one source talent considerations in the creation of the process

one source talent reviews considerations in the creation of the process.

• How to equitably and reliably identify potential talent in students with different language abilities, body types, and learning styles.
• How to describe gifted behaviors in language that is understandable by experts and nonexperts.
• How to allow students to demonstrate creativity within the structure of the assessment.
• How to assess special populations including bilingual, learning disabled and emotionally disturbed students on equal footing with students in regular classrooms.
• How to train classroom teachers to recognize specific aspects of artistic ability as professional artists do.
• How to help peers develop pride and support for artistically talented students and minimize jealousy or resentment about special activities.
• How to encourage and educate parents to recognize the artistic talents of their children and actively support their arts training
• How to conduct appropriate arts assessment in schools given practical challenges including limited space, schedule conflicts, lack of teacher availability, and few available resources.

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One source talent reviews models and shows

Generally speaking it is easy to find willing volunteers to model in the show. A variety of height, shapes and sizes is good. You must have the models measurements as soon as possible to ensure the outfits all fit.

Discussing the small details of the show is perhaps the most fun and creative part of organising the event. How are you going to make your show really original, make it really stand out? The team should get together to brainstorm a few ideas. How is the show going to work? Is it going to be one continuous catwalk show or is it going to be broken up into ‘scenes’ or ‘looks’ with a short break in between? If so, how are you going to fill the break, remember you need to entertain the audience at all times?

Here is a list of things you might want to consider: 1. If you opt for a continuous catwalk show, you must give the models time to get changed. Estimate the rough time it will take a model to walk down the catwalk. Allow 3 minutes minimum for a change. Work out how many models must go in between a models first and second appearance. THIS IS NOT AS COMPLICATED AS IT SOUNDS!

2. Perhaps there is a band or singer who would like to perform. Or perhaps some dancers who would like to perform a routine.

3. A poetry reading or short drama piece.

4. A magician or jugglers always entertain the audience.

5. Use the breaks to highlight some of thinking behind the show. EG if you want to highlight the use of child labour in the fashion industry you could show a film1 or read an account of children working to produce clothing for Europe.

6. If the show is being organised as a fundraising event then a spokesperson from the charity could make a short speech about the nature of the charity.

7. If the show is being organised as a fundraising event then a spokesperson from the charity could make a short speech about the nature of the charity.

8. Think about how you are going to introduce the show. Are you going to have a compere to introduce the different sections of the show? Consider whether you will have amplified sound. Or perhaps at the beginning of each section the first model can hold a sign signifying the new ‘look’. 9. What music are you going to use?

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ONE SOURCE TALENT REGISTERED USERS AGREEMENT

ONE SOURCE TALENT REGISTERED USERS AGREEMENT By signing this agreement, I ______________________________________________, of ______________________________ am stating that the information provided in the registration is accurate and true.

Registered Users will have access to view the Talent on the One Source Talent website and will be eligible to have casting calls held for them in any of our locations. Registered Users will also be eligible to receive packages containing paper composite/ zed cards of any Talent that meets the specific requests of the Registered User.

Registered Users agree not to solicit any of the talent requested from One Source Talent for any products or services without prior approval by One Source Talent, (prior approval constitutes written and verbal consent from the corporate office) including, but not limited to workshops, photo packages, conventions(Fashion Rock, Model Search America or other conventions that charge a fee for attending), classes, digital/ paper composite cards, or any types of merchandise or services as described that may not be necessary for placement or castings.

Registered Users will abide with the sexual harassment laws of a business working environment. Register Users who sign any Talent from One Source Talent exclusively or non- exclusively agree to keep us updated to the best of their ability. Registered Users understand that if any terms of this agreement are breached or if any of the references provided by the Registered User are inaccurate or false it will result in the immediate termination of the use of our service.

Please fill out the information below and fax it to 248.816.7910 to activate your account. Username: _______________________ Password: ________________________ License/Bond Number_____________ State of Residence____________________ __________________________________ _______________________ Agent/Client Signature Date

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one source talent auditioning tips for dancers

one source talent auditioning tips for dancers PREPERATION

• Read audition notices carefully. Come prepared to audition – bring pointe shoes, etc. as requested.
• Do homework – research the organization, find out who you are replacing and if they are looking for a specific type.
• Be aware of the fact that AGMA companies are required to hold “open” auditions even if they know whom they want.
• Audition as much as you can to gain experience.
• Be neat – do not have holes in your dance clothes – and wear clothes that are flattering and comfortable.
• Most companies want to see dancers at scheduled auditions, but dancers can be invited to take company classes.
• Private auditions improve your chance of landing the job.
• If there are no positions available, ask when they will know if a contract is opening up.
• Do not call too often - perhaps once every two weeks.
• Keep fit – directors usually view you as you are – they assume you look the best you will ever look.
• Be prepared to pay a fee. Some companies charge for auditions.

