FORM HEADER // FRANKLIN GOTHIC
MEDIUM REGULAR / ALL CAPS 25.5PT
DRAMATIC ARTS AT AIM
BACHELOR OF PERFORMANCE
AUDITION PACK
PILGRIM THEATRE
262 Pitt St, Sydney NSW 2000 Australia
SYDNEY
MELBOURNE
INTERNATIONAL ENQUIRIES
1-55 Foveaux Street Surry Hills NSW 2010
T 02 9219 5444 F 02 9219 5454
E [email protected]
120 King Street Melbourne VIC 3000
T 1300 301 983 F 02 9219 5454
E [email protected]
W aim.edu.au/future-students/international
T +61 2 9219 5444
E [email protected]
AIM.EDU.AU
ABN 89 003 261 112
CRICOS Code 00665C
RTO Code 90465
VERSION: 6 March 2014
CONTENTS
FORM
HEADER // FRANKLIN GOTHIC
MEDIUM REGULAR / ALL CAPS 25.5PT
THE AUDITION DAY
2
OUR EXPECTATIONS 3
FEMALE MONOLOGUES 5
Maid BLOOD WEDDING
by Federico García Lorca translated by Iain Sinclair
Billie LOVE CHILD
by Joanna Murray-Smith
Carol OLEANNA
by David Mamet
Viola TWELFTH NIGHT
by William Shakespeare
Tamara
SILENT DISCO
by Lachlan Philpott
Georgeanne
FIVE WOMEN WEARING THE SAME DRESS
by Alan Ball
MALE MONOLOGUES 11
Eddie
FOOL FOR LOVE
by Sam Shepard
James
SECRET BRIDESMAIDS BUSINESS
by Elizabeth Coleman
Trip
OTHER DESERT CITIES
by Jon Robin Baitz
Chunk
THE CALL
by Patricia Cornelius
DougCOSI
by Louis Nowra
Romeo ROMEO AND JULIET
by William Shakespeare
Page 1 of 16
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E [email protected]
AIM.EDU.AU
ABN 89 003 261 112
CRICOS Code 00665C
RTO Code 90465
VERSION: 6 March 2014
THE AUDITION DAY
WHAT DO YOU NEED TO PREPARE?
You should prepare either one monologue from this Audition Pack, or one
monologue of your own choice.
Please avoid monologues from TV programs or films.
Select a piece that is appropriate to your age and sex and that showcases
your abilities.
The monologue should be no longer than two minutes.
Memorise the monologue thoroughly so you can perform with confidence.
Read the whole play from which the monologue has been chosen. This will help
you understand the character and their situation.
As you rehearse your monologue consider who you are talking to and what you
want from them. Use your imagination to envisage the world you are attempting
to create.
Use your own accent. Don’t feel pressured to perfect another accent.
Wear comfortable casual clothing that allows you to move freely.
THE PROCESS
The audition process will begin with a group warm up, followed by an individual
presentation of your monologue and a short interview. After the initial presentation
we may rework your monologue and/or discuss some of your decisions. This is not
a test! We are simply interested in your ideas and your potential to be flexible. The
interview will be an opportunity for you to ask any questions you have about the
course and for us to have a discussion about your expectations.
... AND LASTLY
We understand that auditioning can make you nervous. Prepare to the best of
your ability and then try to relax. We want to see your potential and for you to enjoy
the experience.
Page 2 of 16
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T 1300 301 983 F 02 9219 5454
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W aim.edu.au/future-students/international
T +61 2 9219 5444
E [email protected]
AIM.EDU.AU
ABN 89 003 261 112
CRICOS Code 00665C
RTO Code 90465
VERSION: 6 March 2014
OUR EXPECTATIONS
ALL APPLICANTS
We recommend you should be 18 or over by the 31st December of the year prior to
your enrolment. We also recommend that you have a Band 4 in Advanced English
or a Band 5 in Standard English. However, in the case of an exceptional audition,
these requirements may be waived.
REGIONAL, INTERSTATE & INTERNATIONAL APPLICANTS
If you are unable to attend an audition in person you may either:
•Send a DVD of your audition
•Send an audition via an unlisted YouTube video. Please follow these steps:
1. Create an account for YouTube. Please note when you create a YouTube
account you automatically create a Google+ account.
2. Click ‘upload’
3. Underneath the ‘Public’ arrow select ‘Unlisted’ (as per
the image right). This means that only people with the
URL link can view this video, it is not a public video.
