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24. Your Burning Audition Questions Answered!
105 Plays23 days ago
Caitlin here with a solo episode answering all your burning audition questions!
Questions like:
“Can you talk about any travel hack to save money when you travel to auditions?”
“Is it always those who stand out that get hired?”
“What is it like being cut during an audition?”
And so much more! Tune in to get my pro insight into the behind-the-scenes of audition season.
Links and Resources:
The Audition Hub: thebrainyballerina.com/auditionhub
The Ultimate Audition Guide: https://www.thebrainyballerina.com/theultimateauditionguide
Dance Audition Materials Audit: https://www.thebrainyballerina.com/digital-resources/p/dance-audition-materials-audit
1-1 Career Mentoring: book your complimentary career call
DanceHive: https://www.dancehive.net/
Let’s connect!
My WEBSITE: thebrainyballerina.com
INSTAGRAM: instagram.com/thebrainyballerina
Questions/comments? Email me at [email protected]
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Transcript
Introduction to the Podcast
00:00:04
Speaker
I'm Caitlin, a former professional ballerina turned dance educator and career mentor. And this is the brand new ballerina podcast. I am here for the aspiring professional ballerina who wants to learn what it really takes to build a smart and sustainable career in the dance industry. I'm peeling back the curtain of professional dance world with open and honest conversations about the realities of becoming a professional dancer.
Addressing Instagram Questions
00:00:28
Speaker
Come along to gain the knowledge and inspiration you need to succeed in a dance career on your turns.
Audition Videos and Reels
00:00:38
Speaker
Hello and welcome to the Brainy Valorina podcast. I'm your host, Caitlin Sloan, and I'm here today with a solo episode answering all of your burning audition questions. I recently posted to my Instagram story and to my Instagram channel career guidance for the answers, a question box asking for any of your audition questions, big, small, whatever's on your mind, tell me. And so today I'm going to go through all of those questions and answer them for you and give you a little bit of insight into the audition process. So the first question is talking about audition videos. It says reels, do's and don'ts, tips for pre-screening auditions.
00:01:20
Speaker
It's really important for dancers to realize that there are two main types of audition videos, a dance reel and then an IAP video. IAP stands for International Audition Pre-Selection Guidelines.
00:01:33
Speaker
The guidelines are meant to streamline the pre-screening process in order to limit the demands on dancers. So I'm still having to film a separate audition video for every single company. Companies came together and decided on a cohesive set of things that they wanted to see so that you can film one video that you can send to multiple companies. A lot of classical ballet companies use these guidelines. In the Ultimate Audition Guide, I have a whole list of companies that use these guidelines.
00:02:02
Speaker
I also have the guidelines completely written out, plus an example for you to look at so you can see what a really good IEP video looks like. But in general, they're asking for a classical variation, a contemporary variation, bar work, and center work. And there's some specific things you have to follow. You can also find this online if you Google IEP guidelines. But this type of video is pretty straightforward. It's bar work, it's center work, it's variations. It's not as ambiguous as your dance reel.
00:02:32
Speaker
There are definitely some things that you want to be aware of, so I'll give you a few of those to think about. But in general, it's a little bit more straightforward. One of the biggest hang-ups I see dancers get into when they are doing their IAP guidelines video is you are asked for three to five minutes of bar work.
00:02:49
Speaker
And then three to five minutes with center work. And a lot of dancers are like, how do I fit everything into that short of a time? You don't need to show us both sides of a combination. We don't need to see right and left. So alternate. Do like plies on the right, tendus on the left. Keep going back and forth. Short combinations. Just get to the points. You can also combine some combinations. So you could do like ron a jambs and fondues together.
00:03:13
Speaker
Frappes and Grandbatt Mann together. You can get a little bit creative with that as long as you're showing all the things that they want to see. There's also some standard guidelines you want to follow, such as you want to make sure you film all your footage in landscape, pay attention to your background, make sure it's nice and clean and clear, has good lighting. All these kinds of things will make your audition video look really professional. And again, I have some really specific guidelines and an example in the Ultimate Audition Guide that you can view.
00:03:42
Speaker
But those are some of the basic things that I see come up a lot for dancers. Now going into your dance reel, this is a whole different beast. Your dance reel is kind of like your visual resume. It's a collection of class and performance clips used by companies to get a basic idea of your technical level, as well as your artistry and performance quality. So you want to make sure that you are keeping it really concise. Most dance reels I see are too long.
