Audition Analysis for All Ages
Auditions don’t always go the way we want them to. More often than not, they result in some form of “no,” and we are left to wonder what exactly we could have done differently. One of the hardest lessons to learn as a performer is that usually you will never know the reason you didn’t get a gig or advance to the next round of a competition. And you still have to keep going anyway. It’s even more maddening when you realize that in many cases the audition result had less to do with you and your shortcomings and more to do with external factors beyond your control. Maybe you remind a judge on a panel of an ex. Maybe the judges are a bit hangry because they haven’t had lunch. Maybe the judges are a bit sleepy because they JUST had lunch. Maybe the judges know they are looking for someone taller or shorter than you. Or maybe the auditions are being held because they have to hold them as per union rules, but in fact the role(s) for the show have already been cast.
Regardless of the reason you didn’t get the gig or advance in the competition, there is always something you can learn from the process. Even if you DID get the gig (or advance to the next round of competition), you should still try to learn as much as you can from the experience. This is true at any level, whether you are a student involved in the TMEA audition process, an aspiring opera singer doing the Met Competition, a pop singer auditioning for The Voice, or someone trying out for a role in the community theater production of The Sound of Music. It is important to ask yourself a few questions:
1. How was my preparation? Did I do everything I could to be ready for this audition?
2. How did I feel before/during/after the audition?
3. What were my goals for this audition, and did I accomplish them?
4. What would I like to improve or change for a next audition?
There are many more questions to think about, but these cover a basic analysis of the preparation for the audition, the audition itself, and preparation for future auditions. I find that taking this slightly clinical approach can not only help you learn, but can also help you process the emotional roller coaster that goes along with auditioning. You are absolutely allowed to wallow in a bit of self-pity if it doesn’t work out, or celebrate if it does. Feel all the feelings. But having a system to analyze things can help everything feel a bit less personal, and can keep you in a healthier headspace. It never feels great to get a rejection, but if you know that you have some potential learning in that moment, and you have a specific series of test questions to ask yourself to get those analytical juices flowing, you can sometimes move past disappointment a bit more quickly.
The key to a successful “postmortem” of an audition is honesty, especially in regards to question #1. No human being is immune to slacking off from time to time, and we all have days when the practicing just doesn’t happen. That's normal. But there is a certain amount of prep work that each person needs to do to be ready for auditions (or any other event). If you did not meet that need in your own preparation process, then you know that is one of the first things to improve for the next audition. Deep down, we all KNOW whether or not we did the work. We may not like to admit it, but we know.
Analyzing how you feel throughout the audition process can be really helpful in recognizing how nerves are affecting your performance. Do you feel sick to your stomach before you go in the room? Do your palms get clammy? Does your mouth suddenly get dry? Did your mind go blank, or was it racing through a million bad scenarios at once? Did your breath suddenly become really shallow and you feel like you can’t sing those long phrases you practiced? If you can recognize your own brand of nerves, then you can acknowledge it as a part of your process. Then it becomes more “normal” in your mindset and you can more easily deal with it. That’s not to say that you will ALWAYS have the same nervous response, but in general you’ll notice patterns. Once you recognize the patterns, you get a clearer picture of your own process, and knowing your own process is one of the biggest keys to building a healthy and sustainable technique.
If you take away nothing else, take away this: the only thing you can truly set against nerves is solid preparation, and the only way to develop solid preparation habits is to analyze your own process and figure out what works and what doesn’t. This daily work is a grind sometimes, and the audience will never know or celebrate your own mastery of your nerves. But in the end, the quiet confidence that comes from true self-knowledge and strong foundational work is a wonderful feeling to have when you walk into that audition room to face a panel of judges (or maybe just a blue tarp).
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