For more information on this please visit https://
support.google.com/youtube/answer/157177?hl=en
4. When the video has finished uploading, go to the
video page and copy and paste the URL and send to
[email protected]. Please title the video and the
subject of the email as follows: your name, the word
Audition and the title of your piece. For example: Joan
Smith, Audition, Blood Wedding.
Once you know the outcome of this audition we recommend you take this
video down.
INSTRUCTIONS ON FILMING
When filming use a well-lit room with a neutral wall behind you and a wide midshot, i.e. from the top of your head to your waist. Make sure that the framing
allows you room to move freely. Before starting your monologues state your name
and the titles of your pieces. Following receipt of your materials, we will contact
you to arrange a mutually convenient time for a follow up telephone interview.
Page 3 of 16
SYDNEY
MELBOURNE
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W aim.edu.au/future-students/international
T +61 2 9219 5444
E [email protected]
AIM.EDU.AU
ABN 89 003 261 112
CRICOS Code 00665C
RTO Code 90465
VERSION: 6 March 2014
OUR EXPECTATIONS
INTERNATIONAL APPLICANTS
We recommend that you have the equivalent of Year 12 schooling with an IELTS
score of 6.5. Please provide copies of your IELTS results and any academic
transcripts from previous study in English translation, if applicable.
CONVERSION COURSE APPLICANTS
You must hold an Advanced Diploma qualification from a recognised provider.
Please provide a copy of your academic transcript.
If you need further advice regarding any aspect of your audition, please email:
[email protected]
Page 4 of 16
SYDNEY
MELBOURNE
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ABN 89 003 261 112
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RTO Code 90465
VERSION: 6 March 2014
FEMALE MONOLOGUE
MAID FROM BLOOD WEDDING
BLOOD WEDDING
FEDERICO GARCÍA LORCA
TRANSLATED BY IAIN SINCLAIR
MAID
It is turning. The great wheel is turning for the water is flowing. And the water
is flowing because the wedding has come. The branches are parted and the
moon stands aglow on her platinum balcony. Set the table! The lovers have
sung, but the water still flows. It flows because the wedding has come. Bring
out the frosted fruits and the candied bitter almonds! Prepare the wine!
(Pause.) Wonderful girl. Girl of our lands. Watch how the water flows. It flows
from your wedding. Gather your skirts and stay in your home. Hide under the
wing of your man. Because your husband is now a terrifying angel, a warlike
peacemaker, and yet … Uh! Listen … Now the countryside wakes in pure
anticipation, because a rumour of bloodshed is spilled. The great wheel is
turning Because the water is flowing, and now the wedding has come. Let the
dark water shine!
Page 5 of 16
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RTO Code 90465
VERSION: 6 March 2014
FEMALE MONOLOGUE
BILLIE FROM LOVE CHILD
FORM HEADER MINI TEXT // FRANKLIN GOTHIC BOOK REGULAR // ALL CAPS 8.5PT
LOVE CHILD
JOANNA MURRAY-SMITH
BILLIE
Once I knew … living with them always felt dangerous. There was always the
shadow of good manners involved. I couldn’t walk away because there was
nothing … biological to beckon me back. No safeguard of blood to say: We
belong to each other no matter what. I thought you’d be so … hungry for me.
(ANNA: Well …) That you would sit me down and feed me some soup and tell
me boring, comforting stories about your Amish quilts and you’d be so proud
of me. Because I am successful. And I am attractive and slim and clever. And
reasonable. And you would … hold me.
(Silence as they stare across the room at each other.) You’re not my
mother. (ANNA looks at her.) Do you feel that way? Do you feel there is a
tremendous space there? Not social. Something, you know, deep down in
the chromosomes, something so … crucial – that we cannot see it or name
it. (BILLIE looks away.) I will raise my children myself. So that when they
are twenty-five, they won’t be standing in strange living rooms, introducing
themselves … I’m sorry if that upsets you.
Page 6 of 16
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RTO Code 90465
VERSION: 6 March 2014
FEMALE MONOLOGUE
CAROL FROM OLEANNA
OLEANNA
DAVID MAMET
CAROL
You say that higher education is a joke. And treat it as such, you treat it as
such. And confess to a taste to play the Patriarch in your class. To grant
this. To deny that. To embrace your students. And you think it’s charming
to “question” in yourself this taste to mock and destroy. But you should
question it. Professor. And you pick those things which you feel advance you:
publication, tenure, and the steps to get them you call “harmless rituals.”
And you perform those steps. Although you say it is hypocrisy. But to the
aspirations of your students. Of hardworking students, who come here, who
slave to come here – you have no idea what it cost me to come to this school
– you mock us. You call education “hazing” and from your so-protected, soelitist seat you hold our confusion as a joke, and hopes and efforts with it.
