Drama
Selecting your piece:
You are required to perform a 3-5 minute monologue of your choice. Although the choice is solely your decision, it is very highly recommended that your monologue is selected from a professionally produced theatre work. This ensures a standard of writing that will showcase your talents and abilities as well as possible.
The great part about STS is that unlike the guidelines some auditions place upon you, you are open to portray characters of any age and background. However, make sure that you have the ability to play your selected character convincingly. It will be reflected in judging if you have bitten off a bit more than you can chew.
If you're auditioning for any of the major drama schools (e.g. NIDA, VCA, WAAPA, QUT) you may be preparing a piece for them that they have prescribed to you. Using these pieces is fine, but if you think that there could be another monologue out there that shows you off better, look for it. Trust us, it can really pay off, and you'll enjoy the experience much more performing a text you love!
Read:
Read the text that your monologue is extracted from. Then read it again. And again. And again! It's very obvious to a judge when you haven't read the piece, so please give yourself the best chance of success and get studying. Plays only take a couple of hours to read so there's no excuse not to have gone through it at least a few times.
This is an important step for developing your knowledge of your character, their behaviours and most importantly their context. What are the personality, relationship and environmental factors that influence them to do what they do and say what they say?
Research:
There are two components to research - the time and place your play is set, and the time and place your play was written. Both of these will provide background on the underlying messages the work attempts to communicate, and the reasons why the playwright decided it was important to write. Believe us - writing a play is not a task you take on lightly!
Recite:
First, learn your words without any emotion or intonation. This gives you a clean slate to work from, and will ensure that no matter what the situation, those words are going to come out your mouth. It's a shame to see people blowing their chances by getting lost in their text through lack of practice!
Then pick your piece apart. Who are you talking to? Are they listening? Why are you saying these things? Identify the monologue's dynamic by breaking it down into beats, actions, emotions, conflicts, barriers, whatever - anything to help you develop that dynamic and propel your character on their journey. If you're having trouble with aspects of your piece, try the same part twenty different ways - you may come back to the original one, but you may stumble upon the perfect way to deliver that line!
Blocking:
Make solid decisions on your stage movement. Everything that happens on stage needs a reason, including where and how you're moving. Your stance, pace, physicality and location should always be charged with a feeling or reason. On the other hand, if you feel an impulse, go for it! In the rehearsal room nothing is incorrect, and you can pick and choose what works. But remember when honouring impulses that 'just because' is very different to 'I just HAD to!', so make sure your choice is clear cut and confident.
Also ensure you wear a suitable costume, makeup and hair for your character. The more convincing the better, and it will help you to immerse yourself in your new persona.
Challenge yourself:
We don't want you to get up and recite a speech because you have to. I hate doing that, you hate doing that, and judges don't want to see it. We want you to push the boundaries, show us your best abilities, entertain and engage us. When you leave an audition knowing you could have shown the judges something more it's a terrible feeling, so give yourself the best chance and drill that monologue 'til the cows come home!