A truth of all auditions is that there will be lines and lines of people. It’s three o’clock in the afternoon and obviously you have forgotten the sack lunch and with the faculty parking lot locked (as if the problem is keeping kids OUT of school) so Subway ain’t in the picture. Things got to get moving. Momma is hungry!
The sure fire test that I use to help move the number of students auditioning to a reasonable callback is to have them present either their prepared material or the cold reading – – and while they audition, I watch their chest. If I can see that the student is fully and actively breathing during the course of the scene they will likely make my callback list. Breathing fully gives me a good indication that they are present to the moment; they are able to move beyond the stress; and they have the availability to allow their partner in. Now, who is guaranteed to get the callback? If I can witness two students in an audition who are actively breathing with each other – if I can sense that one actor breathes fully in and out – and as they breath out, their partner breathes in – – then I have a winner. I don’t care if they stumble each and every word and skip a page or two along the way. I have got the building blocks for a scene. Any near simpleton can memorize printed words but only a select few are able to work in communion with their acting partner. The actor can always fool you with the lines and the line delivery – but they can never lie or fool you when it comes to their breathing. Watch the chest.
And then I have a tip for you directors to narrow down the choices at callbacks. In some way have the actors touch each other in the course of the scene: a simple handshake, a touch on the shoulder, or a hug. Watch oh so carefully! If the act of touching doesn’t produce a response in their breathing or in the rest of their body, tread carefully! Ressonance requires movement. Touch is the most potent of tools in storytelling. Make sure their fingers do more then tap.