Well, my audition is now a solid 5 days away, and I think I've found my two pieces. (ok, you can pick your jaw off the floor now). Now the process stands in the copy, cut, paste...re-copy, re-cut, re-paste stage. My favorite stage. Well, this stage is a close second to the stage where I'm walking off of *the* stage, finally finished with the darn audition. We'll get there.
Now, you may recall I was looking for classical and contemporary pieces. Well, I took a leap and went to Classical Spanish plays-not to dear old Willy-and a wackadoo poem entitled "Cow". Where does the farm theme come in, you ask? Well, the classical is Lope de Vega, and the play is Fuente Ovejuna (also know as "The Fountain Where Sheep Drink"). Get it? Cows. Sheep. Eh? Eh?!
Oh what connections actors find to justify the "perfect" audition package. Heh.
Its a tricky one, this "audition package". I almost think finding one monologue "with considerable range" is easier than finding two monologues. Why? That's a good question.
I think a solid audition package is like the best peanut butter and jelly sandwich. (Bear with me now.)
Now you've got two pieces of bread (this is like your time slot: 90 seconds, 2 minutes, etc.). You search for the best peanut butter and the best jelly to make the perfect sandwich (your assignment: two monologues *or* one monologue and a song for instance), to make the perfect audition package (delicious and nutritious!).
But what do I find at times?
That I've found the best peanut butter. I put that on one slice. Then I go to the pantry and find, gasp, the best crunchy peanut butter! Its good, just as good as the smooth, but different...right? But put it on the other slice of bread and all you have is a PBPB sandwich. Unfortunately, the sandwich is "just so" without that compliment zing of the jelly. There's no variance, no excitement-and the audience definitely stops listening to the same tone of voice, the same objective after about, oh, 1 minute. Not even that sometimes.
When finding an audition package, you *must* look for two pieces that can stand alone, but can also stand together without mushing into one long one-noted speech. Show the audience that you can be the antagonist and the protagonist, that you can embolden them and make them sick, that you can make them laugh and cry.
Make the best PBJ sandwich you can muster! Even if it does smell like barn.
On to editing,
-Whit
Now you've got two pieces of bread (this is like your time slot: 90 seconds, 2 minutes, etc.). You search for the best peanut butter and the best jelly to make the perfect sandwich (your assignment: two monologues *or* one monologue and a song for instance), to make the perfect audition package (delicious and nutritious!).
But what do I find at times?
That I've found the best peanut butter. I put that on one slice. Then I go to the pantry and find, gasp, the best crunchy peanut butter! Its good, just as good as the smooth, but different...right? But put it on the other slice of bread and all you have is a PBPB sandwich. Unfortunately, the sandwich is "just so" without that compliment zing of the jelly. There's no variance, no excitement-and the audience definitely stops listening to the same tone of voice, the same objective after about, oh, 1 minute. Not even that sometimes.
When finding an audition package, you *must* look for two pieces that can stand alone, but can also stand together without mushing into one long one-noted speech. Show the audience that you can be the antagonist and the protagonist, that you can embolden them and make them sick, that you can make them laugh and cry.
Make the best PBJ sandwich you can muster! Even if it does smell like barn.
On to editing,
-Whit
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