by Bel | Jan 2, 2014 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In The Guardian, Nick Asbury wrote: “Being an actor is hard, both in its delivery and its expectancy. Nothing trains you for standing in front of thousands of people and starting a long Shakespeare speech, or having to get the final take of the day right, because if you don’t it’ll cost thousands in overtime. No one can train you for simply waiting for the phone to ring.”
However, far from advocating the doing away with drama schools altogether, he is urging drama schools to rethink the structure of how they teach their students. He suggests “having shorter courses that last a year, maybe two, that offer technique and confidence and place actors in front of the industry people. Then perhaps we need replenishing and reinvigorating courses throughout the ensuing years.”
He acknowledges the indisputable quality of training and valuable connections that drama schools provide, however, he laments that “It’s getting to the point where they’re simply finishing schools for the wealthy – either that or they saddle people with so much debt that following a stop/start formative acting career is unthinkable. This is repugnant, and against everything the new wave of the 1950s and 60s stood for.”
Susan Elkin in The Stage writes of how “given the phenomenal success of National Youth Theatre’s first full training rep company this year, I think we can expect to see an increasing number of viable alternatives to traditional drama school training.” This is a free form of training, with ” all 15 participants [having secured] good agents and many of them are already in professional work.”
Citing Fourth Monkey Rep Company and Cygnet at Exeter, she writes of her prediction that similar companies will mushroom in 2014 as “more and more people are worried about the huge debt which drama school incurs and fretting about whether or not it represents value for money.”
However, while she concedes that emerging rep companies can provide quality training, she still insists that “drama schools – just 18 are now accredited by DramaUK – are still, obviously a major force to be reckoned with…”
Whether or not to go to drama school has been a hotly debated topic, but the necessity of training – in whatever form – has never been questioned. As Nick Asbury said: “Acting is all about practice and confidence. If you keep working or studying it, you get better. I am a great believer that cream will rise to the top, and if you work hard enough – raise money to do shows, keep on inviting people, get to know people, don’t be an arse and keep your head above water – then you will get jobs and get through doors.”
This is what Audition Doctor offers students – the chance to keep working and studying – whatever stage you are at as an actor. Audition Doctor sessions are hard work but they are opportunities to practice your craft. Furthermore, students have found that the buoying confidence that is engendered from the sessions has led to successful auditions.
However, the gift that Audition Doctor gives is the ability to stop acting. As Olivia Colman said in this week’s Telegraph: “To be honest, I don’t think that much about acting. If you’re genuine and you’re reacting truthfully to what’s being said, you don’t have to do any more. You’re still acting, but really it’s just honesty.”
by Bel | Dec 26, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In an article in The Stage entitled “The camera never lies – how well do drama school prepare their students for TV?” Matthew Hemley was adamant that “drama schools could do more to prepare actors for the reality of a working life, particularly in front of a camera. More and more, performers come out of drama school and land television work, but most of those I speak to talk of how unprepared they are for this…. Very often when I speak to actors, particularly young ones who are in a new television series, they talk about ‘learning on the job’, and about how terrified they were on their first day on a TV set, because of the fact they have so many technical points to remember (alongside learning their lines and actually acting). Of course there is an element to learning on the job for anyone – no training in any profession can prepare you for what the reality of a job is like. But it seems to me that for actors working in television it really is a shock to the system”.
Even Geoffery Colman, Head of Acting at the Central School of Speech and Drama, admitted earlier this year that “[Drama schools] are training actors in the best canonical tradition – to play Hamlet or Hedda Gabler – for an industry that isn’t there”.
However, drama schools are responding to the demands of the profession; Arts Ed decided to restructure its acting degree in 2010 “with a stronger emphasis on television and film because it was felt that students should be better equipped for these genres.” The subject of acting for screen has been much written about this year. While drama schools such as RADA, LAMDA and Mountview already offer acting for camera lessons, many drama schools are being encouraged to review their courses to include film and TV modules.
Many aspiring actors erroneously believe that with their concentration on stage acting, drama schools are not worth applying to. However, as Jane Harrison, principal of Arts Ed, emphasised “We have kept the core skills – of voice, movement, text and theatre work”. Furthermore, Philip Hedley, former artistic director of Theatre Royal Stratford East stressed the opposite view that drama schools should avoid stressing any particular medium at all. Instead, they should focus on “the ‘commonality’ of acting skills, which applies across the board whether you are doing cabaret or serious tragedy.” Although TV and theatre are different mediums, the fundamental principles of acting apply to both.