00:04:08
Speaker
Your danceful should be about one to four minutes long unless they specify otherwise, but honestly, even then, most companies aren't going to watch the entire thing. Remember that they're getting so many submissions and they really are trying to go through them as quickly as possible and they know pretty quickly whether or not you could be a good fit. So make sure you're capturing their attention right away and make sure that you are being really real with yourself about whether you're keeping clips in because they really showcase you or they're necessary to include or because you're emotionally attached to them and you really liked
00:04:43
Speaker
that piece or that experience or that costume or something about it that you really liked that maybe is not reading. That's something I tell dancers a lot when I do audits. I offer dance audition material audits where I go through all your materials and give you really straightforward advice about what you need to change, what's working, what's not.
00:05:04
Speaker
And that's one thing I tell a lot of dancers when I go through their dance reel is like, we need to cut these clips down way shorter when you take this one out. And it's nice to have somebody else do that who's not you, because again, you can get attached to these rolls, to these
Travel Tips for Audition Season
00:05:17
Speaker
clips. You want to keep it in there because you loved it, but it's not serving you anymore. So having someone on the outside be able to tell you what you should keep and what you shouldn't can be really helpful. So if you're struggling with that, reach out to me because it can be really hard to do it yourself sometimes.
00:05:32
Speaker
Make sure that you're also showing a variety of movement styles and qualities. We don't want to see the same thing over and over again. Like if we've seen it once, we got it. We don't need to keep seeing that. Show us something else. Also, make sure we can tell that it is you who is dancing.
00:05:49
Speaker
Utilize solos, if possible, or duets, especially if your duet partner doesn't look like you. If your duet partner looks a lot like you, that can also be very confusing because it can be hard to tell which one is you. So make sure that it's very clear that you are dancing. Even if you only have big group numbers, make sure that like maybe you have a solo section in the group and we can really clearly see it's you. But if it starts going into the group number again and you're getting back into the core, you might wanna take that out.
00:06:18
Speaker
Some examples of things I've suggested dancers remove from their reels before um might be due to spacing. I had a dancer who had a really beautiful moment that she was dancing in a group of four. And it was really clear who she was. And it was a really nice moment. She looks beautiful dancing, but she was really out of line. And so that I didn't think showed her in her best light because even though her dancing looked great, her spacing was really off. So we took that clip out.
00:06:46
Speaker
I had a dancer who had a really beautiful dance reel and then there was this one spot where she hopped in a turn and like that happens. We hop in turns. That's fine, but she had so much other good footage and that was like three seconds of the whole thing. And it was just the only part that was a little bit off and it was a little bit jarring to watch. So we took that little clip out so that we didn't have that in there. She didn't need it.
00:07:07
Speaker
so Those are some examples of things that I have seen that I'm like, let's get rid of that. Sometimes the clips are just really old and I can tell that you've improved a lot since then. There's lots of different reasons why you might want to take a clip out of your reel. But the most important thing to do for any video, IEP or your dance rule is to make sure you're following instructions. Dance companies are looking to see if you can follow instructions from the very beginning. So before you even step foot in the studio, before they offer you a company class audition, when they are pre-screening you,
00:07:40
Speaker
Can you follow directions? So if they ask for certain things, if they ask for a certain length, they ask for it to be sent in a certain format. So you need to make sure you follow all of those things to a T. Again, I have really comprehensive instructions on dance reels and IAP videos in the Ultimate Audition Guide. It includes everything you need to know, video examples, a checklist of everything you can put in there.
00:08:06
Speaker
some software that you could use to put your reel together if you don't know how to do that yet. So it's a really good resource if you are doing this for the first time.
Standing Out in Auditions
00:08:17
Speaker
The next question I was asked was, can you talk about any travel hack to save money when you travel to auditions?
00:08:25
Speaker
I have a lot of travel hacks to save money. I'm going to give you guys a couple today to start. I have so many more in the Ultimate Audition Guide, but I'm going to give you a few that I think are some really good tips that will help you save money when you're traveling because it's going to be a really expensive season. So I think the biggest hack is requesting a private audition.
00:08:46
Speaker
It can get really expensive and costs will add up if you're traveling for a lot of open calls. And the thing about open calls is you have no idea if they are interested in you or not. Now, I'm not saying you shouldn't go to open calls at all, especially if they are in your area, if they're accessible.
00:09:04
Speaker
You never know what can happen. But when you go to a private audition, you already know that they have interest in you and that they are watching you. You might be the only dancer in the audition. You might be one of a few dancers. So you're really getting to be seen. And you're also getting the opportunity to audition the company to see if you like being there, if you like the vibes, if you're enjoying the class you're taking, the people you're working with, if you get to watch any rehearsal.
