The Nonexistent Secret to Auditioning

We thought you might be interested in this approach to auditions and exams. http://www.sadiejane.com/blog/the-inexistent-secret-to-auditioning/
Posted by Sadie Jane on April 07, 2016 

We live in a world where everyone has advice to give, and where the occasional "Audition Tips" article pops up every now and again giving people the "Do's and Don'ts" of auditioning, "Audition Secrets", "How To", "Top Ten Audition Mistakes"... I've seen articles warning against being "too needy", asking too many questions, not chewing gum, not talking out of line, not eating and drinking during the audition, waiting your turn to go across the floor...you've read some of them, I'm sure.

And my reaction is simply "What??..."

I'm not saying they're wrong. On the contrary, most are totally correct. But tips like these are so superficial and obvious that it amazes me that people legitimately decide to take the time to write an article about it. We might as well add, "don't do drugs on the dance floor" and "don't spit in the director's face at the audition." Any dancer who needs an advice column to get them to figure these things out is in a sad state of affairs and is in need of much more than an online news article with a few deadly obvious audition tips.

But I do agree in simplifying what could be mystery to some-- and auditions seem to be one of those things that do tend to baffle performing artists at least to some degree. So simplify we shall, to the best of our ability.


The basic purpose of auditions is actually not so mysterious. The collective "We" (producers, Casting Directors-- in a term, "Talent Buyers") need to find people to fit roles for a particular project or projects. That's it. The basic core of what an audition is about is simply to see what you can do, how well you do it, and how you do it artistically. On top of that, there are more superficial requirements: height, weight, hair color, eye color (mainly for cinema), body shape, how you're dressed, etc. And then there is the question of whether or not your personality and professionalism will fit with whatever team is going to be creating the work.

Globally these things will fall into priorities, and globally it should be like this: 

1.      What you can do, how well, and how.

2.      Personality and professionalism

3.      Superficial requirements

Most performing artists go to auditions with the priorities in the wrong order - in my experience, I see a lot of 3, 2, 1, in that order. It makes me cringe, but on the other hand, I do understand why an artist would go into the audition process thinking that this is the way to go.

But all auditions are not created equal. It is true that different projects need different things to varying degrees, but I think we can safely say that we can globally divide them in to two main categories: Stage and Cinema. In Cinema, where much of 1 can be hidden by framing and post-production editing, 3 becomes more important. On stage, where a lot of 3 cannot even be perceived by an audience that is many meters away from you, 1 and 2 become more important.

So you go in thinking about the core, which is number 1. And, since life is short, you go in with the intent to enjoy the audition-- meaning that you go in with the absence of intent to self-analyze. You do not go in thinking about how badly you need the job. You do not go in with the fear of feeling judged-- let's clear that up right now, you will be judged. Before, during, after, and for the rest of your life.

What we should be striving for is not to avoid feeling judged, but to be okay with it. Because everyone judges. Everyone. All the time. Even when people justify verbally with the proverbial "I'm not judging you"-- because that certainly isn't true. Judging everything and everyone is what humans do. It's how we evaluate the world around us, our likes, dislikes, our preferences, who our friends are. It's just something we do. Constantly. Live with it.

Auditions are the base of this profession. Unless you land a full-time company right off the bat (and you love working there enough to stay your entire career), you will be auditioning a lot. So aside from being the best that you can be, etc. (yada, yada, yada), the one thing to keep in mind as you're auditioning is that no matter how good or how bad you are, there will always be someone who likes you and someone who doesn't. That's life. As professionals, we cannot take anything personally.

But there are other factors. Even if everyone at the audition table likes you, they have to take into consideration the actual position they are trying to fill. Above and beyond the basic three priorities I mentioned, there are also a myriad of other details that you will not be privy to. You may simply not fit the position as well as someone else-- so they end up cutting you. That's life too; if you were in their shoes, you would do the same.

Once again, we cannot take anything personally.

And, of course, in many cases there are politics they have to consider; most of which you will not be aware of during your audition (and you don't want to be). To some degree that's okay too (depending on to what extent it is a decision-maker). But this too is something that humans just do.

So-- you go in, you dance honestly, you listen carefully, you follow instructions. You be who you are, you ask the questions you need, no more, no less. You leave the audition room and you go on with your life, because the rest is out of your hands. You do as common sense and natural human nature dictates. No secret and no special formula. No "Top Ten" pieces of audition advice. Just an inversion of previous priorities.

Rick Tjia
www.facebook.com/RickTjiaChoreographer
www.ricktjia.com
Twitter: @ricktjia

ESB teacher Esther Tran found this article and thought many of you would find it interesting and relevant.  It is from the Dance Spirit Magazine Online - http://www.dancespirit.com/your-body/fitness/the-dos-and-donts-of-cross-training/

The Do's and Don'ts of Cross-Training

Cross-training is a hot topic. What should you do? What shouldn’t you do? Exercising outside the studio can improve your overall fitness, but be careful to pick workouts that will benefit your dancing without building bulky muscles or putting you at risk for injury. Read on to see what kinds of cross-training experts recommend for dancers.

