About acting auditions
A strong monologue is an important tool to have in the industry. A monologue allows an actor the opportunity to show off their abilities. When selecting a monologue, be sure to chose one that is appropriate for your age group, fits the part you are auditioning for, (ie. dramatic role = dramatic monologue) and select a monologue that is engaging. Don't just read a speech, have a monologue that is interesting, exciting, and grabs the attention of your audience. Below are some examples of a monologue. To find more, go to your local library, they will usually have many books with an available monologue.

Examples --
Male comedy monologue
My wife is dumb. Quite dumb. I admit, I noticed it before we were married. I couldn't help noticing it, of course, but it didn't seem to make so much difference to me then as it does now. I considered her beauty, and her property, and thought of nothing but the advantages of the match and the happiness I should have with her. But now these matters seem less important, and I do wish she could talk; that would be a real intellectual pleasure for me, and, what's more, a practical advantage for the household. What does a judge need most in his house? Why, a good-looking wife, to receive the suitors pleasantly, and, by subtle suggestions, gently bring them to the point of making proper presents, so that their cases may receive--more careful attention. People need to be encouraged to make proper presents. A woman, by clever speech and prudent action, can get a good ham from one, and a roll of cloth from another; and make still another give poultry or wine. But this poor dumb thing Catherine gets nothing at all. While my fellow judges have their kitchens and cellars and stables and store-rooms running over with good things, all thanks to their wives, I hardly get wherewithal to keep the pot boiling. You see, Master Adam Fumée, what I lose by having a dumb wife. I'm not worth half as much. . . . And the worst of it is, I'm losing my spirits, and almost my wits, with it all. When I hold my wife in my arms--a woman as beautiful as the finest carved statue, at least so I think--and quite as silent, that I'm sure of--it makes me feel queer and uncanny; I even ask myself if I'm holding a graven image or a mechanical toy, or a magic doll made by a sorcerer, not a real human child of our Father in Heaven; sometimes, in the morning, I am tempted to jump out of bed to escape from bewitchment. Worse yet! What with having a dumb wife, I'm going dumb myself. Sometimes I catch myself using signs, as she does. The other day, on the Bench, I even pronounced judgment in pantomime, and condemned a man to the galleys, just by dumb show and gesticulation! - by: Anatole France

Male dramatic monologue
Look at those nasty scoundrels, those blue toads, those idiotic fools! Just because they're titled, they think they can make laws for free men! Bourgeois! The moment four of them gather together, they form committees and spoil good paper with their rules and regulations! "Show your papers!" As if we had to have their permission, their signatures, and the rest of it, to defend ourselves when we're attacked! Let every one protect himself! It's shameful to think a man has to let some one else defend him! They tried to make us give up our muskets, and throw us into prison. Can't do that! And those other fools, who think they're being betrayed, and at the first injunction, throw up a barricade out of respect for the constituted authorities and the moneyed classes! They're used to serving, and I suppose they can't get over their old habits in a day. Luckily, there are other wandering dogs like me, who haven't any home, and respect nothing. Well, I'll stay here and keep guard. By God, they won't take our Paris! Never mind if I haven't a thing to my name, it belongs to us all, and we're going to hold on to it. Yesterday, I didn't have any idea of all this. What was this city to me, where I hadn't a blessed hole to crawl into when it rained, or a place to get a crust of bread? What did I care about it? What did I care about any one's happiness or sorrow? But now everything's changed. I've got a part to play; I feel that everything belongs just a little to me: their houses, their money, and their thoughts--I must watch over them; they are working for me. Everybody is equal, equal and free. God, I always felt that, but I couldn't say it. Free! I'm a vagabond, I'm hungry, but I don't care: I'm free. Free! It makes my chest swell--it does! I'm a king. It's as if I was drunk; by head's turned--though I haven't had a drop. What is it? It's glory! - by: Romain Rolland

