Bachelor of Fine Arts - Application Guide For 2019 Undergraduate Intake - NIDA
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2019 Bachelor of Fine Arts Application Guide For 2019 Undergraduate Intake
TABLE OF CONTENTS APPLICATION PROCESS ........................................................................................... 3 APPLICATION PREPARATION DETAILS BACHELOR OF FINE ARTS (ACTING) ........................................................................ 5 BACHELOR OF FINE ARTS (COSTUME)..................................................................... 9 BACHELOR OF FINE ARTS (DESIGN FOR PERFORMANCE) ..................................... 12 BACHELOR OF FINE ARTS (PROPERTIES AND OBJECTS) ........................................ 16 BACHELOR OF FINE ARTS (SCENIC CONSTRUCTION AND TECHNOLOGIES) ......... 19 BACHELOR OF FINE ARTS (TECHNICAL THEATRE AND STAGE MANAGEMENT) ... 22 FAQS ABOUT AUDITIONS AND INTERVIEWS ........................................................ 26 APPENIDX A – SUGGESTED CLASSICAL MONOLOGUES (FEMALE) ....................... 28 APPENIDX B – SUGGESTED CLASSICAL MONOLOGUES (MALE) ........................... 36 APPENIDX C – THEATRE PLAN ............................................................................... 44 APPENIDX D – THEATRE SECTION ......................................................................... 45 NIDA Bachelor of Fine Arts Application Guide for 2019 Intake Page 2 of 45
APPLICATION PROCESS
APPLICATION PERIOD
Applications for admission to 2019 NIDA undergraduate courses are open from 2 July – 30
September, 2018. NIDA is unable to accept applications outside of this timeframe.
BEFORE APPLYING
You should read the following information carefully:
• Course information, including unit content, semester dates, fees and frequently asked
questions can be found at: https://www.nida.edu.au/courses/undergraduate
• The NIDA Student Handbook, Policies & Procedures and Course Regulations for your
intended course: https://www.nida.edu.au/courses/undergraduate/nida-student-policies
• Advice on how to apply for each course can be found from page 5 of this guide.
If you have any further questions at this stage, please contact us at: applications@nida.edu.au
APPLYING
There are six steps to successfully apply for a NIDA course:
STEP 1
Create your application account (link to be provided from 2 July).
You will then be sent an automatic email with your log in details to continue your application.
STEP 2
Log in, select the green ‘New Application’ button and complete the online form.
STEP 3
Upload the following documentation to the online form:
• Evidence of your most recent qualification (e.g. school report, Higher School Certificate,
university transcript or testamur).
• Proof of identification (e.g. passport, driver’s licence, birth certificate; ID must show your
date of birth).
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 3 of 45
• A passport style photograph (less than six months old, in colour, well lit, plain
background).
• Academic IELTS or equivalent (international applicants only)
NIDA requires an overall band of 8.0 Academic IELTS for Bachelor of Fine Arts (Acting)
and 7.0 Academic IELTS for all other Bachelor of Fine Arts courses).
• Any course related documents/portfolios (refer to the course information in the following
pages for more details).
STEP 4
Make payment of the AUD$75 administration fee by credit/debit card.
STEP 5
Book your audition or interview date in your nearest capital city.
STEP 6
Attend your audition or interview, having prepared the relevant material for your course (refer to
the course information in the following pages for more details).
TERMS AND CONDITIONS OF APPLYING
• The 2019 intake administration fee is AUD$75 (including GST) per application. This is a
non-refundable fee.
• Applications for NIDA's higher education courses commencing in 2019 close on 30
September 2018. NIDA cannot accept applications after this date.
• There are a limited number of places available in each course. Selection is based on
merit; not all applicants who meet the published entry requirements will receive a study
offer.
• All applicants are required to review the course requirements and tuition fees as stated
on the NIDA website.
• It is not possible to provide applicants with individual written or oral feedback on their
audition/interview.
• Applicants who receive a study offer for 2019 must accept the offer within the timeframe
indicated. It is not possible to defer a study offer at NIDA.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 4 of 45
BACHELOR OF FINE ARTS (ACTING)
APPLICATION PREPARATION DETAILS FOR 2019 INTAKE
PREPARE FOR YOUR AUDITION
The following should be prepared in advance to be performed at your audition:
1. ONE CLASSICAL PIECE
This should be a short monologue from a Shakespearian or Jacobean play. This must
be in verse; it cannot be a sonnet or a poem. You may choose a piece from the
Suggested Classical Monologues (see Appendices A and B on pages 28 and 36 of this
guide), or a piece of your own choosing.
2. ONE MODERN/CONTEMPORARY PIECE
This should be a short monologue from a published play (Australian or international).
This can be any play spanning the period of Anton Chekov (early 1900s) to the present
day. You are welcome to present your modern/contemporary piece in the language of
your cultural background if you so choose. However, you must be prepared to present it
in English as well.
3. RECALL ONLY - A DUOLOGUE
Text to be provided by NIDA closer to the audition dates; you will be paired with another
applicant.
4. RECALL ONLY – PREPARE EITHER:
a) A THIRD PIECE OF YOUR CHOOSING
May be Classical or Modern/Contemporary
b) OR A MUSICAL THEATRE SONG
List of songs to be provided by NIDA; you will be provided with a piano accompanist.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 5 of 45
Your monologues must be no longer than two minutes. You will not be timed, but you should try and stick as close to two minutes as possible. Your monologues must be memorised and fully prepared for the audition. Bring two hard copies of the Classical piece if you have not selected from the Suggested Classical Audition Monologues. Bring two hard copies of your modern/contemporary piece with you (one for you to have on hand, and one for the audition panel). ON THE AUDITION DAY You should be prepared to spend half the day at your audition (i.e. either the morning or the afternoon). Firstly, a NIDA staff member will run through some information about the Acting course, and you will have an opportunity to ask any questions about the course or the audition process. The whole group will then participate in some movement and vocal warms ups before starting the monologue presentations. In the first round audition you will present your Classical and Modern/Contemporary monologues to the panel. Other applicants will also be in the room. One of your pieces will be worked so be prepared to take direction from the panel. ON THE RECALL DAY If the panel would like to see more from you, they will invite you back for a recall audition, which will take place on a separate date. You should be prepared to spend the whole day at the recall. The recall will involve a group warm up and the presentation of one, or both, of your first round monologues, which may or may not be worked on. NIDA Bachelor of Fine Arts Application Guide for 2019 Intake Page 6 of 45
If you are invited to the afternoon session of the recall audition, you will be asked to present
EITHER a third piece (of your choice) or a song (please only choose from the list provided by
NIDA). You may also be asked to work with a partner (another applicant) on the duologue.
