The Dive Podcast
Welcome to The Dive Podcast,
Brought to you by The Dive - the No.1 support platform for performers. Helping them to navigate the challenges we face as artists. The Dive Podcast was created for performers and by performers. Birthed out of the want and need for ongoing guidance and support within the hearts, bodies, and minds of the performing arts.
Helping you go from anxious, nervous, and unsure about your future. To create solid foundations that will set you up for life! Each week a SPECIAL GUEST will be interviewed on the show (who is a professional within the arts). As we dive deeper into their stories and uncover the golden nuggets of advice, you will begin to understand the tips, tools, and techniques required to make a long and healthy career out of the Arts.
Hosted by Taylor Scanlan, the founder of The Dive, a Musical Theatre performer with over 10 years in the industry, a Dance and Yoga Teacher as well as a Sound Healer.
Discover why The Dive Podcast is rising to become the No.1 support podcast for performers....pick the topic you are currently struggling with in the episodes below and we will see you on the other side! ;)
The Dive Podcast
35: Auditions: Combat Nerves, Do’s & Don’ts and How To Stand Out with Taylor Scanlan & Thalia Burt
Want to stand out in every audition?
In this episode, I break down the mindset shifts, confidence boosters, and authenticity hacks you need to make your mark in musical theatre. If you’re ready to crush self-doubt and elevate your performance game, this one’s for you!
What You Will Learn in This Episode:
•How to boost confidence and calm nerves before auditions
•The power of authenticity and how to showcase your true self
•Effective techniques for constructive post-audition reflection
•Tips to overcome self-doubt and imposter syndrome
•How to focus on steady, consistent growth for long-term success
Here Are Your Next Steps 👇🏻
Step One: 📝Get your FREE Audition Prep Workbook
Step Two: 🫂 Join Free Facebook Support Group
Step Three: 👀 Check out the Momentum Program for aspiring MT performers looking to become professional
Step Four: 🎥 Watch our MOST DOWNLOADED Podcast Episode with Luca Dinardo
Hey, welcome back to the Dive Podcast. I'm so excited that you're here. Today's episode is a little bit different, as I wanted to share with you a webinar interview that I did with one of my greatest long-term friends, talia Burt. She has built an incredible platform called Bulletproof and she's a personal trainer. She's a resident choreographer. She's all of the amazing things when it comes to looking after your body, and when I was asked to actually come onto her platform, I actually trained with her with her platform, bulletproof, and we basically connected and came on a live webinar with her community, and Talia came on and asked me questions about auditions, nerves, how to combat the nerves in the audition, the do's and don'ts of auditioning, and you gain a little bit more insight into my own story with auditioning and a little bit more insight into what that means for you.
Speaker 1:So I hope you enjoy the episode. It is a juicy one, so if you have a pen and paper, definitely get that out, because there's a lot of great insights. Sometimes I don't even know where they come from, so you'll want to make sure that you have some time to go through it and see how it resonates with you. As always, have the best time and I hope you enjoy the episode.
Speaker 2:I'm really, really, really excited about this conversation today because Taylor I'll let him introduce himself to you in a second but Taylor and I go so way back in our I don't know journey, if you will together and he's put together an incredible community that I really think is going to help you and you're going to find value in it. And just the information that he's going to be able to share with you today about stuff that stresses us out like that audition world right, it's so incredibly stressful sometimes. So, learning how to navigate that and have some tools, tips and tricks to you know, check in with the old noggin and make sure that the mentals are in the right place with all of it. So, without further ado, my cute little Tay Tay, thank you for being here. Let's jump straight in. I want you to tell everyone a little bit about who you are, where you started, what your career is currently looking like. Ready set go.
Speaker 1:Boom, oh, so good. Well, thank you so much for holding the space for everyone what you have built we were just talking then. I've really watched and supported Talia from the ground up of what she's been creating. So everyone that's inside Bulletproof, or everything that she is about. She is literally the top of her game of what she's talking about, so you're so lucky to be involved with. But yes, my name is Taylor Scanlon.
