Ups and freaking downs. Like, for real.
It's been a very long time, so let's start with the most connected occurrence: I got into CalArts and had everything ready right up until the tuition deposit was due. Then, everyone who said they would be able to help me out ended up not having the money. SO, no CalArts.
I've had interviews and auditions for three or four jobs, but nothing has stuck. Still looking for a full-time position, hopefully in an area of theatre. Or film. Or television. At this point, entertainment would be nice.
Still working at the movie theatre. It looks like I'm moving up to Supervisor soon, but I'm not really sure how I feel about that. I hadn't planned on working there this long.
My father was diagnosed with cancer in his neck a few weeks ago. He's already had 2 surgeries, and we're waiting now on radiation and chemotherapy.
All of my student loans are in forbearance because I'm having to help with the mortgage, bills, and medical expenses.
I'm ready to test for my driver's license (finally, at the age of 23) on my next day off.
Mostly downs, but life happens. When I'm able to drive, I'll be able to audition for shows downtown. Get myself out there.
7.01.2010
1.30.2010
U/RTA Day 1: Recap
I woke up at 6 AM, shaved, showered, and centered. I had a nice little breakfast at one of the zillion Dunkin' Donuts around here . . . seriously, they're like Starbucks. Weird. Then, at 7:45, I headed to Roosevelt University. After a brief orientation (and free chapstick?), I set up my portfolio, then walked around and looked at a few others. There were 5 or 6 other sound portfolios. All of them but 2 had the same headphones as me (Sony Professional series), and the others had plain consumer grade over-the-head earphones. One other portfolio included business cards and stands for his resumes, and I was the only other one who did that. He had one thing that I didn't think of, though: about 40 copies of his portfolio on CD for the auditors to take with them. Brilliant.
I got 6 interviews: California Institute of the Arts, Ohio University, University of Illinois Urbana-Champaign, University of California - Irvine, and University of California - Los Angeles, and University of Cincinnati - Conservatory-College of Music.
CalArts liked me because my portfolio was very diverse, and he was impressed with my soundscoring capabilities. The main part of my portfolio included a soundscore for Metamorphoses, and he was part of the original production. He was also excited to learn that I greatly enjoy designing sound for non-conventional performances (and my goals to study Performance Studies). He said that he thought my mentality and style meshed well with the CalArts community. However, financial aid is kind of slim, and no one gets full-rides. It would be about $50,000/year.
Ohio University was also impressed at the range of my portfolio, and said that the focus of the program was conceptual, with technology taking a bit of a back seat to that. He "encouraged me to apply," and wants me to visit campus (in Athens, OH). He did mention that the 2 sound design positions received full tuition waivers and a stipend per semester. Holy. Cow.
UI was interested in me because of extensive experience in live sound set up, sound reinforcement capabilities, and my background with my father's sound business. But, the interviewer wasn't too enthused beyond that. He seemed tired and just floating, like he didn't really care about anything besides getting the information out there. I was kind of excited about this one, but I'm not sure if I just want to do reinforcement and mixing my entire grad school career.
UC-Irvine was very slick, very "California." They stressed that they were state-of-the-art and had several performance spaces, none of which has an in-house system. That means that every production is customizable with a HUGE selection of brand new equipment. I was also excited about this one, but I'm pretty sure they only interviewed me because I asked them to.
UCLA wasn't as slick as I thought they'd be, and were actually much more interesting. The head of the department designs sound for Cirque du Soleil, and every semester the design students take a trip to see the current show. They did say that tech was also a little more background than creativity - he said that they teach the tech "to the point of use," and expect the students then to keep up. This was actually pretty exciting, and it's not bad that it's UCLA, either.
UCincinnati was also pretty exciting. I started looking at their program some time ago. However, they are very focused on dramatic performance (theatre, musical theatre, opera, and dance are all supported by the program), and not really any non-theatrical sound exploits. Which is ok, I guess, but it would be nice to do some performance art work. It's just plain fun. They expect me now, if I'm interested, to apply, visit the campus, see a show, show my portfolio, and formally interview. I don't know about this one, either, but they seem l little more professional and high-caliber than some of the others, while still maintaining an approachable front.
