<p>I am new to these boards and have been searching for this answer. My daughter will be auditioning for MT acceptance next year. In preparing for an audition, what is the generally accepted attitude about choreography during the singing portion of the audition? Should students focus on vocal production with little movement, if he/she can still get the character across, or should a student go ahead and use the staging that has been developed for a particular number? This is a question I’ve been mulling over for some time. I’ll look forward to the replies.</p>
<p>Dduellman-</p>
<p>You may get several opinions on this, but in my opinion I wouldn’t choreograph the number(s). Dance is for a dance audition not the vocal audition.</p>
<p>Dduellman,
I have to agree with wct on this. Moving in appropriate ways to enhance acting the song is different from specifically choreographing it. The focus in the vocal audition should be about putting out the best vocal performance. Most BFA programs have a specific dance audition to highlight dance prowess and potential. You would probably get a lot more info regarding this question if it wasn’t in the Otterbein thread - you may want to start a new one specifically on this topic.</p>
<p>Please note: I have made this topic into its own thread because it was first posted on the Otterbein thread and it really is its own topic. I want to welcome our new poster, Dduellman, who may not have realized how to start a new topic. This way, more responses are likely.
CollegeMom</p>
<p>I will respond merely as a parent of a kid who auditions (as well as auditioned for BFA programs) but I am not in this field as some posters are. I see your question as having two facets. Your subject heading asked about choreography but the text of your message seemed to be asking more about blocking/staging of the song. </p>
<p>As far as choreography, no, the student should not include any dance in the song presentation. As others mentioned, most schools have a separate dance audition. In any case, a vocal audition focuses more on the singing and the acting of the song, not dance. </p>
<p>As far as blocking/staging, I don’t think the song would be presented quite the same as if staged in a musical (like you were asking about the staging developed for the production number). This is not black and white, however. While it would not be staged or blocked like it is a musical production, it still needs to be acted and performed, not merely sung. So, while the student would not be using an entire stage or not blocking out every single movement the same as in a production, he/she still must ACT the song and perform it. So, the student does not necessarily have to stand still in one spot but some movement might be involved in acting the song. Still, this is not as much as in the actual blocking IN a musical. The full body would be used and some movement or steps in a more confined space, if you know what I mean. </p>
<p>So, not sure I am clear but do not choreograph the song and don’t formally block it out as if in a show, BUT PERFORM the song as if performing in a show…act it out and if it means some movement, rather than standing in one spot, that is part of the performance. Still, auditioning is a little different than the way it is performed IN a show. The singing and acting is the same but there is LESS blocking than in an actual production. I hope that makes sense. This has been my observation of when my own kid has auditioned. </p>
<p>Susan</p>
<p>I recall that Dr John answered this question last year if anyone has good search skills and can find it!</p>
<p>no…the auditors don’t like choreographed songs-they like the acting to feel real(at least according to CMU teachers lol)</p>
<p>I have this vague memory that Ithaca said they didn’t mind if you danced during the audition. I could be wrong, however; brain is getting overworked with so many details.</p>
<p>NYTheatermom, you are correct about Ithaca’s statement regarding auditions. However, I don’t think those who audition in general, normally include choreography in a song audition and thus I can’t imagine changing that for Ithaca’s audition. While my own child has trained her whole life as a dancer, she did NOT dance at all in her singing audition for Ithaca and got in two weeks after her audition in late January. I would stick with ACTING a song, which does not mean one must stand still but it should not be formally blocked like in a show…the movement would be more natural and part of the acting, but not “staged”.
