vef sk\u00f3lans.<\/a> <\/p>\n <\/p>\n
H\u00e9r koma meiri uppl\u00fdsingar fr\u00e1 sk\u00f3lanum var\u00f0andi undirb\u00faning vi\u00f0 innt\u00f6kupr\u00f3f. Uppl\u00fdsingarnar eru \u00e1 ensku. <\/p>\n
AUDITION NOTES FOR BA (ACTING) <\/p>\n
Preparation for Audition <\/p>\n
For your audition you will need to prepare two speeches to perform in
character. One should be from a play by William Shakespeare, preferably in
verse, and the other contrasting piece of your own choice. Each speech should
be no less than one minute and no more than three minutes. When you are
preparing your speeches please time them carefully \u0096 the audition panel may
stop you if the speech is too long <\/p>\n
Read plenty of plays before you make your choice. If you find the speech in a
monologue book, make sure that you read the play as well. You cannot work on
a monologue in isolation. The panel are likely to ask you about the play as well
as the passage you have chosen to perform. <\/p>\n
Try to find a character with which you identify- they do not have to be like you
but you must be able to empathise with the thoughts, feelings and actions
implied by the text. In making your choice of material remember that the panel
wants to see you bring a character to life, not necessarily demonstrate great
originality of choice. <\/p>\n
Take plenty of time to prepare. Read the whole play a number of times. Learn
the words accurately and rehearse the pieces thoroughly. Do not change your
mind at the last minute and try to prepare a new choice in a rush. <\/p>\n
As you prepare you must consider carefully what kind of person the character is,
what they want to achieve and why they say those particular words at that
moment-do they, for instance, want to change the attitude or behaviour of
another character? If so, how do they try to achieve this objective? What kind of
́tactics ́ do they use? <\/p>\n
Please also prepare a song. Your choice should be from a published musical ( no
́pop ́ songs please). Make sure that it is in the right key for you \u0096 don ́t try and
sing something that is too high or low. Make sure that you are comfortable with
it musically and that you understand the meaning\/story of the lyrics-we are
interested in your ability to act through song as we are in you holding the tune.
Please remember to bring the music with you as you will be accompanied on
the piano by a member of staff at the audition and if it is a copy, the pages
should be sellotaped together. <\/p>\n
Attending for Audition. <\/p>\n
Please be punctual. There are many people to be seen, and latecomers make
difficulties for everyone. If you are delayed, or if you cannot attend, please let us
know with as much notice as possible. <\/p>\n
In the first part of the audition you will be asked to perform both of your pieces
and will have a short interview with the panel of two staff or professional theatre
practitioners. <\/p>\n
Bring copies of your scripts with you. A steward will prompt you if necessary
and also read in other characters ́ lines if you have chosen a passage that
requires brief response from others. <\/p>\n
It is the Academy ́s policy that no feedback is given on a candidates ́
performance at the audition. However, if you are unsuccessful at this stage it
may be, for instance, that the panel considers that you need to gain more acting
experience, or, if you are still at school, that another year would give you some
useful further experience of life as well as acting. <\/p>\n
The first recall will be after lunch. You will be asked to perform your song and
then perform at least one of your main pieces before the main panel. At this
stage it is likely that the panel will do some work with you on one of your pieces
as well as giving you sight-reading, and tone and rhythm tests. This is practical
work will be followed by an interview. <\/p>\n
In the interview do not try to give the replies you think are wanted, or that will
impress, just be yourself and answer honestly. <\/p>\n
The second recall consists of a series of group improvisation exercises. These
give us an opportunity to see you in circumstances you can ́t plan or prepare for.
We ́ll be looking to see how spontaneous and open to others you can be. Don ́t
try and impress us, the most important thing is to work with your partners and to
enjoy yourself! This session is followed by a question and answer session with
the Chair of the Audition Panel (normally this is the Programme Leader or the
Director of Drama) <\/p>\n
In the course of the audition and interview, the panel will be looking for
evidence that in most, if not all of the following aspects you are able to: <\/p>\n
\u0095 Bring a character to life with believable thoughts, feelings and actions
which are appropriate to the text chosen
\u0095 Be sufficiently relaxed and energised in performance, improvisation and
interview in order to present your characters and yourself with honesty,
clarity and conviction.
\u0095 Show potential in voice and body for further development of the means of
expression: dynamic range, sense of rhythm, pitch and intonation,
mobility and flexibility
\u0095 Discuss your work giving reasons for choices made
\u0095 Respond to direction in performance and improvisation
\u0095 Be open to others, responding creatively to their ideas, thoughts and
feelings
\u0095 Demonstrate some knowledge of theatre, film and television today
\u0095 Show some experience of acting in public performances
\u0095 Indicate the resilience and commitment necessary for successful
completion of the course and entry into the profession <\/p>\n
When you come for your audition try to remember that everyone you meet on
the day wishes you well and wants you to do your best. <\/p>\n
Good luck and very best wishes.