00:09:33
Speaker
All of these things are really great for you to see before you commit and sign a contract. To request a private audition, essentially you're going to put together all of your audition materials, your resume, your photos, your videos we just talked about, and you're going to send them an email and a request of private audition. and then if they Say, yes, come take company class. You know you're spending money on a company audition that has already shown interest in you and they want to see you. So prioritize traveling and paying for these auditions as opposed to the open calls that you have no idea what might happen. And if you decide that you do want to travel for an open call, if there's a company that you're really interested in that you want to go audition for, attempt to schedule private auditions with other companies while you're in the area. So you can kind of capitalize on that.
00:10:19
Speaker
travel time by doing more than one audition with other companies. Another hack is to contact your network. Reach out to friends or friends of friends to find a place to stay or a ride from the airport. Anything like that that can help you save money on hotels, on Ubers, even on food. If you can stay with a friend who will cook for you or maybe they even just have a kitchen so you don't have to eat out and you can save money that way, that can be really helpful.
00:10:50
Speaker
The dance community is so nice. Truly people want to help each other. Last year I had a client who was auditioning for a company and one of my other clients had danced there the year previously. And so I reached out to her and said, do you have any friends who are still there that may be willing to host my other client? And she was like, yes, totally.
00:11:12
Speaker
So through that connection, I was able to get my client free housing when she went to this audition. So that's something I do for my one-on-one clients. If I'm working with you really closely and I can vouch for you, I will definitely reach out to someone else. I know and use my connections to help you save money in this process as well. Another great resource is Dance Hype. It's a home sharing platform for dancers. So you can search for dancers in a city that you're traveling to and then contact them or request a room.
00:11:41
Speaker
And you can often find a place to stay for a lower cost or for free. If you also host dancers in your home, when they travel to your area, you earn what's called cells and then you can exchange your cells for future stays or get other rewards. So it's a really great resource as well. And then you just know that you're with other dancers. It's a nice, safe and secure network. They verify all the hosts and it's a good way to find affordable accommodations exclusively with other dancers that you connect with, that you trust, and the people that understand what you're going through, what you're there for, they get it. Again, I have a whole section on saving money and budgeting in the Ultimate Audition Guide. I have spreadsheets. I'm a big spreadsheet girlie. I really like to organize my brain that way. So if you need help budgeting, saving money, just getting your head wrapped around the cost of audition season.
00:12:37
Speaker
That's another great resource that is in the guide. Those first two questions were really based around the prep and planning and things before you go to audition. These next questions are about what to do in the audition in certain scenarios. The first one is, should you dance to your full capacity? For example, doing a triple turn when everyone else is doing doubles. You should always follow directions. If they ask for a double,
00:13:06
Speaker
Do a double. Showing you are detail oriented and can listen to instructions is incredibly important. I always remind dancers that you are typically auditioning for the court of LA. You have to be able to follow instructions and dance with everyone else. So if they ask for a double, do the double.
00:13:24
Speaker
If they don't specifically say, don't dim your light, go for it. As long as you're able to execute the step cleanly and stay on the music. And that's a big thing. Not that you can't take liberties with the music. I'll talk about that in a second and another question. But as long as you're able to stay on the music, maybe you have to do your next like glissade or something more quickly and you have to steal time.
00:13:46
Speaker
for that one pirouette and that's okay. But if you're getting like way off and behind, then it's not showing that you're a smart dancer. So basically it comes back to being smart about it and making choices in the moment that show off what you can do while also being smart. The next question says, is it always those who stand out that get hired? And I would say yes, but not in the way that you might think. It is possible to stand out in a negative way.
00:14:17
Speaker
So like we just talked about, if you can't follow directions, you'll stand out as someone who will have difficulty learning choreo and dancing in the court of LA. You'll also stand up poorly if you aren't aware of your spacing, the people around you. And you can also make a bad impression if you stand out as someone who will be difficult to work with on a personal level. So there are a lot of things you could do where you stand out that could actually cost you the job.
00:14:40
Speaker
and Standing out in a positive way doesn't have to be flashy and it's usually not flashy. So some things that make you stand out in a positive way that can help you get hired. First, your technique. There is no replacement for a strong technique. It's absolutely non-negotiable. Professional dancers take company class every day to maintain their technique. But the key word here is maintain. Once you're in a professional setting, classes move incredibly quickly and they are no longer about taking time to break down certain steps.
00:15:10
Speaker
or analyze corrections like when you were a student. The main focus of company class is to get dancers warm on their leg, ready for a full day of rehearsal. This is not to say that your technique will not continue to improve when you're in a company, but you're expected to already come into the job at and an incredibly high technical level. Technique is super important. There's no replacement for it. It's going to pay off big time when you head into your auditions.
