Auditions for Drama Institutions...
Sun, 18 Nov 2001, 01:33 amHannah26 posts in thread
Auditions for Drama Institutions...
Sun, 18 Nov 2001, 01:33 amWell, its that time of the year again, the time that we can look forward to auditions for the performing arts courses all over Australia.
I was wondering how many people on the site have auditions coming up over the next few months/weeks for WAAPA or NIDA or VCA, or all of them as it may very well be.
My auditions are now only two weeks away for Musical theatre and Classical music at WAAPA.
NIDA has already had their auditions haven't they? How did people go?? I like to hear about these things... :)
C'mon people, share!! It's good therapy.
I was wondering how many people on the site have auditions coming up over the next few months/weeks for WAAPA or NIDA or VCA, or all of them as it may very well be.
My auditions are now only two weeks away for Musical theatre and Classical music at WAAPA.
NIDA has already had their auditions haven't they? How did people go?? I like to hear about these things... :)
C'mon people, share!! It's good therapy.
RE: Auditions for Drama Institutions...
Tue, 27 Nov 2001, 07:39 pmDespite the fact that they don't seem to want to know about me (rejected by NIDA and WAAPA theatre for the third time this year with nary a call back) I do not think that drama institutions are 'fuct', and maintain that I would still very much like to go to one (hurray for Music Theatre call back! How'd you go, Hannah?)
My only area of concern, and this is perhaps Dritan's motivation for the use of that enchanting adverb, is the seemingly arbitrary nature of who they do and do not accept. Furthermore, for those of us who do not get past the first round, why is there no way to get feedback? I refuse to accept that I am simply untalented, and unemployable as a performer, and will continue to pursue this career regardless. It would just be nice to have the luxury of three years unobstructed to concentrate on developing my craft.
Further, much of the information you receive is conflicting. I was told at drama school open days, at the age of 15, not to audition for the institutions once I left school as I would not get in, and to get another qualification under my belt first. This I dutifully did, and auditioned for the first time at the age of 21, Bachelor of Science (Occupational Therapy) under my belt, only to be pipped at post by several 18 year old school leavers (you know those kids on 'Drama School'? They were the ones that got in the first year I auditioned in 1999, and least two of them were 17).
At the NIDA Open Programme, they said to take as many acting, voice and movement classes as you could to improve your chances of getting in. I heard mentioned subsequently by NIDA audition panels, that NIDA like you to be pliable, raw and untrained so that you don't bring any prejudices with you into the class room. In another turn around, they then accept people who have been working in the film and television industry for years prior to auditioning (in addition to the 17 year olds).
Another of my queries is this: do they take notice of the experience written on their application forms? I would have thought that, as tertiary institutions, they would do better spending their money on moderately talented students who can demonstrate by their experience that they will work their proverbials off once accepted, rather than risking their money on hugely talented potentially loose cannons, who may have previously pulled out of drama schools, or have no experience and are auditioning on a whim. Granted, Mel Gibson was one of those loose cannons and he has since given them vast sums of money, but surely such people are few and far between?
I have seen many people get in who I have not thought much of, and people who I think very highly of as performers get knocked back in the first rounds. This, I am happy to accept, is only my opinion of people and the panel of auditioners know far more about talent and talent spotting that I do. I am just, yet again, in my annual perplexed, post audition mood, wondering, 'What the fuct to they want?!?'
Amanda Chesterton
My only area of concern, and this is perhaps Dritan's motivation for the use of that enchanting adverb, is the seemingly arbitrary nature of who they do and do not accept. Furthermore, for those of us who do not get past the first round, why is there no way to get feedback? I refuse to accept that I am simply untalented, and unemployable as a performer, and will continue to pursue this career regardless. It would just be nice to have the luxury of three years unobstructed to concentrate on developing my craft.
Further, much of the information you receive is conflicting. I was told at drama school open days, at the age of 15, not to audition for the institutions once I left school as I would not get in, and to get another qualification under my belt first. This I dutifully did, and auditioned for the first time at the age of 21, Bachelor of Science (Occupational Therapy) under my belt, only to be pipped at post by several 18 year old school leavers (you know those kids on 'Drama School'? They were the ones that got in the first year I auditioned in 1999, and least two of them were 17).
At the NIDA Open Programme, they said to take as many acting, voice and movement classes as you could to improve your chances of getting in. I heard mentioned subsequently by NIDA audition panels, that NIDA like you to be pliable, raw and untrained so that you don't bring any prejudices with you into the class room. In another turn around, they then accept people who have been working in the film and television industry for years prior to auditioning (in addition to the 17 year olds).
Another of my queries is this: do they take notice of the experience written on their application forms? I would have thought that, as tertiary institutions, they would do better spending their money on moderately talented students who can demonstrate by their experience that they will work their proverbials off once accepted, rather than risking their money on hugely talented potentially loose cannons, who may have previously pulled out of drama schools, or have no experience and are auditioning on a whim. Granted, Mel Gibson was one of those loose cannons and he has since given them vast sums of money, but surely such people are few and far between?
I have seen many people get in who I have not thought much of, and people who I think very highly of as performers get knocked back in the first rounds. This, I am happy to accept, is only my opinion of people and the panel of auditioners know far more about talent and talent spotting that I do. I am just, yet again, in my annual perplexed, post audition mood, wondering, 'What the fuct to they want?!?'
Amanda Chesterton
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