Then you sit there and say “what have I done?” And ask me to understand
that you have aspirations too. But I tell you. I tell you. That you are vile. And
that you are exploitative. And if you possess one ounce of that inner honesty
you describe in your book, you can look in yourself and see those things that I
see. And you can find revulsion equal to my own. Good Day. (She prepares to
leave the room.)
Page 7 of 16
SYDNEY
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T 1300 301 983 F 02 9219 5454
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W aim.edu.au/future-students/international
T +61 2 9219 5444
E [email protected]
AIM.EDU.AU
ABN 89 003 261 112
CRICOS Code 00665C
RTO Code 90465
VERSION: 6 March 2014
FEMALE MONOLOGUE
VIOLA FROM TWEFTH NIGHT
FORM HEADER MINI TEXT // FRANKLIN GOTHIC BOOK REGULAR // ALL CAPS 8.5PT
TWELFTH NIGHT
WILLIAM SHAKESPEARE
VIOLA
I left no ring with her: what means this lady?
Fortune forbid my outside have not charm’d her!
She made good view of me; indeed, so much,
That sure methought her eyes had lost her tongue,
For she did speak in starts distractedly.
She loves me, sure; the cunning of her passion
Invites me in this churlish messenger.
None of my lord’s ring! why, he sent her none.
I am the man: if it be so, as ‘tis,
Poor lady, she were better love a dream.
Disguise, I see, thou art a wickedness,
Wherein the pregnant enemy does much.
How easy is it for the proper-false
In women’s waxen hearts to set their forms!
Alas, our frailty is the cause, not we!
For such as we are made of, such we be.
How will this fadge? My master loves her dearly;
And I, poor monster, fond as much on him;
And she, mistaken, seems to dote on me.
What will become of this? As I am man,
My state is desperate for my master’s love;
As I am woman, -- now alas the day! -What thriftless sighs shall poor Olivia breathe!
O time! thou must untangle this, not I;
It is too hard a knot for me to untie!
Page 8 of 16
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VERSION: 6 March 2014
FEMALE MONOLOGUE
TAMARA FROM SILENT DISCO
SILENT DISCO
LACHLAN PHILPOTT
TAMARA
I look around and see everyone in their own little world smiling-everyone
dancing to their own tune not giving a fuck what anyone else has playing in
their ears.
For one whole song everything like that.
You and me dance like everyone else,
no-one tells us we shouldn’t be there,
no one tells us we are dancing the wrong steps or we don’t know shit.
The Carnie winks at me and I look back at you Squid.
We face each other in the silent disco.
I look at your eyes-your tough eyes aren’t tough aren’t hard they’re smiling.
Right there and then-everything else blown away-just you and me Squid.
You so close I feel your breathe. We’ve never danced like this before. You
reach out and pull me closer to you. They way you pull me in-makes me feel
like I’m the best thing in the world.
Page 9 of 16
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VERSION: 6 March 2014
FEMALE MONOLOGUE
GEORGEANNE FROM FIVE WOMEN
WEARING THE SAME DRESS
FORM HEADER MINI TEXT // FRANKLIN GOTHIC BOOK REGULAR // ALL CAPS 8.5PT
FIVE WOMEN WEARING THE SAME DRESS
ALAN BALL
GEORGEANNE
I was walking down the aisle, first thing I saw was the back of his head. It just
jumped right out at me. I recognized that little hair pattern on the back of
his neck, where his hair starts? You know where it comes to those two little
points, and it’s darker than the rest? I always thought that was so sexy. Then I
looked at him during the ceremony, and something about the way the light hit
his face…I swear, it just broke my heart. And then outside, I saw him talking
to this total bitch in a navy blue linen dress with absolutely no back, I mean
you could almost see her butt. And her was smiling at her with that smile, that
same smile that used to make me feel like I really meant something to him.
And then it all came back, just bang, all those times I sat waiting for his phone
call, me going out of my way to make things convenient for him. Having to
take a fucking taxi cab to the Women’s Heath Centre that day because it was
so cold my car wouldn’t start. And later that awful night I sat out in front of his
apartment building starring at Tracey’s burgundy Cutlass in the driveway, just
wishing I was dead. You know, I started smoking cigarettes that night. And if I
ever die of cancer I swear it’s going to be Tommy Valentines’s fault. God! I feel
like I am going crazy! My cousin George, he’s a nurse, he says I am the perfect
type to get some weird disease because I’m so emotional
Page 10 of 16
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VERSION: 6 March 2014
MALE MONOLOGUE
EDDIE FROM FOOL FOR LOVE
FOOL FOR LOVE
SAM SHEPARD
EDDIE
And we walked right through town. Past the donut shop, past the miniature
golf course, past the Chevron station. And he opened the bottle up and
offered it to me. Before he even took a drink, he offered it to me first. And
I took it and drank it and handed it back to him. And we just kept passing
it back and forth like that as we walked until we drank the whole thing dry.