00:15:35
Speaker
Another thing that's going to make you stand out in a positive way is musicality. So coming back to that previous question about the pirouettes, it doesn't really matter how many pirouettes you can do or how stunning your balance is if you're constantly behind the music. As a dancer, you're an extension of the music and your job is to take that music and make it visible to the audience. It's more than just being able to count. You have to be able to make smart choices. So know when you have to stay with the group.
00:16:01
Speaker
like if they're being very specific about the counts they want to see things on, knowing that is important, and knowing you're the luxury to steal some time from one movement and then do something else a little bit quicker because you held this balance longer, being really smart about it. And if you're not sure what's going to be appropriate, listen to the director. They're going to give you instructions, whether they're saying counts very specifically or they're being more subtle, they'll let you know what they prefer.
Professionalism and Interview Tips
00:16:28
Speaker
So just pay attention and show that you can make good choices with the information that's presented to you. Another area that's going to help you stand out positively is attention to detail. I mentioned this earlier in terms of your videos and the information you're submitting. Same thing when you're in the audition. As a pro dancer, you're learning a lot of repertoire in a very short amount of time.
00:16:50
Speaker
Attention to detail is super important to being able to use rehearsal time effectively. So there's not always time to go back and clean each detail. They want you to get it from the very beginning. So not just the big moments, but the in-betweens as well. Some things you need to pay attention to to show that you're detail oriented are transitions, timing, spacing, and also just being organized and prepared in your movements. One place that I see dancers forget about details a lot is in the upper body.
00:17:20
Speaker
So pay close attention to port de bras, head placement, and even eye focus. This will really show that you have a very acute attention to detail that will go a long way. Another thing that's gonna really help you stand out in a positive way is being versatile. There's really no such thing as a strictly classical ballet company anymore. If you spend the majority of your training in only ballet, it's time to start exploring other styles. So vibe your comfort zone, learn other styles ahead of time, give yourself a leg up. One of the last things that I think makes you really stand out positively is movement quality. So I've talked a lot about the technique, the musicality, the detail, but that doesn't mean we want to look like a robot. Companies want to see someone who can dance, who can show that they really love what they're doing. So when you're doing the combination, find opportunities to show the dynamics and movement quality.
00:18:11
Speaker
Adagio shouldn't look like Patillegro. They should have their own unique flavor. So show that you have different dynamics in your dancing. And I know that sometimes nerves can get in the way of this, especially in an audition. But for me, it helps as simple as it sounds to take a deep breath and remind myself how truly happy and lucky I am to be dancing.
00:18:33
Speaker
If you're having fun, that joy will radiate out of you and make you magnetic. People will want to watch you and that's the kind of dancer people want to work with and that's what makes you stand out. To go back to the original question, yeah, you do need to stand out in a positive way to get hired, but it doesn't have to be a flashy way where you're the one who can do a million turns, have crazy extension, do all these tricks.
00:18:58
Speaker
The things I just talked about, this is what's going to make you stand out in a really positive way as someone who could be a great asset. to accompany. The next question is, should I talk to the judges at all or make eye contact during the audition? So it's not going to most likely be appropriate to go up to them and strike up a full conversation. They're busy. They're doing their job. You have a job to do. That's not the time. Just a polite hello when you come into the room is fine. A thank you at the end is great. But yes, making eye contact is going to be great. Dance is a performing art. And in this moment, the judges
00:19:33
Speaker
or the directors, whoever's there, they're your audience. So don't be afraid to look at them and perform for them. And it can help settle your nerves a little bit sometimes. Whenever I'm judging ah audition, I always try to be the judge who's smiling at the dancers or doing something with my face that looks at least pleasant because I know how stressful it is to look at all the judges and have them all looking so serious.
00:19:56
Speaker
So maybe try to find if there's a specific judge or a director or somebody watching who makes you feel a little bit more at ease. Maybe try looking at them more, but definitely make sure you are performing because that's what this whole art form is about. The next question is, what is it like being cut during audition?
00:20:14
Speaker
It sounds really scary, but it's really not bad. Cuts typically come at the end of a combination and they usually start in center. Although I have seen them happen at bar in a super crowded audition. So if they don't have room for everyone at the bar and they need to make some pretty quick cuts, they might do that then. But typically you'll get to the center and after each combination, they'll call out numbers.