If at the end of the recall audition the panel would like to shortlist you, they will film one of your
pieces for review on selection day (mid-December).
Please note if you are not invited to attend a recall audition, or you do not make it to the
filming section of the recall audition, you should consider your application unsuccessful
this year.
TIPS AND ADVICE
NIDA recognises that auditions can be stressful, but every effort will be made to ensure your
experience will be as relaxing and enjoyable as possible. Remember, the more time and effort
you put into your monologues, the better prepared you will be and the more you will benefit from
the audition.
Do:
• Only select monologues from published plays. Excerpts from TV programs or films are
not acceptable.
• Read the whole play that your monologue comes from – research is important.
• Choose characters close to your current age range – while you don’t need to stick to
your exact age try to avoid the extremes, such as Shakespeare’s King Lear or Willy
Loman from Death of a Salesman.
• Choose characters that are in circumstances you can identify with and that you will enjoy
exploring.
• Select pieces that are new to you and that you have not presented before.
• Pick monologues that will showcase you and your acting choices.
• Feel free to use contrasting material when selecting your monologues; for example,
serious and comic or internal versus external.
• Think about who you are talking to in the monologue and what you want from them –
know what you mean and what you say.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 7 of 45• Make all of your monologues active, use an invisible partner – for example, your
audience – as a friend, conspirator, confidant or whatever is needed for the scene
• Relax and enjoy yourself – we find that most applicants manage to relax and enjoy the
experience and we hope that you will too!
Don’t:
• Don’t use a book of monologues, except as a reference – if you find a piece in an
audition book that you like you must still read the whole play.
• Don’t select material for shock value, as this often backfires – while there are no real
rules around this we suggest that you avoid material with strong sexual references or
excessive use of expletives.
• Don’t present monologues you have prepared and presented at previous NIDA
auditions.
• Don’t present any monologue other educational institutions have on their audition
monologue sheets – we understand that this may result in extra work if you are
auditioning for other institutions, but we are interested in your curiosity, hunger and level
of preparation.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 8 of 45BACHELOR OF FINE ARTS (COSTUME)
APPLICATION PREPARATION DETAILS FOR 2019 INTAKE
SUBMIT WITH YOUR APPLICATION
The following may be uploaded with your application:
1. PORTFOLIO
Your portfolio may include photographic or video examples of your art/craft/sewing and
costume-related work; documentation of the development process of some items; and
documentation of the inside of finished garments. You may upload a digital portfolio with
your application; otherwise you can bring one with you to your interview. If you upload a
digital version, please also bring along a display or printed copy to your interview.
PREPARE FOR YOUR INTERVIEW
The following should be prepared in advance to be discussed at your interview:
2. GARMENT PROJECT
Make a garment for yourself, a friend or family member using one of the following
commercial patterns:
• Simplicity 1039 Men’s Cosplay Costumes (jacket only)
lincraft.com.au/simplicity-pattern-1039-mens-cosplay-costumes (purchase online)
• Simplicity 1253 Misses Top (with sleeves)
https://www.lincraft.com.au/simplicity-pattern-1253-misses-top-with-length-
variations (purchase online)
• Burda ¾ Sleeve Blouse 02/2018
https://www.burdastyle.com/pattern_store/patterns/34-sleeve-blouse-022018
(purchase online)
• Burda Rustic Worker’s Shirt 12/2012
https://www.burdastyle.com/pattern_store/patterns/rustic-workers-shirt-122012
(purchase online)
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 9 of 45Please contact NIDA if you are having difficulty obtaining a pattern.
• Make the pattern as it exists - please do not alter the basic pattern unless it is for the
purpose of a better fit. You may use any fabric or combination of fabrics, decoration
and finish that you wish.
• Please do not spend a great deal of money on your materials – we will be looking at
your creativity and technical skills rather than the value of the materials themselves.
Interpret the design in any way that you wish within the limits of the given shape.
• Photograph the garment being worn by the person for whom it was made; styling is
encouraged.
Bring the garment to your interview well pressed, in a garment bag or plastic covering and on
a coat hanger with your name attached. Only send the garment in advance if you are having
a video interview, with the photos included.
The garment project is an important point of discussion at your interview. NIDA is, of course,
particularly interested in viewing the finished quality of what you present, but remember, skills
can be developed by practice and guidance and NIDA will provide these if your application is
successful.
Bring your entire project along to the interview – do not send it in advance.
ON THE INTERVIEW DAY
You should be prepared to spend half the day at your interview (i.e. either the morning or the
afternoon). The interview is in four parts:
1. First, there will be a brief talk about NIDA, the Costume course and what will happen
during the individual interview. There will be an opportunity for you to ask any questions
you may have about NIDA or about the interview itself.
2. Each applicant will then be interviewed for around 30 minutes. During the interview, we
will discuss your garment project, your portfolio and costume related work. We will
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 10 of 45discuss these with you to learn more about your background, abilities, interests,
aspirations, and why you wish to study Costume at NIDA.
3. You will also undertake a short sewing test following a set of instructions. NIDA will
provide all the equipment you will need for this.
4. You will be asked to write a short response to an image or costume provided at the
time.
THINGS TO NOTE
NIDA recognises that interviews can be stressful, but every effort will be made to ensure your
experience will be as relaxing and enjoyable as possible. Remember, the more time and
effort you put into the project in advance, the better prepared you will be and the more you
will benefit from the interview and discussion.
NIDA may keep all or part of your project until the final selection of applicants is made. Make
sure your name is clearly marked on all project materials. Ensure you keep a copy of all written
work, as this will not be returned. The project will then be available for collection from NIDA
during office hours. Interstate applicants’ projects will be returned on request. Be prepared to
take your project away with you as well, as we may choose not to keep any material.