Hugh Hodgart
Head of Acting\/Programme Leader BA (Acting) <\/p>\n
AUDITION NOTES FOR CNDIDATES FOR THE BA
(CONTEMPORARY THEATRE PRACTICE)
The BA (Contemporary Theatre Practice) is a practical Course, therefore entry
to the Course is dependent on a practical audition as well as academic
qualifications. These notes are intended to give you some helpful information
and advice. Please read them carefully. <\/p>\n
The Selection Process <\/p>\n
The Selection Process has three stages; the workshop, the written exercise and
the interview. Each stage is concerned with gathering information which will
give us the best possible indication of your suitability for the Course. It also
gives you time to discover whether we are right for you! <\/p>\n
The Workshop <\/p>\n
The workshop will take place in the morning and involves all candidates. Two
tutors, including the Programmer Leader, will work with you. We try to make
this stage as
non-competitive as possible, because we would like the opportunity to seeing
you working with other people. You cannot prepare for this session other
than by being determined to participate and enjoy yourself! The workshop
will include games and exercises, which will allow us to see some of the
following: <\/p>\n
\u0095 Your improvisation skills
\u0095 Your vocal skills
\u0095 Your movement skills
\u0095 Your listening skills
\u0095 Your ability to work co-operatively with others
\u0095 Your level of creativity and imagination <\/p>\n
During the workshop you will be invited to present a short performance piece.
What is the performance piece? <\/p>\n
\u0095 You are invited to prepare an original, devised performance piece using
one of the enclosed pictures as a starting point. You may, if you wish,
choose elements from any or all of the pictures. The are random pictures
but you may see a \u0091theme\u0092 in them and wish to explore that
\u0095 The piece must last no more than 3 minutes, so time yourself
\u0095 It does not have to be naturalistic with a ́story ́
\u0095 The main thing to avoid is performing a ́talking head ́. In other words
don ́t just perform a spoken monologue in character without any of the
ideas below. Try, as far as possible to turn your ideas into theatre images.
\u0095 Try to give your piece a structure (even though it is only 3 minutes) for
example, you may begin and end with the same \u0091moment\u0092 in time. <\/p>\n
Your piece may include one, some of the following: <\/p>\n
\u0095 Real objects; e.g. teapot, iron, hat, suitcase, clothing etc.
\u0095 Symbolic objects: e.g. cross, flower, mask etc.
\u0095 Spoken word: e.g. text you ́ve written yourself, text from a play. Text
from a poem, a newspaper article, a politician ́s speech etc.
\u0095 Action and movement: e.g. gestures, everyday activity, found activity
(copying the way someone you see in the streets walks, an air hostess
giving emergency instructions, someone dancing in a club etc.), dance etc.
\u0095 Music: e.g. a song sung live, music and\/or sound recorded onto tape or
CD, music played by you on an instrument etc. <\/p>\n
Following the workshop you will be given time to have lunch. Over lunch a list
will be posted indicating those we would like to see for an interview. If you have
been asked to attend an interview you will be invited to complete a written
performance analysis. <\/p>\n
What is a Performance Analysis? <\/p>\n
You will be invited to write about a theatre event you have seen recently, saying
what you liked\/disliked about it and why. You will be asked to explain why this
piece of theatre was an important experience for you. The written performance <\/p>\n
analysis will give us an indication of your ability to communicate your ideas
about theatre in good written English. You are advised to write about a theatre
event which you fell strongly about. You are given 45 minutes to complete this
written task. <\/p>\n
The Interview <\/p>\n
The interview will take place during the afternoon of the same day. The Course
Leader and other tutors will be present. The interview will look for amongst
other things: <\/p>\n
\u0095 Your ability to communicate your ideas about the theatre.
\u0095 What you want to do in the theatre
\u0095 Your musical skills
\u0095 What your previous experiences of theatre have been <\/p>\n
At this stage you will be invited to sing a song or play an instrument. It is fine to
sing unaccompanied. You will also be given the opportunity to present a
portfolio or other evidence of your experience and interest. In the interview do
not try to give replies that you think we want or think will impress us. Be
yourself, and answer honestly. This is also your opportunity to see if this Course
suits you, so please ask us questions. <\/p>\n
Attending for Audition <\/p>\n
Be punctual. There are many people to be seen, and latecomers make difficulties
for everyone. If you are delayed please let us know, with as much notice as
possible. <\/p>\n
Finally, remember that the tutors here want you to be seen at your best, quite as
much as you do, so ….Good Luck! <\/p>\n
{mos_fb_discuss:3} <\/p>","protected":false},"excerpt":{"rendered":"
The Royal Scottish Academy of Music and Drama mun senda fulltr\u00faa s\u00edna til a\u00f0 taka f\u00f3lk \u00ed innt\u00f6kupr\u00f3f h\u00e9r \u00e1 landi. Pr\u00f3fin fara fram \u00ed M\u00f6guleikh\u00fasinu sunnudaginn 29. apr\u00edl n\u00e6stkomandi og hefjast klukkan 9.30. Um r\u00e6\u00f0ir tv\u00f6 mismunandi BA gr\u00e1\u00f0u n\u00e1m. Annars vegar Acting (leikaran\u00e1m) 3\u00e1r og hins vegar Contemporary Theatre Practice 4\u00e1r. Um er […]<\/p>\n","protected":false},"author":3,"featured_media":1375,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[200],"tags":[],"class_list":["post-1376","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-markvert","et-has-post-format-content","et_post_format-et-post-format-standard"],"_links":{"self":[{"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/posts\/1376","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/comments?post=1376"}],"version-history":[{"count":0,"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/posts\/1376\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/leiklist.is\/en\/wp-json\/"}],"wp:attachment":[{"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/media?parent=1376"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/categories?post=1376"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/leiklist.is\/en\/wp-json\/wp\/v2\/tags?post=1376"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}