Whether it's your first time jumping into the audition scene or you have hundreds of crinkled numbers to prove you're a seasoned pro, having a panel of judges eyeing your every move makes everyone's mind race a little.
Here are eight thoughts you're bound to have when you step into the studio for an audition.
You may not be superstitious, but your développé is definitely a little higher when number 11 is pinned to your leotard. If you didn't get a chance to snag it at the registration table, chances are you'll be surveying the room during pliés to figure out who scored your lucky number.
Not only do you have to worry about showing your rock-solid technique, but you also have to make it look enjoyable. It takes practice to strike that delicate balance between "I'm having fun" and "I might follow the director home."
It's been half an hour, and it doesn't seem like the director has even glanced in your direction. But as soon as you wobble during a penché, suddenly all eyes are on you. Couldn't they watch later when you're bound to jump higher than LeBron James during grand allegro?
Normally, picking up combinations isn't a problem for you, but between the intimidating looks from the panel and the thick crowd of dancers marking in front of you, sometimes it just doesn't happen. Time to slide toward the back and hope another group goes before yours.
When the dancer in front of you nails eight pirouettes and stays on the music, you might feel like packing up your dance bag and calling it a day, but don't let thoughts like this distract you. For all you know, someone else could be standing on the side thinking the same thing about you!
7. This is the fastest petit allegro I've ever done.
Tony Testa leads a rehearsal during his USC New Movement Residency. Photo by Mary Mallaney/Courtesy USC
The massive scale of choreographing an Olympic opening ceremony really has no equivalent. The hundreds of performers, the deeply historic rituals and the worldwide audience and significance make it a project like no other.
Just consider the timeline: For most live TV events like award shows, choreographers usually take a month or two to put everything together. For the Olympics, the process can take up to four years.
But this kind of challenge is exactly what Los Angeles choreographer Tony Testa is looking for. He's currently creating a submission to throw his hat in the ring to choreograph for Beijing's 2022 Winter Games.
In a studio high above Lincoln Center, Taylor Stanley is rehearsing a solo from Jerome Robbins' Opus 19/The Dreamer. As the pianist plays Prokofiev's plangent melody, Stanley begins to move, his arms forming crisp, clean lines while his upper body twists and melts from one position to the next.
All you see is intention and arrival, without a residue of superfluous movement. The ballet seems to depict a man searching for something, struggling against forces within himself. Stanley doesn't oversell the struggle—in fact he's quite low-key—but the clarity with which he executes the choreography draws you in.