Audition Doctor coaches professional actors for both screen and theatre auditions. Drama schools such as the Oxford School of Drama and Bristol Old Vic incorporate taped auditions at later stages. While they say these are used as necessary aide-mémoires due to the high level of applicants, candidates can’t help but feel that these are also screen tests. Audition Doctor sessions prepare you for all eventualities. Ultimately, the panel aren’t looking for either screen actors or theatre actors. They are looking for artists. Tilly ensures that you have the best shot at showing them that you have the ability to interpret a character and the flexibility (as well as the intelligence) to explore the infinite number of alternatives.
by Bel | Dec 21, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
While Audition Doctor has always maintained that training at drama school is the wisest way to enter the acting industry, said establishments have come under fire recently for a myriad of reasons. They have been criticised for being too expensive, not preparing students for television work and failing to teach students how “to remain mentally strong and professionally active when work is not forthcoming and 40 years in a call centre seems to be beckoning”.
A former student wrote in The Stage “Drama school can be an introverted place. You learn, you observe, you grow, but you spend a huge amount of time surrounded by the same 14 to 40 people who know things about you that some of your closest friends may not yet have realised or deem appropriate. It’s a place where you should be focusing on yourself and your personal growth, but this very easily creates a bubble that dulls your awareness of the outside world…There are positive aspects to the effect of the bubble. It allows a student time for self-improvement and growth, a cocoon stage if you will. However, to fully grow as a performer, and mature as a person, an understanding of the wider world is needed and this should never be forgotten.”
In another article, Julius Green, author of “How to produce a West End show” spoke of how graduates are sometimes ill-served by their drama schools: “[Drama schools] could usefully spend a bit less time teaching their students how to find their ‘motivation’ and a bit more teaching them how to fill in a tax return and explaining to them how to go about booking digs. It is a constant source of amazement to me how ill-prepared for the exigencies of life drama school graduates can be.”
While all this is valid, no institution can shoulder the sole responsibility of the careers of all 35 graduates. Their obligation lies in laying the foundation; it is down to the individual to ensure that they build on this foundation and carry their training through. Accredited drama schools already provide their students with a significant amount of direction.
Geoffery Coleman, Head of Acting at the Central School of Speech and Drama states: “Typically, students might have sessions with agents, accountants, casting directors, producers, Equity, Spotlight, voice-over companies, corporate performance companies, radio/film/TV/theatre actors, and many other sectors within the industry.”
Seeking out someone like Audition Doctor is your responsibility if you keep failing to land auditions. Gaining a fresh professional perspective is indispensable – especially if you’ve just come out of drama school and have only had the instruction of a certain group of teachers and have acted with the same 14-40 people spoken of earlier.
Everyone in the Industry is adapting to suit the ever-changing nature of the profession all the time – even drama schools. Though the fact that drama schools are thinking of expanding their curriculum to teach students how to fill out a tax returns is undoubtedly useful, it is not why anyone wants to go/ is at drama school. They go to become better artists.
As Coleman said: “We realise a vision of training artists. I want to engender in all our graduates the sense that they are shape-changers, not commodities, and that through their performance they can change people’s lives…We train artists, not passive vessels or mere pretenders.”
Lessons at Audition Doctor are about training artists – whatever stage you are at as an actor. They are a bubble in the good sense; they provide counsel and encourage self-development. Furthermore, Tilly ensures that you aren’t a pretender and are always honest in your acting.
by Bel | Dec 5, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
The Stage recently reported on the success of the NYT’s rep season. This new form of training actors is the brainchild of the NYT director, Paul Roseby, who was also responsible for controversial remarks earlier in the year questioning the benefits of three year drama school training. The program trained and rehearsed 15 actors intensively since spring and then brought their three plays into the West End programmed alongside STOMP at The Ambassadors Theatre.
Roseby’s concerns with drama school training wasn’t the quality of the teaching but the consequences of beginning with a £27,000 student debt in an industry synonymous with instability.