Speaker 1:I'm an Australian, if you haven't picked up on the accent yet, and I have been in musical theatre for over 10 years now and I trained in Melbourne, australia, for about six years specifically in dance, actually not in musical theatre. I was the person literally in the back when it got to musical theatre class going. Are you kidding me? Who wants to be involved in that bullshit? Basically, excuse my French, I just thought it was so boring. Why would you want to do that? And then I was actually convinced to rock up to a cat's audition and it was all dance. So I got into the industry, not by mistake, but really just like tricked into it, and then I fell in love with it and I saw what it really was and the community and the money, because I was very not earning a lot of money, wanting to be a contemporary dancer, so I was like, oh okay, I could make a life out of this, and so I've been doing that for the past 10 years. I met Talia with Cats, the Musical we together.
Speaker 1:we've probably done it, I don't even know how many times, how many times yeah, too many, too many times and it's just been a really really fun ride. And of course there's been many ups and downs and many things to navigate, but in whole it's just been really cool to be super open to more possibilities and see where life takes you, because you just never, never know. And actually it was the point in my life when I was starting out where I was feeling that the best direction was to pigeonhole and just to be like, no, I want to be this sort of thing, thinking that it would help, but actually limited all the opportunities that were surrounding me.
Speaker 2:So now I'm just like wide open to what's coming around, which is actually hilarious because your cats experience I mean, for those of you that have either done cats, if you're watching this or you've seen Cats, you know how wild and wonderful and versatile everything with regards to Cats is. So if you were trying to pigeonhole yourself, you said yes to the wrong job. Right? We started out what? We were both swings on it. No, we were. We did twin stuff. I can't remember. I flew in and replaced someone in the show because I had done it previously and we connected. We were the twins on Cats and then thereafter, you went on to doing swing work and then assistant dance captain and then dance captain, and then you were my dance captain when I was residenting it in 2020. So wild and wonderful. I want you to share with everyone about your process of going from ensemble to ADC DC and then all of the work that you're currently doing. How did that kind of happen for you?
Speaker 1:Yeah, sure, well, so I actually was an ensemble member first for La Cage aux Folles, which was kind of a short run here in Melbourne, it was only like six weeks. So that was like the first step into musicals that I got at the end of my first year of training. We just call it training, I think it's like college or whatever over in the UK. And then it was my second year that I went and did Cats and I was in the ensemble, so I was just covering a few people, but not ADC or DC, and it was actually straight after that I actually did a side little note of Matthew Bourne show when he came here and did Lord of the Flies. So I did that, gave my contemporary heart out on that, and then I went back to Cats and I actually was asked to be dance captain for that run.
Speaker 1:So I've actually done a few things where I've been dance captain. I was dance captain of Cats for, I think, two or three tours and then I actually played like a minor lead in a show in Australia. I'm in Charlie and Chocolate Factory, I was Mike TV, hilarious. And then I actually went and did Mary Poppins just recently and I was the assistant dance captain to a DC and then now currently I'm assistant dance captain again for Sunset Boulevard over here in Australia and how that kind of progression I guess has happened is when I started to become more of a swing.
Speaker 1:That was definitely something that I really really loved to do and if you've ever had an experience, or get an experience, being a swing, when you go back to doing one role, it's either like something that you really really want or something that you really don't want. I always say that if you're figuring out whether you want to be a swing or not, you'll know very quickly if it's the you or not. But it was definitely something that was a yes for me and that was just kind of in bonus with Dance Captain Judy's, because I don't know if it's different over in the UK, but in Australia a lot of the time the Dance Captain is one of the swings.
Speaker 2:Yeah, yeah. It's hard to be a DC if you're at the show because you know you don't see it, you're like, this is so messed and I'm just going to live in it.
Speaker 2:So I want to dive into the audition process and I want you to chat about the dive, which is Taylor's company that he's running at the moment, and how those two things link together. I don't know how many of you saw the social media content that I posted about yesterday and I got a little link to his page, but Tay has created this incredible, incredible community for performers and rages about supporting them right In all avenues of the industry. That result to mental health, audition prep, making sure that you are, like on top of your game Mentally, physically, emotionally. That's it. I want to know about exactly what it is that you guys do, and then we're going to dive into some like tools, tips and tricks and how to make sure auditions are feeling solid mentally.
