DOCSLIB.ORG

Planning a Showcase? Is Design in Your Future?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Planning a Showcase? Is Design in Your Future? Volume LIV Number 1 • Winter 2013 • $8.00 INSIDE: 2013 College, University & Professional Training Program Directory Planning a Showcase? Agents, Schools Share Best Practices Is Design in Your Future? Why You Need to Enter Competitions Beyond NYC and LA Explore Job Options in Regional Theatre 2 Southern Theatre Winter 2013 CVolume LIV Numberontents 1 l Winter 2013 l Southern Theatre – Quarterly Magazine of the Southeastern Theatre Conference Features 6 School Showcases Departments Are They the ‘Open Door’ to Acting Jobs? Should Your School Have a Showcase? 4 400 Words by Ray Paolino Stage Combat Develops Mind, Spirit as Well as Body Professional Perspectives by Robert W. Dillon, Jr. Interviews by Ray Paolino 7 Lynne Jebens, Agent, The Krasny Office, New York City 35 Thanks to our Advertisers 8 Steve Braun, Casting Director, Actor and Acting Coach, Los Angeles 11 Laura Maxwell-Scott, Agent, Collier Talent Agency, Austin, TX 36 Index to Volume LIII 12 Mark Redanty, Agent, Bauman Redanty & Shaul, New York City 14 Linda Gillum, Casting Director, Remy Bumppo Theatre, Chicago 16 Risa Bramon Garcia, Film/TV Casting Director, Los Angeles Special Section 18 Is Your Next Step Undergraduate or Graduate School? Apply Now for an SETC Scholarship to Help Pay for Your Education D-1 2013 SETC College, University & Training by Patrick Gagliano Program Directory 20 Designing a Career Find the right school for you in this Competitions Are the Key to Networking, Landing Jobs comprehensive directory listing SETC member institutions and the degrees by Doug Brown and Robert O’Leary they offer. Professional Perspectives (Special section begins after Page 18.) 21 Richard Pilbrow, Lighting Designer 22 Todd Rosenthal, Scenic Designer Cover 23 Jennifer Caprio, Costume Designer This photo of a scene from the Florida State 26 Beyond NYC and LA University School of Theatre production of William Inge’s Bus Stop was chosen from 160 photos Regional Theatre Offers Opportunities for Emerging, submitted by colleges and universities. Pictured Established Artists are (left to right) Jennifer Acker as Grace and Christopher M. Watson as Virgil. Director: Gavin 29 Michael Edwards: Making a Living in Regional Theatre Mayer. Costume designer: Julia Kosanovich. 30 Avenue Q ’s Jennifer Barnhart Enjoys Opportunity to Take Chances Sound designer: Zach Cramer. Lighting designer: in Regional Theatre Dan Kimble. Scenic designer: Robert F. Wolin. Technical director: Amy Schneider. (Photo by by Jen Nelson Lane Jon Nalon; cover design by Deanna Thompson; Photoshop work by Garland Gooden) Winter 2013 Southern Theatre 3 from Robert W. Dillon Jr., Professor of Theatre 400 Words Southeast Missouri State University, Cape Girardeau, MO Stage Combat Develops Mind, Spirit as Well as Body a m t i r e d o f skills, acting skills, movement skills, stage Proportion: the economics of energy; hearing – from combat skills and martial-combative skills hot, cold and cool feelings and movements; I students and teachers – that stage combat is – a skill-set of body, mind and spirit. Stage pushing and pulling; turning and entering; a skill. For one thing, it is a set of skills. For combat not only trains bodies, but also can the hard and the soft; the resistant and the another, stage combat, as author Ken Wilber sharpen minds and liberate passions. yielding; the solid and the fluid and the airy. would say, both transcends and includes Students also benefit when we share Learning stage combat can make stu- mere skill. Yes, an actor can and should with them the three aspects of combat and dent actors’ work better and their lives use stage combat skill in a pragmatic way, life stressed by the Renaissance martial arts richer. It has the potential to provide plenty but the practice has value beyond that use. masters: time, distance and proportion. of skills for “the work” while transcending Stage combat probed deeply melds Time: meshing the sense of the “right that worthy goal to become an element of history, culture, social studies, ethics, mo- moment” with the idea of change and “The Work” – of life, of art, of theatre, of rality and psychology. It explores mental movement in physics; measuring-sensing- acting and of being human. As big and and physical fitness. It uses techniques taking time; pace, tempo, rhythm and scary as that responsibility sounds to us borrowed from martial arts, adapted to tempo-rhythm. mere teachers, dare we, in this tired old theatrical art. At any one time, all or part of Distance: spacing and using space; world, want less? n this holon (a word coined by author Arthur extension, expansion, contraction, telescop- Koestler, suggesting a whole that is also a ing; bridging gaps, making gaps; negative Have an opinion you would like to share part of another whole) may be in play. space and positive; situation-incarnation- with your colleagues on a topic related to theatre? Send your column of 400 words I use stage combat to teach an inter- integration; relationship, otherness, to- or less to [email protected]. locked web of life skills, art skills, theatrical getherness. 