TIPS FOR ACTORS
AUDITIONING
Come to the audition having read the script if possible. If not possible be as familiar with the source material, subject matter, characters, world, genre, and style of the piece as possible.
Read audition specifications carefully, and prepare what is asked for. Be off book if asked for. If not asked for you should still be off book. If the audition material is given to you at the audition and you can not be off book, get off the page as much as possible and connect with who you are talking to.
Make your choices based on the actions you are playing, not the qualities you want to present. Consider the circumstances of who you are talking to, where are you, what time of day...etc. And then make choices that you can commit to that are grounded in those choices.
Don't get too close to the director at the table.
Don't use the director as a scene partner.
Be professional. Don't demonstrate how crazy and creative you are. Be professional and demonstrate good solid honest work in your acting.
When you are done, take a beat and say thank you. If the director asks you questions you can talk. If the director says thank you to your thank you, wait a beat smile, and if they don't say anything else start to leave. Minimize awkwardness by being prepared to come in, do your work say thank you and leave.
RESUME HOW TO'S:
https://www.backstage.com/magazine/article/exactly-format-resume-us-market-1318/
HEADSHOT TIPS:
https://www.backstage.com/magazine/article/headshots-everything-need-know-5052/
(FOR THE PURPOSES OF BRISTOL AUDITIONS, YOU DO NOT NEED TO GET PROFESSIONAL PHOTOS. HAVE SOMEONE TAKE YOUR PICTURE, AND USE THAT. BUT PLEASE TRY AND MAKE IT LOOK AS PROFESSIONAL AS POSSIBLE)
REHEARSALS
Come to the first rehearsal having read the script, bring a notebook and pencil, or a device to take notes on.
Come to the first rehearsal having done script analysis. (If you don't know what this is register for THE 112 or THE 113)
When listening to the director take notes. Begin using your journal as a chance to put the internal thoughts feelings, perspectives of the character down on paper though the process.
When still on book, get off the page and connect with scene partner.
Get off book asap.
When getting off book and working at home, memorize your lines by going over and over and over the lines out loud and activate the lines, take in your imagined scene partner, process the circumstances and inner life while drilling the lines. Don't do it mindlessly. Learn the part holistically.
Come to every rehearsal prepared and with ideas.
Never argue with the director. Have a conversation if it is appropriate. Share ideas. Solve problems together. But it should never be you against the director. This is collaboration.
Have fun! Even though it is hard work, and a part might be emotionally draining, sad, depressing, angry or anythin else...You can always approach your work with honesty, authenticity, and joyful fun at creating something beautiful.
TIPS FOR STUDENT DESIGNERS, STAGE MANAGERS, AND ASSISTANTS (Please note students generally act as assistants to professionals designers, though in some situations may be approved to design or stage manage.)
Come to all production meetings, rehearsals, tech, and any other meeting prepared to share your ideas.
Always be prepared to take notes.
Know your job. A designer is a collaborator trying to work with a director and a design team to realize a vision. You are not working unilaterially to achieve YOUR VISION, and equally as important, you are not waiting for the director to tell you exactly what to do and how to do it. Be proactive, open to change, look five steps down the line to be prepared for the next part of the process.
Know your job. An assistant is doing everything they can to provide for the director or designer or SM. Anticipate needs, ask questions if you don't understand. Share ideas if it feel appropriate, and the space is given to you by the person you are assisting.
Communicate, early and often about everything, and try and always provide visual pictures, sketches, models that can communicate what your thoughts are.