Speaker 1:Great. So I created a company called the Dive and it started out from a want and need for a lack of support, mainly mentally, but also emotionally and energetically. As an industry, we kind of lost out on a lot of connection and a lot of community, and so I created a platform that was based around that. It started with a podcast which I still run every single week. The company actually only launched this year, so it's very new. It's a little baby, but we have a podcast that comes out every single week on a Monday where I interview professional performing artists. We discuss their stories and it's all about how they've navigated the industry as a professional as well.
Speaker 1:And now into season two of the podcast, I now do it kind of bi-weekly where I share coaching, tips on things that maybe I'll share today as well, and then every second week I have a special guest on. It's been streamed over like 5,000 episodes and all that kind of stuff which is wild to me. But that's kind of like one avenue where it started. And now as a company we're building out programs to help you with audition prep. We're putting together like an audition academy to give performers more opportunity to get in front of industry-led panels and actually get feedback on mock auditions and things like that, and really just bringing a community together and providing you with a space to not only feel like you're a part of something greater, but actually to be a part of something where you can feel good and rock up to auditions with energy and excitement and actually start living an amazing musical theatre life that you ultimately want to have, without all the stress and all the BS that comes with it.
Speaker 2:I don't know what it's like in Australia, but in the UK in particular, a big thing at the moment is not actually enough auditions to go around for the demand of people that are trying to get seen. Right, Getting to the road is a nightmare, Like trying to get seen, trying to get an audition, trying to like navigate this audition world where they're not happening consistently so you can go one or two auditions one week. All of a sudden go like four to five weeks and you've had nothing. So those nerves continue to build up. Those nerves are forever like churning. Every time you step into an audition room it's like, oh, holy crap, I'm back in the audition room and it doesn't feel normal and natural to you. So I want to know your opinion. With auditions being as daunting as they are already, what is the best way that you can calm your nerves and stand your ground in an audition if they're not something that you're used to?
Speaker 1:Yes, I'm going to agree with you, because in Australia it's very much so as well. We either have like a big stint of auditions and then it's just like a dry period for like four months or something and we're all like cool just waiting around. And then the second thing I'll say direct off what the question you asked so a practical exercise you can definitely do is. It's a bit of both.
Speaker 1:What I teach is basically we all need to get really specific. You need to be specific on really what you're wanting out of an audition. So if you're wanting grounding, you're going to be like specific on like, what do you want to feel ultimately at the end of the day? If you want to feel centered, if you want to feel calm, then you need to specifically write at that, because sometimes we make things really vague, like, oh, I want to go in and do well. What does doing well mean to you? What does feeling centered mean to you? Because you can find a pinpoint in the back of your life or on the progression of your road that you've had that experience. So if you can connect to that, you're much more likely to be able to implement it in the room, as opposed to just, oh, let's see what happens, and you just go in and end up having like, oh, you don't really, you're not really aware or you're not centered, so that's like kind of a Can.
Speaker 2:I pause you on that, tay. Can you give me an example of what that would look like? So say, for instance, you had stepped into an audition recently and you are trying to find that sense of calm, groundedness, yeah, something that is specific to you. Can you give an example of what that would be and what that would look like?
Speaker 1:Yeah Well, an actual technique or a strategy that you could use is definitely your breath, so I always use this. It's very, very simple. It doesn't even have to be a counter breath. The basic science of breath if you've not worked with your breath before is the more you exhale, then you inhale. Your body will start to calm down because you activate the parasympathetic nervous system, which is the rest and digest. It's. When you're at home, you're chilling out. There's no danger in your surroundings, basically. And so what happens when we go into auditions? What's our breath doing?
Speaker 2:It's up there.
