Friday, April 24, 2009

Project 5 - Graduate School


University of Iowa / Iowa Summer Repertory - Alan MacVey, Chair DEGREE

PROGRAMS: MFA degrees in Acting, Directing, Design, (costume, lighting, and scenery), Dramaturgy, Stage Management, and Playwriting.

Requirements: A bachelor’s degree from a Regionally Accredited American college or university, and a minimum grade-point average (GPA) of 3.00, or the foreign equivalent as determined by the Office of Admissions.

Estimated Total living expenses - $36,987 for nonresidents.
Iowa Arts Fellowships - Each year the Theatre Arts Department offers an Iowa Arts Fellowship to four incoming students. These fellowships provide full tuition, fees and health benefits for three years, as well as an $18,000 stipend in the first year, and an $9,000 stipend in the second and third year.

University of California - Los Angeles

Program: MFA Acting, Design, Directing, Animation, Cinematography, Screenwriting, etc...

Courses: Background of Theatrical Art
Advanced Acting I
Advanced Acting II
Advanced Acting for Theater, Film and Television
Advanced Voice and Speech I
Advanced Voice and Speech II
Advanced Movement I
Advanced Movement II
Production and Performance Laboratory

An audition is required of all acting applicants. Auditions are scheduled online. Applicants will be directed to the online audition scheduling page after submitting the Departmental Application. The audition with theater faculty will consist of two monologues: one classical, one contemporary, not more than one-and-a-half minutes each.

The general requirement for admission for a U.S. student is a bachelor's degree from a regionally accredited institution, comparable in standard and content to a bachelor's degree from the University of California. A scholastic average of B (3.0 on a 4.0 scale) or better is required — or its equivalent if the letter grade system is not used — for the last 60 semester units or last 90 quarter units of undergraduate study and in any post-baccalaureate study.

Designed to be eclectic, the program encourages each actor to discover methods of working best suited to his or her individual talents. The essence of this training is achieved organically through classroom study, studio work and autobiographical exercises in a small, highly individualized and collaborative setting.

University of Nebraska - Lincoln

Once every three years a gifted group of actors are selected to participate in a our classical acting training program rooted in Shakespeare and classical realism.


-Five semesters of shows selected for these actors: Shakespeare, classical realism, comedy, styles and dialect pieces. Some class projects will culminate in juried performances.
-Acting classes: Individual work focused on combining vocal, physical and emotional technique using scene study and the plays selected for mainstage performance as our lens.
-Individualized movement training: Through the implementation of various movement techniques the actor is prepared to move organically and to successfully build physical characterizations. Part of the training is dedicated to the actor earning a certification in stage combat.
-Individualized vocal training: Here the focus is on voice production, beginning with the breath, using relaxation to connect body, mind and spirit, with emphasis on English language dialects.
-An audition course: Emphasizing all stage genres and on-camera techniques
-An acting for the camera course: Emphasis on practical application of acting training to film, television and commercials.
-Three years of teaching: The best way to learn is to teach. When aided by strong faculty mentorship, we believe understanding deepens in actors as they articulate what they are learning by teaching others.
-A musical theatre class: A beginning course in audtioning for and singing in Musicals. Opportunities for additional course work and on-going private voice lessons.
-A directing for the actor class: The fundamentals of directing viewed from how an actor can develop a director's eye even from inside the play.
-A showcase: A piece developed to show off the skills of this class for talent buyers.
-Professional forum: agents, casting directors and theatre company managers invited to see performances, give feedback and offer master classes. Planned throughout the senior year of study.
-Nebraska Repertory Theatre: Opportunities for performance with Actor's Equity Association actors while earning A.E.A. Membership Candidacy points.
-Summer work: A commitment to audition training, and travel to auditions to aid in finding summer acting work.

Individual awards for Assistantship funding range from $1500 to $8000. In addition to the Assistantship funding, the School also awards Fellowships at $2000 each. With help of the Graduate College and the Hixson-Lied College of Fine and Performing Arts, Assistantship funding and additional Fellowships can be combined to total up to $23,000.