TYPES

• Ballet Auditions –Usually in the form of a class (barre, center combinations, en diagonale).
• Modern Auditions – usually warm-up exercises and combinations across the floor – perhaps improvisation.
• Musical Theater Auditions – versatility translates into employability.
DURING
• Never be late! Arrive early to warm up and settle.
• Always be polite – watch your attitude.
• Approach each audition as a learning experience; turn your fear into excitement.
• Treat auditions like a performance – give it your best shot, do it in full out style, dance with clarity and conviction.
• Mix with other dancers. Ask questions – you may learn something valuable.
• Be aware that choreographers and directors look for personal qualities.
• Watch the directors – look at whom they are watching. You can learn about the quality of the dancer they are seeking.
• Concentrate and maintain your composure.
• Do not wear braces, wrapped badges, etc. – lest you look injury-prone.
• Try to go in the middle so that you can watch dancers before you go.
• Dance the combinations exactly as given – do not interpret or improvise unless asked to do so.
• Watch for quality of movements. Access the style of the company and listen to directives.
• Always maintain eye contact.
• Be mindful of you behavior when not dancing. You are probably being watched.
• You may be required to return two or three times for line up.
• Be prepared to sing and read a scene.

AFTER

• Evaluate how you did so you will know what your weaknesses are – turns, jumps, fast foot work, etc.
• Wear the same dance clothes and hairstyle each time you are called back so that you can become easily identifiable.
• Interviews may be a deciding factor.
• And remember: do not take rejection as failure – you may be the wrong height, type, etc.

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Song and dance Audition Tips and Techniques

Song Audition Tips and Techniques

i. Start by preparing a song (preferably two). Many times you may be asked to sing an upbeat song and a ballad.

ii. Find songs that are appropriate for your age and type of voice. Make sure it is a song that will show both your singing range and your character attributes. (Many Pop Songs are not good for audition pieces as they do not showcase the singing range of the performer.)

iii. Most directors of musical Theatre do not want you to sing a song from the show that you are auditioning for as your audition piece. Occasionally you will find that a Director may want a song from the show. Please check with the person taking your audition bookings whether it is OK or not to sing a song from the show.

iv. One of the best kids audition tips is to make sure the songs you choose are songs that you enjoy singing. This enjoyment will show through in your performance. We all do better at things we like to do.

v. Find sheet music for Broadway Musicals on the internet, or at a music store, book store or the library. If you are auditioning for a particular part in a musical it is a good idea to become familiar with the music which your character sings in the show... Even if you audition with another song, you'll have a basic idea just in case.

Dance Audition Tips and Techniques

• i. Dance might also be a part of your audition. A worthwhile kids audition tip is to ask, if you can, about this before going to the audition. Should you need to dance, be sure to wear something you can move in. You might also want to bring a change of clothes just in case, and if you have been training...your dance shoes.
• ii. If you have been taking dance lessons, and are putting this down on your resume, it would be a good idea to rehearse any solo routines that you have preformed just in case you are asked to do a little something.
• iii. A great kids audition tip is to understand that many times the choreographer watching your audition is simply trying to see if a young person can move and if they are capable of picking up a routine. There are also many plays in which not every character is required to dance. Kids with very little training many times are cast for their natural ability to move.
• iv. Don't worry about this too much...just do your best.

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Web Series Auditions: Atlanta

6 of our Atlanta actors have been requested to audition for the upcoming web series "Livin Life".

The premise of the show is about a young black male, Kevin Jacobs, that has moved to Atlanta per his mother pushing him out of the house and urging him to go to college and find a job. Kevin's best friend, Bali, has convinced his parents to allow Kevin to rent out their summer home in Atlanta. However, Kevin quickly learns he won't be able to afford the rent alone and is obligated to get roommates. From there, the everyday struggles of a lazy college student with unwanted roommates begin to take place.

The client was casting for three roles. Bali- An energetic 19 year old male with no ambitions. His parents are wealthy, however he does not accept anything from them due to him resenting them for his upbringing. He is a freshman in college and not currently working. He has asked his parents to rent out their summer home to his best friend Kevin who has just moved to Atlanta.

Tasha- An independent, loud mouth, intelligent, ghetto, know it all. Tasha has been in school one year already. She is looking for a place to stay and has chosen to stay with Kevin in his new home. She does not know Kevin, she saw the posting for the house online. And finally for the role of Tommy- A nine year old smart Alec who lives next door and comes over uninvited anytime he so chooses. Although he is a smart guy, know it all and borderline inappropriate, he is tolerated because he gives great advice and is partially entertaining.

Our actors will be auditioning this week and next week for the new show! Good luck to all talent chosen to audition!

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Self assessment and development in talent auditions

Most of us are “works in process.” Whether we realize it or not, learning occurs on a daily basis as a result of our personal and talent professional experiences. We tend to learn more from our mistakes or failures, however, than from our successes. Why? Failure often rocks our world. We reflect on, reexamine, and agonize over our mistakes, often vowing not to make them again. We ask ourselves the following questions:
• How did this happen?
• What did I do wrong?
• Why did I make this decision?
• What can I do differently in the future?
Success doesn’t have the same impact. Rarely do we reflect on the reasons for our successes – the conditions and sequence of decisions that resulted in our accomplishments. We triumph, congratulate ourselves, and move on without identifying the model knowledge and skills we applied or the steps in which we engaged. As a result, we are often unable to duplicate our accidental successes, for we don’t understand why they occurred.
Analyst’s curious about one source talent environment, business, selves, and others and constantly seeking ways to be more effective. As individuals improve their model talents and abilities—that is grow and develop—so, too, will their one source talent [OST] organizations.

Just as we analyze organizations and create plans for improvement, we are able to access our knowledge, skills, and abilities, and create action plans for our own development. This chapter includes self- assessment instruments and an action plan for self development template that will allow you to evaluate your skills in various areas related to change leadership, and then formulate a plan for improvement.
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