Speaker 1:It's really short, sharp and up here. So that's activating our sympathetic nervous system. So what we want to do is, even though our bodies are in this stressful environment, it's not about getting rid of the stress, it's actually how can you live in the stress and be aware of it and regulate it to a place where it doesn't overwhelm you. So a really cool tool to use, that is, you can either do a short inhale for four counts in two, three, four, a light pause and then you can exhale for six or exhale for eight. It doesn't really matter what count you do. All that matters is that you can start exhaling a little bit longer than you inhale for maybe like four to five rounds. Sometimes three rounds does it for me. This is an immediate tool that you can use that your body will recognize and start to activate that. Your blood and your heart may be still pumping, but you will feel a kind of like a rush of calm. If you maybe touch your hands, you notice something in the room. You'll become a lot more centered, for sure.
Speaker 2:Okay, so it's all about the exhale, exhale, more important.
Speaker 1:Yes, okay, yes.
Speaker 2:You were, please continue.
Speaker 1:Yeah, I guess well what I was saying back just before about getting really specific. If you're going into an audition and you are stressed, first of all acknowledge it and acknowledge that we have two frame of minds. So what I mean by that is you get to decide ultimately if you go in there with a positive mindset or a negative one. So sometimes our body's just trying to protect us. Our brain is always trying to protect us, no matter what. So if a bad experience once happened before it, just like when we were younger, and put our hand on fire, you know we don't do it again because you know, oh, that wasn't a good experience. The same thing happens if you go in and you got cut, immediately going to the next audition and go oh, what happens if I get cut again? And so it's just trying to protect you and showing you signs of potential danger and that wants to keep you safe.
Speaker 1:But we've got to move through this. And how do we do that? Is we just start by implementing like a best case scenario, start writing out really before. It can be a week before, a day before, just before. It can even be just thinking, but if you write it out it really just brings you deeper into the present moment of exactly what you want to have happen. Well, how do you want it to go? How do you want to feel?
Speaker 1:And I just train people. It's not about being 99% happy and everything's great. It's not about that. Just get to 51%. All you need to do is just tip that scale to like 51%, out of like the 50 and 50, to make a lasting change.
Speaker 1:And what I challenge you to do is, if you're someone that really struggles with that, just ask yourself is it better to go in, being really negative, being really down on yourself and not getting in, or is it better to go in positive, have a good experience, reflect honestly and still not get in? You know what I mean, like longevity wise, the bigger picture. We're looking for wellness and we're looking for compassion and to look after ourselves and get ourselves into a space where we can not only take direction but we can take what we learn, reflect on it positively and take all that experience and move forward. But when we're in that negative space, and then that space that is always trying to pull us back which is actually a normal thing it's our body literally trying to protect us. We do the opposite, so that you can just start to build that 51 and I promise you, each time you're going with that mindset, it just gets better and better and you learn a lot more so yeah, small little choices, I guess every single time that you go yeah interesting.
Speaker 2:Have you always been confident in auditions, has it? Did you just like pop?
Speaker 1:out. No, no, no, no, oh, my gosh. Now I have a lot of fun. Now I have a lot of fun because I don't take myself too seriously and no one's born with confidence. No one here rocked up born confident in anything.
Speaker 1:Confidence is actually taught. Just something I learned, I think, last year but no, I wasn't always confident in auditions. And it's just like anything new. If you're new to auditioning, it's going to be scary as hell, you're going to be nervous, you don't know what's going to happen. It's a lot.
Speaker 1:So over time you just get that confidence up by coming back and showing yourself. For example just a side note here if you've done a bad audition and then you've not done any work to improve that specific part of the audition and you go to the next audition, you're going to feel the exact same. But if you don't do well in an audition and you go maybe that was the dancing I need to work on, and then you go get privates, or then you work on your dance training and then you go back to the audition and you do a little bit better, by going up each time and moving forward, you're actually building confidence in yourself because you're actually showing yourself or reassuring yourself that, no matter what, at least you're showing up and doing the work and you're progressing forward, if that makes sense.
Speaker 2:I think there's always room for reflection and like a little bit of I don't want to say self critique, because sometimes critique can come up with quite a negative connotation, but reflection and an understanding of how did I really do right.
Speaker 2:Sometimes we fall into and I know quite a few people who and I used to be this way, where I would leave an audition room and always think everyone was out to get me. I didn't get it because they sabotaged me and I didn't get a fair shot and that girl stood in front of me and I, like rage, fury, yeah, what do I need to work on? What is the reflection that I can start to put in place so that I can take those positive steps moving forward? Do you think that post-audition reflection is really important and how do you make reflection constructive?