There won't be much of an update for today - there aren't any acting schools in town set up yet, and my plan for today was to walk around and take advantage of the free walk-in auditions that were about last year. The only school here at the moment is Rutgers, and their audition fee is $75. Plus they have an application fee beyond that.
More to come on day 3.
I got 6 interviews: California Institute of the Arts, Ohio University, University of Illinois Urbana-Champaign, University of California - Irvine, and University of California - Los Angeles, and University of Cincinnati - Conservatory-College of Music.
CalArts liked me because my portfolio was very diverse, and he was impressed with my soundscoring capabilities. The main part of my portfolio included a soundscore for Metamorphoses, and he was part of the original production. He was also excited to learn that I greatly enjoy designing sound for non-conventional performances (and my goals to study Performance Studies). He said that he thought my mentality and style meshed well with the CalArts community. However, financial aid is kind of slim, and no one gets full-rides. It would be about $50,000/year.
Ohio University was also impressed at the range of my portfolio, and said that the focus of the program was conceptual, with technology taking a bit of a back seat to that. He "encouraged me to apply," and wants me to visit campus (in Athens, OH). He did mention that the 2 sound design positions received full tuition waivers and a stipend per semester. Holy. Cow.
UI was interested in me because of extensive experience in live sound set up, sound reinforcement capabilities, and my background with my father's sound business. But, the interviewer wasn't too enthused beyond that. He seemed tired and just floating, like he didn't really care about anything besides getting the information out there. I was kind of excited about this one, but I'm not sure if I just want to do reinforcement and mixing my entire grad school career.
UC-Irvine was very slick, very "California." They stressed that they were state-of-the-art and had several performance spaces, none of which has an in-house system. That means that every production is customizable with a HUGE selection of brand new equipment. I was also excited about this one, but I'm pretty sure they only interviewed me because I asked them to.
UCLA wasn't as slick as I thought they'd be, and were actually much more interesting. The head of the department designs sound for Cirque du Soleil, and every semester the design students take a trip to see the current show. They did say that tech was also a little more background than creativity - he said that they teach the tech "to the point of use," and expect the students then to keep up. This was actually pretty exciting, and it's not bad that it's UCLA, either.
UCincinnati was also pretty exciting. I started looking at their program some time ago. However, they are very focused on dramatic performance (theatre, musical theatre, opera, and dance are all supported by the program), and not really any non-theatrical sound exploits. Which is ok, I guess, but it would be nice to do some performance art work. It's just plain fun. They expect me now, if I'm interested, to apply, visit the campus, see a show, show my portfolio, and formally interview. I don't know about this one, either, but they seem l little more professional and high-caliber than some of the others, while still maintaining an approachable front.
There won't be much of an update for today - there aren't any acting schools in town set up yet, and my plan for today was to walk around and take advantage of the free walk-in auditions that were about last year. The only school here at the moment is Rutgers, and their audition fee is $75. Plus they have an application fee beyond that.
More to come on day 3.
1.28.2010
U/RTA 2010 Prologue: Day 0
Tomorrow morning marks the first day of my 2010 grad school auditions. I arrive at 8:00 in a conference room with tons of other designers (who probably know a lot more than me in most areas, and can probably draw) and set up a portfolio that consists of:
- My computer looping a video containing all of my best sound pieces and production photos;
- A binder containing the full process for Einstein and the Roosevelts;
- A binder containing other useful pieces: original music for Twelfth Night, a marked up script, some production notes, and a class project
- 40 copies of a pretty impressive resume`;
- Some copies of my transcript;
- Business cards
I'm not sure if this is going to cut it, and I'm not even sure if what I do have is actually anything that they care about. But, one of the last things my advisor, coach, and mentor said to me as he stood up from checking it out was: "I would be excited to work with this." That boosted my confidence enough to at least shine during interviews, of which I have two. I have already contacted Purdue and the University of California - Irvine, and they both said that they are going to look at my stuff while they're here.