Children universal monologue
It's a matter of PROPORTION, that's what it is; and when you come to gauge a thing's speed by its size, where's your bird and your man and your railroad, alongside of a flea? The fastest man can't run more than about ten miles in an hour -- not much over ten thousand times his own length. But all the books says any common ordinary third-class flea can jump a hundred and fifty times his own length; yes, and he can make five jumps a second too -- seven hundred and fifty times his own length, in one little second -- for he don't fool away any time stopping and starting -- he does them both at the same time; you'll see, if you try to put your finger on him. Now that's a common, ordinary, third-class flea's gait; but you take an Eye-talian FIRST-class, that's been the pet of the nobility all his life, and hasn't ever knowed what want or sickness or exposure was, and he can jump more than three hundred times his own length, and keep it up all day, five such jumps every second, which is fifteen hundred times his own length. Well, suppose a man could go fifteen hundred times his own length in a second -- say, a mile and a half. It's ninety miles a minute; it's considerable more than five thousand miles an hour. Where's your man NOW? -- yes, and your bird, and your railroad, and your balloon? Laws, they don't amount to shucks 'longside of a flea. A person can learn them 'most anything; and they learn it quicker than any other cretur, too. They've been learnt to haul little carriages in harness, and go this way and that way and t'other way according to their orders; yes, and to march and drill like soldiers, doing it as exact, according to orders, as soldiers does it. They've been learnt to do all sorts of hard and troublesome things. S'pose you could cultivate a flea up to the size of a man, and keep his natural smartness a-growing and a-growing right along up, bigger and bigger, and keener and keener, in the same proportion -- where'd the human race be, do you reckon? That flea would be President of the United States, and you couldn't any more prevent it than you can prevent lightning. - by: Mark Twain

Female dramatic monologue
I am the cousin of the unhappy child who was murdered, or rather his sister, for I was educated by, and have lived with his parents ever since and even long before his birth. It may, therefore, be judged indecent in me to come forward on this occasion. But when I see a fellow-creature about to perish through the cowardice of her pretended friends, I wish to be allowed to speak, that I may say what I know of her character. I am well acquainted with the accused. I have lived in the same house with her, at one time for five and at another for nearly two years. During all that period she appeared to me the most amiable and benevolent of human creatures. She nursed Madame Frankenstein, my aunt, in her last illness, with the greatest affection and care. And afterward attended her own mother during a tedious illness, in a manner that excited the admiration of all who knew her, after which she again lived in my uncle's house, where she was beloved by all the family. She was warmly attached to the child who is now dead, and acted toward him like a most affectionate mother. For my own part, I do not hesitate to say that, notwithstanding all the evidence produced against her, I believe and rely on her perfect innocence. She had no temptation for such an action. As to the bauble on which the chief proof rests, if she had earnestly desired it, I should have willingly given it to her, so much do I esteem and value her. - by: Mary Shelley

Female comedy monologue
Well, Tommy has proposed to me again. Tommy really does nothing but propose to me. He proposed to me last night in the music-room, when I was quite unprotected, as there was an elaborate trio going on. I didn't dare to make the smallest repartee, I need hardly tell you. If I had, it would have stopped the music at once. Musical people are so absurdly unreasonable. They always want one to be perfectly dumb at the very moment when one is longing to be absolutely deaf. Then he proposed to me in broad daylight this morning, in front of that dreadful statue of Achilles. Really, the things that go on in front of that work of art are quite appalling. The police should interfere. At luncheon I saw by the glare in his eye that he was going to propose again, and I just managed to check him in time by assuring him that I was a bimetallist. Fortunately I don't know what bimetallism means. And I don't believe anybody else does either. But the observation crushed Tommy for ten minutes. He looked quite shocked. And then Tommy is so annoying in the way he proposes. If he proposed at the top of his voice, I should not mind so much. That might produce some effect on the public. But he does it in a horrid confidential way. When Tommy wants to be romantic he talks to one just like a doctor. I am very fond of Tommy, but his methods of proposing are quite out of date. I wish, Gertrude, you would speak to him, and tell him that once a week is quite often enough to propose to any one, and that it should always be done in a manner that attracts some attention. - by: Oscar Wild

acting auditions are a trial performance, by an actor, dancer, or musician, to demonstrate suitability or skill. We suggest you always show up on time and be prepared to performat acting auditions. Most actors memorize several monologues during their audition so they can impress a casting director if they are asked to demonstrate their skills. We receive hundreds of acting auditions and casting notices from all over the world.

