Your Audition starts a block away!

You never know who that man or woman in the hall is. Don’t get caught doing that last make-up check, or chatting on the phone about what fun you had the other night. When you go to an audition you are trying to fill a part. You want to leave casters with an impression of your work, not your behavior before you walked in the door. Don’t cut your chances by leaving a distracting vision in the casters head. You might give the performance of your life, but all the auditioner will remember is your conversation on the phone, you smacking gum in the lobby, how you were not courteous to a fellow auditioner, or even worse how you were unknowingly uncourteous to them. So Remember. Your Audition Starts A Block Away!

When to Get in Front!

Confidence is a beautiful thing, but make sure you use it wisely. If you know it takes you a little longer to get combinations, do not place yourself right in front for casters to see you fumbling around. Place yourself towards the back, but make sure you are close enough to see the combination. Move up a little at a time, so by the time they see you, you leave an impression of Intention instead of Confusion. Staying a couple of lines back is also good for the Audition Diva. It’s a good place to reserve your energy and mark. When it’s time to go full out, you won’t be worn out from doing it too many times. (Only attempt this if you know you can knock it out). You know what your level is, so do yourself a favor, and plan when the best time is for "You" to Get In Front!

How To Mark!

Marking enables a dancer to repeat a routine numerous times without becoming over exhausted. This method is mainly used when routines are being created in Dance Schools, Company Rehearsals, and even Big Time Shows. Rehearsal Directors and Choreographers use this as a courtesy to prevent dancers from becoming over exerted. The agreement of the word Mark is that the dancer executes the combination in a solid clear manner, so the choreographer is still able to visualize the piece. The Dancer should keep all choreographed lines for arms, body positioning, and travel patterns in tact, while leaving out the stressful parts of the combination such as multiple turns, kicks, and jumps.