Audition Tips

Dear dancers and parents,

And just like that, we're back at it! Audition and competition seasons are upon us and you are probably pulling together videos, resumes, and cover letters as I write this newsletter. Here are a few quick tips:
 
Cover letters
Your cover letters should be short and personalized. After you introduce yourself in one sentence, make sure you point out why you are excited about training at that school for the summer or dancing for that company next season. Referencing interest in specific works or choreographers or how you are suited to their style will set you apart from the hundreds of other applicants who send a generic letter.
 
Resumes
Your resume should not read like a newspaper with long sentences and paragraphs that read from top to bottom. Instead, use columns and bullet points, be sure to limit yourself to one page, and include a headshot up top next to your name. Google "ballet dancer resume" and you'll find many examples of easy-to-read resumes. 
 
Videos
Plan to book at least two sessions to film your videos. Know all of your choreography before you start filming so you can make the most of the rented space.
 
Set a time limit for each session and a limit on the number of times you will run things, like class combinations and variations. Doing things over and over again rarely leads to good results; usually, the more you run it, the more tired you feel and the less polished it will look.
 
Viewing and Assessing Videos
Most dancers film and view, and then re-film and re-view all day long. This is tiring and doesn't often produce good results. Try not to get into this pattern unless you are a seasoned dancer who has a robust sense of worth when watching yourself on film.
 
Watching right after you've filmed and trying to assess if it's good enough or not is pretty difficult psychologically and emotionally. Since dancers are rarely satisfied with their efforts, you can quickly fall down the rabbit hole of self-doubt and perfectionism.
 
Instead, you should start by filming yourself marking the choreography, and then watch that right away to be sure it all fits in the frame and the angles are good. Then, once you start running/filming for real, stick to a pre-set number of run-throughs (maybe 2 or 3) and don't watch in between. Run it, then rest. (And resist the temptation to watch it.) Then, think about where you'd like to improve or what you want to fix in the second run-through and run it again.
 
Plan to watch everything the next day and assess what you've filmed with fresh eyes. With a little distance from the filming day, most dancers can arrive at a more honest assessment.
 
Improvisation
Some companies and summer intensives, particularly modern or contemporary places, require a short section of improvisation. Unless you have a lot of experience dancing improv, outline what your improv section will be; have a plan for yourself and mark it through a few times before filming. On the other hand, if you like improv and have done a lot of it, go for it! If you like what you've filmed, you're all set.
 
Finally, as a more general piece of advice, don't wait until the last possible date to submit your audition materials. Last year, I had dancers tell me that even though they were submitting materials within the published deadline, the company had closed the search because they had so many submissions. GAH! Don't let this be you. Book your studios, set your choreography, book some coaching, and then film away. Get things out before the deadline as often as possible.
 
And if this all sounds overwhelming and impossible, please set up a free session with me. I have coached lots of dancers through this process; it helps to have an accountability partner! Your session can be scheduled here.

In the next newsletter, I'll address tips for the audition itself: how to stand out and be seen. Until then, happy materials-prep and stick with it and stay on track! 

Be well,
Elizabeth