Susan</p>
<p>Chrism, I wish I had Shauna’s or Thesbo’s “mad html” skills, so I could find what I wrote last year. But after a fruitless search, it makes more sense to write something new.</p>
<p>Dduellman, I agree with wct and monkey and Susan. Full choreography is not appropriate in a vocal audition. Look at it from our point of view. We have four minutes to hear all the qualities of the actor’s voice, including its health, listen to the actor’s musicality, and watch for the actor’s ability to interpret the text. When an actor choreographs the song, it makes it harder rather than easier to make these judgements; choreography tends to call attention to itself. But the actor’s dance ability is not what we need to see in the vocal audition. We test dance abilities separately.</p>
<p>That doesn’t mean that students should stand dead still, arms locked at their sides while singing. That choice sends its own set of signals, and they’re not positive. But in-between standing stock still and dancing all over the stage is a middle ground which includes some movement which shows us that the actor’s whole body is engaged in the action of the song.</p>
<p>Hope this helps.</p>
<p>i didnt want to start a new thread…so ill post it here, since its along the same lines…</p>
<p>what are the “rules” for blocking during a monologue, as well as props?</p>
<p>I don’t know the “rules” and again, I’m not trained in this field, but I think the advice is still similar as with the songs. NO props. You do not need to stand still and likely should not…you need to act using your entire body. However, I don’t think you would block it out using the entire stage in the same exact way as in a production. I think you would move and act naturally in a more confined space. It is kinda a half way between standing still (should not really do) and full out blocking in advance using the stage in the same way as if in a show. But the ACTING should be as if performing. I hope that is clear.</p>
<p>Susan</p>
<p>At our BFA auditions, when people “choreograph” or dance in a vocal audition, it automatically equates to “novice” and/or baaaaaad training (which is VERY hard to break, BTW).</p>
<p>Movement should come from the character’s NEEDS: need to communicate, need to release physical impulse, need to gesture to emphasize a point, etc. It is very much as if you were speaking - after all, the age-old adage about musical theatre is that “when one can no longer express the range of their emotions in words, they must sing…” (meaning, in order to sing, your character has to be at a heightened emotional state - one that words cannot capture sufficiently). The last part of that adage continues, “…and when song alone cannot capture your emotional life, you must dance.” Hence, in order to be dancing, your character has to be at the TOP OF THE EMOTIONAL CHART (something that is risky in auditions, and that doesn’t always translate out of context of the musical as a whole).</p>
<p>Stick to movement, gesture, simple crosses, sitting, standing, etc.</p>
<p>On the use of props, use CAREFULLY selected, easily carried (like a handkerchief, a crossword puzzle and pencil, a flower, a picture not in a frame, etc.), prop; and only then if it is vital/necessary prop to the piece. After all, we want to see YOU the actor/singer/dancer, not you the designer. But DON’T bring a gun (yes, believe it or not, auditioners have done this!!!), or any other prop/substitution that requires explanation (your acting should say it all). Likewise, don’t do “phone” monologues - they are not immediate, compelling and requiring the (imagined) response of the (imagined) partner to whom you are singing.</p>
<p>The same note goes for clothing - DON’T dress the part; dress for an audition. Dress like you CARE about this audition and this business. We are all theatre folks behind the auditors’ table, and have incredible imaginations - we’ll go along with you on your flight of imagination, if you allow us to.</p>
<p>Best Wishes,</p>
<p>eve</p>
<p>Prof. Himmelheber–I’m so happy to see that you’re posting here with first hand info about Fullerton. Your description of why not to choreograph an audition piece is wonderful, and I will share it with my D. She had taught me this spring about the no phone monologues wisdom. She learned that from her drama teacher who is a theatre graduate from Fullerton.</p>
<p>Thank you!</p>
<p>I just happened in to this website (while doing an “institutional comparison” between CSU Fullerton and the biggest Musical Theatre schools). Boy, was that a stroke of luck!</p>
<p>I look forward to reading, answering, sharing, asking, etc. This is SUCH an intelligent and inquisitive group! Thank you for being here!!!</p>
<p>This is a bit OT, but I had to add it - the reason for NOT doing phone monologues is the same reason most people HATE and are driven to distraction being forced to listen to a cell phone caller!! Listening to a phone monologue seems like it would be just as ANNOYING. Hmph.</p>
<p>In some cases it is ok. I sang “I cant stand still” from footloose, which has two 8 count dance breaks. Those breaks however, are the ONLY times i danced. Generally, when singing, choregraphy is a bad idea.</p>