Taking Direction in an Audition
The difference between “teachable” and “defensive” (and why this can make or break you)
If you want a quick way to spot who’s trained (or trainable) in an audition setting, it’s this:
Give them a redirection and watch what happens.
Because lots of applicants can do a prepared monologue. Fewer can work.
And drama school training is work:
receiving notes
trying a new choice
failing safely
adjusting
repeating
staying open
not taking it personally
So if a panel redirects you, don’t panic. It usually means they’re interested enough to see what else is there.
Here’s the no-BS truth:
Redirection is a gift. Defensiveness is a red flag.
This blog shows you exactly how to take direction like someone worth training.
Why panels redirect you (it’s not to humiliate you)
Applicants often hear a note and immediately translate it into:
“They didn’t like me.”
“I did it wrong.”
“I’ve failed.”
That’s your stress brain doing fortune-telling.
In reality, redirection is usually testing three things:
Can you listen properly?
Can you change something quickly?
Can you commit to the new version without apologising for it?
Because those are rehearsal-room skills.
And drama schools don’t just want talent — they want people who can train without falling apart.
The two audition personalities (and which one gets trained)
The “teachable” applicant
listens fully
says “great” (or similar)
tries it immediately
commits to the adjustment
stays playful
doesn’t self-flagellate
doesn’t explain
The “defensive” applicant
argues (out loud or in their face)
explains why their original choice was right
tries to “half do” the note while secretly sticking to their version
gets tight and self-conscious
apologises
looks embarrassed
turns it into a referendum on their worth
One of these people is a joy to teach.
The other is a drain.
Be the joy.
The redirection trap: “But that’s not what I meant”
This is the moment most applicants shoot themselves in the foot.
They think:
“But my original choice is more intelligent.”
“But I had a reason.”
“But I worked so hard on it.”
Here’s the truth you need to accept:
Your job in an audition is not to defend your interpretation.
Your job is to demonstrate range of response and willingness to work.
You might be right. The panel might be wrong. It doesn’t matter.
They’re not asking for your dissertation. They’re testing your process.
And the safest professional move is: do it properly.
The “Yes, and…” rule for direction (use this)
If you want a one-line rule that always works:
Receive direction like improv: “Yes, and…”
Yes, I’ve heard you.
And I’m going to try it properly.
And I’m going to commit.
Not:
“Yes, but…”
“Yeah but” is death in training rooms.
Exactly what to say when you’re redirected (keep it simple)
You don’t need a speech. In fact, the more you talk, the worse it gets.
Use any of these:
“Great.”
“Lovely — I’ll try that.”
“Sure.”
“Got it.”
“Okay.”
Then do the work.
If you’re unclear, ask one short clarifying question:
“Do you want it faster or just lighter?”
“More conversational — like I’m thinking out loud?”
“Should I stay on them more, or let it land internally?”
One question max. Then play.
How to actually do the adjustment (so you don’t fake it)
The biggest mistake is “pretending” to take the note while secretly doing the same thing.
Panels can see that instantly.
So here’s the method:
Step 1: Identify what needs to change
Direction usually touches one of these:
pace
stakes
relationship
objective
action/tactic
physicality
focus
where your attention is (internal vs outward)
Step 2: Choose one clear action verb
If they say: “Make it lighter”, don’t think “be lighter”.
Pick an action:
tease
charm
play
win them over
disarm them
flirt
amuse yourself
Now you’ve got something playable.
Step 3: Use a specific subtext thought
This keeps it truthful instead of “acting the note”.
For example:
“If I make this fun, you’ll stay with me.”
“If I keep it light, you won’t see how desperate I am.”
“If I tease you, you’ll stop controlling the room.”
Now the adjustment lives inside thinking, not performance.
Step 4: Commit fully for the first 20 seconds
Most applicants chicken out after two lines and drift back to the original version.
Don’t.
Commit properly for at least 20 seconds. Make it obvious you’ve changed the engine.
Then you can finesse.
The fear underneath defensiveness (and why it’s normal)
Defensiveness usually comes from one fear:
“If I change it, I’ll look like I was wrong.”
But training isn’t about being right. Training is about being workable.
In fact, being able to try multiple versions is a sign of strength — not weakness.
Gallwey’s Inner Game idea is relevant here: when Self 1 is loud, it wants to protect your ego by controlling, judging, and resisting. The antidote is simple:
awareness (notice the panic)
choice (choose the new action)
trust (let yourself do it without over-monitoring)
That’s what redirection is testing.
If you completely disagree with the note…
Here’s the professional approach:
Do it anyway.
Not because you’re a robot. Because the audition is not the time to win an argument.
If you get the place, you’ll have plenty of time to discuss interpretation properly.
In the audition, your job is to show:
openness
adaptability
range
skill
You can keep your artistic identity. You just don’t need to defend it in the room.
The “redirection rehearsal” drill (this will level you up fast)
Most people don’t practise taking direction. Then they’re shocked when it goes weird.
So practise it.
Drill 1: The 3-version drill
Do the first 30 seconds three ways:
seduce them
intimidate them
reassure them
Same text. Different engine. That’s range.
Drill 2: The random note drill
Get a friend or coach to call out notes:
faster
slower
lighter
darker
more direct
more playful
higher stakes
make it a confession
Your job is to adjust instantly without explanation.
Drill 3: The “no apology” rule
You are not allowed to say:
“sorry”
“I was nervous”
“I forgot”
“I messed up”
Just do the work.
If something goes wrong, recover and continue. That is professionalism.
Why this matters for drama school auditions
Training is essentially: receive note → adjust → repeat.
So if you can take direction well, you show the panel you’re trainable — which is the whole point.
If you can’t, you show them that training you will be an uphill battle.
Be the easy win.
Call to action: HND route (depth + teachability)
If you want to build real trainability — not just prepare monologues — you need depth: repetition, feedback, adjustments, and time.
That’s exactly what a two-year route is for.
If you’re serious about developing as an actor and want training that builds stage and screen craft side-by-side, have a look at our 2-Year Intensive Stage and Screen Acting Course (incorporating HND) at Acting Coach Scotland.
And if your audition is soon and you need last-minute prep and polish, coaching is the fastest fix — but for long-term skill, depth wins.