How to audition for ATEB’s end-of-year production
Auditioning for ATEB’s end-of-year production is an opportunity to develop stage skills, meet other performers, and become part of the creative life of Figueres. ATEB, the theatre school connected with Figueres a Escena, welcomes children, young people, and adults through training that combines artistic practice with teamwork.
The process may vary according to the production, age group, and available roles. Before preparing a monologue or choosing a song, check the latest information from the organisation. The Figueres a Escena agenda is the best place to monitor performances, activities, and announcements connected with the venues and programme.
A successful audition is not necessarily about being the loudest or most experienced person in the room. Directors often look for preparation, curiosity, reliability, and the ability to listen. Your aim is to show how you work as a performer and collaborator, while demonstrating that you are ready to learn.
Understand the audition pathway
Start by identifying the production’s age category, rehearsal period, audition date, and registration method. Some projects may ask applicants to complete a form in advance, while others may provide a specific appointment time. Read the instructions carefully and note whether participants need to prepare material or will work from a script supplied on the day.
Pay attention to practical details such as the venue, arrival time, clothing requirements, and any information needed from a parent or guardian. Younger applicants may need family support with registration and transport. If the announcement does not explain something essential, contact ATEB or Figueres a Escena through its official communication channels rather than relying on informal messages.
Prepare material that suits you
If applicants are asked to prepare a monologue, choose a short piece that matches your age, voice, and experience. A simple scene performed with understanding is usually stronger than a technically demanding extract that you have not had time to explore. Look for clear changes in feeling, a definite objective, and language you can deliver naturally.
For a musical audition, select a song that allows your voice to sound comfortable and expressive. Practise the words, rhythm, breathing, and beginning and ending of the piece. Dancers should prepare movement that they can perform safely in the available space. If you are unsure what to choose, ask whether the production has particular stylistic expectations before spending time on unsuitable material.
Show how you collaborate
An audition for a theatre school production can include group improvisation, reading with another performer, movement exercises, or a short workshop. These activities help the creative team see how you respond to direction. Listen fully, accept adjustments, and try the task again with a clear change rather than apologising or explaining why the first attempt did not work.
Your behaviour between exercises also matters. Be respectful toward other candidates, avoid interrupting, and stay engaged when you are not performing. A production depends on an ensemble, so generosity and concentration can be as valuable as a polished solo performance. The cultural programme around Figueres includes many forms of collective expression, from theatre and music to dance traditions such as sardana dancing, which also reflects the importance of rhythm, awareness, and shared space.
| Audition element | What to prepare | What the creative team may notice |
|---|---|---|
| Monologue or scene | A brief, age-appropriate extract | Clarity, interpretation, and vocal control |
| Song | Memorised lyrics and comfortable range | Musicality, confidence, and expression |
| Movement | Safe, simple choreography or physical task | Coordination, commitment, and spatial awareness |
| Improvisation | A willingness to experiment | Imagination, listening, and adaptability |
| Group reading | Focus on cues and fellow performers | Cooperation, timing, and ensemble awareness |
Get ready for the audition day
Choose clothing that allows you to move freely without becoming a distraction. Comfortable trousers or similar clothing, a plain top, and secure footwear are practical choices for most theatre, movement, and workshop activities. Avoid anything that restricts breathing or makes it difficult to see and hear clearly.
Arrive early enough to find the room, settle your nerves, and warm up quietly. Bring water and any permitted materials, but do not assume that you need elaborate props, costumes, or technical equipment. A short introduction with your name and relevant experience may be useful, although the organisers’ instructions should always take priority.
Manage nerves with a simple routine
Feeling nervous before an audition is normal, especially when the performance matters to you. Replace vague worries with a short routine: breathe slowly, loosen your shoulders, review your first line, and remind yourself of the action or intention in the scene. Concentrating on what the character wants gives your mind a practical task.
Try not to compare your performance with the people auditioning before or after you. Each participant brings a different voice, personality, and level of training, and casting decisions may depend on the balance of the entire group. If you make a mistake, pause briefly, recover, and continue. The ability to stay present after an error can become one of your strongest audition qualities.
Follow up with professionalism
After the audition, check how and when the results will be communicated. Avoid sending repeated messages for an immediate decision unless the organisation has invited follow-up questions. Casting can involve matching roles, ages, timetables, vocal ranges, and ensemble dynamics, so the outcome may reflect the production’s needs rather than a simple ranking of talent.
If you are offered a place, read the rehearsal schedule and participation requirements carefully. End-of-year productions rely on consistent attendance, prompt communication, and preparation between rehearsals. Tell ATEB as soon as possible about timetable conflicts or accessibility needs so the team can plan responsibly.
If you are not selected for the role you wanted, the audition can still provide useful experience. Ask for feedback only through the appropriate channel and treat the process as part of your theatre education. Another role, workshop, class, or future production may suit your development better, and continued participation helps build confidence over time.
Small habits that strengthen your performance
Use the weeks before an audition to develop habits rather than trying to transform your abilities overnight.
- Read your material aloud and mark where the thought changes.
- Practise standing, walking, and turning without unnecessary gestures.
- Record one rehearsal to check volume, pace, and clarity.
- Warm up gently with breathing, articulation, and relaxed movement.
- Prepare a backup piece in case the creative team requests something different.
These habits help you arrive prepared without making the performance rigid. Leave room for direction and discovery, because the audition panel may invite you to alter the pace, change the emotional tone, or work with another candidate.
Above all, approach the audition as an invitation to participate in a creative community. ATEB’s end-of-year production is built through rehearsal, trust, and shared responsibility, not through a single perfect performance. Bring your preparation, listen carefully, and let your personality support the work.
Check the current ATEB and Figueres a Escena announcements, complete any required registration, and begin preparing a short piece that feels authentic to you. With an organised approach and an open attitude, you can make the audition a valuable step toward performing on stage at Teatre El Jardí, Sala La Cate, or another community venue in Figueres.