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Reaching New Audiences from School to Career

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Reaching New Audiences from School to Career Volume LV Number 1 • Winter 2014 • $8.00 INSIDE: 2014 College, University & Professional Training Program Directory Reaching New Audiences Site-Specific Theatre: The Place Is the Thing Younger Artists ‘Make Theatre Happen’ From School To Career 10 Things Emerging Artists Need to Know ... BFA Design and theatre technology | BFA Production and stage Management Design Your Future BA theatre | BFA theatre Performance and Musical theatre Act now! Photo: 2010 Production of Machinal, by Sophie Treadwell, Directed by Heather May. Contact: C OLLEGE OF L IBERAL A RTS Department of Theatre Dr. scott Phillips, chair, Department of theatre tel [email protected] 334.844.4748 www.auburnuniversitytheatre.org www.auburn.edu | Auburn University is an equal opportunity educational institution/employer. PLAY WEST PLAY TRE HEA CO T M G PA W N U Y UWG THEATRE COMPANY Exceptional Training in a Professional Environment P LAY WEST NAST Accredited Bachelor of Arts Degree in Theatre UWG THEATRE OFFERS: • Access to professional theatre artists Call 678-839-4700 or • Access to industry standard software in theatrical sound, lighting, costume, e-mail [email protected] and scenic design • Performance and design opportunities starting in freshman year for more information. • Design lab, lighting lab, sound recording studio, large scene shop, and new costume shop www.westga.edu/~theatre • Internship programs (local, national, international) • Practical experience in all facets of theatrical production • Student scripts from playwriting course are produced in regular season • Student-directed and designed theatre productions • Conference participation and travel opportunities Department of Theatre • Strong alumni contacts CVolume LV Numberontents 1 l Winter 2014 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference Features Departments TIPS FOR THE MOVE FROM SCHOOL TO CAREER 8 10 Things Emerging Artists Need to Know 4 400 Words for Financial Survival Actors: Realize That You Are the CEO by Matthew Carlson of a Business 17 Beyond Finances: by Matt Davenport Look and Act Like a Professional to Succeed 6 Outside the Box: by Gay H. Hammond Design-Tech Solutions Flip This: Creating a Scene Change 21ST CENTURY THEATRE: REACHING OUT TO NEW AUDIENCES for Harvey 20 Turning Drama Upside Down by Justin P. Walsh and Younger Artists are ‘Making Theatre Happen’ Brent A. Menchinger by Connecting with People in Nontraditional Venues 36 Index to Volume LIV by Doug Schutte 24 Theatre for One Gaming Enthusiasts Create Play Similiar to Video Game Special Section Where Participants Influence the Action and Outcome by Joshua Crisp D-1 2013 SETC College, 26 Adult Puppet Theatre University & Training Professors Step Off the ‘Cliff of Creativity’ to Bring Their Program Directory Intimate, Salon-Style Plays to Living Room Audiences Find the right school for you in this by Tessa Carr comprehensive directory listing SETC member institutions and the degrees 28 Site-Specific Theatre they offer. Producers Take Plays into Real-World Settings (Special section begins after Page 18.) and Invite Audiences to Join Them for the Ride by David Wohl Cover This photo from Auburn University’s 2013 production of Matrix was chosen from 115 photos submitted by colleges and universities in our annual cover contest. Matrix, a dance and digital media work, was written and conceived by Fereshteh Rostampour, associate professor of lighting and set design at Auburn University, in collaboration with Karola Lüttringhaus, co-artistic director of A Fortiori and artistic director of Alban Elved Dance Company. Their design was selected for exhibition and competition at the September 2013 World Stage Design event in Cardiff, Wales, where it was nominated for Best Interactive and New Media Design. Lights, projection and animation design: Fereshteh Rostampour. Costume/sound design and choreography: Karola Lüttringhaus. (Photo by Luke Hunter; cover design by Deanna Thompson) Winter 2014 x Southern Theatre x 3 from Matt Davenport, Executive Producer/Creative Director, 400 Words Matt Davenport Productions, Inc., producer of 20-25 shows annually Actors: Realize That You Are the CEO of a Business ake up, actors, it’s time to get to Weekly: Attend an acting, dance or Public Relations: Protect and enhance work! You’ve got a business to run, vocal class. your business image. W the business of you! That’s right, you’re in Monthly: Attend a seminar, audition or Research and Development: Continue show business. You’ve spent a lot of time production. improving your core business (you!). getting your craft (your core product) Quarterly: Update and distribute your Accounting: Make wise business deals together. It’s time to make a business plan. picture/resumes. (contracts) and manage your expenses. Let’s start by designing and implement- Yearly: Become a part of a production, Office Manager: Keep a database of ing a step-by-step strategic plan. Every repertory theatre or company. contacts and send out pictures/resumes. successful business has a concise and 5-Year: Land that “dream job.” Win an Your talent is your core product, but it manageable plan. Remember, failure to industry award. will only get you so far. Developing and plan is a plan for failure. Your plan is your Regarding your personal show business, implementing a strong business plan can course of action to help you reach certain you are the CEO, so let’s assemble the team. assist you in getting and keeping great pro- obtainable or dream goals that have been At this point, you are each team member. fessional jobs. Lack of a plan can keep you determined by you. Begin by making a President: Make a short- and a long- from success. Wake up and get to work! n short- and a long-term business chart. You term business plan (see above). can use something as simple as the example VP/Operations: Implement this daily, Have an opinion you would like to share below: weekly and monthly work routine. with your colleagues on a topic related to theatre? Send your column of 400 words Daily: Practice your craft. Exercise and Marketing: Inform the world about or less to [email protected]. stay in good physical condition. your business (you!). History/Theory/Criticism Innovate. Create. Acting/Directing Articulate. PhD MFA MA For more information: Beth Scheckel - Graduate Admissions Coordinator Design [email protected] (806) 742-3601 ext. 236 Playwriting Dr. Mark Charney, Chair Performance & Pedagogy Theatre Arts Arts Administration 4 x Southern Theatre x Winter 2014 s o u t h e r n heatre FromFrom the the SETC SETC President President … TSETC EXECUTIVE DIRECTOR Betsey Horth EDITOR Deanna Thompson ADVERTISING Tracy Hall, [email protected] “What’s next?” These are words I constantly hear from students as they are BUSINESS & ADVERTISING OFFICE about to celebrate their graduation. In this issue of Southern Theatre, we provide Southeastern Theatre Conference advice to emerging professionals on making the transition from school to career. 1175 Revolution Mill Drive, Studio 14 Greensboro, NC 27405 In addition, we spotlight innovative ways and alternative settings where theatre 336-272-3645 W artists and companies are connecting with new audiences. PUBLICATIONS COMMITTEE We start with a look at a topic that is rarely taught in drama departments Sam Sparks, Chair, Independent Theatre Artist (KS) Jimmy Bickerstaff, Valdosta State University (GA) but is essential for the survival of theatre graduates: financial acumen. Matthew Annette Grevious, Claflin University (SC) Carlson of the Artists Financial Support Group (AFSG) suggests 10 key steps Denise Halbach, Independent Theatre Artist (MS) Scott Phillips, Auburn University (AL) that professional artists need to take in order to survive and even prosper in EDITORIAL BOARD their artistic careers. Gay Hammond, meanwhile, shares tips for developing Jesse Bates, Independent Theatre Artist (AL) and maintaining a professional image as you move from school to work. In our Sonya/Tim Bixler, Washington School/Delta Center Stage (MS) regular 400 Words column, producer Matt Davenport explains why performers Doug Brown, Florida School of the Arts Tessa Carr, Lees-McRae College (NC) must look at their careers as businesses. Larry Cook, University of North Georgia This issue also includes a comprehensive resource for students and their teach- H. Duke Guthrie, Valdosta State University (GA) Kendra Johnson, Clemson University (SC) ers as they look for the perfect place to begin or continue their study of theatre. In Jen Nelson Lane, Birmingham Children’s Theatre (AL) the center section of the magazine, you will find the 2014 SETC College, University Jerry Lapidus, Independent Theatre Artist (FL) Ray Paolino, University of Georgia & Training Program Directory, listing SETC member institutions and providing Scott Phillips, Auburn University (AL) details on the degrees they offer. Steve Willis, Bennett College for Women (NC) Where will today’s students find work in theatre? We take a look at some of Amile Wilson, Pippin & Maxx Arts and Entertainment (MS) the new directions that artists and companies are taking theatre. Doug Schutte PROOFREADERS Tracy Hall, SETC Communications and Marketing Coordinator describes how younger artists are creating new audiences for the art form by tak- Philip G. Hill, Furman University (SC) ing theatre to new places – from pubs to parks to dry cleaning shops – and often PRINTING involving the audience in the action. Joshua Crisp provides another example of Clinton Press, Greensboro, NC theatre that appeals to nontraditional theatre-goers – theatre for one, which in- NOTE ON SUBMISSIONS Southern Theatre welcomes submissions of articles pertaining corporates live-action, narrative game techniques. Meanwhile, Tessa Carr shares to all aspects of theatre. Preference will be given to subject the story of an intimate, adult puppet theatre presented in homes. Yet another matter closely linked to theatre activity in the Southeastern United States. Articles are evaluated by the editor and developing trend is the interest in site-specific theatre, which encompasses plays members of the Editorial Board. Criteria for evalua tion performed in a space related to the play’s environment rather than in a theatre.
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