However, if you are auditioning for a program that requires multiple audition pieces, make sure your pieces are not too similar so the admissions staff will not think you lack range. If you are primarily a comedic actor, for instance, prepare at least one dramatic monologue to demonstrate your breadth as an actor. If you are applying for the playwriting program, write a play showcasing your strengths as a writer and ask your English teacher and any creative writing tutors to help you polish it.
Brought to you by Sciencing. Ask the people watching you for advice. It can be useful to get a perspective other than that of your teacher. Step 5 Maintain good grades in your academic courses, particularly English. If we find talent, we suggest that they come to Juilliard and audition if they want to enroll. And, of course, we seek out local talent here too, in the public schools, disadvantaged neighborhoods, and rural areas. Their intellectual curiosity.
We hold interviews; we look at transcripts, recommendations, essays, and so on. But we also look into who that person is. How do you do that? The research becomes more extensive and deeper as the programs get more advanced. For example, for our doctoral program, which is also highly selective, we have an extensive series of examinations and interviews.
For an undergraduate we will talk to them at some length to get a sense of what they are interested in. The ideal Juilliard student is someone who is not only a very interesting artist, but also has great intellectual curiosity, has a sense of their own world, and a desire to be a leader — to make a difference through their art. But in order to get through the door, you still have to pass the audition. We try to work with the young person, to develop their own sense of themselves, their own social intelligence.
There are no students at Juilliard who are trained to be just soloists, although they may eventually become soloists. For example, every student plays in an orchestra; there are no exceptions. I am personally not very patient at all with so-called artistic temperament. The vast majority of the successful artists I have met are not difficult to deal with at all — as long as you understand what their needs and priorities are. How successful is Juilliard at picking young talent, at undergraduate level, for example?
The graduation rate is very high; there is very little attrition. I think one of the most rigorous aspects of the Juilliard experience is the admissions process. We are absolutely vigilant about that, and there are no compromises.
Once students gain admission, we really do work with them on their growth as artists and as young adults. So if they get in, you know they will run the course? Having said that, of all the pressure they are under while they are at Juilliard, by far the most comes from within. We know this for a fact. They are the ones who are pushing themselves. There could be a whole host of problems.
The simplest is that they did a spectacular audition and will never do that again in their lives. That does happen once in a while. Then there are psychological issues, or physical issues in terms of stamina, and even cultural issues about time management.
Remember, 33 percent of our students are international students, so they are coming here with enormous cultural and language differences, and just plain homesickness can be an issue. Leaving aside the technical expertise for a moment, how does Juilliard help young talent fulfill their potential in terms of their mental and personal development?
We work with all faculty — studio faculty, classroom faculty — to help them understand the needs of these young artists. For example, there may be clues to underlying issues that emerge under stress on the part of the student. Sometimes I walk out of a show so full of energy that I have to burn it off by beating my fists on the wall or running around the block.
I came away wanting to scream. And I came away wanting to make theatre that makes people want to scream. The priorities are safety and replicability. But I think strong leadership can reverse that. And I want to be one of those leaders. My audiences love what I do. Beauty is very powerful. Why, at times, I even surprise myself. Like any art, my music is best enjoyed from a distance, which is something my audiences understand.
Listeners like to keep a good ten to fifteen feet from me, which I can only see as a sign of the utmost respect. My ability to combine shrill yells with my melodies leaves my audience in awe.
For instance, if you wish to audition for the dance school, you will have to prove your mastery of both modern dance and ballet even if you are only interested in one of those disciplines. We also have an academic distinction program for undergraduates where they can stretch themselves intellectually by doing additional work, such as intensive research resulting in serious papers. For example, a year-old violinist, pianist or cellist will be quite advanced, and at Juilliard we will expect to find a significant technique and artistry by the time they audition at this age in those instruments. We know this for a fact.
But we also look into who that person is.
One of the reasons I wanted to go was to explore and enact the ideas I have about theatre. If accepted into Juilliard, I would be an incredibly committed student looking to enhance my ability. Once students gain admission, we really do work with them on their growth as artists and as young adults. I also hope that the argument during my audition over the proper way to hold a saxophone will be forgiven. Your teacher should be able to help you choose an appropriate piece.
In other disciplines, we mostly see imagination, creativity, improvisation skills, and a sense of risk-taking — all of the things that are necessary in those fields. Although it may be impossible not to feel nervous, do your best to appear self-confident. But at the end of the day, in terms of sheer time management, when you have a pianist who needs to practice six to eight hours a day, you are not going to be able to ask that same person to also spend six to eight hours doing research in the library. So if they get in, you know they will run the course? What is the role and responsibility of the artist as citizen?
One of the reasons I wanted to go was to explore and enact the ideas I have about theatre. Polisi: To begin with, we still have a very traditional audition process that is as old as the history of music. I definitely want to write about the blog and how overcoming my fear of being publicly transparent about my creative process has helped me grow as a person. I want to do that at Juilliard.
They strongly encouraged me to reapply, which I appreciate. I ask our young artists to widen their horizons, to consider what their responsibility is off the stage, and to see how the arts can be nurtured, especially at a time when public support has become so weak. Baths seriously rule. What are the basic tenets of this revolution?
Like any art, my music is best enjoyed from a distance, which is something my audiences understand. My ability to combine shrill yells with my melodies leaves my audience in awe.
What we attempt to do is to stimulate the imagination of these young people and find out what directions they want to take, intellectually as well as artistically. I honestly have no idea how that knife got in my hand, and I was only guessing the names and ages of his children. And with your dance and drama applicants? What feels crucial to me is that the evolutionary root of theatre is ritual: the gestures, sounds, and practices that the earliest humans used to create sublime space in the midst of mundane space, to access the infinite through the finite. That is why having outreach — having a sense of responsibility as an art-ist, to be an advocate for the arts — is in my opinion an essential part of the education of an artist.
If you find merit in the ideas, please share them.
Your teacher should be able to help you choose an appropriate piece. I perform in sweatpants.