The interview process is friendly, informal and open, and is designed to give you the very best
opportunity to indicate your potential and readiness to study at NIDA. However, should you have
any concerns with the interview process or with what is said to you during the course of the
interview, please express your concern immediately, or talk it over with a member of the
interview panel before you leave.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 11 of 45BACHELOR OF FINE ARTS
(DESIGN FOR PERFORMANCE)
APPLICATION PREPARATION DETAILS FOR 2019 INTAKE
SUBMIT WITH YOUR APPLICATION
The following may be uploaded with your application:
1. PORTFOLIO
You may upload a digital portfolio with your application; otherwise you can bring one with
you to your interview. You should prepare examples of past work that you feel will
support your application and demonstrate your suitability for a career in design and the
arts and entertainment industry. These may include (but are not limited to) photos, life
drawings, renders, illustrations, technical drawings, models, sculptures, and paintings.
The purpose of the portfolio if to provide an insight into how you think as an artist.
PREPARE FOR YOUR INTERVIEW
The following should be prepared in advance to be discussed at your interview:
2. DESIGN PROJECT
Select one production from the list below for your project. The texts that have been
nominated should be readily available from your local library, bookstore, or online.
Should you have any difficulty obtaining any of these texts, please contact NIDA.
• Buried Child by Sam Shepard (play)
• Away by Michael Gow (play)
• The Tempest by William Shakespeare (play)
• Cabaret by John Kander and Fred Ebb (music theatre)
Prepare the design for set and costumes for your chosen production.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 12 of 45a) SET DESIGN
• Prepare a scale model of how you would like to see the production staged (See
Appendix C and D on pages 44 and 45 to download the plan and section of the
theatre).
• Make your model from any suitable materials that effectively show how you
would stage the production in the Parade Theatre at NIDA – common examples
are balsa, cardboard or foam-core, but you can choose anything, that is
appropriate to communicate your idea (See David Neat’s Model-Making:
Materials and Methods, 2008).
• Use the scale of 1:25 and use a scale rule for accuracy – this is essential.
• Build the model on a strong base – plywood or thin particleboard.
• Your model should indicate the colour and finishes of the set.
• Your model should include at least one human figure (at 1:25 scale) and scale
furniture to give a sense of scale.
• Keep all your research and provide this in a research folder and development
sketches etc. as evidence of your process.
b) COSTUME DESIGN
• Prepare full colour costume drawings for the central characters in your
production (create at least 6 full colour images).
• Drawings should be on A3 paper.
• Keep all your research and provide this in a research folder and development
sketches etc. as evidence of your process.
3. DESIGN DEVELOPMENT
Consider the following questions when creating your design and for discussion at
interview:
• Why have you chosen this play/opera/musical? Why is it important to you? Why
will audiences want to see it?
• Text: What ideas is the playwright/librettist trying to express? What relevance
does the play/opera/musical have for contemporary Australian audiences?
• Characters and actors: What kind of people are the characters in the
play/opera/musical? In what kind of world do they
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 13 of 45exist? If you had complete freedom of choice, which actors would you cast in the
production?
• Design: How would you describe the imaginative world of the
play/opera/musical? Where is it located? In what period/time is the production
based? Is the story told in real time, or over a broken time frame?
• Costume, sets, lighting and props: What is required in each of these areas?
• (For guidance on how to develop a design, please see Stephen Curtis’s
STAGING IDEAS: Set and Costume Design for Theatre, 2014)
Bring your entire project along to the interview – do not send it in advance.
ON THE INTERVIEW DAY
If interviewing in Sydney, you should be prepared to spend half the day at your interview (i.e.
either the morning or the afternoon). Interstate interviews will be scheduled on the hour.
The interview is in two parts:
1. First, there will be a brief talk about NIDA, the Design for Performance course and
what will happen during the interview. There will be an opportunity for you to ask any
questions you may have about NIDA or about the interview itself.
2. Each applicant will then be interviewed for around 45 minutes. During the interview, we
will discuss your project; your ideas about theatre, film and the broader creative
industry; and why you want to study Design for Performance at NIDA.
THINGS TO NOTE
NIDA recognises that interviews can be stressful, but every effort will be made to ensure your
experience will be as relaxing and enjoyable as possible. Remember, the more time and
effort you put into the project in advance, the better prepared you will be and the more you
will benefit from the interview and discussion.
NIDA may keep all or part of your project until the final selection of applicants is made. Make
sure your name is clearly marked on all project materials. Ensure you keep a copy of all written
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 14 of 45work, as this will not be returned. The project will then be available for collection from NIDA during office hours. Interstate applicants’ projects will be returned on request. Be prepared to take your project away with you as well, as we may choose not to keep any material. The interview process is friendly, informal and open, and is designed to give you the very best opportunity to indicate your potential and readiness to study at NIDA. However, should you have any concerns with the interview process or with what is said to you during the course of the interview, please express your concern immediately, or talk it over with a member of the interview panel before you leave. NIDA Bachelor of Fine Arts Application Guide for 2019 Intake Page 15 of 45
BACHELOR OF FINE ARTS
(PROPERTIES AND OBJECTS)
APPLICATION PREPARATION DETAILS FOR 2019 INTAKE
SUBMIT WITH YOUR APPLICATION
The following may be uploaded with your application:
1. PORTFOLIO
You may upload a digital portfolio with your application; otherwise you can bring one with
you to your interview. If you upload a digital version, please also bring along a display or
printed copy to your interview. You should prepare examples of past work that you feel
will support your application and demonstrate your suitability for a career in the arts and
entertainment industry. These may include (but are not limited to) photos, life drawings,
renders, illustrations, technical drawings, models, sculptures, and paintings. The
purpose of the portfolio if to provide an insight into how you think as an artist.