Speaker 1:yeah, it is the most important part of the whole audition process because it's the only thing you have control over, and reflection to me is just like gospel. It's the fastest way to improve and by implementing that it could just be simple like this Afterwards, for example, I just did an audition maybe a month ago Afterwards I would usually maybe get an Uber and go straight home and I home and I know, collapse on the couch like death. But this time I was like it's a nice day out, I'm going to spend some time, I'm going to walk maybe halfway home, which was like 15 minutes or so. I get it if you're dead and you need to just go where you need to go go, but you know, taking just a moment, even if it's five minutes.
Speaker 1:I just walked home, no music, just thinking about, okay, how that went, and then when I got home, I actually write out what went well and what went bad. Maybe not went bad, but you'll actually be surprised at how many good things that actually went well and I thought you know in that time that the two or three things that went wrong, that's all you think about and you're like, oh my gosh, but this, this. But then if you go and ask yourself actually what went well. A lot of the time they outweigh what went bad.
Speaker 2:We always fixate on the negative for sure it's really we reflect on the positive just as much. Okay, so chat to me about do's and don'ts in an audition room. I take it and have you been on a panel before where you're casting for a show or where you're assisting in a room? Obviously, when you get to be in that position, it's so interesting how you're sitting on the other side, the pressure is off and you're able to just learn so much. What, in your opinion, are do's and don'ts in an audition room, things that we need to make sure we are channeling what stands out? I want to know definitely make sure you own this and definitely make sure you steer away from this what are yours?
Speaker 1:So by yes, having that other experience, my whole world kind of changed, because, ultimately, all the panel are looking for is the real you and for you to do the best that you can. They actually want you to do really, really well and they want to support you in any way to make sure that can happen, because they want the best people to be a part of their show. And the best piece of advice that I got as someone that is auditioning is don't go in there with like what can I prove, but going there with a mindset of what can I help, how can I, as an artist, help this production. So that's like once, if I'm on the other side, like going in, hey, I've got this tool, I can bring this dance quality to this production, I can sing this, I can act in this way, I can use that ability to support you as a business, as a production that they're putting together. And that mental shift is really great because, instead of you going in, going, oh, I'm going to prove this, and because when you start doing that, you start becoming inauthentic. And that's another thing that the main thing I basically got from being on the other side of the panel and learning about.
Speaker 1:What they're really looking for is authenticity. Too many of us go in there singing a song that we heard someone else sing really well and we look up on Google like oh, what are tenors or what does someone sing? And you see that they do it really well and then you sing it just like them or you act it just like them and you maybe go in and don't do really well and you're like wait, like what do you mean? And it's because you're not you and that's all they're looking for. I mean, of course they're looking for a level of skill in those areas, which I'm sure you all have. But the more you can have your material and the way you present yourself as most authentic to you, you are not only going to give yourself the best foot forward, but you're going to be able to showcase you better than anyone else there, because no one else can do you basically, at the end of the day.
Speaker 1:So that was like a massive shift, because when you're starting out, you just want a job and you'll do anything to get it right. You will like dye your hair, wear the same thing or they're wearing a crop top. So I'm going to wear a crop, like all this stuff. But no, like you'd really just got to start figuring out what you is. And that just happens over time.
Speaker 1:And the easiest way to go into that is just by asking yourself. The easiest way to go into that is just by asking yourself, like, what makes me the most best version of me, what makes me so energetic? What makes me feel like when I'm in a room? My shoulders go back and I'm like, yes, this is me, you know, and that may take time and that's fine, but it's all energy, all energy, baby. And that's what they're looking at, because someone who's not authentically them, your shoulder is going to be down. You're not going to be giving eye contact, it's just going to be a whole rumble down a mess. And I've had that experience personally when I've gone in and gone.
Speaker 2:Yeah.
Speaker 1:If you want me to share that. I basically went into an audition because I was always a dancer. First, you know, we put that label on. I'm just, you know, I singer, actor, whatever now equal. And then I went in, basically, and I was going for a minor supporting role and I was like, oh my gosh, I've only ever done swing dance roles.