Roseby’s pioneering new form of training is evidence of the importance he places on training actors properly for the profession they want to enter. Roseby said that “All fifteen [of the NYT rep company] are now either signed with agents, including Markham and Froggatt, Troika and Independent and United Agents, or they are in discussions with them.” It’s clear only after some form of rigorous training that students feel prepared to perform a showcase. Drama school showcases are still currently the main viable opportunity for getting signed by an agent.
Last September, The Stage hosted a discussion on how the nature of casting and by extension, the wider industry, had changed enormously over the last 20 years. Henry Bird reported: “With reality TV shows turning untrained amateurs into West End stars, and people getting cast on the street for spots in TV adverts, an outsider could be forgiven for thinking that breaking into acting has become easier. Of course, the acting industry is actually more competitive than ever. It seems that in acting, as is so often the case, it ain’t what you know, it’s who you know. Or rather, which casting directors your agent knows.”
John Barr got his first big role, in Jesus Christ Superstar, in 1981 through an open audition that he saw advertised in The Stage. That was just how it was done then, he says. “We all did those open calls for years. I remember when Cats was being cast, walking by theatres and seeing all these dancers warming up. It’s not like that anymore. It’s done through casting directors now.”
Although casting directors now hold the most power in the industry, agents still play an important role as the link between actor and casting director. It is often a closed circle, however, which can be frustrating for those at the start of their careers.”
Although the financial debt incurred from drama school may cause applicants to think twice about applying, agents still highly prize the calibre of student that drama schools unfailingly produce.
Audition Doctor has proved time and time again that sessions are vital to securing recalls for auditions. There are normally 4 stages to an audition and Audition Doctor lessons are essential the further along you get. Although there are significantly fewer applicants, the recalls require even more of you. Audition Doctor ensures that you are able to bring new colours into speeches that the audition panel have probably already seen you do multiple times. It’s at this stage in the audition that the competition is at its height and Audition Doctor ensures you always enter fighting fit.
by Bel | Dec 1, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
Whenever advice is proffered by teachers at drama school before auditions, they always encourage the following: Be open to suggestion, be willing to be vulnerable and be receptive to your fellow actors.
It’s difficult to follow such advice when experiencing the often fraught atmosphere of an audition. Frequently, lines that you were so sure of weeks before are inexplicably wiped from the brain as you engage in a group exercise.
Drama school auditions cannot be predicted and it’s essential to know that you will be entering them in a prepared state. No matter how connected you feel to your speeches and how impressive you believe your performance to be, it will all go out the window if you don’t have a measured and practiced state of mind.
This is why Audition Doctor is an essential prerequisite to any audition. Aside from cultivating the character’s psychological state, Audition Doctor prepares you for how you choose to present your own personality. It is this that the panel, more than anything, want to see in a candidate. (“We want to see you“) After all, it is you that they are interested in; it is your character that they will be training.
Being open to vulnerability and having the ability to listen are characteristics that have to be acquired and practiced. This is what Audition Doctor sessions allow you to cultivate.
Furthermore, much as Audition Doctor is about building up particular qualities that are useful in auditions, lessons are also about removing any extraneous “acting” that acts as a hindrance to truthfully portraying any character.
When Judi Dench was interviewed in The Sunday Times, the article mentioned that “at the Central School of Speech & Drama, her group were given the task of preparing a mime by the old actor Walter Hudd. They were to take a few weeks. Dench forgot about it and had to improvise on the day. She came up with a very minimalist performance. “I did it on the hoof, I hadn’t thought about it. Everybody else did very complicated pieces. Walter just said after mine, ‘That’s how you do it.’ And that was it, it was really accidental. He made me think.”
Audition Doctor sessions are about stripping away the unnecessary complications and blending improvisation with informed decisions as a result of exploring the text. It’s this that drama schools are looking for – the ability to use the text as a springboard for a variety of different possibilities and to find the truth in each decision and situation. If taken on as a student, Audition Doctor lessons are a rare opportunity that give you the time and space to allow you to do just that.
by Bel | Nov 21, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, tilly blackwood
Much has been written about Paul Roseby’s declaration that three year drama school courses are a waste of time and money.
Nick Asbury’s response to it was a considered one; while he deplored the “astronomical” costs of drama school that meant “[it] saddles people with so much debt that following a stop/start formative acting career is unthinkable”, he also refused to agree with Roseby’s assertion entirely.