4 Southern Theatre Winter 2013 s o u t h e r n heatre FromFrom the the SETC SETC President President … TSETC ExECuTivE DirECTor Betsey Baun EDiTor Deanna Thompson ADvErTiSiNG Judi Rossabi, [email protected] Thoughts, ideas and solutions – these are the tools we use as we search for the BuSiNESS & ADvErTiSiNG oFFiCE Southeastern Theatre Conference best techniques to perfect our craft. In this issue of Southern Theatre, we focus 1175 Revolution Mill Drive, Studio 14 on the next step for emerging professionals involved in that quest. We provide Greensboro, NC 27405 336-272-3645 students and educators with information and new ways of thinking about how PuBLiCATioNS CoMMiTTEE Tto move to the next level. Sam Sparks, Chair, Independent Theatre Artist (TX) We start with a hard look at the acting showcase, used at many schools to Jimmy Bickerstaff, Valdosta State University (GA) Annette Grevious, Claflin University (SC) give acting students an entry to the professional world. Ray Paolino explores the Denise Halbach, Independent Theatre Artist (MS) value of showcases, including what works and what doesn’t, based on a survey Scott Phillips, Auburn University (AL) of schools. He also asked agents and casting directors to weigh in with their EDiToriAL BoArD Jesse Bates, Independent Theatre Artist (AL) thoughts on showcases. Sonya/Tim Bixler, Washington School/Delta Center Stage (MS) For students in design and technical fields, there’s a showcase of sorts, too Doug Brown, Florida School of the Arts – the design competition. Doug Brown and Robert O’Leary explain why every Tessa Carr, Lees-McRae College (NC) Larry Cook, Gainesville State College (GA) design-technical student should enter design competitions and how these events H. Duke Guthrie, Valdosta State University (GA) can help them find jobs. Three designers add their insights on why to compete Kendra Johnson, Clemson University (SC) Jen Nelson Lane, Alabama Shakespeare Festival and what makes a winning entry. Jerry Lapidus, Independent Theatre Artist (FL) Whether they are majoring in acting or design-tech, theatre history or stage Ray Paolino, University of Georgia Scott Phillips, Auburn University (AL) management, students need one key ingredient to keep moving forward: money Richard St. Peter, Texas Tech University to pay the tuition bills. Patrick Gagliano outlines the more than $20,000 in scholar- Steve Willis, Bennett College for Women (NC) ships available through SETC to help students pursue theatre degrees. Amile Wilson, Pippin & Maxx Arts and Entertainment (MS) Students and their teachers will find further help in the center section of the ProoFrEADErS Judi Rossabi, SETC Communications and Marketing Manager magazine, where we provide a comprehensive resource for selecting a school: Philip G. Hill, Furman University (SC) the 2013 College, University & Training Program Directory, listing SETC member PriNTiNG institutions and details on the degrees they offer. Clinton Press, Greensboro, NC When emerging professionals set out in search of that first job, many automati- NoTE oN SuBMiSSioNS Southern Theatre welcomes submissions of articles pertaining cally navigate to New York or Los Angeles and become part of a sea of new faces to all aspects of theatre. Preference will be given to subject seeking work. An alternative that many miss? Regional theatre. Jen Nelson Lane matter closely linked to theatre activity in the Southeastern United States. Articles are evaluated by the editor and explores the opportunities available in regional theatre for artists from actors to members of the Editorial Board. Criteria for evalua tion stage managers – and from emerging professionals to established artists. An actor include: suitability, clarity, significance, depth of treat ment and accuracy. Please query the editor via e-mail before who has spent his entire career in regional theatres tells his success story, and sending articles. Submissions are accepted on disk or via a Broadway veteran shares why she works part of the year in regional theatre. e-mail. Stories should not exceed 3,000 words. Color photos This issue also includes our regular “400 Words” column, in which Robert (300 dpi in jpeg or tiff format) and a brief identification of the author should accompany all articles. Please note W. Dillon, Jr., urges educators to view stage combat work as training not just for any photos, disks and other materials to be returned and the stage, but for life as well. include SASE. Send stories to: Editor, Southern Theatre, 1175 Revolution Mill Drive, Studio 14, Greensboro, NC 27405. Within these pages, you will find thoughts, ideas and solutions that will en- E-mail: [email protected]. able you or someone you know to work and succeed in the theatre business. I Southern Theatre (ISSNL: 0584-4738) is published quarterly hope you relish your time with this issue of Southern Theatre! by the Southeastern Theatre Conference, Inc., a nonprofit organization, for its membership and others interested in theatre in the Southeast.