And we never said a word the whole time. Then finally, we reached this little
white house with a red awning, on the far side of town. I’ll never forget the
red awning because it flapped in the night breeze and the porch light made it
glow. It was a hot, desert breeze and the air smelled like new cut alfalfa. We
walked right up to the front porch and he rang the bell and I remember getting
real nervous because I wasn’t expecting to visit anybody. I thought we were
just out for a walk. And then this woman comes to the door. This real pretty
woman with red hair. And she throws herself into his arms. And he starts
crying. He just breaks down right there in front of me. And she’s kissing him
all over the face and holding him real tight and he’s crying like a baby. And
then through the doorway, behind them both, I see this girl. She just appears.
She’s just standing there, staring at me and I’m staring back at her and
we can’t take our eyes off each other. It was like we knew each other from
somewhere but we couldn’t place where. But the second we saw each other,
that very second, we knew we’d never stop being in love.
Page 11 of 16
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VERSION: 6 March 2014
MALE MONOLOGUE
JAMES FROM SECRET BRIDESMAIDS
BUSINESS
FORM HEADER MINI TEXT // FRANKLIN GOTHIC BOOK REGULAR // ALL CAPS 8.5PT
SECRET BRIDESMAIDS BUSINESS
ELIZABETH COLEMAN
JAMES
Look, sex and love are separate things…Well, they can be, that’s all I’m saying.
This thing with Naomi-okay, it should never have happened-but it didn’t have
to impact on what I have with Meg. I thought that was the deal. It was a
separate arrangement. She told me she just wanted a bit of fun, and now she
turns around and does this…! I mean, where the hell did that come from? If I’d
known Naomi felt like that I would’ve broken it off with her months ago. Well
maybe. Oh shit, maybe not. But I just-I just wish women would say what they
mean. You know-plainly, clearly state what they want instead of expecting you
to be psychic. Meg bought me this T-shirt at the Warner Brothers store, and
it’s got a picture of Superman on it. He’s wearing this perplexed expression
and he’s saying You want me to leap tall buildings and be sensitive and
supportive?! That’s how it is with women. They want you to slay a dragon for
them one second, then cry at a guide dog commercial the next. And somehow
you’re expected to guess when they want you to be controlling and when they
want you to be crying-and if you don’t make the right guess at the right time
it’s instantly construed as proof that you don’t love them enough. If you really
loved me you wouldn’t need to ask. How many times have I heard that? Well
I’m sorry, I’ve loved a few people a lot, but no-one’s ever stepped out of the
shadows and handed me a crystal ball. Anyway, I know I’m trying to change
the subject. The fact is, I’ve been acting like a prick.
Page 12 of 16
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VERSION: 6 March 2014
MALE MONOLOGUE
TRIP FROM OTHER DESERT CITIES
OTHER DESERT CITIES
JON ROBIN BAITZ
TRIP
You know what? All of you-there are at least three places I could have been
right now: Cape Town, Punte del Este, or Bahia. There are girls with fun
families in beach houses where you can swim and drink and laugh and
nobody is trying to fucking, you know, assassinate each other over a goddam
book. (beat) over a BOOK! That is of almost zero-point-one conceivable
percent interest to ANYONE I know! And I know a lot of people. I have leaned
so much about families from my show. The way in which the bored and the
damaged ruin whatever little bit of happiness they happen to have. And I
always want to tell them ‘hey, you schmucks, you have wasted one more day
of living better’.
There is silence
But me? I’m pretty goddam happy, and I’m not going to let you all take that
away from me (beat) I have reservations on three flights to distant cities for
tomorrow and I will only be cancelling two of them at this rate. So as to “would
I stone her?” See, I’m not asking for peace like Dad is. Mom, I’m just telling
you, I love everyone here, and I won’t be played. Not by any one of you.