PREPARE FOR YOUR INTERVIEW
The following should be prepared in advance to be discussed at your interview:
2. QUESTIONNAIRE
Follow the link the complete the course questionnaire before your interview date:
https://fs3.formsite.com/NIDAed/form61/index.html
3. THEATRICAL PROP PROJECT
Produce a chess set belonging to Stan Winston
(https://en.wikipedia.org/wiki/Stan_Winston)
• This shall have squares with sides of 50mm.
• It will comply with FIDE regulations for chess sets points 2 and 3 with the exception
of the recommendation in 2.3 that the pieces be of the new Staunton style:
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 16 of 45http://www.fide.com/fide/handbook?id=16&view=category
• Only one example of each type of piece need be presented (minimum four pieces),
however an example of the colour differentiation between pieces should be among
this sample.
• Please provide us with documentation of the creative and realization process e.g.
video, time lapse, photographs.
• Consider the constraints that will affect the use of the prop – think about what it will
need to do on stage and how resilient it should be.
• We do not expect you to have all the skills to produce an artefact of professional
quality; however, we are interested in discussing your production process and the
way you have addressed the perceived constraints.
Bring your entire project along to the interview – do not send it in advance.
ON THE INTERVIEW DAY
If interviewing in Sydney, you should be prepared to spend half the day at your interview (i.e.
either the morning or the afternoon). Interstate interviews will be scheduled on the hour.
The interview is in three parts:
1. First, there will be a brief talk about NIDA, the Properties and Objects course and what
will happen during the interview. There will be an opportunity for you to ask any
questions you may have about NIDA or about the interview itself.
2. Each applicant will then be interviewed for around 45 minutes. During the interview, we
will discuss your project; your ideas about theatre, film and the broader creative
industry; and why you want to study Properties and Objects at NIDA.
3. You will also undertake a short making task following a set of instructions. NIDA will
provide all the equipment you will need for this.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 17 of 45THINGS TO NOTE NIDA recognises that interviews can be stressful, but every effort will be made to ensure your experience will be as relaxing and enjoyable as possible. Remember, the more time and effort you put into the project in advance, the better prepared you will be and the more you will benefit from the interview and discussion. NIDA may keep all or part of your project until the final selection of applicants is made. Make sure your name is clearly marked on all project materials. Ensure you keep a copy of all written work, as this will not be returned. The project will then be available for collection from NIDA during office hours. Interstate applicants’ projects will be returned on request. Be prepared to take your project away with you as well, as we may choose not to keep any material. The interview process is friendly, informal and open, and is designed to give you the very best opportunity to indicate your potential and readiness to study at NIDA. However, should you have any concerns with the interview process or with what is said to you during the course of the interview, please express your concern immediately, or talk it over with a member of the interview panel before you leave. NIDA Bachelor of Fine Arts Application Guide for 2019 Intake Page 18 of 45
BACHELOR OF FINE ARTS
(SCENIC CONSTRUCTION AND TECHNOLOGIES)
APPLICATION PREPARATION DETAILS FOR 2019 INTAKE
SUBMIT WITH YOUR APPLICATION
The following may be uploaded with your application:
1. PORTFOLIO
You may upload a digital portfolio with your application; otherwise you can bring one with
you to your interview. You should prepare examples of past work that you feel will
support your application and demonstrate your suitability for a career in the arts and
entertainment industry. These may include (but are not limited to) photos, freehand
drawings, technical drawings, models, mechanisms, woodwork or metalwork projects.
The purpose of the portfolio if to provide an insight into how you think as a practitioner.
PREPARE FOR YOUR INTERVIEW
The following should be prepared in advance to be discussed at your interview:
2. QUESTIONNAIRE
Follow the link the complete the course questionnaire before your interview date:
https://fs3.formsite.com/NIDAed/form62/index.html
3. PRODUCTION PROJECT
Select one production from the list below for your project. The texts that have been
nominated should be readily available from your local library, bookstore, or online.
Should you have any difficulty obtaining any of these texts, please contact NIDA.
• The Servant of Two Masters by Nick Enright and Ron Blair (play)
• Blackrock by Nick Enright (play)
• Scorched by Wajdi Mouawad (play)
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 19 of 45• Don’s Party by David Williamson (play)
• A Midsummer Night’s Dream by William Shakespeare (play)
• Carmen by Georges Bizet (opera)
• Rise and Fall of the City of Mahagonny by Bertolt Brecht and Kurt Weikk (opera)
• Cabaret by John Kander and Fred Ebb (music theatre)
Prepare a description of how you would stage this production. The description can use words,
photographs, drawings and diagrams, as well as digital files.
Consider the following for discussion at your interview:
• What style, period and/or concept you would choose to set the production in,
and why.
• A scene, act, or elemental transition you think would benefit from the use of an
automated or mechanical stage effect.
• How would you go about achieving this effect? This description can include
diagrams and/or photographs.
• What safety considerations do you think need to be considered?
Bring your entire project along to the interview – do not send it in advance.
ON THE INTERVIEW DAY
If interviewing in Sydney, you should be prepared to spend half the day at your interview (i.e.
either the morning or the afternoon). Interstate interviews will be scheduled on the hour.
The interview is in two parts:
1. First, there will be a brief talk about NIDA, the Scenic Construction and Technologies
course and what will happen during the interview. There will be an opportunity for you
to ask any questions you may have about NIDA or about the interview itself.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 20 of 452. Each applicant will then be interviewed for around 30 minutes. During the interview, we
will discuss your project; your ideas about theatre, film and the broader creative
industry; and why you want to study Scenic Construction and Technologies at NIDA.
THINGS TO NOTE
NIDA recognises that interviews can be stressful, but every effort will be made to ensure your
experience will be as relaxing and enjoyable as possible. Remember, the more time and
effort you put into the project in advance, the better prepared you will be and the more you
will benefit from the interview and discussion.
NIDA may keep all or part of your project until the final selection of applicants is made. Make
sure your name is clearly marked on all project materials. Ensure you keep a copy of all written
work, as this will not be returned. The project will then be available for collection from NIDA
during office hours. Interstate applicants’ projects will be returned on request. Be prepared to
take your project away with you as well, as we may choose not to keep any material.