 
Pilates
 
For strong technique, you need a strong core, and basic Pilates exercises will give you this stability. “Strengthening your core reduces stress on your lower back and improves spinal and pelvic alignment,” says Tara Hench-Berdo, Pilates instructor and owner of Body-N-Mind Pilates Studio in Carlisle, PA. “It helps your arms and legs move with ease, which will translate into your dancing.” As you gain more limb mobility during your workout routine, you’ll have better extension and a freer movement quality. Pilates also helps you determine which parts of your body are weak, tight or overstretched. Because the exercises target specific muscles and joints, they make you more aware of your body so you can work to prevent future injuries.


Yoga

Yoga will help strengthen and elongate your muscles. Its focus on the intrinsic muscles of the feet is especially good for tappers. “Tap dancers have so much stability in their core, hips and thighs, but their lower legs have to be loose and agile,” says Michelle Rodriguez, physical therapist and founder of the Manhattan Physio Group. “It would benefit them to be in an environment where they have to be barefoot and working on their balance, using their feet more.”


Swimming

“Swimming is amazing because of the tremendous amount of decompression that happens when you’re in the water,” Rodriguez says. “It allows you to move your joints without the effects of gravity.” Because there are so many different strokes to choose from, dancers with tight upper bodies don’t have to shy away from the pool. Try doing the backstroke to stretch the front of your chest and strengthen the back of your torso and shoulders. (The breaststroke is confining and will make your chest tighter, though it does offer great benefits for hips and legs.) For a cardio workout, run underwater or tread water in the deep end to get your heart rate up without creating joint pressure like pavement running.
 
Skiing


Cross-country skiing builds cardiovascular strength and is good for working in a parallel position. “Ballet dancers tend to think they need to be turned out all the time, but that’s not true,” Hench-Berdo says. “It’s good to work in parallel, or even turned in. Turning out all the time can overstretch the hips and make them weak from overuse.” Downhill skiing is also good for strengthening internal rotation. But remember, a small crash on the slopes can sideline your dance career, so suit up with a helmet and all the necessary safety gear.


Biking


Biking is ideal if you want to strengthen your quads and glutes, but dancers should ride at a lower resistance to prevent bulking up their thighs and legs. Rodriguez recommends sitting upright rather than riding a road or racing bike, because leaning forward on handles for a long period of time shortens the muscles in front of the hips. “Work on maintaining a nice upright posture and breathing,” she says.


Running


Running, particularly long-distance running, is not great for dancers because of the constant pounding on your joints. “If you’re looking to do something that complements your overall fitness or improves your recovery time, running is not ideal,” Rodriguez says. Try going for a brisk walk outside instead. “On a treadmill, the ground you’re walking on is moving, so the mechanics in your body are different than when you’re out on the street going for a walk,” she says. Plus, you’ll get all the benefits of sunlight and vitamin D. After being cooped up in the studio for hours, your body will crave the fresh air.
 
Elliptical


If you’re looking for a good alternative to running, try the elliptical machine, which will give you a solid cardiovascular workout without the high impact. “You’re in a parallel environment and you can vary the grade,” Rodriguez says. “The machine can be flat or inclined and you can increase the resistance.” If you’re on a machine without handles that move, work on your balance by not holding onto the sides. “Swing your arms as if you were jogging,” Rodriguez suggests.


Strength Training (Weight Lifting)


Weight lifting is a great way to build strength. “There are a lot of misconceptions about weight training,” says Emery Hill, athletic trainer at Houston Ballet. “People think that if you lift weights, you’ll get big musculature. But it can be very beneficial as far as being able to lift or be lifted, or to hold your position, because you have more basic strength.” If you’re lifting to get strong, lift a heavier weight with fewer repetitions—more reps with a lesser weight will build bulk. Hill recommends doing no more than three sets of 6–8 repetitions of each exercise when you’re off-season or in a rehearsal period. As you get closer to performance time, do just one or two sets of each so you don’t tire your muscles.


StairMaster


It’s possible to overdevelop your calves on the StairMaster, since most people tend to do it on the balls of their feet. Try walking actual flights of stairs instead, Rodriguez suggests. Or, if you’re set on using the machine, keep it on a light resistance setting. “You’ll get cardio work,” Hill says, “but you won’t build up a lot of quad or calf strength.”
When it comes to cross-training, “set specific goals,” Hill says. Break down your schedule into six-week training periods to allow yourself time to accomplish each goal. Working out this way narrows your focus and makes it easier to stay motivated. But know when to limit your cross-training so you don’t burn out. “Getting in that extra hour of exercise could put you over the edge when you’re already taking class, rehearsing all day and performing,” Rodriguez says. Be smart about how you cross-train—your dancing will reap the rewards.
 
