Monday, May 30, 2005

The Old Professional Roles Email Forward:
Producer:
  • Leaps Tall Buildings In A Single Bound
  • Is More Powerful Than A Locomotive
  • Is Faster Than A Speeding Bullet
  • Walks On Water
  • Gives Policy To God
Director:
  • Leaps Short Buildings In A Single Bound
  • Is More Powerful Than A Switch Engine
  • Is Just As Fast As A Speeding Bullet
  • Walks On Water If The Sea Is Calm
  • Talks With God
Playwright:
  • Leaps Short Buildings With A Running Start
  • Is Almost As Powerful As A Switch Engine
  • Is Faster Than A Speeding BB
  • Swims Well
  • Is Occasionally Addressed By God
Actor:
  • Makes High Marks On The Wall When Trying To Leap Buildings
  • Is Run Over By Locomotives
  • Can Sometimes Handle A Gun Without Inflicting Self-Injury
  • Dog Paddles
  • Talks To Animals
Technicians:
  • Runs Into Buildings
  • Recognizes Locomotives Two Out Of Three Times
  • Is Not Issued Ammunition
  • Can Stay Afloat With A Life Preserver
  • Talks To Walls
Chorus member:
  • Falls Over Doorsteps When Trying To Enter Buildings
  • Says, Look At The Choo-Choo!
  • Wets Self With A Water Pistol
  • Plays In Mud Puddles
  • Mumbles To Self
Stage Manager:
  • Lifts Buildings And Walks Under Them
  • Kicks Locomotives Off The Track
  • Catches Speeding Bullets In Teeth And Eats Them
  • Freezes Water With A Single Glance
  • Is GOD

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Friday, May 27, 2005

An Audition Studio article about Types and Type-Casting.

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Wednesday, May 25, 2005

No Longer Will a Major LA Theater Company Sponsor Ethnic-Specific Programs:
The ax has fallen on Center Theatre Group programs designed to develop new plays and playwrights - including a cluster of labs that has been one of the most distinctive features of CTG's Mark Taper Forum for more than a decade.
Artistic director Michael Ritchie, who took the helm of Los Angeles' flagship theater company in January, is eliminating the Other Voices program for disabled artists - a Taper fixture since 1982 - plus the Latino, Asian American and African American labs established from 1993 to 1995
(from Los Angeles Times).

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Tuesday, May 24, 2005

Nicole Kidman's Knee - Or, how the insurance business runs Hollywood:
Insurance is not a word usually associated with the power and glory of Hollywood - at least not to outsiders. To insiders, especially those involved in the behind-the-scenes decisions of who will be the stars and what movies will be made, it connotes a sine qua non reality of the entertainment universe. After all, once the media dressing is stripped away, what is the New Hollywood about other than minimizing risk? The stars are no exception to this rule
(from Slate Magazine).

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Monday, May 16, 2005

When researching Hamlet, actors (and everyone else) will soon be able to find every piece of scholarship and criticism about the play, and then to link it, line by line, to the text in an online database called hamletworks.org (from The Chronicle of Higher Education). Hopefully, this web site will be even better than the Arden edition of Hamlet which, if it's like their editions of Shakespeare's other plays, has very good notes.

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Monday, May 09, 2005

2005 Tony Award Nominations have been announced.

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Sunday, May 08, 2005

Creating Theatre Addicts - the Benefits of the Arts:
Recently, the RAND Corporation released a report on the arts so surprisingly provocative that it caught the attention of not only arts administrators and foundation officers, but also the likes of the San Francisco Chronicle and the Wall Street Journal. Gifts of the Muse: Reframing the Debate About the Benefits of the Arts lobs a grenade into the well-stocked arsenal of most arts advocates and brandishes an alternative rationale. At the very least, the study has reignited intense debate about how best to articulate the value of the arts.
As the characters in the movie Reefer Madness, frequent arts participants need to encounter a gateway experience that makes them want more. Truly positive arts experiences, the study elaborates, must engage us, captivate us - mentally, emotionally and socially. Once hooked, frequent arts participants consider their chosen art form to be central to their own identity. Often this sense of identification is extended to a particular organization - a specific theatre, for instance. This is the type of deeply engaged patron every arts marketer, every artistic director, every theatre artist longs for
(by Brad Erickson from Theatre Bay Area).

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