If you’re a dancer with professional ambitions, you know how intense and competitive the audition circuit can be. But what if you had the rare chance to be seen by multiple international directors — all in one place, without leaving Australia?
We caught up with Giuseppe Canale, Founder and Artistic Director of GCDANCEVENTS, to get his top tips on how to stand out at auditions – and to find out why their upcoming Brisbane auditions this January (2026) are a must for serious dancers across Australia and New Zealand. With nearly two decades of international experience, Giuseppe now works as a talent scout and audition organiser for leading companies and academies around the world.
Let’s start with the GCDANCEVENTS auditions in Brisbane this January. Can you tell us more about this event and why it’s such a rare and valuable opportunity for dancers here?
Before founding GCDANCEVENTS, I spent many years as a professional dancer, including seasons with West Australian Ballet in Perth. I remember how challenging and expensive it was to travel from Australia for auditions, with every opportunity requiring separate flights, accommodation, and costs. This event gives Australian dancers the chance to meet multiple directors in one place — from the US, New Zealand, and Mexico — and to be seen for additional opportunities in Europe, Canada, and Asia. It’s a rare opportunity to access so many international opportunities without leaving the country.
You’ve worked with dancers across the globe. What are some of the most common mistakes you see during auditions, and what advice would you give to help dancers avoid them?
I see many dancers try to copy others — their personalities, their style, their movement. I always tell my clients: be yourself. Share your passion and your own way of dancing. Dance is an art form; like any art, the artist expresses a personal vision. It’s crucial to know who you are and to project confidence, even if you’re still finding it, so the panel sees how secure you are in your dancing.
Social media has changed how we view dance and strongly influences our field, but look inward: find your why, and share it with the world. Show it at every audition.
“Directors want talented performers, but they also need people who are professional, respectful, and easy to work with. No company has time to manage disruptive behaviour.”
Giuseppe Canale
From your experience, how do directors typically evaluate a dancer’s technical skills versus their artistry or stage presence? What’s the ideal balance, especially in high-stakes auditions for company placements or finishing schools?
With more than five years of GCDANCEVENTS auditions worldwide and collaborations with many renowned directors and representatives of leading institutions, I’ve observed that directors prioritise precision and maturity. They value three clean pirouettes over five with hops; a dancer who knows how to place themselves in space; the ability to stay focused; to pick up combinations quickly; and to apply corrections immediately. It’s not all about high legs and turnout.
Our events let dancers work with directors over multiple days, and they also give directors time to truly get to know the dancers. I’ve seen directors choose someone on day one and end up offering the job to a different dancer by the end, because professional behavior and consistency changed their minds during the event.
Use this opportunity to present yourself as a professional, well-trained, and thoughtful dancer ready to join a company. Artistry is essential, but you can communicate your artistry and individuality through your behaviour in the audition and through how you execute every exercise. Even the simplest combination, danced with clarity, musicality, and intention, can capture a director’s attention — often as much as the most difficult one.
For dancers auditioning for overseas companies or schools (particularly through events like yours), what cultural or stylistic differences should they be aware of, and how can they best adapt?
Returning to your first question, I don’t believe dancers should reshape themselves to the country or specific audition in front of them. Of course, you must meet the criteria and technical requirements for the opportunity, but you should still present your own personality and way of dancing. Faking it — whether it’s how you speak or how you move — ultimately backfires. Even if it helps you land the job, the company will soon see how you truly dance and who you really are, which can create problems in the long run.
In your opinion, how important are non-dance elements like attitude, presentation, or communication in an audition setting? What can dancers do to leave a lasting, positive impression?
Honestly, I’ve seen countless offers withheld because of poor attitude and communication — you’d be surprised. At the end of the day, directors want talented performers, but they also need people who are professional, respectful, and easy to work with. No company has time to manage disruptive behaviour.
Presentation matters too — from the very first email you send and how you structure your portfolio, to how you show up at the audition. Based on my experience as a talent scout and audition organiser working with many international companies and academies, I’d say that roughly two out of ten dancers are not invited or not accepted purely because of how they present themselves over email.
Auditioning can be emotionally tough, especially with rejection being part of the process. What’s your advice for dancers with regards to staying mentally resilient and using setbacks as motivation?
Auditioning can be extremely stressful and logistically demanding. From our very first years in dance school, we know how tough this profession is. I’ve personally struggled with mental health challenges brought on by the pressures of the job, and we still don’t talk enough about the toll it takes.
To reach our goals and the dream of becoming a dancer, we all go through difficult periods. What helped me was staying focused on the long-term goal, trusting that consistent effort would take me where I wanted to be, while leaning on my friends, family, and therapist during the hardest times.
Finally, with the audition process evolving, especially with the rise of digital submissions and hybrid formats, what trends are you seeing, and how should dancers be preparing for the future of auditions?
The audition process — and the dance world itself — has changed drastically since my years as a professional dancer (not so long ago). For online submissions, I always say the key is to be simple, precise, and concise. Directors need to grasp who you are quickly and easily. They often have little time to open files or download videos, so make access to your materials effortless. Write a clear, one-to-two-page CV that includes only the most relevant information a director truly needs.
GCDANCEVENTS supports dancers throughout the audition process, starting with the creation of a portfolio that meets international standards and requirements.
Closing thoughts
Whether you’re preparing for your first audition or looking to transition to the next stage of your dance career, the advice from GCDANCEVENTS is a reminder that preparation, presence, and mindset matter just as much as technique.
If you’re based in Australia, the upcoming event in January 2026 is an exceptional opportunity to be seen by international directors without needing to travel overseas. To register for a place, start here.
Source: GCDANCEVENTS, 2025. Photo credits: Federica Capo Dance Photography.
Giuseppe Canale
Giuseppe Canale began his dance studies in Pozzuoli at Art Garage under the direction of Emma Cianchi, before continuing his training at the Hochschule für Musik und Theater in Munich and later at the Palucca Hochschule für Tanz in Dresden.
His professional career started in 2012 and includes time with the Moravian-Silesian National Theatre in Ostrava (Czech Republic), the National Opera of Bulgaria, the Israel Ballet, the West Australian Ballet, and Les Grands Ballets Canadiens de Montréal.
In 2019, he founded GCDANCEVENTS, the first international agency dedicated to both ballet and contemporary dance.
Through the agency, he has transformed his artistic network into a global platform that connects dancers, companies, and institutions, building a bridge between talent and opportunity within an authentically international perspective.
