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Student Auditions

 

THEATER EMORY   

EMORY STUDENT AUDITIONS FOR FALL 2025 PRODUCTIONSOF  

MY FOOT MY TUTOR by Peter Handke,
translated by Michael Roloff 
&  
PEERLESS by Jiehae Park 

AUDITION DATES: 

  • OXFORD CAMPUS (for those continuing to Atlanta campus in Fall 2025): Tues., March 25, 4-6 PM, Tarbutton Theatre 
    • Oxford students are also welcome to audition on Saturday at the Atlanta campus if you have transportation.

  • ATLANTA CAMPUS: Sat., MARCH 29, 10 AM-5 PM, Rich Building 
  • Students studying abroad during Spring 2025 are welcome to submit an audition video. Video auditions must be submitted along with your completed online audition form, NO LATER THAN 11:59 pm. on Friday, March 28. See the preparation section below for guidance on what to submit in your video. 

Callbacks:   

  • MY FOOT MY TUTOR: Sunday, MARCH 30, 11 AM.-1 PM. 
  • PEERLESS: SUNDAY MARCH 30, 2 pm.-5 pm. 
  • Those called back may not be needed for this entire time but will likely be needed for a 60-90 minute time slot.   

PREPARATION:  *All gender identities, ethnicities, body types, and abilities encouraged to audition   

*PLEASE NOTE: Due to the differences in the scripts and preparation/audition required, you MUST sign up separately for each production if you plan to audition for both MY FOOT MY TUTOR and PEERLESS. 

MY FOOT MY TUTOR AUDITION PREPARATION

DO NOT WEAR: 
    • Loose clothing (pajama bottoms, tracksuit pants) 
    • Jewelry or accessories that could rattle or get caught 
    • Hair down (if you have long hair please secure it in a tight bun or ponytail)
ACCOMMODATIONS: If you have any medical conditions, disabilities, or need special accommodations, please let us know before your audition. The director is committed to working with you to create an accessible audition experience that honors your physical self.

FOR STUDENTS STUDING ABROAD-MY FOOT MY TUTOR 
  • For those studying abroad during Spring 2025, please submit a video that includes the following. The video audition consists of two parts: 
    • Part 1: Set a 2-minute timer and start recording. Please state your name, major, and year. These 2 minutes belong to you. You are free to do whatever you wish with this time. In the absence of blocking and a script, what happens inside these two minutes? Given that there is no right or wrong way to behave in this time, what will your impulses be? 
    • Part 2:  
    • A) Create an open performing area in your space and perform the following actions: rise to standing, take three steps, pick up a glass of water, take a sip, notice a crumpled piece of paper, pick it up, look at it, throw the paper. 
    • B) Reset and perform the entire sequence again in extreme slow motion.
 

PEERLESS AUDITION PREPARATION

 

****************** 

Project / Character Descriptions    

  1. MY FOOT MY TUTOR by PETER HANDKE, TRANSLATED BY MICHAEL ROLOFF

Director:HÉCTOR ALVAREZ https://theater.emory.edu/people/bios/alvarez-hector.html 

First rehearsal: AUGUST 27, 2025, 6 PM  
Performances: Oct. 2, 3, 4 at 7:30 PM; Oct. 4 & 5 at 2:00 PM 
Location/Venue: Theater Lab, Schwartz Center, 1700 North Decatur Rd., Atlanta, GA 30322, Emory University campus 
Overview/Description:   
A wordless masterpiece by Nobel Prize winner Peter Handke 

Experience the rare opportunity to perform in a work of pure physical theater where actions truly speak louder than words. This revolutionary play unfolds without a single line of dialogue, challenging performers to communicate entirely through movement and gesture. 

Two characters—the controlling Warden and his teenage Ward—engage in a mesmerizing power struggle on an isolated farm. Their relationship unfolds through precisely choreographed movements that the newspaper The Guardian has described as "sheer theatrical poetry." 

This project calls for performers with strong physical presence and the ability to convey complex emotions without speech. Selected actors will develop skills in physical storytelling rarely practiced in conventional theater. 

Incidences of violence and/or intimacy in the script: There's no explicit sexual intimacy in the script and physical touch is very limited, but the entire play explores a tense and ambiguous power dynamic between the two characters through physical positioning, control, and occasional moments of implied violence. These include: 

  • The warden uses a bullwhip at one point (though not directly on the ward) 
  • Blood is shown running from the ward's nose, mouth, and chin in one scene but there’s no punching or any kind of physical contact that triggers this  
  • The warden throws bottles, plates, and glasses at the ward, which break on the floor 
  • The warden forcefully pulls the door shut with the ward trying to hold onto it from the other side 
  • The warden turns the ward around forcefully (though not violently) in one moment  
  • Moments of intense staring and physical intimidation 
  • The ward follows closely behind the warden at one point, stepping on his heels 

CHARACTER BREAKDOWN: 
Cast Size: 2 (all students) 
Roles available:   *All gender identities, ethnicities, body types, and abilities encouraged to audition. Despite the description of characters specifying MALE as the genders, we are considering all gender identities for these roles, especially given the characters will be masked. 