$1176/3 credit hour

Friday, April 17, 2009

Project # 5 - The Profession

Non-Union Required

BACKSTAGE
SHAKESPEARE THEATRE CO. FELLOWSHIPS, DC

The Shakespeare Theatre Company (Washington, DC) is casting its acting fellowship for its 2009-10 season. Season includes: The Bacchae (Joanne Akalaitis, dir.), As You Like It (Maria Aitkin, dir.), Richard II (Michael Kahn, dir.), Henry V (David Muse, dir.), and Mrs. Warren's Profession Seeking—Acting Fellows: 18-39, will be cast in mainstage productions, serve as understudies, and earn EMC points. Auditions will be held by appt. only in May/June in NYC. Weekly stipend, plus lodging provided.


DailyActor.com
Spider-Man the Musical

AUSTIN, TX (Wednesday, May 27; 10 AM – 6 PM)Dougherty Arts Center1110 Barton Springs RoadAustin, TX 78704

PETER PARKER – Male. 16-20’s. Must have a great rock tenor voice. Can be nerdy with understated sex appeal and a good sense of humor.
WHAT TO BRING:All interested people should bring a snapshot or photo of themselves and a brief pop/rock or rock song to sing a capella.


EPA required

Playbill.com
Wonderland - Equity Principal Auditions

Tampa Bay Performing Arts Center Tampa FL LOA $750/week minimum. President and CEO: Judy Lisi Music: Frank Wildhorn Lyrics: Jack Murphy Book: Phoebe Hwang Director: Gregory Boyd Choreography: Marguerite Derricks Casting: Dave Clemmons Casting

Ensemble: All types and ethnicities. Seeking excellent pop/contemporary musical theatre singers to play the Lion, the Unicorn, a talking Door, Hedgehogs, a Deck of Cards, Knights, the Dumpties, assorted denizens, good guys, bad guys, and all the colorful characters of Wonderland and the Looking-Glass World.

Backstage

THE 25TH ANNUAL...SPELLING BEE

Bruce Miller, artistic dir.-prod.; Steve Perigard, dir. Rehearsals begin Oct. 19; runs Nov. 20-Jan. 10, 2010.

Olive Ostrovsky: kind and gentle, longs for the affection of her absent parents, her best friend is her dictionary, mezzo, strong high belt required; William Barfée: touchy and obnoxious, with a chronic sinus condition, spells with the aid of his "Magic Foot," character voice, tenor; Logainne Schwartzandgrubenierre: the youngest speller, afraid of failing and disappointing her two dads, has a speech impediment, mezzo; Marcy Park: Asian-American, classic overachiever, under pressure to be the best at everything, some dance and acrobatic ability preferred, mezzo; Leaf Coneybear: quirky and naive, makes it to the spelling bee by default, his family tells him that he is "not that smart," tenor; Chip Tolentino: winner of last year's "Bee," confident of repeating his success - until he is hijacked by his hormones, tenor. Note: The spellers are age 10-14, but the roles are played by adults.2008-09 salary: $364 min./wk., current level pending. Equity SPT Contract, approval pending.



Friday, April 3, 2009

PROJECT 4 – UNCONVENTIONAL THEATRE



1)
Hamlet by William Shakespeare

Two Rivers Correctional Institution (prison)

October 3, 2008 – October 7, 2008 (4 performances)

Johnny Stallings (Portland actor, vocal coach, director, mentor)

Oregon prison inmates perform Hamlet












"Some of [the] guys had long lines, [and] didn't mess up. ...awesome." -Prison Inmate #5487G42 (just kidding, they couldn't release the guys name. Something to do with being in prison.)

http://www.oregonlive.com/performance/index.ssf/2008/10/hamlet_in_prison_inmates_disco.html

The Two Rivers is not your everyday theatre institution. Located in Umatilla, Oregon, the Two Rivers Theatre is actually a correctional institution where the only actors used are those serving hard time in prison. In order to deal with countless hours of free-time and mindlessness, the Two Rivers inmates were given the opportunity to produce Shakespeare's Hamlet for the other inmates and friends and family. The only public viewing was in documentary form, sometimes blurring the faces of actors who did not want to be recognized.


