<p>Stagemum, good story! I can’t wait for the results of my daughter’s auditions so that we can analyze it all–so fun. Also, I think it’s odd that his teacher suggested he save his strong piece for last. Every single thing we’ve read about auditioning has said to lead with your strong piece. First impressions are most important. DePaul, DePaul . . . my daughter’s wish–but she didn’t get a callback either, and she also felt that she had nothing to regret about her audition.</p>
<p>I thought I’d check out this thread to see how theatrical performance compares to music. My D has had some auditions for cello, and we’ve received some interesting feedback. I think it is probably generally applicable to any performance major, so I’ll add a few points.</p>
<p>One music department head shared with us that they evaluate whether the student is ‘up’ to the demands of their individual program. Can the student work at the level needed to complete a degree? So all the little variables, feeling good or bad, one’s own opinion of the audition, even whether or not any attention is given - none of these things really matter.</p>
<p>College professors giving auditions know that students are probably going to choke. It’s expected. My D forgot her memorized pieces and couldn’t continue more than once, yet got into the schools where she did the worse, from her standpoint. At another audition her first piece was rough. Then she played a lovely bit, and they asked her to play again that first piece. I think that reinforces the point. They knew she was nervous, but wanted to check and be sure.</p>
<p>They’re looking for the level, not for perfection!</p>
<p>Hi Lizzie,</p>
<p>I have a daughter in a music conservatory (a junior) and a daughter in an acting program (freshman) and was struck by how dissimilar the admissions processes were in these disciplines. The main overlap (which I think is your major point) is that the panels are not necessarily searching for perfection. </p>
<p>However, conservatory applicants are held to a very high technical standard, particularly at the top programs, and it is not possible to imagine being accepted-- or even passing prescreening-- without thousands of hours of intense preparation, not to mention lessons, and, usually, an expensive instrument. </p>
<p>Acting auditions, on the other hand, are more democratic. Prospective acting students often have no private training; some have acting coaches or audition coaches, but the expense is minimal in contrast to 10-15 years of weekly (or more) private music lessons. This is not to say actors don’t work and train hard, but it’s truly a different world. </p>
<p>As to how one felt at an audition vs. the results-- my music daughter was rejected by the two conservatories where she played her best auditions (she’s seasoned; a good judge of how well she did.) She was accepted with large scholarships at some other places where she didn’t feel her playing was flawless. There are all kinds of factors at play in a music audition, everything from politics to the philosophy of the adjudicators with regard to interpretations of Bach. There are so many kids playing at an extraordinary technical level that they are looking beyond whether a student is capable of working at the level (although of course this would be a first consideration.) A memory lapse is a minor thing-- it can knock you out of the running, or not, depending on the rest of your audition. A few years ago the winner of the Menuhin competition had a memory lapse while playing Zigeunerweisen; he still won. My daughter’s friend had a memory wobble in her Juilliard audition and still made it into the most coveted studio in her department. But in both cases, the students played at an astonishing level of technical competence, overall. I think acting is more forgiving, and that displays of technical or high levels of training virtuosity might even be seen as in impediment to future training in some programs, where the goal may be to remold a student. </p>
<p>Well, just my observations!</p>
<p>I also noticed that, whereas in music it would be a disaster to show up playing an obscure piece for audition, in acting there is a huge priority placed on novelty. One is not supposed to perform a monologue that is “overdone.” Can you imagine if cellists were forbidden to play Saint-Sa</p>