  • THE WARDEN: Male, 35-50. A dominating presence with precise, controlled movements. Radiates authority through his physicality alone. Requires an actor with great body awareness, capable of communicating complex intentions through subtle gestures and commanding stillness. Must convey both menace and vulnerability without words. 
  • THE WARD: Male, 14-19. Initially submissive but harboring hidden resistance. His journey moves from obedience to open defiance. Requires an actor who can convey both childlike qualities and emerging independence. 
*Both roles demand performers comfortable with sustained silence, meticulous movement patterns, and the ability to maintain tension through physical presence rather than dialogue. The actors will wear masks, so experience with mask work is desired but not required. 

 
  1. PEERLESS by JIEHAE PARK

Performances: Nov. 13-23, 2025 

  • Week One: Nov. 13, 14, 15 at 7:30 pm., Nov. 16 at 2:00 pm 
  • Week Two: Nov. 19, 20, 21, & 22 at 7:30 pm; Nov. 23 at 2:00 pm. 

Director:Wanyu Yang https://www.wanyuyang.com/ 

First rehearsal: October 15, 2025, 6 pm. 
Performances: Location/Venue: Mary Gray Munroe Theater, AMUC, Emory Campus  
630 Means Dr, Atlanta, GA 30322 
Overview/Description:   
Peerless (subtitled: A High School Macbeth) follows Asian American twins, M & L, on their quest to seize the sole early admissions spot at The College, the most prestigious (and elusive) institution in the country. When a white classmate, D, gets it instead, they will stop at nothing, stop for no one, to take back what they believe to be rightfully theirs. This play is a comedy, until it's not. 

CHARACTER BREAKDOWN: 

Cast Size: 5 (all students) 
Roles available:   *All gender identities, ethnicities, body types, and abilities encouraged to audition 

  • M & L: Leads, twin sisters, Asian American 
  • BF: Supporting, M’s boyfriend, African American 
  • D: Supporting, male, looks white, one-sixteenth Native American, Caucasian/Ethnically ambiguous, doubles as D’S BROTHER 
  • DIRTY GIRL: Supporting, a.k.a. Caroline a.k.a. That Weird Girl in High School You Know The One, doubles as PREPPY GIRL 

 Incidences of violence and/or intimacy in the Peerless script:  

  • Warnings: (general use of fat-shaming & ableist language, cursing) 
  • Sensitive language:  
    • use of ableist slur ("retard") by M & L (p.5, 7-9, 13)
    • Use of ableist slur ("retard") by M & L (p. 175-176) 
    • use of sinophobic slur ("chink") by Dirty Girl (p. 14) 
    • page 26, there is a "Sieg Heil" from Dirty Girl in response to a raised hand. 
  • Intimacy & Violence:  
    • Sticking & "stabbing" an EpiPen into D's thigh with M, L, & D (p. 91, 95)  
    • Sustained thigh touch between L & D (p.92-95)  
    • Feeding & three-way kissing between M, L, & D (p. 103)  
    • Allergic reaction & death of D (p. 104-108)
    • Fight between M & L (punching, hair pulling, screaming, chokehold) (p. 180-181) 

THEATER EMORY REHEARSALS:   
Theater Emory productions typically rehearse a 5-day week with Sundays and Mondays off (but Sundays are used during tech and performance). Rehearsals can happen Tuesday-Friday, between 6 pm.-10 pm., and Saturdays from 10 am.-7 pm., however actors will not be called for every rehearsal, and each production will have different days and rehearsal hours within those times listed above based on the needs of the production. We schedule rehearsals around your class/work conflicts as much as possible however, as we near performance dates there is little flexibility and actors must make themselves fully available to rehearse. 

CASTING COORDINATOR: ROSALIND STAIB   
Have questions? Email: teauditions@gmail.com   

Theater Emory is the producing affiliate of Theater Studies within the Department of Theater and Dance at Emory University. Theater Emory, offering performances during the academic school years since the late 1980s, primarily utilizes and showcases student actors in its Fall and Spring productions. However, non-union acting professionals are invited to audition for certain roles where appropriate.  

Any member of the Emory community is welcome to audition for Theater Emory productions. A major or minor in Theater Studies is not required.

Performers of all abilities, gender identities, ages, ethnic and racial histories, and socio-economic backgrounds are encouraged to attend.

SIGN UP FOR AN AUDITION SLOT FOR MY FOOT MY TUTOR
SIGN UP FOR AN AUDITION SLOT FOR PEERLESS
COMPLETE THE AUDITION FORM
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If you are an Emory student interested in working with Theater Emory in a technical and/or production and/or administrative capacity please contact Rosalind Staib, Managing Director.

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