2) The Anatomy of Melancholy adapted by Jessica Klarp

original book by Robert Burton (1921)

Center for Puppetry Arts

August '03 & April 15-17 '05

Pamella O' Conner and Jessica Klarp


"Both O'Conner and Klarp had a successful run as equity actors in Atlanta's theater scene in the 1980s, even appearing together in "The Rocky Horror Picture Show" and the rock opera "Tommy." But O'Conner found profound satisfaction in puppet theater when she was asked to be a voice for a puppet in a professional production at the Center for Puppetry Arts in Atlanta."

"A production that tells a tale well is what it's all about. "Too many actors are driven by ego," O'Conner maintains. "Most puppeteers are about the story, and I've always been about the story."

http://www.poconnor-puppets.com/reviews_anatomy_ACT2003.html

The Center for Puppetry Arts in Atlanta is a center where puppets are the main form of theatre. Mainly centering around children's puppet theatre, The Center for Puppetry Arts took on a more risque' production, The Anatomy of Melancholy. First off, the use of puppets as the main theatre art, focusing on story and deep emotion rather than dialogue. Secondly, the book the play is based off is not an actual story, but rather a random collection of the author's view of melancholy, leaving the doors wide open for an inventive emotional journey taken by the hero of the story.

3) Panto Cinderella book and lyrics by Kate Hawley

Stages Rep. Theatre

December 3-28, 2008 (extended through the 31st)

"Packed with sharp wit, wild fun and original music, this unusual twist on a magnificent classic is as entertaining for grownups as it is for kids."

artshoud

Filled with zany fun and quirky humor, Panto Cinderella brings back to life an old theatre form from London. The story is the classical tale of Cinderella, however audience participation is a must. The show will not move on unless the audience participates, just like shouting out "SWIPER! NO SWIPING" when watching Dora the Explorer. Filled with a talented cast of actors, two being traded in an AEA British/American swap (UNCONVENTIONAL), improvisation and handling children, something many actors loathe, is a must. Not one show is the same!


4) I Am My Own Wife by Doug Wright

Dec 3, 2003 - Oct 31, 2004


Lyceum Theatre

Jefferson Mays - Actor

"It does, however, tell a terrific story based on a real person, Charlotte von Mahlsdorf (née Lothar Berfelde), a soft-spoken but tenaciously gender-bending biological male who died in 2002 at 74. "

http://theater2.nytimes.com/mem/theater/treview.html?res=9505E5DB163DF937A35751C1A9659C8B63


Unconventional in text is what this play really is. Describing the tragic life of an East German transvestite, Doug Wright's play not only captured the audiences of Broadway theaters around the world, but also the hearts of the 2004 Pulitzer Prize judges. This show requires one male actor to play multiple roles, ranging from Nazi German guards to children and even to the transvestite the story follows. Charlotte is the narrator who speaks to the audience, and when a different character in her story she becomes engulfed in the set around her, "popping" from character to character.


5) Julius Ceasar

March 28, 29, 2009

April 1, 2, 4, 5, 2009

Town Center Theatre

Featuring Andrew Hager and Travis Bryant


"Director Chris Tennison has an intriguing take on the play — one involving contemporary, cutthroat mega-business. We're at Rome Industries, where a giant tilted "R" represents the company's logo."

-houston press


With the hard economic times, Director Tennison decided to change this classical play about power struggle and deceit and place it in the present time. Rome the country is now Rome the company, no one is wearing Togas, but rather suits, and important words like Senators are changed to stockholders. Also, Cassius was played by a female, because we all know women play a huge part in the company makeup.