where do you focus your eyes when reading a monologue for an audition?

Question

i know you dont look directly at the casting director,do you pick an angle so he/she can see your face but your looking at the wall or whatever is there?

Answer 1

This goes for auditions and when performing on stage.

You either look to the left or to the right and also central. Don't move your eyes constantly, focus at the points I've said. Find a spot on the wall or whatever to look at. Look over the heads of the audience/auditioners.
Be the part, don't act it. Feel it from your heart. Always be thinking, as this shows in the eyes so they are not blank. Even if you are concentrating on a fly on the wall, this concentration will show in your eyes. Good luck. It's often the personality that swings the outcome at an audition, if you seem nice to work with etc.

Answer 2

the thing with a monolgue is that not only dou need to deliver lines, show the emotion, present a character, but you are also responsible for making the audience aware of the characters place and situation. that is why it is so important to read the play and now what is going on before and after.

so even if you do not have a lot of movement in your monologue, try and create the scenery with your eyes, they will tell if the character is scared, for example fear might cause the eyes to flit all over, happy might be wide eyes played directely at the casting director, showing a sense of honesty or you might want to visualise another character off stage or behind the director
hope this helps, and good luck for whatever you are doing!

Answer 3

Casting directors want to get a sense of who you are, and if you're auditioning for a film, they want to know that you will be capable of "letting the camera in". I don't know who advised you not to look at the casting director but unfortunately there is no such hard and fast rule. To be totally relax and genuine is your best ticket - no mater where you look. Of course you should always address what you're saying to someone or something - in the room or not - but that's another story.

Answer 4

It's the same as if you were performing. If your monologue is meant to be done to another character/characters on stage then imagine where they are (even imagine what they look like, their reactions etc as this will aid in your delivery/action and reaction) If it is a soliloquy, such as Hamlet's "To be or not to be...", where your character is vocalizing a thought process and is alone at the time then you should generally speak it out, with appropriate action and reaction to your words but not to a specific target as your character would not see an audience. It really depends on the context of the piece and you characterization...how would your character say it and where would they look, how would they behave/think/sit/stand/dress?

Answer 5

right. this depends on whether your auditioning on your own or with someone else. if youre with someone else, maintain as much eye contact with the person your acting with as possible this makes the whole thing seem more realitic.
If your auditioning on your own for a play then you should look out towards where the audience is going to be sat.
If its for a film them chose a point and only change that point if you have to move from one side of a shot to another.

Answer 6

he first thing you should know about auditions is that everyone involved in the process—except maybe your competition—sincerely wants you to do your best. So do we. Over the years we’ve consulted a long list of directors, actors, college representatives, and teachers to find out how students might successfully present themselves at the college audition. Here’s a Cliffs Notes version of what they had to say.

Your material
Most of the experts agreed that finding the right monologue or song is crucial. That means:

* A piece that fits you. No sixteen-year-old King Lears, please.

* An unusual piece. If it’s in a monologue book, it’s probably done to death.

* A multi-dimensional, dramatically active piece. You should be working toward a goal with respect to the other character in the scene; silence on his or her part does not equal absence. If your character is telling a story, why must that story be told right now? Why doesn’t anyone interrupt you? How do your listeners react? How does that reaction affect you?

* A piece you know well. Don’t rely on adrenaline to get you through. Singers, especially, should not attempt material beyond their grasp.

* A piece that reflects your good taste and artistic sensibility. Students who barrage auditors with profanities are indeed remembered, but not fondly.

* A piece, or pieces, that can be performed safely within the prescribed time limit. Assume the clock will be running as you introduce yourself and make your transition from one piece to another.

* A piece that doesn’t require a dialect (unless you do it brilliantly), props, or gimmicky staging.

* A piece that reveals something about you, and that truly excites you.

Your preparation
No actor in his right mind would wait until opening night to start working on a role. So, college reps ask, why do so many student actors pick up monologues at the last minute and expect the inspiration of the moment to save them? Here’s a better strategy:

* Give yourself at least two months to get ready for this very important (though very brief) performance. Spend one month reading scripts, screenplays, poetry, fiction, musical scores, and other sources for audition material. Find or adapt the perfect piece or pieces. Spend the other month rehearsing, every day, alone and with a scene partner, preferably under the guidance of a trusted director or coach.

* Know the play and the character as well as if you were performing the role in a full production. Do the same research. Fully understand why you say every word you say.

* If you’ve used the piece in the past, don’t assume you know it. Start from scratch, find something new in it, make it fresh.

* Give yourself sufficient rehearsal time to play around. Improvise, experiment with different tactics, go to extremes. Avoid the recitation trap.

* Don’t forget to practice your introduction. Keep it short and upbeat. A sincere greeting, your name, the play from which your piece is taken, and the author is sufficient information. If you need to place a chair or set the stage in some other way, do so before your introduction. It will calm you down.

* Too many actors let their pieces trail off. Begin and end strongly. There should be no doubt as to when your character is finished speaking.

* Practice your entire presentation (moving the chair, introducing yourself, piece number one, piece number two, your dignified “Thank you” and exit) in front of as many different people as possible. After your dad’s bowling team, a panel of friendly college reps should be a piece of cake.

The night before
Assuming you’ve followed the experts’ advice so far, you can focus your energy now on trying to relax, psyching yourself up, and figuring out what to wear. Some guidelines:

* Plan to dress as comfortably as you can while maintaining a polished, professional appearance. Jeans, sandals, sneakers, miniskirts, and solid black (you’ll likely be standing against a black background) are taboo. Avoid noisy footwear and jewelry. Dancers should not hide their bodies beneath loose clothing.

* Make sure your printed materials (resume, application, sheet music) are neat and error-free. Music should be in the proper key, with returns, tempo changes, and other irregularities marked clearly.

* Take care of your voice.

* Get a good night’s sleep.

Audition day
This should be the easy part. Some tips:

* Eat lightly before the audition.

* Arrive early enough to scope out the audition space, if possible. You’ll also want to find a quiet place to warm up your voice and body.

* Know where you will focus your eyes during your presentation. Most experts suggest visualizing your partner at some point just above the heads of the auditors. In some cases (comedic soliloquies, for example) it’s better to address your listeners directly.

* Be sensitive to the acoustics of the space. Use sufficient breath to fill the room with your voice.

* Don’t apologize or make excuses. If you blank out, take a breath, remember your character’s objective, find a line, and continue. You should never ask to start over, particularly in a singing or dance audition.

* Be prepared to answer auditors’ questions when your presentation is over. Dancers, especially, should remain in their places until excused.

* Above all, enjoy yourself. Remember why you love performing, and share that love with your audience. They will thank you for it.

Good luck and lets us know how the audition went....

Answer 7

It's a useful question.

First of alll, you should try to avoid choosing material in which the character is speaking "to the audience," or soliloquies, in which he/she is talking to him/herself.

You should choose material in which your character is speaking to another character. Your point of focus then becomes simple: you "place" that other character in the space with you, and play to them.

As a practical/technical matter, you should place that imaginary character DOWNSTAGE of you, and at no more than a 30-45 degree angle. That way, as you work your objectives/intentions on them, you remain completely visible and available to the people who are conducting the audition.

Answer 8

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Answer 9

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Answer 10

You have to change where you are looking depending on what you are saying.
(ie I had a line that was about sunlight and my teacher told me to look at the sun when I said that bit)