There are many undercover activities requiring sprezzatura performances.
Whether those activities involve working as an understudy or a politician or a musician will very much depend upon the context involved.
Undercover work, of all sorts, particularly involving intelligence, will require some sort of blocking.
Have you ever used a teleprompter or cue cards?
Have you ever worked as a répétiteur?
Have you ever been the leader of an orchestra?
How do you usually tell the difference between a prompter and a promoter?
Have you ever been in charge of a prompt desk or another sort of theatrical property?
How do you usually tell the difference between props and prompts?
How do you usually ensure your acting does not look and sound like acting at all?
What have been your experiences of opera prompting and theatrical prompting?
How successful have you been at giving and receiving theatrical cues?
What has been your experience of stagecraft and statecraft?
What has been your experience working with influential non-state actors?
What has been your experience as a manager of theatrical productions?
For anyone interested in working in association with Villa Twaklinilkawt, whether in a routine way or in an emergency, these questions are important to answer. Being able to cover another person's job at short notice is vital here, as is the ability to do undercover work.
You may also be invited to cover several touring roles, if suitably qualified and experienced.
Have you ever worked as a member of an aircraft crew, or ship crew, or bus crew or train crew? Have you ever driven a large passenger vehicle?
What are your preferred theatrical techniques in various situations, and why?
How much of your life has recently been stage managed?
What have been your experiences as a member of a film crew and/or television crew?
What have been your experiences as a theatre director, opera director, film director, television director and/or artistic director?
What have been your experiences as a theatrical producer, opera producer, film producer, television producer, lobbyist and/or political campaign director?
What have been your experiences in the promotion and representation of professional, talented individuals in relation to entertainment, media, the performing arts and/or the literary arts?
What is your experience of audio recording, and various forms of visual recording, in both moving pictures and still photography?
What is your experience of providing hospitality, operating a tourism service, supplying first aid, security, martial arts, performing stunts, working as a print model, fashion and/or runway model, a dancer, a choreographer, a voice-over artist, comedian, commercial actor, film and/or television actor, musical theatre performer, public speaker or lecturer, theatre actor, director, producer, promotional and event model, television writer, screen writer, playwright, book author, singer, musician, sports personality, film editor, television editor, music editor, music producer, broadcast journalist, newscaster, television or radio host, radio producer, disc jockey, spokesperson, brand ambassador, interactive game developer, composer, production designer, variety artist, circus act, specialty act, magician, production designer, cinematographer, animation artist, cartoonist, costume designer, librettist or salonnière?
What is your experience as an talent agent, talent manager and/or publicist?
What is your experience of working with agents, managers and publicists?
How do you usually promote yourself and your talents, and why?
How do you usually decide how to accept or refuse work in relation to
commercials, endorsements, merchandising, television appearances, media
interviews, publishing, touring, film appearances, award ceremonies,
fund-raising events, social media, charities, theatre work, radio work,
television series, fashion work, political campaigns etc?
What is your experience of uncover work?
How do you maintain artistic integrity?
How do you prepare for auditions?
For audio-visual recorded auditions, how do you prefer to slate and why?
How do you prefer to respond to critics?
How are you preparing for upcoming public occasions?
How much of your work is licensed?
How much of the work of persons you employ, directly and indirectly, is licensed?
What is your experience as a researcher?
Have you ever worked as an undercover journalist?
How do you tell when something or someone is genuine or a front?
How do you avoid detection and avoid deception?