Posts by Colin Peasley

Brett Chynoweth. Photo Jeff Busby.

What you should know about auditions

Behind Ballet, Education

At our recent Dance as a Career forum, we distributed some information about how to approach auditions. For those who couldn’t make it, here’s the first of the handouts. Watch out for the second, which concentrates on what to expect at an audition.

HOW TO APPLY FOR AN AUDITION
Your audition package should include a covering letter, your résumé, photos and possibly a DVD.

The covering letter
Regardless of your secretarial skills, it is important to type this letter neatly on the same brand of paper as your résumé (preferably heavy bond paper in a light colour). Take extra care to weed out all errors in spelling and grammar. Open by mentioning a mutual acquaintance or something about the company, along with why you want to audition. Your next two paragraphs should highlight your professional experience and summarise your dance training.

While most European dance companies prefer to see dancers at general auditions, it is better if you can attend a company class and avoid the ‘cattle call’. So, in your covering letter, ask permission to take company class. It will help you if your audition package includes a letter of introduction from someone who is known to the director. In conclusion, thank the director, and say that you will phone in a week to try to arrange an audition. Phone four or five days later and because directors are busy people, ask to speak to the assistant.

Your résumé
When writing your résumé it pays to be selective – nobody wants to know what you did when you were ten years of age. Try to limit the résumé to appropriate roles that fit within one neat, well-organised page. It is standard practice to start your résumé with basic information, including your name, contact address and phone number, date of birth, height and weight. The rest of the résumé should cover performing and training experiences, which will differ depending on the level you’re at; experienced performers can focus more on featured roles, while students with limited stage work can use more space on training. All dancers should include scholarships and awards.

(more…)

17 October 2011

Share | 7 comments

The Australian Ballet and Tokyo Philharmonic Orchestra at opening night of Swan Lake. Photo Lisa Tomasetti

Ask Colin: touring overseas

Dear Colin,
I read that The Australian Ballet is touring to New York in 2012 and performed in Japan last year. How regularly does the company perform outside of Australia?
Junichi

Dear Junichi,
The Australian Ballet made its first overseas tour in 1965 when invited to represent Australia at the first Commonwealth Arts Festival in Great Britain, and since then the company has made 30 International tours. On our 2010 Japan tour we performed two Graeme Murphy works – Nutcracker: the story of Clara and Swan Lake. Both of these major works highlight the dancing and acting ability of our company’s dancers and our attention to high production standards. Incidentally these are the reasons the company is being continually invited to visit so many overseas cities. (more…)

14 October 2011

Ask Colin: it’s all about talent

Hi Colin,
I am a young male ballet dancer, since I was in my very early teens my hairline started to recede. Currently I’m 18 and I have very thin hair. I am hoping to soon start auditioning for companies, but I am wondering if balding will hinder me in any way in gaining employment. And if it does stop me, are there any ways I can cover it up? Such as getting professionally fitted wigs for auditions and performances. I understand that the world of ballet is very appearance orientated however does it really matter at the end of the day? Will I be forced to explore more Contemporary and Modern companies because of balding?
Thanks, Stan.

Hi Stan,
Since receiving your query I have been checking out the hairlines of the male dancers in The Australian Ballet. I must say I have received some very strange looks in return! However, my research does prove something that I want you to understand, and that is that I hadn’t particularly noticed their hair before you wrote.

What I, the audience and artistic directors notice, is their talent. To have an advanced technique, the ability to make clean, easily readable classical ballet shapes and an engaging personality is important, hair length, colour and style, less so. (more…)

30 September 2011

Madeleine Eastoe in Madame Butterfly. Photo Jeff Busby

Ask Colin: jumping higher

Hi,
I am 14 years old and I have been dancing for 11 years. I was just wondering if you knew any good ways to strengthen my legs for jumps, because however hard I try I just can’t seem to jump any higher and in my solo I just can’t seem to get any jumps the height they need to be.
Thanks,
Chelsea

Dear Chelsea,
The height of a dancer’s jump depends not only on training but also the physicality of the dancer. The dancer’s build is key, in particular their alignment, the strength and length of their legs and feet (to enable a fast and strong push-off from the floor) and neuro-muscular efficiency, which can be made more efficient by repetition of suitable exercises. (more…)

21 September 2011

Photography Teagan Glenane

Ask Colin: barrework