Speaker 1:So I went in there with just a mindset of like I'm not this person, I, oh, I don't know how this is going to work out. And of course, I went in there, fumbled all my lines, I couldn't sing correctly and I left and it was the most embarrassing thing ever. And the lesson in there was that I just wasn't authentically myself. If I went in there and was like you know what I'm not the best at this, but I'm going to give it my version I would have had the best time and I probably would have got cast in it. You know what I mean.
Speaker 1:So that big lesson of authenticity, yeah, big lesson of authenticity, yeah, I didn't just go in there with laser focus and going, this is mine, baby. Like literally, just go in there with a open heart, energy of just like how can I help? Because, yeah, don't is by sectioning yourself off, not being open to the experience, not actually increasing the stress that's already there, by pressure, like don't give yourself more pressure, which should be. It could be an example of if I don't get this, like you maybe ask yourself if you don't get in, what's going to happen? You're just going to go back to training. You're going to go back to it like, in the bigger scheme of things, nothing is actually going to go wrong you know, and if you stuff up, you'll learn from it and move forward.
Speaker 1:Like we just put so much pressure on this one thing and if I don't get this, then it means so-and-so-and-so. Know that no one is putting that label on it, but you and you get to shift it. You can just be like how about we're going to go? Try for this. I've been training for it, let's give it my best shot. And you know what, out of the podcasts that I've been interviewing people on, which are some lead roles, different sort of people they've said all the main auditions or things they've got into are, a lot of the time, the ones that they don't really care much about. Yeah, they're just like so chill. They're like oh, yeah, I did my work and because of their energy they're not in there, like, okay, I really need this, I have to get this like. It's such a desperate energy and it reads in a room really easily.
Speaker 2:I want to on. So going into a room and being like I'm just a dancer, I'm not this person, I'm not a singer, I'm not like. Or, on the flip side, you could be a singer actor predominantly who is really, really not capable of dance. But you go into a room and all of a sudden, ha, imposter syndrome, self-sabotage, I'm not good enough, self-belief all of that stuff starts to come up for you, which are those beautiful, wild and wonderful buzzwords that we hear all the time. How do you combat that? Like, how on earth do we feel what we're feeling but still step into a room? I mean, I guess probably the answer is it comes back down to your breathing and your grounding.
Speaker 2:But if you know that I am not really confident in this, but I've got something else to offer, how do you feel that you're stepping into a room and you're unapologetically being who you know you can be, even though the person is in your head. You think is not good enough. Does that make sense? It's like such a vicious circle, isn't it?
Speaker 1:Oh yeah, it is and it is and it is. I mean, if you were going to an audition tomorrow, I guess the advice would be you really just got to be with yourself and honor where you are and look at everyone, not in a place of, oh my God, there's so much better, there's no chance for me here. That's not helpful. Go into it with a place of it's like we're on this timeline of our journey and it's like this. It's like so many timelines. It's not just this one progression. We're not all on the same boat on this one progression. It looks like that because when we're in the audition we're all there at once, but really it's like we're all in there at different times of our journeys, of I had that private training and this and that. So we're just like a big mixed bunch of people, which is brilliant, because there's no version of you than the next person which I mentioned before. So I guess, honoring that and just you know, actually laughing about it. You know, if you have got two left feet, you just give it your best two left feet and honestly, the panel will love it. But if you go in there with that there's oh, they're so good and oh my gosh, and defeat yourself already. You're not only going to have a terrible time, but you're not going to be shown as someone who can just give it a go. That's half the battle in MT. Who can come onto this show and have a good laugh and a lot of the times in shows now, not everyone has to dance at a level 10 or sing at a level 10. There's room for everyone in a lot of shows now. So know that that's there. And if it's dancing specific, there are mover calls. I think they have now as well. But yeah, that would be my advice.
