Early in my career, I had this one - I came in to do two monologues at an audition. The director asked me to do another one "Do you have something where the character is less confident?" Oh crap, I thought - I'm doing this wrong. So I did my monologue of the less confident character. Then the director asked for something else, and I did another monologue - all the time thinking I was being asked for more because my original monologues were no good, and I'd made bad choices in material. Later I realized that being asked for more, for different emotional colors is a good thing. Auditors often spend less time w/people they're less interested in and more time with those they're more interested in.
Here's a more recent one. You're in the audition, and read the scene and then are given an adjustment. "can you show less of her vulnerability, more of her elegance, flirt more but as if you never learned how, etc." The adjustment isn't about being right or wrong. It's about your creative instrument responding to the direction. The auditor isn't looking for yes or no, true or false. They're looking for how you respond. They want to know what you would think and do in response to what they say. It's not about doing what they want (and thinking that what they want is located in a finite answer). It's about showing them what is possible and letting them learn what it would be like to work with you.
The adjustment is like a mini-rehearsal, I've realized. Rehearsal is full of making adjustments - taking suggestions/guidance from a director and then making shifts in the performance of the character. Going through the adjustment is letting the director know what it's going to be like in rehearsal with you.
So, moving forward, I'm going to be letting go of trying to show them what I think they want to see, or getting the 'right answer' Instead, I'll be using the adjustment moment to show what I'm like to work with and how I take notes, let them inspire me, and inspire changes my performance of the character.
In a nutshell my shift in thinking about the adjustment - it's not a question of 'are you a good actor?' but rather 'what kind of good actor are you?'