“In my view, there are two main reasons to go to drama school: the first is to learn something. The vast tendrils of “technique” – breathing, stagecraft, listening and generosity etc – are taught differently in each school, yet knowing something about yourself inevitably makes you a better actor. Training gives you the time and space to experiment – to fail, and work out why. It’s wonderful to do that, and important.
The second reason is to meet people who are going to give you jobs. Agents use the main drama schools as a filter system. They can take actors on, fresh from school, and then put them in front of casting directors. In most cases, actors with no experience and no drama school training simply won’t be taken on by agents, unless they have a USP that stands out, like being the child of a famous actor, or being stunningly attractive. Or if they can play the accordion while reciting Shakespeare on one leg.”
There is another reason to go to drama school, which has somehow, in the panic that has ensued from rising tuition fees and increased competition, been forgotten. You should go simply for the love of it.
As Geoffery Coleman (Head of Central School of Speech and Drama) wrote in The Stage: “British actor training continues to aspire to the notion of a tradition and craft being passed down through the hearts and minds of successive generations. Actor training must never be founded upon a vocational rhetoric that is actually nothing more complex than a student’s need for employment. We must ensure that the reality of training actors today does not, by default, result in the students exclusive grasping attainment of a commercially viable technique – one that will get ‘picked up’ – but also a culturally valuable experience whatever the future employment statistics may say.”
In other words, you must want to go to drama school to pursue the art itself. It’s only with this passion for your craft, married with an awareness of how to market yourself that survival and success in this business is possible. To have one but not the other is useless.
Audition Doctor is in the unique position of being able to guide you in both directions. The emphasis is on choosing speeches that you are passionate about and that showcase you in a “marketable” light. The panel want to see you at your most vulnerable and malleable as these are the two qualities that are most likely to mean that you will be easy to train and flexible within the industry.
While it shouldn’t be all about employment statistics, it’s important to realise what makes you “bankable” – in other words, what makes you different from the person who is going in after you. Sessions with Audition Doctor are essential as this is quality is drawn upon in your speeches.
This is the asset that will get you a place at drama school and upon which a career can be based. This is why Audition Doctor has proven time and time again to be so invaluable – because going to drama school is as much about love of the art of acting as it is about putting food on the table.
by Bel | Nov 13, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
In the dramatically titled Guardian piece – Frank Langella: Legend of the Fall, it transpired that acting and writing autobiographies aside, Langella delivers sobering talks to drama school students. “The desire has to be raging in you, because such is the brutality of the profession, and the horrible indignities you have to suffer, you have to really love what you do.”
Simon Hattenstone’s piece paints an Icarus-like figure whose career is chequered with impressive highs as well as crashing lows. Langella talks of having to come to the realisation that he was no longer leading man material with the loss of his hair and how it “heralded a renaissance” in his acting career which goes to show how essential. However, rebirths are generally only afforded to those who have the the skills to adapt to the profession. This is why Susan Elkin states “debunking attitudes [like not needing to train professionally to become an actor] is probably one of the most important things I do as The Stage’s Education and Training Editor. After all, however great your footballing potential, you wouldn’t expect to walk in off the streets and immediately play for Manchester United. It takes years of training to achieve the right skills. And you never stop learning. Exactly the same principle applies to performing on stage or screen.”
It was recently reported in The Stage that professional actors work 11.3 weeks per year on average and 86% of those have been through formal vocational training which points terrifyingly at the assumption that those who haven’t trained must work even less. The reason that many people cite for not wanting to train is that they have no interest in Shakespeare; they want to be film actors and everyone knows that British drama schools are severely lacking in this aspect of training. While this is a legitimate desire, it is naive to believe you will have that much control over your career. Film actors still emphasise that theatre training, especially through Shakespeare texts, was requisite to their subsequent success on screen. Many drama schools are also currently revising their training programmes to incorporate more lessons on screen acting.As for those who want to seek success in America, shunning Shakespeare would be foolhardy. As Neil Constable, the Globe’s chief executive, told The Independent: “There’s more Shakespeare in Broadway than in London, the audiences lap it up. It’s a joy and a pleasure. They know their theatre and know their Shakespeare.”