The traditional way to obtain information about acting auditions was by getting an agent or manager first. Usually a new actor looking for acting auditions must mail photos to local agents and managers seeking representation. We have created a way to skip through this expensive process. All our members get access to acting auditions and casting notices in US, Canada and some parts of Europe. For now you can request a search for acting auditions in our FREE section, which has limited access. Most acting auditions will require you to submit your photos and resume directly via e-mail or regular "snail" mail.

Before your acting auditions, you may need some schooling. Even some of the best actors that are born with outstanding talent have to study and practice for every role. Some actors will never get the part because they lack the training and experience. Most professional actors hire training coaches every time they are working on a major production. Such professional training may cost a substantial amount of money; however, it will play an important part in actor's life. At first you should take some basic training at a local acting school or college. For more inexpensive training try well recommended acting workshop.

First step is always to research on acting auditions in your local area. If you leave in a small town your best bet is to find acting auditions in a near by City. Most of major casting acting auditions are done in California, New York, and Europe. Every city has a well established modeling agency that is affiliated with major players in the industry. Audition for a few different agencies and see what they say. Usually if they like you a lot, you will notice it in the first 2 minutes. The key to success here is to pick an agent that is well known and established! Ask for their references and credentials before signing any contracts.

acting auditions for beginners can often be intimidating, do NOT be afraid of rejection. All of your favorite movie stars have been on acting auditions, and have been turned down at some point in their career. They still get turned down at acting auditions to this day! Obviously only one actor can play one role, so many actors are turned away at acting auditions, even the most popular movie stars. So remember that "no" does not mean "never", it just means "not right now" Continue to apply yourself towards acting auditions and roles that you feel confident in. There are acting auditions are held all the time, so get to as many as possible to give yourself the best opportunity. Always try and present yourself as professional as possible at all acting auditions. Casting directors like to meet people who are respectful, polite, and easy to get along with. It is not very likely, (no matter how good your acting auditions go) that a casting director will hire you if you seem like you will be a problem on the set. Remember that every audition is a job interview, if you are the right person for the job, you will land the role. Now start searching for acting auditions.

IT IS YOUR DUTY AS AN ACTOR OR MODEL TO MAIL YOUR PHOTOS & RESUMES TO AGENCIES, CASTING DIRECTORS, PRODUCTION COMPANIES. THE MAILING PROCESS COSTS A LOT OF MONEY AND TAKES A LOT OF YOUR VALUABLE TIME. IF YOU ARE PATIENT AND CONSISTENT YOU WILL SEE SOME RESULTS. WE ARE HERE TO INTRODUCE YOU A WAY TO AVOID THE HASSLE OF MAILING. CASTING DIRECTORS PREFER TO USE OUR TALENT SEARCH PORTFOLIO DATABASE INSTEAD OF 5000 HEADSHOTS. TO REVIEW A LIST OF CASTING DIRECTORS WHO WILL RECEIVE OUR CD-ROM click here

GUIDE LINES TO FOLLOW WHEN YOU AUDITION:
1. Always know what you are auditioning for.
2. Arrive thirty minutes prior to the audition time; this will allow ample time to check in and warm up, check out your competition.
3. Bring at least 2 photos and resumes. Photos should reflect current physical likeness (should always be updated!)
4. Do not chew gum ( all directors hate it)
5. When attending callbacks, always wear the same attire worn at audition. Try to do everything you did the first time because it has already worked during the first audition.
6. Be confident, smile, always have a positive attitude
7. Act excited about everything you asked to do

Actors/Improvisation:
Be prepared for improvisation.
Different voices and dialects are a plus.
Prepare a dramatic and comedic monologue no more than 2 minutes in length.
Note if the audition is going to provide sides.