Speaker 1:And then my second advice would be is that everyone on this call even myself included right now knows what your need of improvement needs to be, and there's a level of which we are not, or maybe you are. There's a level right now of which you are not actually, or maybe you are. There's a level right now of which you are not actually applying yourself to it, and we're waiting for someone to tell us to go and do it. But you know what you need to do. We just need to start implementing it so that when you get to the next audition, you don't have this story of oh I'm just so in this. I'm just so in that. So have a look at yourself now. Have a look at what you can work on and be kind with yourself in the process.
Speaker 1:Don't go do like 20 classes a week or something like that. Go right, al, what's the one thing maybe this is a question what's the one thing you can do right now that would make everything easier or unnecessary, like? What's one thing I can do right now to improve this to my dance? It could be to find a teacher, to find a space to find, and just start with that question and just work off. The one thing Don't get overwhelmed with oh, now I need to be a part of a company.
Speaker 1:I'm like, because we always go into that. Oh, you know, we want things really fast. We all like want things right now, and the disappointing thing about that is that if you're building from a place of rushed energy, then you will get there and you will leave as quick as you've got there. So you want to start building from a place of. I'm just going to work with this one thing and we're going to get better once you know, 1% each day is how many days a year? 365't go beyond math, you know. That's already like 300. Oh my gosh, you know, but we only just did one percent per day. Don't be discouraged by the one percent, because it's so much more powerful than doing the 300 on one day, getting burnt out, binging on the weekend and then being like oh yeah, it's really, and that's where all that balance comes in. Yes, that's what.
Speaker 2:That is so incredibly valuable and, funnily enough, I was having a conversation like this with one of my clients yesterday. We were talking about just choosing one thing what one thing can you do on a daily basis, even if you can just do it today and try and rinse and repeat tomorrow, that's two days that you weren't able to do two days ago. Right, and channeling that 1% energy. Are you willing to be the 1%ers of the industry where you're not searching for that instant gratification, you're not searching for that self-actualization or that external validation, or you don't need a round of applause or a standing ovation to know that you're doing a good job? Yeah, it's by making those tiny little incremental journeys every single day. That little 1%, 0.1% it's more than you did yesterday.
Speaker 2:That's it Right and, oh my goodness, that is so incredibly valuable and I want to kiss your forehead because of what you just said.
Speaker 1:Oh, baby, okay.
Speaker 2:So I'm going to start to wrap things up, because I always like to open up an opportunity for conversation. But in a nutshell, tay, what is next for you? How can people get hold of you? And a little bit of valuable advice alongside all of the gorgeous other value that you have given us today. Anything at all.
Speaker 1:Yes, so what's next for me? I'm going to Sydney to do the show that I'm currently doing and then I'll have some time off. But then, if you want to reach me on the Dive, we have a social media handle at thedivecomau. I also have a website, wwwthedivecomau. Or if you want to reach my personal account on Instagram, it's just Taylor T-A-Y-L-O-R, full stop. Scanlan S-C-A-N.
Speaker 1:And last words of wisdom, something that I guess I've been learning lately is that it's never about the goal.
Speaker 1:We always think it's about the thing, achieving the thing, getting the thing. But what it is actually about and what you're really looking for is how you will feel and who you will become when you're there, and all of that can be created in the now. What I mean, for example, being a musical theatre professional or a performer in the industry. Ask yourself who is that person, what are they feeling? Who are they surrounding themselves with? What are the daily actions would they be taking and starting to build a life around that version of you? Because I've started to do this with just things in my life and it's really crazy because it comes to you and you're just not surprised. You're like, oh cool, like a goal will come and you'll be like nice, because you're not shocked, because actually you've become the person and that's ultimately what you're looking for. You're not looking for the car or the recognition and stuff. You're looking for actually becoming that person that you're ultimately looking for, and you can start building that now, which is really, really exciting.
Speaker 2:That's what I'll say Wow, Value. I love Fantastic Tay Tay. Thank you so much.
Speaker 2:If you want to be diving into the brilliance of the brain that is Taylor Scanlon, then you'll know exactly where to find him. Thank you all so much for being here today. Have a beautiful rest of your Thursday. Those of you that are going to auditions and callbacks and first rounds and last rounds, whatever. Whatever you are doing, I wish you well and I'm really proud of you, and keep reaching out and let us know if you need anything. Right? Lots of love, angels, bye.