Since this is the prologue, I'll leave it at that. Saturday is going to be kind of a throw away day unless I can find some decent schools to audition for free of charge.
1.04.2010
Thinking of Winter
I am not a Christian, nor do I adhere strictly to the Gregorian calendar, so this time of year can get a bit awkward. I feel the intention when people say, "Merry Christmas," but it's not a sentiment I can return with the same meaning. At least, not with the same words. I've been struggling with how to phrase this exactly, and it seems I'm failing even now. I don't exactly know how to express a "Merry Christmas" with the intention beyond religious connotation. Nor can I say, "Happy Holidays" because theses days aren't necessarily any holier than any other. Samhain, Imbolc, Beltane, Lughnasadh - these are more akin to the times of year I celebrate, though I wouldn't necessarily consider myself pagan, either. Ultimately, I would consider myself Taoist in philosophy.
So what does this time of year mean to me?
Somehow, through all of the commercialism and materialism, the "true meaning of Christmas" has survived - it is a time for sharing, and a time for love. I find it interesting that a generous gift-giving holiday comes in the middle of Winter, the cycle of Death, but I suppose it's kind of appropriate. People want to escape the harsh environment and wish themselves warmth - physical and emotional. So while I don't necessarily believe in The Lord Our Savior Jesus Christ of Nazareth, or that he was born on Dec. 25 22BC, I do participate in the gift-giving ritual.
I'll have to ponder this a little further, but at least now I have some basic thoughts down. Something to consider, something to think about. More to come - stay tuned.
So what does this time of year mean to me?
Somehow, through all of the commercialism and materialism, the "true meaning of Christmas" has survived - it is a time for sharing, and a time for love. I find it interesting that a generous gift-giving holiday comes in the middle of Winter, the cycle of Death, but I suppose it's kind of appropriate. People want to escape the harsh environment and wish themselves warmth - physical and emotional. So while I don't necessarily believe in The Lord Our Savior Jesus Christ of Nazareth, or that he was born on Dec. 25 22BC, I do participate in the gift-giving ritual.
I'll have to ponder this a little further, but at least now I have some basic thoughts down. Something to consider, something to think about. More to come - stay tuned.
11.21.2009
Theatre for Real People
I don't want to do theatre for theatre people. I want to do theatre for everyone. It seems that in some of the places I've been recently, the same people go to all the same shows acted by the same groups of people to impress each other. I want to inspire, not show off. I want to invigorate, not impress. I want to do something new because the times are changing and we, as a society, need it - not to be flashy or edgy. I like flashy and edgy because it makes me think, not simply because it's shocking or . . . well, flashy and edgy.
I want to teach theatre. I want to get a fresh group of minds every few months and explain to them what theatre means to me. I want to infect an entire generation with the notion that theatre should be dirty, it shouldn't cost thousands of dollars to produce and be attended by those who can afford it. Those who need theatre the most often can't afford it - I grew up never being able to afford the theatre, and even the free stages around me weren't really "around" and required several different modes of public transportation to get to. Public transportation that cost more money than I had.
I had the extreme good fortune to work directly with Julian Boal at an intensive workshop at DePauw University. He told us a story that really stuck with me. Here's my attempt at a summary. There was a group of people being oppressed (creative already, huh?), and a troupe practicing Boal's Forum Theatre and tailoring their works specifically to the downtrodden workers. The troupe's finale involved the actors taking up guns against their oppressors and fighting back. The workers stood up and chanted with the actors, an act that was not only empowering to the workers, but the feeling on stage must have also been tremendous - as an artist, I would love to have a performance or piece of music inspire someone to action. However, when the performance ended, the workers wanted to actually take their tools and guns against the oppressors, and wanted the actors to fight with them. The actors were, needless to say, reluctant, and the workers, confused. What gave these actors the nerve to tell the workers that they should fight back if they weren't willing to fight with them?
This story got me thinking, as I'm sure was Julian's intention when relaying it to us. Why do theatre that I don't believe in? I'm not calling into question how passionately these actors felt about the situation - they took the time to travel, learn about the local concerns, and perform with and for them in a manner that those people weren't used to. But if they wanted to create change, why not back up word with action? Should actors be willing to take up guns in defense of something they believe passionately about?
