Believe It Or Not, Sending A Video Audition Has Its Perks
Not being able to attend the in-person audition at your top college can feel like the end of the world. But while it's true that going to the live audition is ideal, you can still make the best out of sending a video. Here are some of the perks:
Calm your nerves.
A typical audition setting is nerve-wracking for many dancers. Photo by Evolve Photo Video, Courtesy NYCDA
Unlike at an in-person audition, you aren't performing in front of a panel, so relax!
Get a do-over.
With video, you can film the combination multiple times and pick the best run. Photo by Ahmad Odeh via Unsplash
Totally blow a combination? Film it again. Just keep in mind that faculty members are well aware that they probably aren't watching the first take. Don't get wrapped up in aiming for absolute perfection.
Choose your own material.
Choose simple steps that you know you're good at. Photo by Jesse Ballanty via Unsplash
Pick combinations that you're comfortable with and that show off your range. Don't try to impress the faculty with anything overly complicated, says Susie Thiel, director of dance at University of Kentucky.
Use an outside eye.
Find a buddy to film with who can give you feedback. Photo by Jakob Owens via Unsplash
Have a teacher or trusted friend coach you as you film, suggests Elizabeth Ahearn, dance program coordinator at Goucher College.
Capezio, Bloch, So Dança, Gaynor Minden.
At the top of the line, dancers have plenty of quality footwear options to choose from, and in most metropolitan areas, stores to go try them on. But for many of North America's most economically disadvantaged dance students, there has often been just one option for purchasing footwear in person: Payless ShoeSource.
When Sonya Tayeh saw Moulin Rouge! for the first time, on opening night at a movie theater in Detroit, she remembers not only being inspired by the story, but noticing the way it was filmed.
"What struck me the most was the pace, and the erratic feeling it had," she says. The camera's quick shifts and angles reminded her of bodies in motion. "I was like, 'What is this movie? This is so insane and marvelous and excessive,' " she says. "And excessive is I think how I approach dance. I enjoy the challenge of swiftness, and the pushing of the body. I love piling on a lot of vocabulary and seeing what comes out."
Back when Robbie Fairchild graced the cover of the May 2018 issue of Dance Magazine, he mentioned an idea for a short dance film he was toying around with. That idea has now come to fruition: In This Life, starring Fairchild and directed by dance filmmaker Bat-Sheva Guez, is being screened at this year's Dance on Camera Festival.
While the film itself covers heavy material—specifically, how we deal with grief and loss—the making of it was anything but: "It was really weird to have so much fun filming a piece about grief!" Fairchild laughs. We caught up with him, Guez and Christopher Wheeldon (one of In This Life's five choreographers) to find out what went into creating the 11-minute short film.
When Hollywood needs to build a fantasy world populated with extraordinary creatures, they call Terry Notary.
The former gymnast and circus performer got his start in film in 2000 when Ron Howard asked him to teach the actors how to move like Whos for How the Grinch Stole Christmas. Notary has since served as a movement choreographer, stunt coordinator and performer via motion capture technology for everything from the Planet of the Apes series to The Hobbit trilogy, Avatar, Avengers: Endgame and this summer's The Lion King.
Since opening the Industry Dance Academy with his wife, Rhonda, and partners Maia and Richard Suckle, Notary also offers movement workshops for actors in Los Angeles.