Drama schools have always been places where students are allowed to experiment in safety. Repeated trial and error has always been the basis for improvement. Getting to know your weaknesses as well as your strengths is necessary before you launch yourself into the profession. Audition Doctor is the step before drama school – the Foundation Course before the BA. Langella spoke of the fact that he has realised above all is the fact that acting is less about “covering up as much as possible; it’s all in the unpeeling. Each decade of my career I’ve tried to reveal more of myself. I want it to be less of a mask.” This is what Audition Doctor concentrates on above all else – paring the performance down to reach the truth of the text and eschewing any “acting”.
As director Marianne Elliot said: “It’s impossible to feel the creative juices flowing if you’re always worried about the end result. I think really, really good work comes out of people being quite open, not stressed, really exploring, trying to be imaginative, without worrying too much about the end result. And being allowed to fail, really being allowed to fail.” Audition Doctor sessions are all about failing – not in the negative sense – but in the Samuel Beckett sense – “Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.” This is precisely the quality that drama schools are looking for.
by Bel | Nov 7, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
When applying for drama school, its common to only see your immediate goal – getting in. The audition process is such a lengthy process that often candidates forget that securing a place is only the very first step to even possibly beginning a career in acting. I use the word “possibly” because like law students who end up in advertising, or trained medics who go onto become playwrights, drama school students frequently end up doing something different from what they studied.
There is so much hype surrounding getting into drama school ,but it is a misapprehension that everyone who wants to go to drama school wants to be an actor. This is undoubtedly the majority’s main goal – made crystal clear by many candidates when asked to “approach the panel individually and state why you want to become an actor”, leading to the audition to descend into a situation horribly familiar to anyone who has ever had the misfortune of watching X Factor auditions, with people citing ill-ridden family members who “inspired them to act” – but many fail to realise that drama school is often the springboard into different areas of the industry, as well as other fields entirely.
Rufus Norris recently declared in The Stage: “I absolutely think, hand on heart, that an acting training is the only way to train for directing.” The article went onto talk about how his training at RADA suggest “that acting is a valuable route in right to the top jobs in British theatre. And it’s far from unprecedented, of course – Michael Grandage and Jonathan Kent, who would go on to lead the Donmar Warehouse and Almeida Theatres, were once actors, but both gave up their acting after turning to directing (interestingly at the Almeida, Kent shared his artistic director duties with the still-acting Ian McDiarmid).”
In another article, journalist Matthew Hemley, wrote of how his training was “three very formative years of my life, which [he] wouldn’t trade for anything” despite realising that “acting wasn’t for [him].” Now he writes about television for The Stage. When asked what training gave him, he responded: “What I did get…was an understanding of the works of practitioners such as Artaud and Brecht. The ability to work alongside others (even though I couldn’t stand the sight of many of them) and the chance to work with a variety of directors, and experience different techniques and approaches to staging a production. I refined any acting skills I may have come to my training with, and also began to understand how disciplined the industry requires people to be. I also gained confidence and communication skills.”
Audition Doctor specialises in drama school applicants. However, it is worthy to note that increasingly more students are booking lessons who earn a crust in other sectors. The skills that an actor acquires at drama school – effective communication and understanding how to connect with an audience to name a few – are basic requirements in most jobs. Promotions in the corporate sector depend heavily on self-presentation, as well as the confidence and nous to market your company effectively to potential clients. Even if you don’t want to be an actor, drama school and Audition Doctor lessons can pave the way to success in other sectors.
by Bel | Nov 1, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
TA short while ago, The Stage ran a piece entitled “What can an acting coach help me with and how do I find a good one?” It featured two experienced acting coaches – Dee Cannon and Martin Harris. The fact that the paper is devoting an entire page to sharing “about what they and their peers can do to enhance your chances” is significant, as this publication identifies itself as “The weekly for the entertainment industry.” Their target readership will be performers who most likely will have attended drama school and are already in the profession. It is indicative of how acting coaches are increasingly used not only to get into drama school, but throughout an actor’s career.
Dee Cannon teaches at RADA and has coached actors such as Jon Voight and Matthew Modine. Acting coaches are far more common in America; but Britain is catching up.
