As an actor at any level - from school exam to professional casting - you are likely to be called upon to perform one or more audition pieces - often a 'classical' piece is specified. A great deal will depend on your coming up with something fresh that is suited both to your particular performing skills and to the period of the play you are auditioning for. Which is where this volume of The Good Audition Guides comes in. Drawing on her enormous experience as a theatre director and in drama training - she has sat on the selection board of several leading drama schools - Marina Caldarone has chosen for this volume fifty monologues for female actors selected from classical plays throughout the ages and ranging across all of Western theatre. Each monologue is prefaced with a neat summary of the vital information you need to place the piece in context and to perform it to maximum effect and in your own unique way. The volume also carries a user-friendly introduction on the whole process of auditioning.
A reference for high school theatre teachers covering both curricular and extracurricular problems – everything from how to craft a syllabus for a theatre class to what to say to parents about a student's participation in a school play.
A Beginning Singer's Guide is a vocal pedagogy with four practical uses. First, it can be used as a collateral text for studio voice lessons. The teacher can conserve time by assigning relevant reading in the book instead of making lengthy expositions during the lesson. Second, it can be used as a primary text for undergraduate vocal pedagogy classes. Many schools offer a vocal pedagogy class whose enrollment includes singers and future choral conductors. A special chapter for the future choral conductor containing methods and other aids should meet the need for an all-in-one text for this class. Third, it can be used as a practical guide for new voice teachers. A special chapter containing methods for new voice teachers and studio administration will be very useful to the new teacher of voice. Fourth, the book explores subjects not usually covered in music pedagogy books, such as notes on working with a pianist, improving memory, common acting terms, subtexting, and methods for alleviating performance anxiety. These important, yet often disregarded areas, further complement a singer's talent and skill. The author does not espouse any particular 'method' of singing; instead, he applies a universal, scientific approach with the firm belief that singing can be enhanced through further musical knowledge. The sequence of the book follows the natural sequence of learning to sing. The book is rounded out with line art of the vocal mechanism, musical examples, tables outlining the musculature of singing, practical forms, information for the beginning teacher, and a bibliography.