The interview process is friendly, informal and open, and is designed to give you the very best
opportunity to indicate your potential and readiness to study at NIDA. However, should you have
any concerns with the interview process or with what is said to you during the course of the
interview, please express your concern immediately, or talk it over with a member of the
interview panel before you leave.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 21 of 45BACHELOR OF FINE ARTS
(TECHNICAL THEATRE AND STAGE MANAGEMENT)
APPLICATION PREPARATION DETAILS FOR 2019 INTAKE
SUBMIT WITH YOUR APPLICATION
The following may be uploaded with your application:
1. PORTFOLIO
You may upload a digital portfolio with your application; otherwise you can bring one with
you to your interview. You should prepare examples of past work that you feel will
support your application and demonstrate your suitability for a career in the arts and
entertainment industry. The purpose of the portfolio if to provide an insight into how you
think as a practitioner.
PREPARE FOR YOUR INTERVIEW
The following should be prepared in advance to be discussed at your interview:
2. QUESTIONNAIRE
Follow the link the complete the course questionnaire before your interview date:
https://fs3.formsite.com/NIDAed/form63/index.html
3. PRODUCTION PROJECT
Select one production from the list below for your project. The texts that have been
nominated should be readily available from your local library, bookstore, or online.
Should you have any difficulty obtaining any of these texts, please contact NIDA.
• The Servant of Two Masters by Nick Enright and Ron Blair (play)
• Blackrock by Nick Enright (play)
• Scorched by Wajdi Mouawad (play)
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 22 of 45• Don’s Party by David Williamson (play)
• A Midsummer Night’s Dream by William Shakespeare (play)
• Carmen by Georges Bizet (opera)
• Rise and Fall of the City of Mahagonny by Bertolt Brecht and Kurt Weikk (opera)
• Cabaret by John Kander and Fred Ebb (music theatre)
Once you have chosen a production from the list, you must prepare a creative project
that demonstrates how you would stage your production within the nominated theatre
plans (see Appendices C and D on pages 44 and 45).
• Prepare a ground plan of your set
• You must use a 1:50 scale.
• Your ground plan can be hand-drawn or computer generated.
• You must use the attached plan and section of the theatre as the basis for your
drawing.
The project must also incorporate at least one of the following forms:
• A 1:25 or 1:50 scale model
• Detailed storyboard and associated sketches
• Virtual (electronic) three dimensional model of the set
Whilst some elements of your production may be presented in “sketch form”, at least one
technical element (the set design, lighting design, audio design or video design) must be
thoroughly investigated. This investigation should be demonstrated through appropriate
references and documentation.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 23 of 45At your interview, be prepared to discuss:
• How performers will move around on your set – particularly entrances and exits.
• The practical and creative motivation behind your design decisions.
• The physical characteristics of your set.
• How you will manage any safety considerations for your cast and crew.
• How any set pieces or props will move on, off or around the stage.
• How you will achieve any scene changes.
4. WRITTEN PROJECT
List three theatrical performances you have seen and write a review of one of them.
• Your review should be a minimum of 300 words.
• Rather than writing a synopsis of the production, please provide a personal
response to the production.
• Describe how the technical elements of the production supported the narrative.
Bring your entire project along to the interview – do not send it in advance.
ON THE INTERVIEW DAY
If interviewing in Sydney, you should be prepared to spend half the day at your interview (i.e.
either the morning or the afternoon). Interstate interviews will be scheduled on the hour.
The interview is in two parts:
1. First, there will be a brief talk about NIDA, the Technical Theatre and Stage
Management course and what will happen during the interview. There will be an
opportunity for you to ask any questions you may have about NIDA or about the
interview itself.
2. Each applicant will then be interviewed for around 45 minutes. During the interview, we
will discuss your project; your ideas about theatre, film and the broader creative
industry; and why you want to study Technical Theatre and Stage Management at
NIDA.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 24 of 45THINGS TO NOTE NIDA recognises that interviews can be stressful, but every effort will be made to ensure your experience will be as relaxing and enjoyable as possible. Remember, the more time and effort you put into the project in advance, the better prepared you will be and the more you will benefit from the interview and discussion. NIDA may keep all or part of your project until the final selection of applicants is made. Make sure your name is clearly marked on all project materials. Ensure you keep a copy of all written work, as this will not be returned. The project will then be available for collection from NIDA during office hours. Interstate applicants’ projects will be returned on request. Be prepared to take your project away with you as well, as we may choose not to keep any material. The interview process is friendly, informal and open, and is designed to give you the very best opportunity to indicate your potential and readiness to study at NIDA. However, should you have any concerns with the interview process or with what is said to you during the course of the interview, please express your concern immediately, or talk it over with a member of the interview panel before you leave. NIDA Bachelor of Fine Arts Application Guide for 2019 Intake Page 25 of 45
FAQs ABOUT AUDITIONS AND INTERVIEWS CAN I APPLY FOR MORE THAN ONE COURSE? Yes, however a separate online application form and payment of the AUD$75 administration fee is required for each course you would like to apply for. WHAT ARE MY CHANCES OF GETTING INTO NIDA’S ACTING COURSE STRAIGHT FROM HIGH SCHOOL? NIDA offers 24 places in the Acting course each year, receiving around 1700 applications. Most school leavers who apply for the Acting course are not accepted the first time they apply. There are advantages to having some life experience and maturity to be able to cope with a very rigorous course. However, the audition process is a valuable one and provides useful experience for future applications. WHAT ATAR SCORE DO I NEED TO GET INTO NIDA? Entry into NIDA is by audition or interview only. We do not ask for exam scores or ATARs. However, all applicants applying for any higher education course at NIDA must have completed their Higher School Certificate or equivalent. WHAT DO I DO IF I HAVEN’T RECEIVED DETAILS OF MY APPLICATION ACCOUNT? If you do not receive any automated emails from NIDA regarding your application account, please check your junk/spam/promotions filter. If you are still experiencing difficulties please contact us at applications@nida.edu.au WHEN WILL MY AUDITION/INTERVIEW TAKE PLACE? Auditions and interviews will take place in November; check the relevant course page for exact dates. NIDA Bachelor of Fine Arts Application Guide for 2019 Intake Page 26 of 45
WHERE WILL MY AUDITION/INTERVIEW TAKE PLACE? NIDA travels to most Australian capital cities for audition and interviews. Where necessary, NIDA may conduct some interviews for non-Acting courses via video. Auditions however, must take place in person. During your online application you will have the opportunity to select the date and location of your audition/interview. Please note that NIDA reserves the right to amend your audition/interview date and location at any time, depending on availability. DOES NIDA GIVE AUDITION/INTERVIEW FEEDBACK? Due to the large number of people being auditioned and interviewed, it is not possible for NIDA to provide individual feedback. However, you may view the audition process as a learning experience by observing the re-direction suggestions provided to you, or other applicants, by members of the audition panel. WHAT HAPPENS AFTER MY AUDITION/INTERVIEW? Final selections are made for each course by mid-December when study offers will be distributed to successful applicants via email. Please note applicants who do not make it through to the recall stage for Bachelor of Fine Arts (Acting) courses should consider their application unsuccessful for the 2019 intake. NIDA Bachelor of Fine Arts Application Guide for 2019 Intake Page 27 of 45
APPENDIX A – SUGGESTED CLASSICAL
MONOLOGUES (FEMALE)
1. Tamora – Titus Andronicus by William Shakespeare
Act 2 Scene 3
Tamora
Have I not reason, think you, to look pale?
