Of all the essentials on your list, the most important, by far, is showing up as who you truly are in your auditions. Each of you changes your own life and therefore your creative experience, fulfillment, and success the moment you begin to trust that the most important ingredient is you. As a performance coach, our work is to support you with tools and technique, including taming and reframing what I call our "limiting editor".
Our "limiting editor" was constructed in our consciousness to help us whenever it perceived possible "danger." Now, I know none of us really thinks we are in danger when we walk into the audition room. But, in fact, a process which includes being assessed, being observed, and being in competition with others can trigger our "limiting editor" to jump into action to save us from what it perceives as the pre-existing hurt or scary moment. So, in order to keep you safe from feeling hurt or scared, it actually intrudes upon your creative process, stopping your instincts as storytellers, which are the essential ingredient to getting the callback.
For example, it heatedly screams, "Sing the other song. It allows you to belt as loud as the last 20 women or men have just belted." Or, it nudges, "Don't take a moment to settle in before singing, because the monitor told you they are running behind. They'll appreciate you moving it along." These are big no-nos, when it is ultimately all about your presence in the room. It's all about claiming your space not giving it away in order to compete or to be accommodating. And there are so many other reasons why we give away our power in our auditions. We've touched on a couple today. I suggest that our main competition is with ourselves! The most important aspect of our audition process is to give ourselves permission to be present.
So, in this new year, I want you to start showing up for yourself in new ways. Stick to the song you rehearsed because you know instinctively it's the right song for you and your audition. Take your moment by taking a 3-count before starting your song. Every time you dare to trust your instincts, you are getting closer to the inner yes which will be reflected in the manifestation of the outer yes, the callback. And audition by audition, you'll transform your "limiting editor" into your "benevolent editor." This is the editor that reminds us to stand in our light!
After all the training and preparation is applied, the main event in the audition is you. Who you are in the room, in your song, in your monologue, and in your audition sides is what the casting directors are waiting to experience. Showing up with who you are by standing in your truth and your authenticity as storytellers will make the difference!
Our next article will address the inwardly versus the outwardly motivated audition. Stay tuned. Here's to your success in 2013!
Kimberly Vaughn is a writer, teacher, director, producer and performer. She co-wrote of "Lord Tom," the musical. She is the founder and artistic director of Kimberly Vaughn Performance Studio, and she also teaches at Circle in the Square Theater School, Pace University, and NYFA. She has directed Edward J. Moore’s "The Sea Horse, "The Lost Boy," Sondheim’s "Saturday Night," and the world premiere of "Cry Tiger." She produced "Marlene" starring Sian Phillips, "Swinging on a Star," "Hauptman" starring Denis O’Hare, "The Cover of Life," and "Four Women and a Waitress" starring Marthe Keller. As a performer, she appeared on Broadway in "Dear Oscar." She also performed in regional productions of "The Member of the Wedding" with Ethel Waters, "Harvey" with Shirley Booth and Tom Poston, and "Applause" with Dorothy Collins. She received a Bachelor of Science in Speech and Theatre from Northwestern University. www.Kimberlyvaughnperformancestudio.com