Singers:
Bring 2 selections of sheet music, 1 up-tempo and 1 ballad, in legible condition.
Be prepared to sing the best 16 bars.
Know your vocal range.
Sheet music should have full musical notation and in the key in which you will perform.
If audition requires movement, dress appropriately.

Dancers:
Wear appropriate dance attire.
Bring appropriate dance shoes.
If the audition requires singing, bring at least 2 selections of sheet music, 1 up-tempo and 1 ballad. Be prepared to sing the best 16 bars.

Find a good monologue:
Look for monologues that have some sort of change in the character from beginning to end. This shows range of acting and an understanding of beats.

Choose a monologue that is appropriate for your age range and life experience. Don't choose the monologue of a character you cannot identify with.

Choose a monologue that is appropriate for the show you are auditioning for. If you are auditioning for Shakespeare, don't use a contemporary monologue, and vice versa.

Make sure the subject is something that you either know about, or can at least identify with. If you don't know enough about the subject, do some research.

Do not attempt an accent unless it is specifically asked for.

Make sure that you like your monologue. If you don't enjoy performing it, there's no point.

Either avoid choosing a monologue that is too long, or cut it down to size. Most audition monologues should be about one to two minutes in length. If the audition notice specifies that it must be of a certain length, time it very carefully several times and edit it if necessary. You do not want to lose a part because you didn't follow instructions. If you feel that you cannot edit a monologue to fit in the time allowed without taking out something important, choose a different monologue. There is no point in ripping a monologue to bits just to make it fit.

Some 2-person scenes can be converted into a monologue by cutting out the other character's lines and modifying it slightly for content (the other character can be imagined and implied by your actions - it is an interesting effect). Never speak both characters' lines, as if you are having a conversation with yourself. This is not appreciated by audition panels.

If you are auditioning for a stage part, use a monologue from a stage play. Do not use monologues from movies for a theatre audition.

Do not use monologues that were written as stand-alone monologues. I know those "free" monologues on the internet are very tempting, but most of them are very bad. Monologues from plays have much more background to draw from to create a more complete character.

Do not perform a monologue in an audition without reading the play it is from.

Do not perform a monologue written by you or one of your friends. You are auditioning as a performer, not as a playwright.

The best way to demonstrate your acting abilities is by auditioning. Most likely your auditions will be by appointment, but it's a good idea to show up a few minutes early. Also, plan on staying until you've been seen, even though it may be well past your originally scheduled appointment time. Be sure to take along an 8 x 10 headshot as well as a copy of your most recent resume.

There are many things you can do at an audition to help improve your chances of being noticed by casting directors. First and foremost, always keep a professional attitude and be polite to those who are casting.

During the auditioning process, you may be asked to slate for the camera. If so, you should look directly into the camera and state your name and talent agency, if you're represented. If they require any other information, they'll tell you.

At some auditions, you may be asked to improvise something. The improvisation you are asked to do may or may not have anything to do with the project you are auditioning for. The key to any audition is to be prepared.

The best way to prepare for your audition is to know your lines! The key to good acting is being able to react to what is going on in the scene. By knowing your lines, you will be able to pay attention to what others are saying and doing and be able to deliver your lines accordingly. As you are learning your lines, make it a point to analyze and understand the character you are playing. Be sure you clearly understand who the character is, what's going on in the scene and what the character is trying to accomplish in the scene.

Do your research about the scene ahead of time. Get as much information about the character and the storyline in general. If you are auditioning for a television program, be sure and watch at least one episode to understand the show and the characters involved. Knowing the backgrounds of the producer and director may also give you insight as to what kinds of actors they usually hire.