These two have 'ticed me hither to this place:
A barren detested vale you see it is.
The trees though summer, yet forlorn and lean,
O'ercome with moss, and baleful mistletoe;
Here never shines the sun, here nothing breeds,
Unless the nightly owl, or fatal raven:
And when they show'd me this abhorred pit,
They told me here at dead time of the night,
A thousand fiends, a thousand hissing snakes,
Ten thousand swelling toads, as many urchins,
Would make such fearful and confused cries,
As any mortal body hearing it,
Should straight fall mad, or else die suddenly.
No sooner had they told this hellish tale,
But straight they told me they would bind me here,
Unto the body of a dismal yew,
And leave me to this miserable death.
And then they call'd me foul adulteress,
Lascivious Goth, and all the bitterest terms
That ever ear did hear to such effect.
And, had you not by wondrous fortune come,
This vengeance on me had they executed:
Revenge it, as you love your mother's life,
Or be ye not henceforth call'd my children.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 28 of 452. Julia – Two Gentlemen of Verona by William Shakespeare
Act 4 Scene 4
Julia
And she shall thank you for't, if e'er you know her.
A virtuous gentlewoman, mild, and beautiful
I hope my master's suit will be but cold,
Since she respects my mistress' love so much.
Alas, how love can trifle with itself:
Here is her picture: let me see, I think,
If I had such a tire, this face of mine
Were full as lovely as is this of hers;
And yet the painter flatter'd her a little,
Unless I flatter with myself too much.
Her hair is auburn, mine is perfect yellow;
If that be all the difference in his love,
I'll get me such a colour'd periwig:
Her eyes are grey as glass, and so are mine;
Ay, but her forehead's low, and mine's as high:
What should it be that he respects in her
But I can make respective in myself
If this fond Love were not a blinded god?
Come, shadow, come, and take this shadow up,
For 'tis thy rival: O thou senseless form,
Thou shalt be worshipp'd, kiss'd, loved and adored!
And were there sense in his idolatry,
My substance should be statue in thy stead.
I'll use thee kindly for thy mistress' sake,
That used me so: or else by Jove, I vow,
I should have scratch'd out your unseeing eyes,
To make my master out of love with thee.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 29 of 453. Constance – King John by William Shakespeare
Act 3 Scene 1
CONSTANCE
War! war! no peace! peace is to me a war:
O Lymoges! O Austria! thou dost shame
That bloody spoil; thou slave, thou wretch, thou coward,
Thou little valiant, great in villany,
Thou ever strong upon the stronger side;
Thou Fortune's champion, that dost never fight
But when her humorous ladyship is by
To teach thee safety: thou art perjured too,
And soothest up greatness. What a fool art thou,
A ramping fool, to brag and stamp and swear
Upon my party: Thou cold-blooded slave,
Hast thou not spoke like thunder on my side?
Been sworn my soldier, bidding me depend
Upon thy stars, thy fortune and thy strength,
And dost thou now fall over to my fores?
Thou wear a lion's hide, doff it for shame,
And hang a calf's-skin on those recreant limbs.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 30 of 454. Lady Percy – King Henry IV Part 1 by William Shakespeare
Act 2 Scene 3
LADY PERCY
O, my good lord, why are you thus alone?
For what offence have I this fortnight been
A banish'd woman from my Harry's bed?
Tell me (sweet lord) what is't that takes from thee
Thy stomach, pleasure, and thy golden sleep?
Why dost thou bend thine eyes upon the earth?
And start so often when thou sit'st alone?
Why hast thou lost the fresh blood in thy cheeks?
And given my treasures and my rights of thee
To thick-eyed musing and cursed melancholy?
In thy faint slumbers, I by thee have watch'd,
And heard thee murmur tales of iron wars:
Speak terms of manage to thy bounding steed,
Cry courage to the field. And thou hast talk'd
Of sallies, and retires; of trenches, tents,
Of palisadoes, frontiers, parapets,
Of basilisks, of cannon, culverin,
Of prisoners' ransom and of soldiers slain,
And all the currents of a heady fight.
Thy spirit within thee hath been so at war
And thus hath so bestirr'd thee in thy sleep,
That beads of sweat have stood upon thy brow
Like bubbles in a late-disturbed stream;
And in thy face strange motions have appear'd,
Such as we see when men restrain their breath
On some great sudden hest. O, what portents are these?
Some heavy business hath my lord in hand,
And I must know it, else he loves me not.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 31 of 455. Helena – All’s Well That Ends Well by William Shakespeare
Act 3 Scene 2
HELENA
Till I have no wife, I have nothing in France.