00:20:38
Speaker
Depending on the audition, the numbers called might be people who are being kept or people who are being cut, but don't worry, they'll make it super clear which one they're doing. And then whoever has been cut, you just leave the room. It sounds really scary and almost like embarrassing, but it's really not once you happens to a few times because you realize that a lot of people are getting cut. It's just the nature of the business. It's okay. And it is super disappointing, but make sure you keep it professional. Thank the instructor or the auditioners. Turn in your number if they ask for it.
00:21:08
Speaker
And one thing that's really important is keep any thoughts to yourself as you leave the studio and especially as you head into the dressing room or walk down the street. I always say the audition begins the second you leave your house.
00:21:20
Speaker
You never know who is around and who is listening. So even if you're feeling negative about this experience, even if you're mad, just keep that to yourself until you're in your home and you can call your mom or your best friend to vent. That's fine. We all need to vent sometimes, but just be really, really mindful about what you're saying in this environment. And truly, even as you leave the building, as you go out to a coffee shop, like if you're out of your house, you never know who's around you, who's listening. So be really mindful and keep it professional.
00:21:49
Speaker
The last question I got was how to answer what are your greatest weaknesses in a one-on-one? So sometimes in auditions, you might be asked to have a one-on-one conversation with the director or other artistic staff. In my experience, this typically happens if you are going to a private company class audition. I haven't seen this so much at open calls because there's just so many people and they are often like renting a space. It just isn't really compatible.
00:22:17
Speaker
But if you're going to a private company class audition and they have seen you and you get to the end of the audition, they're still interested in you, they may ask to have a one-on-one with you, which is like an interview. And they'll ask you some questions about yourself. You'll have the opportunity to ask questions. So if you're asked what are your greatest weaknesses, my advice is don't be cheesy. Don't say something like, my biggest weakness is that I care too much, right? They can see right through that.
00:22:43
Speaker
be honest, I think self-awareness is a really admirable quality. We all have things we're working on. There's nothing wrong with that. And honestly, it's not like a corporate job interview where this is the entire interview, like this portion of them talking to you is all they have. You've already done a full dance class, maybe rap, they've seen what you can do. So they kind of already know what your weaknesses might be. And they maybe just want to know if you know too. So I would kind of rephrase it though as like,
00:23:13
Speaker
a growth area, this can help show that you do have a growth mindset and that you are working to improve. so For instance, maybe you need to work on learning choreography faster. so You could say something like, one thing I'm really working on is improving my ability to pick up choreography quickly.
00:23:29
Speaker
I've currently been challenging myself to work with new teachers and take classes in unfamiliar styles so I can stretch that part of my brain. That helps show that you know you need to grow in this area and that you are actively working on it, which is a very admirable quality. Or maybe something that you need to work on is pirouettes.
00:23:44
Speaker
You could say like my biggest growth area right now is pirouettes. I've been working with a strength coach to target muscle weaknesses, and I've already seen a big improvement in this area. That's another way to show that like, yeah, I mean, there's something that you need to work on, but you have a plan in place, and they want to know that, and that really helps. So I think ultimately, just remember, they know what you need to improve on. They can see it, and they kind of want to know that you know, too. Show that you're self-aware and you possess a growth mindset. That goes a long way.
00:24:09
Speaker
So that is all the questions I received. And I really loved these questions. And I also really loved this episode format. And if you loved it too, send me a DM on Instagram, reach out and let me know because I want to know if this is something that you want to see again. If there's another topic you want me to cover, I would love to do that. So just give me some feedback and let me know your thoughts. Throughout
Resources and Listener Engagement
00:24:31
Speaker
this episode, you have heard me talk about a few different resources I have to help you with auditions.
00:24:36
Speaker
including the Ultimate Audition Guide, my Audition Materials Audits. And as you know, I also do one-on-one career mentoring with dancers. I have developed an entire page on my website called the Audition Hub, and it's going to be your best friend this audition season. I put everything you need on there, all the resources, some blog posts, some podcast episodes, tons and tons of resources for you.
00:25:04
Speaker
to be able to have your best audition season yet. I will link that in the show notes. So go ahead and hop over there to grab any of the resources that I've talked about or that you need. And again, please reach out to me, send me an email or a DM if you enjoyed this episode and give me some ideas on what we could do next time.
00:25:26
Speaker
Thank you for tuning into the Brainy Ballerina podcast. If you found this episode insightful, entertaining, or maybe a bit of both, I would so appreciate you taking a moment to leave a rating and hit subscribe. By subscribing, you'll never miss an episode. And you'll join our community of dancers passionate about building a smart and sustainable career in the dance industry. Plus, your ratings help others discover the show too. I'll be back with a new episode next week. In the meantime, be sure to follow along on Instagram at TheBradyValerina for your daily dose of dance career guidance.