Extra Tips
Wear supportive shoes when you’re walking, running or working out at the gum. A good pair will correct imbalances and keep you stable.
Be aware of your alignment, especially in parallel positions. Always keep your knees in front of your hips and directly over your toes.
Cross-train your body in a way that complements your style of dance. If you’re turned out all day, work on staying parallel. If you don’t usually lift other dancers, strengthen your upper body with weights and swimming.
Do everything in moderation. Cross-training should create a good sense of symmetry and balance i your body to help prevent injury.

How to be the best healthy, happy dancer you can be

This article was written by ESB teacher and physiotherapist Devin McFarlane.  

How to be the best healthy, happy dancer you can be

This is the time of year when we all feel the winter blues. The holidays are over, choreography and syllabus has all been learned, and now is time to repeat and repeat and repeat all your dances and exercises more times than you can count. It’s important that we remember to take care of our bodies to make sure the second half of the year is even stronger than the first; and we don’t become plagues with injury and illness. So, here are a few tips on how to best take care of yourself and your body - you only get one of them! Some, or all of these, may not sound new to you, but take a minute to complete a mental checklist of how many of these things you’re actually sticking to.

1.    Nutrition and hydration. Your body will not be able to do what you need it to if you are not properly stocked with the foods and fluids your system needs. Drink lots of water, and eat healthy, well balanced meals and snacks. I’ve always stuck to the motto of “you get out what you put in”. So, if you opt for a little junk food snack between classes, your dancing will reflect just that.

2.    Rest smart. This both refers to getting enough good quality sleep, and active rest time during the day. Use your downtime wisely - disconnect and let your brain and body unwind. There are lots of different techniques to help you relax and de-stress, and different things work for different people. One of my go-to’s is progressive muscle relaxation (PMR). Start by lying on the floor in any position that’s comfortable to you. Draw your attention to your muscles, and starting at your feet, actively force yourself to relax each muscle in your body. Move up your legs, through your trunk and arms, and finally into your neck. You may find that even 5 minutes of PMR can help you feel more rested.

3.    Keep your “core” muscles balanced. This doesn’t just mean your abs! Think about each of these areas as their own core for a different part of your body: ankles, knees, hips, shoulders. I could go into way more detail than you’d like on this, but I’ll stick to a few of the most important basics:

A.    Ankles: This is one of the most common areas of injury with dancers. There is a system of ligaments and tendons that surround your ankle to provide support. However, there is a lot of inherent weakness in the ankle with the movements required in dance, particularly with fatigue. Every time you do a rise or relevé, really focus on activating the muscles that surround your ankle on all sides rather than just popping up onto the ball of your foot. An easy way to strengthen? Grab a theraband for some resistance, and use it to resist ankle movements in all directions - pointing, flexing, outward sickle, and inward sickle. You can attach the other end of the theraband to a sturdy surface like a couch leg, table leg, or dresser leg to make it easier on yourself.

B.    Knees: Many common knee injuries come from 2 sources. Firstly, misalignment of your knee joint in relation to your ankle and hip. This mostly happens when knees “drop in” when you are in plié - this can happen in both parallel and turnout. How to combat this? As you’ve probably heard in ballet class before, always make sure you are pressing your knees open to ensure good alignment in pliés. Sometimes focusing on activating your glutes (bum muscles) can help to ensure your knees stay in line. The second knee injury comes from muscular imbalance. Typically in dance, our guard muscles (up the front of your thighs) get tight, more so on the outside than the inside. Stretching your quads regularly and properly can help to combat the knee pain associated with muscle imbalance. While you are standing on one leg, grab the other leg with the same hand as leg. Think of tucking your bum in while you pull your knee into alignment with your other leg. You can also do this lying on the floor. Also try stretching the outside of your quads by switching hands - grabbing your leg with the opposite arm as leg and crossing your heel to the opposite side of your bum. You should feel more of a stretch along the outside of your leg this time.

C.   Your “true” core. I can’t leave this one untouched. You can do as many “abs” as you want, but if you don’t actually think about using those muscles when you dance, all your effort will be wasted! The key thing about your abs in dance is to focus on muscular endurance - most of our dances are 4+ minutes long, not to mention dance exams that can take upwards of 60 - 90 minutes; you need to be able to sustain good abdominal muscle activity that whole time in order to maintain your technique and control. Try strengthening activities like planks, aiming to hold with good control for upwards of 30 seconds. Planks require full body muscle activity, and are a great all in one conditioning tool. See the pictures below to make sure you are maintaining good technique. 

I hope you’ve learned something new, or remembered something old! Even if you take away one new tip to try from this post, it’s a success.

Happy (and healthy) dancing!