dire for the respect yo would give a teacher, humbling yourself and being open to new things, and enjoying the experience without any attachment to the end result.

valetoile wrote:I could swear this piece of advice came from you jill, but it's what I tell everyone who asks for advice on auditioning, especially newer improvisors. Treat every audition as a free workshop.

Susan Messing, maybe? That's where I first heard it.

Thanks so much for this, you guys.

Does anyone have example blurbs of the things you said you were looking for at the top of the audition?

At the "After School Improv" auditions this past weekend, I said something like...

"I'm trying to build an ensemble, so I'm looking for people that can play well together. So, my wallflowers, feel free to be aggressive and put yourself out there. My bulldozers, please share the space so that everyone can be seen and heard."

That's the gist of it anyway.