Nothing in France until he has no wife:
Thou shalt have none Rousillon, none in France,
Then hast thou all again: Poor lord, is't I
That chase thee from thy country, and expose
Those tender limbs of thine, to the event
Of the none-sparing war? and is it I,
That drive thee from the sportive court, where thou
Wast shot at with fair eyes, to be the mark
Of smoky muskets? O you leaden messengers,
That ride upon the violent speed of fire,
Fly with false aim, move the still-peering air
That sings with piercing, do not touch my lord:
Whoever shoots at him, I set him there;
Whoever charges on his forward breast,
I am the caitiff that do hold him to't;
And though I kill him not, I am the cause
His death was so effected: better 'twere
I met the ravin lion when he roar'd
With sharp constraint of hunger: better 'twere
That all the miseries which nature owes
Were mine at once. No, come thou home Rousillon,
Whence honour but of danger wins a scar,
As oft it loses all. I will be gone:
My being here it is, that holds thee hence:
Shall I stay here to do't? no, no, although
The air of paradise did fan the house
And angels officed all: I will be gone,
That pitiful rumour may report my flight,
To consolate thine ear. Come night; end day,
For with the dark (poor thief) I'll steal away.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 32 of 456. Vittoria – The White Devil by John Webster
Act 4 Scene 2
Vittoria
What have I gain'd by thee but infamy?
Thou hast stain'd the spotless honour of my house,
And frighted thence noble society:
Like those which, sick o' th' palsy, and retain
Ill-scenting foxes 'bout them, are still shunn'd
By those of choicer nostrils. What do you call this house?
Is this your palace? Did not the judge style it
A house of penitent whores? Who sent me to it?
Who hath the honour to advance Vittoria
To this incontinent college? Is 't not you?
Is 't not your high preferment? Go, go, brag
How many ladies you have undone, like me.
Fare you well, sir; let me hear no more of you.
I had a limb corrupted to an ulcer,
But I have cut it off: and now I 'll go
Weeping to heaven on crutches. For your gifts,
I will return them all, and I do wish
That I could make you full executor
To all my sins - O that I could toss myself
Into a grave as quickly: for all thou art worth
I 'll not shed one tear more - I 'll burst first.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 33 of 457. Duchess – The Duchess of Malfi by John Webster
Act 1 Scene 3
Duchess. Now she pays it.
The misery of us, that are born great,
We are forc’d to woo, because none dare woo us;
And as a tyrant doubles with his words,
And fearfully equivocates: so we
Are forc’d to express our violent passions
In riddles, and in dreams, and leave the path
Of simple virtue, which was never made
To seem the thing it is not. Go, go brag
You have left me heartless; mine is in your bosom,
I hope ’twill multiply love there. You do tremble:
Make not your heart so dead a piece of flesh
To fear, more than to love me. Sir, be confident:
What is ‘t distracts you? This is flesh and blood, sir;
’Tis not the figure cut in alabaster
Kneels at my husband’s tomb. Awake, awake, man!
I do here put off all vain ceremony,
And only do appear to you, a young widow
That claims you for her husband, and, like a widow,
I use but half a blush in‘t.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 34 of 458. Beatrice – The Changeling by Middleton & Rowley
Act 2 Scene 1
Beatrice
How wise is Alsemero in his friend!
It is a sign he makes his choice with judgment.
Then I appear in nothing more approv'd
Than making choice of him;
For 'tis a principle, he that can choose
That bosom well, who of his thoughts partakes,
Proves most discreet in every choice he makes.
Methinks I love now with the eyes of judgment
And see the way to merit, clearly see it.
A true deserver like a diamond sparkles,
In darkness you may see him, that's in absence,
Which is the greatest darkness falls on love;
Yet is he best discern'd then
With intellectual eyesight. What's Piracquo
My father spends his breath for? And his blessing
Is only mine as I regard his name,
Else it goes from me, and turns head against me,
Transform'd into a curse. Some speedy way
Must be remembered; he's so forward too,
So urgent that way, scarce allows me breath
To speak to my new comforts.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 35 of 45APPENDIX B – SUGGESTED CLASSICAL
MONOLOGUES (MALE)
1. Aaron – Titus Andronicus by William Shakespeare
Act 5 Scene 1
Aaron
Ay, that I had not done a thousand more:
Even now I curse the day, and yet I think,
Few come within the compass of my curse,
Wherein I did not some notorious ill,
As kill a man, or else devise his death,
Ravish a maid, or plot the way to do it,
Accuse some innocent and forswear myself,
Set deadly enmity between two friends,
Make poor men's cattle break their necks,
Set fire on barns and hay-stacks in the night,
And bid the owners quench them with their tears:
Oft have I digg'd up dead men from their graves,
And set them upright at their dear friends' doors,
Even when their sorrows almost was forgot;
And on their skins, as on the bark of trees,
Have with my knife carved in Roman letters,
Let not your sorrow die, though I am dead.
Tut, I have done a thousand dreadful things
As willingly, as one would kill a fly,
And nothing grieves me heartily indeed
But that I cannot do ten thousand more.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 36 of 452. Berowne – Love’s Labour’s Lost by William Shakespeare
Act 3 Scene 1
Berowne
O, and I forsooth, in love
I, that have been love's whip?
A very beadle to a humorous sigh: a critic,
Nay, a night-watch constable.
A domineering pedant o'er the boy,
Then whom no mortal so magnificent!
This whimpled, whining, purblind, wayward boy;
This senior-junior giant-dwarf, Don Cupid;
Regent of love-rhymes, lord of folded arms,
The anointed sovereign of sighs and groans:
Liege of all loiterers and malcontents:
Dread prince of plackets, king of codpieces.
Sole emperator and great general
Of trotting 'paritors (O my little heart)
And I to be a corporal of his field,
And wear his colours like a tumbler's hoop.
What? I love, I sue, I seek a wife,
A woman, that is like a German clock,
Still a-repairing: ever out of frame,
And never going a right, being a watch:
But being watch'd that it may still go right!
Nay, to be perjured, which is worst of all:
And, among three, to love the worst of all,
A wightly wanton, with a velvet bro.
With two pitch-balls stuck in her face for eyes.
Ay, and by heaven, one that will do the deed
Though Argus were her eunuch and her guard.
And I to sigh for her, to watch for her,
To pray for her, go to: it is a plague
That Cupid will impose for my neglect
Of his almighty dreadful little might.
