The Green Room - Nerves and What To Do While Singing

Sep 16^th, 2008 at 11:30am

QueenMorgaus Offline
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I'm a nervous auditioner, there's no way around it. Oh wise patrons of PA, how do you conquer your nerves and stay cool and collected when standing before the panel of directors, giving your all? Even when I've over-prepared and know my stuff down pat, even when I don't care one way or the other about being cast in that particular show, I get so intensely nervous that my vocals go out the window. Call-backs or performances are no problem, just the initial audition.

And question two: how should one move while singing in an audition? I want to avoid being the wedding-singer, the let's-point-out-every-word-with-an-action singer (like all the possibility with "wouldn't it be loverly"), as well as the Zombie (who just stands there blankly staring, expression frozen in "Jr.High Choir Face" mode). Should one just stand there composed with minimum movement being neither stone or cartoon? Should you block it out like you were performing?

*sigh* oh why, oh why do most of the paying theatres around here do mostly musicals? If all they did were straight plays I wouldn't be in this mess. Undecided

"I don't need to compromise my principles, because they don't have the slightest bearing on what happens to me anyway." - Calvin and Hobbes

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Reply #1 - Sep 16^th, 2008 at 11:44am

Cheeky Monkey Offline
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It's all about confidence. You just have to *know* that you ARE the part. It's a mind trick. You basically psych yourself into realizing you were made for the part and that anyone who doesn't think so is ridiculous. If you believe it, then it will help them believe it.

As for standing, looking, etc. I just use the same rules as a regular monologue and pick a focal point somewhere above the heads of the auditioners and just focus on and sing to that point.

"Depends. Did you feel anything for the pumpkin? The midgets?" -Wildcard&&&&If Mary Matalin and James Carville can make it work, ANYONE can. The end.

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Reply #2 - Sep 16^th, 2008 at 12:04pm

Wc365 Offline
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Try to focus your nervous energy into the performance. Where you get a little trembly, focus on your breathing, especially working your diaphragm to expand just a little bit more. This should help to relieve some tension, and takes your mind off the performance anxiety.

More, you could focus on the lyrics of the song. Meditate on them, letting the words sink in like you're hearing the song for the first time. Let it affect you emotionally, so that it will also help drive the meaning of the song, or at least enable you to "sell" it.

Also, don't look at your auditioners as an "audience," but rather as cast mates, at least, or as someone you're just talking to, same as a speaking part, only singing.

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Reply #3 - Sep 16^th, 2008 at 12:04pm

Beech Craft Offline
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Cheeky Monkey wrote on Sep 16^th, 2008 at 11:44am:

I just use the same rules as a regular monologue and pick a focal point somewhere above the heads of the auditioners and just focus on and sing to that point.

This is an excellent point to bring up. Your song choice should follow the same rules as a monologue choice - it tells a story; it goes somewhere; it has a beginning, middle and end; you feel confident when you perform it; it shows off a part of you that you're confident about; it resonates with you on a personal level; you like it; etc.

Before you perform it, take plenty of time to establish your breath and get your head on straight. When it's your time, be confident and smile as you simply and succinctly introduce yourself and your song. Nod to your accompanist, and find a spot just over the auditioners head to center yourself as you perform.

Don't worry if they cut you off early, that usually means they've heard what they need to hear.

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Reply #4 - Sep 16^th, 2008 at 2:00pm

spiker Offline
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You see. This is why I don't audition for musicals. Because I don't know the answers to these very questions. I am a nervous singer. I sound fine in my shower, horrible in front of people. The strategy I used while doing Rocky was: if you shake your booty enough nobody will notice your bad singing. Feel free to use that advice in your audition. Wink

"...there are more people alive now than have died in all of human history. �In other words, if everyone wanted to play Hamlet at once, they couldn't, because there aren't enough skulls!"

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Reply #5 - Sep 16^th, 2008 at 2:09pm

QueenMorgaus Offline
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LOL! Especially funny as I'm singing "When You're Good to Momma" from Chicago Grin

I really don't know what to do for movement on this one, as I don't want to look like I'm propositioning the director.

"I don't need to compromise my principles, because they don't have the slightest bearing on what happens to me anyway." - Calvin and Hobbes

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Reply #6 - Sep 16^th, 2008 at 3:12pm

Cheeky Monkey Offline
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QueenMorgaus wrote on Sep 16^th, 2008 at 2:09pm:

LOL! Especially funny as I'm singing "When You're Good to Momma" from Chicago Grin

I really don't know what to do for movement on this one, as I don't want to look like I'm propositioning the director.

Or do you. Smiley

"Depends. Did you feel anything for the pumpkin? The midgets?" -Wildcard&&&&If Mary Matalin and James Carville can make it work, ANYONE can. The end.

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Reply #7 - Sep 16^th, 2008 at 3:14pm

The Dark Knight Ex Member

Most importantly, remember that confidence is a choice. You don't FEEL confidence, you choose it.

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Reply #8 - Sep 16^th, 2008 at 5:11pm

QueenMorgaus Offline
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Thanks, Dark Night, I'd never thought of it like that before.

"I don't need to compromise my principles, because they don't have the slightest bearing on what happens to me anyway." - Calvin and Hobbes

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Reply #9 - Sep 16^th, 2008 at 5:27pm

shimmer Offline
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La Mirada, CA

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Fortunately for me, auditions have never been too much of a "nerves" problem. �In fact, I'd say they're a strength of mine. �

MOST IMPORTANT: �(and this is easier to do for me, since I'm a stay-at-home mommy these days and performing chances are few & far between so I relish in auditioning)
Think of the audition as a chance to perform.
I never look at it as an audition. �I always pick a song I enjoy singing. �And then I remind myself that a) the director wants me to be the best person for the part. �They really do. �It's less work for them. �They are actually FOR you and not AGAINST you. I've sat on that side of the table and I know this to be true.And b) they can't walk out of your performance... so you may as well make it good for them.

As far as movement goes, I would never pre-choreograph an audition. �It would look awkward and contrived. �Instead, really delve into the character of who's singing the song (this is where picking a song where the type coincides with the part you are vying for really helps). �When you give yourself a chance to become the part, the movement often comes with it. �It's part of the magic of the art.

Hope that helps. �

"Education without values, as useful as it is, seems rather to make man a more clever devil. " C.S. Lewis

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