Austin Improv

I'm teaching an auditioning for improv class!!!

What should I tell them???!?!?!

Also if any of you have the blurb you used at the beginning of a specific audition to explain what you were looking for, may I have it to use as an example? kthxbai xoxo jb

To have fun and be yourself!

Be bold! Laugh at yourself and don't take it seriously.

Don't give them what you think they want, just give them you.

Try not to "want" it - treat it like any other improv thing and just go balls to the wall!

Be modest and polite.

If you're auditioning for some sort of genre show or show with a strong theme, do some research. Watch some of the source material beforehand.

Be bold. Throw yourself out there early.

Once you're out there, be generous, and give your partner a good time.

Vary up your energy throughout the audition.

Dress nice-ish in clothing appropriate for playing around.

"If you fucking fail your life will mean nothing! ASSHOLES! Fuck off!"

jillybee72 wrote:I'm teaching an auditioning for improv class!!!

What should I tell them???!?!?!

That you're sorry you decided to have the class in Austin instead?

Roy Janik wrote:If you're auditioning for some sort of genre show or show with a strong theme, do some research. Watch some of the source material beforehand.

Interestingly, this is kinda the opposite of what the directors I've auditioned for have said... well, they never said "don't do research," but at the top of the audition they've always said "don't worry about the genre, don't try to demonstrate that you know anything about [Doctor Who/Star Trek/avant garde theater], just play like you normally would."

"You're not gonna get paid for this gig, so just settle down and play."

Brad Hawkins wrote:

Roy Janik wrote:If you're auditioning for some sort of genre show or show with a strong theme, do some research. Watch some of the source material beforehand.

Interestingly, this is kinda the opposite of what the directors I've auditioned for have said... well, they never said "don't do research," but at the top of the audition they've always said "don't worry about the genre, don't try to demonstrate that you know anything about [Doctor Who/Star Trek/avant garde theater], just play like you normally would."

well, two thoughts on this. one, once you're in the room, there's not much point in saying to the auditioners "if you don't know this, you're screwed," so it's helpful to take the pressure off and maybe discover some gems who've got the chops and can then be molded towards the genre. but i think it's helpful to at least familiarize yourself with the world you're stepping into ahead of time. you may not need to know the minutiae of 40 plus years of Doctor Who or Star Trek, but it helps to know the general tropes of science fiction. i look at it the same way i think of doing genre research during rehearsal leading up to a performance: have it so you don't need it. it might not be necessary, but it's certainly helpful.

Rev. Jordan T. Maxwell wrote:

Brad Hawkins wrote:

Roy Janik wrote:If you're auditioning for some sort of genre show or show with a strong theme, do some research. Watch some of the source material beforehand.

Interestingly, this is kinda the opposite of what the directors I've auditioned for have said... well, they never said "don't do research," but at the top of the audition they've always said "don't worry about the genre, don't try to demonstrate that you know anything about [Doctor Who/Star Trek/avant garde theater], just play like you normally would."

well, two thoughts on this. one, once you're in the room, there's not much point in saying to the auditioners "if you don't know this, you're screwed," so it's helpful to take the pressure off and maybe discover some gems who've got the chops and can then be molded towards the genre. but i think it's helpful to at least familiarize yourself with the world you're stepping into ahead of time. you may not need to know the minutiae of 40 plus years of Doctor Who or Star Trek, but it helps to know the general tropes of science fiction. i look at it the same way i think of doing genre research during rehearsal leading up to a performance: have it so you don't need it. it might not be necessary, but it's certainly helpful.

What Jordan said.

If I'm casting a show with a certain tone, then I'm going to gravitate towards casting folks who at least show some understanding of it, or tendency towards it. I don't want it to seem forced, or that the improviser is trying too hard, but I think a basic grasp of what's appropriate for the genre will go a long way.

Obviously I can use my imagination and assume that I can coach the tone over the rehearsals, but all other things being equal, someone who gives me a glimpse of what I'm looking for right out of the gate is going to get picked over someone who doesn't.

The MAIN thing is that if someone comes in understanding the material, it shows that 1) they're taking the rehearsal seriously or 2) they love the genre already and are familiar with it.

What I would recommend is that you watch 1 or 2 movies/episodes (if it's video based) the day before, and then try not to think about it.

Roy Janik wrote:The MAIN thing is that if someone comes in understanding the material, it shows that 1) they're taking the rehearsal seriously or 2) they love the genre already and are familiar with it.

OK, so it really comes down to whether the director wants to look for it or not. As I've said, the shows that I auditioned for had directors who said "don't use the genre" -- but I remember now that I was also present at the audition for Violet Underbelly, where Kareem DID ask for some work in the noir style. I suppose one should chalk research up to "preparing to play the role" rather than "preparing for the audition" in that regard -- directors may never ask you to touch the material at all.

(I was going to buy that Woody Allen boxed set anyway...)

Try to show a couple different sides of yourself (show the different things that you can do well).

Make others feel comfortable. It's normal to be nervous at an audition -- find the thing that's fun and find comfort in that fun.

Offer good-natured support -- if you make somebody else look good at an audition, you look good (and shows thrive on support).

Regarding genre/source-based shows, I think showing that you can build a relationship with your scene partner with the right sort of tone is the best thing you can do. Making a lot of source-specific references doesn't necessarily make for a great improv scene. Show that you understand how relationships work in that genre's world.

Brad Hawkins wrote: but I remember now that I was also present at the audition for Violet Underbelly, where Kareem DID ask for some work in the noir style.

I thought I actually asked people to specifically avoid film noir in the audition, since I knew it would make people play in the exact opposite way that I wanted. The plan for the show was to basically start from zero and teach the cast the tone and style that spoke to me about the genre.

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.

Bottom line, do what the director asks. If they aren't specific, ask questions. If they just want to see you play, they'll say so.

Nicole Beckley wrote: Regarding genre/source-based shows, I think showing that you can build a relationship with your scene partner with the right sort of tone is the best thing you can do. Making a lot of source-specific references doesn't necessarily make for a great improv scene. Show that you understand how relationships work in that genre's world.

Well said! Hit the tone, rather than details or references.

i think it's important to note in all the talk about having fun and being playful and all that (VERY important) that it's just as vital not to swing too far in that direction to the point you're not taking it seriously. Be professional and respectful. It's irked me so much in the past to be at an improv audition (and, on occasion, a scripted audition) where it was clear someone just didn't care and was only there because they were bored and had an hour or two to kill. an audition isn't just some jam or open mic night for people to fuck around in. even if you're just there to play (and that in and of itself is fine and awesome), understand that it's a professional setting and respect the director and the other auditioners and don't just treat it like a chance to goof off. the folks i know who do it JUST to get in there and play, but do it with an attitude of respect? they actually get cast a lot of the time...because they strike that perfect balance of respect and professionalism with fun and playfulness. so the flip side is, of course, don't take it TOO seriously. improv or scripted, you're still just trying out to play make believe for a few months and there's always another audition right around the corner. so care in the moment, but not about the results. (easier said than done. )

Roy Janik wrote:

Nicole Beckley wrote: Regarding genre/source-based shows, I think showing that you can build a relationship with your scene partner with the right sort of tone is the best thing you can do. Making a lot of source-specific references doesn't necessarily make for a great improv scene. Show that you understand how relationships work in that genre's world.

Well said! Hit the tone, rather than details or references.

exactly.