That was an extreme example, but this is war. This is war against complacency, war against "high art." This is war against people dressing up in evening gowns and three-piece suits to see a magical tale of an ogre making fart jokes. This is war to tear down Broadway and make theatre accessible to those of us living below the national poverty line. This is the time of Rough Theatre. The Way We Live Now. Loosen your ties, untuck your shirts, kick off your heels, and prepare your mind to think about what it lets in between your ears. See a piece that pisses you off? Talk to the playwright, actors, directors - I'm sure they have plenty to say about what they do and why they do it. See a piece that inspires you? Grab a pen write letters to the politician nearest you who can get things done. See a piece that makes you laugh until you cry? Good. Feel something. And don't be afraid.
I want to teach theatre. I want to get a fresh group of minds every few months and explain to them what theatre means to me. I want to infect an entire generation with the notion that theatre should be dirty, it shouldn't cost thousands of dollars to produce and be attended by those who can afford it. Those who need theatre the most often can't afford it - I grew up never being able to afford the theatre, and even the free stages around me weren't really "around" and required several different modes of public transportation to get to. Public transportation that cost more money than I had.
I had the extreme good fortune to work directly with Julian Boal at an intensive workshop at DePauw University. He told us a story that really stuck with me. Here's my attempt at a summary. There was a group of people being oppressed (creative already, huh?), and a troupe practicing Boal's Forum Theatre and tailoring their works specifically to the downtrodden workers. The troupe's finale involved the actors taking up guns against their oppressors and fighting back. The workers stood up and chanted with the actors, an act that was not only empowering to the workers, but the feeling on stage must have also been tremendous - as an artist, I would love to have a performance or piece of music inspire someone to action. However, when the performance ended, the workers wanted to actually take their tools and guns against the oppressors, and wanted the actors to fight with them. The actors were, needless to say, reluctant, and the workers, confused. What gave these actors the nerve to tell the workers that they should fight back if they weren't willing to fight with them?
This story got me thinking, as I'm sure was Julian's intention when relaying it to us. Why do theatre that I don't believe in? I'm not calling into question how passionately these actors felt about the situation - they took the time to travel, learn about the local concerns, and perform with and for them in a manner that those people weren't used to. But if they wanted to create change, why not back up word with action? Should actors be willing to take up guns in defense of something they believe passionately about?
That was an extreme example, but this is war. This is war against complacency, war against "high art." This is war against people dressing up in evening gowns and three-piece suits to see a magical tale of an ogre making fart jokes. This is war to tear down Broadway and make theatre accessible to those of us living below the national poverty line. This is the time of Rough Theatre. The Way We Live Now. Loosen your ties, untuck your shirts, kick off your heels, and prepare your mind to think about what it lets in between your ears. See a piece that pisses you off? Talk to the playwright, actors, directors - I'm sure they have plenty to say about what they do and why they do it. See a piece that inspires you? Grab a pen write letters to the politician nearest you who can get things done. See a piece that makes you laugh until you cry? Good. Feel something. And don't be afraid.
11.17.2009
I'm feelin' alright
I'm feeling pretty good about things right now. I just got my U/RTA packet back and I can go ahead with preparing my auditions/interviews. I have a lot of writing to do, though: statements of intent/artistic philosophy for the Directing interviews, as well as script analyses (analysises? analysi?) for shows I've directed (read: show, singular, Rosencrantz and Guildenstern Are Dead). In addition to all that writing, I also have to do preparation of a Sound Design portfolio (which I'm still not sure exactly how to go about doing) and monologues to memorize and prepare. I have a few ideas, and I'm reading more and more. I have to read 5 or 6 plays to be familiar with enough to get through a design/implementation discussion, so maybe I'll find some monologues I like there. So far I've read all the Shakespeare that everyone wants to discuss, so I'll start reviewing that soon. Probably after the show ends in December.