While auditioning, if you lose your concentration, ask to do it again. If they don't want to see it again, politely thank them and wish them the best of luck. Regardless of how your audition ends, don't worry about whether or not you got the part. Continue looking forward to your next opportunity and continue to improve your talent

Auditions are vital to obtaining an acting role or a modeling job. Just remember that it may take dozens--even hundreds--of auditions before you get your first callback. You will have to play the numbers game. The more times you audition, the better your odds of landing a role in a movie or commercial. You can never know which audition will bring you success; therefore, you must appear for every audition. Make sure you go to auditions suitable for your characteristics and talents. Always remain positive and take advantage of every opportunity. The key to your future is auditioning in front of major entertainment networks. The most difficult part is to acquire connections in the entertainment industry.

Auditions are the bread and butter of The Actor's Life. But for many actors they can also be the most fearful part of the job. This article will hopefully put some of those fears to rest.

Getting auditions is always about working hard - and making sure that you're submitting yourself for the right kind of parts. For most auditions, you'll submit a picture of yourself (your headshot) and/or your resume. Most auditions are by appointment, where you have submitted something and then been invited for an appointment with the people who are casting the production. But there are also "open call" types of auditions, where you can just show up. Be prepared to stand in line for these kinds of auditions, because there will be many many people thinking just like you.

Sometimes when you get called in for an audition you'll also receive part of the script that is in production. These are called "sides". But even if you get sides, you should always remember to have a monologue prepared that really showcases your acting ability. If you receive sides, there is nothing more important than preparing for the audition.

You should read the sides. If it is a revival of a play that's available - you should make sure that you read the whole play before going in and auditioning. You should be able to pick up a copy of the play at Samuel French - or order it online (if you have time). But read and prepare for your audition carefully. If it's an important audition, consider working with your acting coach, or even hiring one for this particular audition to help you prepare. They can help you with preparation - and really know the character that you're going to be playing.

The absolute number one rule is to know your lines. Whatever technique you use, and whatever choices you use and whatever acting ability you bring to the table will be for nothing if you don't know your lines. Now, if you receive the sides at the audition, they obviously don't expect you to memorize your lines in the short time that you're waiting for your turn to audition. But know them as much as possible. If you're constantly having to look down at the script - then you're just reading. You're not listening and you're not acting.

One of the biggest challenges with the audition is how to dress. You should dress similar to the type of character that you're going to be playing - but you certainly don't have to go out and rent a costume (if it's a period piece for example). Remember that you want to come across as yourself and natural in this role - you don't want to look like you're trying to hard. But, you also want to make sure that you make it as easy as possible for the casting people to see you in the role. And this brings up an important point.

Remember, the casting people are seeing many many people on the day (or days) of casting. They want you to be good. It is not like American Idol where they are going to ridicule you. They want you to shine - and they want YOU to be the one that they can go "whew, that's the one, I'm glad we found him/her". So, go in with confidence. Stretch out, warm up your body, warm up your vocal chords and relax. When you go in, they may or not be overly friendly.

Remember, as we said before, these folks have seen many people before you - and they're probably tired, and they're probably waiting for a good reading. So, be friendly - but don't be surprised if they just say Hello and ask you to start reading, or start your monologue. When you start - remember auditioning is performing and that's why you're an actor. You love and live to perform. And this is a chance to perform in front of an audience. This is why you're an actor. So, really enjoy it.

Once the audition is finished, thank them all and leave. Don't try to get into a conversation about a critique of your performance - unless the casting director asks you about it. You may have no idea about what they thought of your performance. So, discretion is the better part of valor here.

If you get lucky enough to be called back - you should wear the exact same outfit as you did the first time. Remember, they only sort of remember you - and now's not the time to try and look completely different. You should also make the same creative choices as you did the first time. Remember, they liked it. Don't try to blow them away with some new interpretation. But, this may be the time that they stop you mid-read and ask you to try it a different way. Remember, that this doesn't mean that they don't like you - they may see something special in you, but they have insight into the character that you don't.

You won't get every part - but as you audition more, you definitely will get more and more. And you'll start to master the art of the audition.