Page 13 of 16
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VERSION: 6 March 2014
MALE MONOLOGUE
CHUNK FROM THE CALL
FORM HEADER MINI TEXT // FRANKLIN GOTHIC BOOK REGULAR // ALL CAPS 8.5PT
THE CALL
PATRICIA CORNELIUS
CHUNK
You’ve got it all wrong. It come to me like a whack on the back
of the head,
like the floor’s suddenly given way. An epiphany, that’s what I’m having.
Ever heard of an epiphany, Aldo? It’s like God’s spoken, like lightning, some
fucking big moment of enlightenment. And I’m having it. It’s all crap. It’s a big
load of bull. A hoax. Someone major’s pulling our leg, got us by the throat and
is throttling us, got us boxed in, packed up. Nothing—means—nothing. You got
it? Once you got that, you’re living free. Who says how life’s meant to be? Who
says what’s good, what you should or shouldn’t do? Who in hell’s got the right
to measure a man’s success? He did this, he did that, he got that job, he got
paid a lot. Fuck off. He owns a house, a wife, two kids. So what? He’s a lawyer,
a doctor, he’s made a success of his life. No success story for the likes of us.
And you know what? I don’t give a shit. Finally it’s clear to me. It’s all crap.
And I’m free of it at last.
Page 14 of 16
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VERSION: 6 March 2014
MALE MONOLOGUE
DOUG FROM COSI
COSI
LOUIS NOWRA
DOUG
It was the fault of the psychiatrist. I’d been seeing him because of my
pyromania-that’s a person who likes lighting fires-but you probably know that
being University educated. You know the problem with pyromania? It’s the
only crime where you have to be at the scene of it to make it a perfect crime,
to give yourself satisfaction. “Course, that means the chances of you getting
caught are greater, especially if you’re standing in front of the fire, face full
of ecstasy and with a gigantic hard on. So, the cops got me and I’m sent to
the shrink. He tells me that I’ve got an unresolved problem with my mother.
I think, hello, he’s not going to tell me to do something Oedipal, like fuck
her or something…but that wasn’t the problem. My ego had taken a severe
battering from her. He said I had better resolve it, stop treating her like I was
still a child. It made some sort of cosmic sense. I had to stand up to her. So I
thought about it and realised that I had to treat it like a boxing match, get the
first punch in, so to speak, to give me the upper hand in our relationship. She
had five cats. One night I rounded them up, put them in a cage, doused them
with petrol and put a match to them. Well, boy, oh, boy, what a racket! They
were running around the backyard burning and howling-there’s no such thing
as grace under pressure for a burning cat, let me tell you. I hid in the shrubs
when Mum came outside to see what was happening. Totally freaked out, she
did. Five of them, running around the backyard like mobile bonfires. I figured
I’d wait a couple of hours till the cats were dead and mum was feeling a bit
sorry for herself and I’d knock on the front door and say to her ‘Hi, mum, I’ve
come to talk about our unresolved conflicts’ but, oh, no, one of those cats ran
into the house. In a couple of minutes the whole bloody house was alight and
within half an hour there was no bloody front door to knock on. (a beat) If it
wasn’t for that damn cat, I wouldn’t be here.
Page 15 of 16
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VERSION: 6 March 2014
MALE MONOLOGUE
ROMEO FROM ROMEO AND JULIET
FORM HEADER MINI TEXT // FRANKLIN GOTHIC BOOK REGULAR // ALL CAPS 8.5PT
ROMEO AND JULIET
WILLIAM SHAKESPEARE
ROMEO
He jests at stars that never felt a wound. (Enter JULIET above)
But soft, what light through yonder window breaks?
It is the east and Juliet is the sun!
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief,
That thou her maid art far more fair than she:
Be not her maid since she is envious;
Her vestal livery is but sick and green.
And none but fools do wear it; cast it off.
It is my lady; O, it is my love!
O, that she knew she were!
She speaks, yet she says nothing: what of that?
Her eye discourses; I will answer it.
I am too bold; ‘tis not to me she speaks:
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy regions stream so bright
That birds would sing, and think it were not night.
See, how she leans her cheek upon her hand,
O, that I were a glove upon that hand,
That I might touch that cheek!
Page 16 of 16
SYDNEY
MELBOURNE
INTERNATIONAL ENQUIRIES
1-55 Foveaux Street Surry Hills NSW 2010
T 02 9219 5444 F 02 9219 5454
E [email protected]
120 King Street Melbourne VIC 3000
T 1300 301 983 F 02 9219 5454
E [email protected]
W aim.edu.au/future-students/international
T +61 2 9219 5444
E [email protected]
AIM.EDU.AU
ABN 89 003 261 112
CRICOS Code 00665C
RTO Code 90465
VERSION: 6 March 2014