Oh, yeah: I've been cast in an IndyFringe production of Sam Shepard's Curse of the Starving Class. I play Emerson, a thug who blows up a car at the end of the show. However, I'm also doing sound design and running the board, so hopefully that will pad my resume a bit.
In other news, I think I've finally decided to buy a new computer with which to do my sound production on. You know, that and everything I would use a computer for. But mostly sound. I bought a external optical drive today to get over frustrations with my Mac (not the Mac's fault, just unattentive college slobs' error). Getting it to work made me realize that I really do need a new computer, though. Ideally I would shell out the cash for a MacBook Pro, but the problem there is lack of said "cash" to shell out. So, I'm going to get a high-powered ultra-portable HP. I like the smaller screen size, and I've found one at The Hellmouth (read: Wal-Mart) that is an amazing deal for the specs: 1.6 GHz AMD processor, 320 GB 7200rpm HDD, 4 GB DDR2 memory . . . yeah. For right around $600. With my external drive, I will be a portable machine. I hope to utilize it first and foremost to make a kick-ass portfolio. Then maybe for playing a little Portal? Who knows?
Oh, yeah: I've been cast in an IndyFringe production of Sam Shepard's Curse of the Starving Class. I play Emerson, a thug who blows up a car at the end of the show. However, I'm also doing sound design and running the board, so hopefully that will pad my resume a bit.
In other news, I think I've finally decided to buy a new computer with which to do my sound production on. You know, that and everything I would use a computer for. But mostly sound. I bought a external optical drive today to get over frustrations with my Mac (not the Mac's fault, just unattentive college slobs' error). Getting it to work made me realize that I really do need a new computer, though. Ideally I would shell out the cash for a MacBook Pro, but the problem there is lack of said "cash" to shell out. So, I'm going to get a high-powered ultra-portable HP. I like the smaller screen size, and I've found one at The Hellmouth (read: Wal-Mart) that is an amazing deal for the specs: 1.6 GHz AMD processor, 320 GB 7200rpm HDD, 4 GB DDR2 memory . . . yeah. For right around $600. With my external drive, I will be a portable machine. I hope to utilize it first and foremost to make a kick-ass portfolio. Then maybe for playing a little Portal? Who knows?
11.15.2009
Encouragement in unlikely places
I work at a movie theatre. That entails a lot of the crap that you would think of when you think of working at a movie theatre . . . since I know all of you do that so often. I take out lots of trash, sweep up lots of other peoples' messes, and generally going around unseen. Or take tickets. Or work behind a concession counter. So, to keep myself sane, I sing. I sing a lot. People talk about me when I'm not around I sing so much. Like, "What do you think of Chris?" "Is he new?" "Yeah, he's the one who sings all the time." So, yeah.
Today, I'm singing "The Schmuel Song" from The Last 5 Years. I've been singing it particularly a lot lately because I'm considering working it up as an audition piece for grad schools. I walk into the break room at 1 AM after my shift singing the end. You know, "Have I told you today how lucky I am to be in love with you." I finish the song, and one of my coworkers looks up and says, "You know, you should be a singer. You're really good."
I love to sing, but I acknowledge that I'm not the best out there. I can carry a tune, find a pitch, and imitate good vocalists. But I would certainly not call myself one. This, however, encouraged me. While I may not be able to sound like a star on every song I sing, if I can do it on this one - WHICH I PLAN TO AUDITION WITH - life will be just a little bit easier for me. I think.
Today, I'm singing "The Schmuel Song" from The Last 5 Years. I've been singing it particularly a lot lately because I'm considering working it up as an audition piece for grad schools. I walk into the break room at 1 AM after my shift singing the end. You know, "Have I told you today how lucky I am to be in love with you." I finish the song, and one of my coworkers looks up and says, "You know, you should be a singer. You're really good."
I love to sing, but I acknowledge that I'm not the best out there. I can carry a tune, find a pitch, and imitate good vocalists. But I would certainly not call myself one. This, however, encouraged me. While I may not be able to sound like a star on every song I sing, if I can do it on this one - WHICH I PLAN TO AUDITION WITH - life will be just a little bit easier for me. I think.
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