Well, I will love, write, sigh, pray, sue and groan,
Some men must love my lady, and some Joan.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 37 of 453. Lewis – King John by William Shakespeare
Act 5 Scene 2
Lewis
Your grace shall pardon me, I will not back:
I am too high-born to be propertied
To be a secondary at control,
Or useful serving-man and instrument
To any sovereign state throughout the world.
Your breath first kindled the dead coal of wars
Between this chastised kingdom and myself,
And brought in matter that should feed this fire;
And now 'tis far too huge to be blown out
With that same weak wind, which enkindled it:
You taught me how to know the face of right,
Acquainted me with interest to this land,
Yea, thrust this enterprise into my heart,
And come ye now to tell me John hath made
His peace with Rome? What is that peace to me?
I (by the honour of my marriage-bed)
After young Arthur, claim this land for mine,
And now it is half-conquer'd, must I back
Because that John hath made his peace with Rome?
Am I Rome's slave? What penny hath Rome borne?
What men provided? What munition sent
To underprop this action? Is't not I
That undergo this charge? Who else but I,
And such as to my claim are liable,
Sweat in this business and maintain this war?
Have I not heard these islanders shout out
'Vive le roi', as I have bank'd their towns?
Have I not here the best cards for the game,
To win this easy match, play'd for a crown?
And shall I now give o'er the yielded set?
No, no, on my soul, it never shall be said.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 38 of 454. Hotspur – King Henry IV Part 1 by William Shakespeare
Act 1 Scene 2
Hotspur
My liege, I did deny no prisoners.
But, I remember when the fight was done,
When I was dry with rage, and extreme toil,
Breathless, and faint, leaning upon my sword,
Came there a certain lord, neat and trimly dress'd;
Fresh as a bridegroom, and his chin new reap'd,
Show'd like a stubble-land at harvest-home.
He was perfumed like a milliner,
And 'twixt his finger and his thumb, he held
A pouncet-box: which ever and anon
He gave his nose, and took't away again:
Who therewith angry, when it next came there,
Took it in snuff: and still he smiled and talk'd:
And as the soldiers bore dead bodies by,
He call'd them untaught knaves, unmannerly,
To bring a slovenly unhandsome corpse
Betwixt the wind, and his nobility.
With many holiday and lady terms
He question'd me: amongst the rest, demanded
My prisoners, in your majesty's behalf.
I then, all smarting, with my wounds being cold,
(To be so pester'd with a popinjay)
Out of my grief, and my impatience,
Answer'd (neglectingly) I know not what,
He should, or he should not: for he made me mad
To see him shine so brisk and smell so sweet
And talk so like a waiting-gentlewoman,
Of guns and drums and wounds: God save the mark;
And telling me, the sovereign'st thing on earth
Was parmacety, for an inward bruise:
And that it was great pity, so it was,
This villanous salt-petre should be digg'd
Out of the bowels of the harmless earth,
Which many a good tall fellow had destroy'd
So cowardly. And but for these vile guns,
He would himself have been a soldier.
This bald, unjointed chat of his (my lord)
Made me to answer indirectly (as I said.)
And I beseech you, let not his report
Come current for an accusation
Betwixt my love, and your high majesty.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 39 of 455. Angelo – Measure for Measure by William Shakespeare
Act 2 Scene 2
Angelo
From thee: even from thy virtue.
What's this? what's this? Is this her fault, or mine?
The tempter, or the tempted, who sins most? Ha?
Not she: nor doth she tempt: but it is I,
That, lying by the violet in the sun,
Do as the carrion does, not as the flower,
Corrupt with virtuous season: Can it be,
That modesty may more betray our sense
Than woman's lightness? Having waste ground enough,
Shall we desire to raze the sanctuary
And pitch our evils there? O, fie, fie, fie:
What dost thou? or what art thou, Angelo?
Dost thou desire her foully, for those things
That make her good? O, let her brother live:
Thieves for their robbery have authority,
When judges steal themselves: what, do I love her,
That I desire to hear her speak again?
And feast upon her eyes? what is't I dream on?
O cunning enemy, that to catch a saint,
With saints dost bait thy hook: Most dangerous
Is that temptation, that doth goad us on;
To sin, in loving virtue: never could the strumpet
With all her double vigour, art, and nature,
Once stir my temper: but this virtuous maid
Subdues me quite: even till now,
When men were fond, I smiled, and wonder'd how.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 40 of 456. Flamineo - The White Devil by John Webster
Act 1 Scene 3
Flamineo
Pray, what means have you
To keep me from the galleys, or the gallows?
My father prov'd himself a gentleman,
Sold all 's land, and like a fortunate fellow,
Died ere the money was spent. You brought me up
At Padua I confess, where I protest,
For want of means (the University judge me)
I have been fain to heel my tutor's stockings
At least seven years. Conspiring with a beard,
Made me a graduate, then to this duke's service:
I visited the court, whence I return'd -
More courteous, more lecherous by far,
But not a suit the richer - and shall I,
Having a path so open, and so free
To my preferment, still retain your milk
In my pale forehead? No, this face of mine
I 'll arm and fortify with lusty wine,
'Gainst shame and blushing.
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
Page 41 of 457. Bosola – The Duchess of Malfi by John Webster
Act 5 Scene 2
Bosola.
O poor Antonio, though nothing be so needful
To thy estate as pity, yet I find
Nothing so dangerous. I must look to my footing;
In such slippery ice-pavements men had need
To be frost-nail'd well: they may break their necks else.
The precedent 's here afore me: How this man
Bears up in blood! seems fearless! Why, 'tis well:
Security some men call the suburbs of hell,
Only a dead wall between. Well, good Antonio,
I 'll seek thee out; and all my care shall be
To put thee into safety from the reach
Of these most cruel biters, that have got
Some of thy blood already. It may be,
I 'll join with thee in a most just revenge.
The weakest arm is strong enough, that strikes
With the sword of justice. Still methinks the Duchess
Haunts me: there, there: 'tis nothing but my melancholy.
O Penitence, let me truly taste thy cup,
That throws men down, only to raise them up!
NIDA Bachelor of Fine Arts Application Guide for 2019 Intake
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