“Drama school can offer you a vast amount of knowledge. What they don’t often have time to teach is how to precisely sift through this knowledge to prepare you for auditions. I believe auditioning is a specialised technique, condensing all your skill sets. The advantage of using an acting coach is to guide you methodically through the specifics of the techniques you will need to help you ultimately nail the role.”
At Audition Doctor, Tilly often has actors that come to her for screen auditions. Tilly’s approach to coaching actors for screen and stage barely differs. As Cannon states: “When preparing for stage or screen auditions there’s very little difference in approach. For screen you really don’t have to focus as much on your vocal or physical technique. You don’t have to project since the camera will pick up everything. However, you do have to know who you are, where you are, and what you want, etc. In fact, as far as I’m concerned, you need to connect to your character for both mediums and make strong choices on the text and find belief in the imagined circumstance.”
She warns against choosing acting coaches who give line readings or overly impose their take on the character. This is something that Audition Doctor categorically refuses to do. More than anything else, the sessions are all about bringing the you into the character.
Martin Harris focused on what Tilly constantly talks about in her sessions – the paramount importance of selecting the right speeches. “I think it shows much more imagination to find a less familiar piece and one which may also spark the interest of the director who has been watching audition pieces all day.” As much as they try, the first rounds of drama school auditions will make you feel like cattle. It’s not their fault – the incredibly high volume of applicants can dwarf any sense of individuality or originality that you thought you possessed. Picking unusual speeches will buoy you; you won’t feel so much like a number if you aren’t the third Sheila from A Day in the Death of Joe Egg going in.
At the end of the article, John Byrne – an entertainment industry career adviser at The Stage – emphasised how, ultimately, “the success of long term work with whichever coach you choose is also going to depend on the relationship between you and that individual coach…It is noticeable that in both contributions the key quality the guests have indicated as the goal of effective acting coaching is connecting with the truth.”
This is what the vast majority of Audition Doctor sessions are about – understanding the intentions and motivations behind what your character says. It is also why Tilly doesn’t take on every single student that she meets. Good work usually comes from sessions over an extended period. It’s important that both you and Tilly’s work ethics work well together and when they do, you can really stretch the capabilities of your acting.
by Bel | Oct 31, 2013 | acting classes, acting classes london, audition classes, audition doctor, auditions, classes for acting, tilly blackwood
There has been much debate recently over the usefulness of drama schools. Derek Jacobi averred: “It can teach you movement, it can teach you voice, it can teach you deportment, it can teach you fencing skills, all sorts of things. But I firmly believe that it cannot turn someone who walks into a drama school as a non-actor into an actor.”
Furthermore, Paul Roseby stated: “Drama schools are incredibly expensive and the majority of actors don’t need three years’ training. They need various modular courses every so often to go to. But they don’t need three years. You don’t need to learn how to act, you need to learn how to sell yourself. You can either act or you can’t.”
Drama school is expensive, but it costs no more than a normal degree. While drama school is by no means the only form of training, it is one that is professionally recognised. Additionally, alternative models that allowed Jacobi time and opportunities to hone his craft, such as repertory, no longer exist. Drama schools are still places where those who do have, what Jacobi calls, the “seed, the desire, the will and the talent” to become a professional actor can learn their craft. Although some actors do manage to build successful careers without training, the majority of actors on stage or on television will have had some form of professional training.
Furthermore, Nick Hytner this week confessed that even he found Shakespeare’s plays confusing. Drama school is a place where there are tutors who have extensive experience to unpick language and explore the possibilities of what you, as an actor, are capable of.
Edward Kemp, – Artistic Director of RADA- hit back at Roseby by saying: “These days RADA graduates such as Jessie Buckley can find themselves playing leading roles in major theatres almost upon graduation.” He added that training can give confidence and bring an improved sense of self-image that one could argue were requisite in marketing yourself to the industry.
This is precisely what Audition Doctor affords every one of her students. The way you perform you speeches is absolutely linked to confidence and self-image. Even if you have the will and the talent, a speech cannot be performed at its best if you are self-conscious in anyway. As mercenary as it sounds, an audition is also an opportunity to market yourself to the panel as a student worthy of a place. Audition Doctor sessions strip all the extraneous “acting” and self-conscious ticks which leave you knowing that you will be your greatest asset as opposed to your own obstacle at your audition.