Load more

Recommended publications
  • Guide to the Huron Playhouse Records UA.0091
    Guide to the Huron Playhouse records UA.0091 This finding aid was produced using ArchivesSpace on June 12, 2019. English Describing Archives: A Content Standard Center for Archival Collections Guide to the Huron Playhouse records UA.0091 Table of Contents Summary Information .................................................................................................................................... 3 Biographical / Historical ................................................................................................................................ 3 Scope and Contents ........................................................................................................................................ 4 Administrative Information ............................................................................................................................ 5 Controlled Access Headings .......................................................................................................................... 5 Collection Inventory ....................................................................................................................................... 6 - Page 2 - Guide to the Huron Playhouse records UA.0091 Summary Information Repository: Center for Archival Collections Creator: Huron Playhouse (Huron, Ohio) Source: Huron Playhouse (Huron, Ohio) Title: Huron Playhouse records, 1946-2018 ID: UA.0091 Date [inclusive]: 1946-2018 Physical Description: 32.56 Cubic Feet 62 archive boxes, 12 oversize boxes Language of the
    [Show full text]
  • 2 21 SEASON MAINSTAGE: April 28 - May 23
    THE LEGACY THEATRE 2 21 SEASON MAINSTAGE: April 28 - May 23 Just Desserts A Musical Bake-Off 1 130 Shore Dr. Branford, CT 06405 (203) 315-0005 rossovino.net A Proud Supporter of Legacy Theatre Broadway bEATS 2 THE LEGACY THEATRE Stony Creek, CT Producing Artistic Director KEELY BAISDEN KNUDSEN presents Just Desserts A Musical Bake-Off Music by BRAD ROSS Book and Lyrics by BARBARA CAMPBELL with ALYSSA BIANCA MARY ANN FRANK JIMMY JOHANSMEYER SUSAN KULP PERRY LIU MARY MANNIX Light/Set Designer JAMIE BURNETT Costume Designer ELIZABETH BOLSTER Props Designer CALLIE LIBERATOR Sound Designer LOUIS IGOE Technical Director RICH BURKAM Company Manager LAUREN SALATTO-ROSENAY Stage Manager SARAH PERO Music Director DAVID BELL Directed by BERT BERNARDI The videotaping or making of electronic or other audio and/or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law. For more information, please visit: concordtheatricals.com/resources/protecting-artists JUST DESSERTS is produced by special arrangement with Mark Orsini, BRET ADAMS, LTD., 448 West 44th Street, New York, NY 10036. www.bretadamsltd.net 3 The Company (in alphabetical order) ALYSSA MARY ANN JIMMY BIANCA FRANK JOHANSMEYER SUSAN PERRY MARY KULP LIU MANNIX Cast (in order of appearance) Zack/Donny . JIMMY JOHANSMEYER Emma . ALYSSA BIANCA Brandy . MARY MANNIX Lou . PERRY LIU Jean . SUSAN KULP Mildred . MARY ANN FRANK Voiceover . JASON GERMAINE PLACE: An Auditorium at a County Fair TIME: Late Saturday afternoon in Summer JUST DESSERTS WILL BE PERFORMED WITH AN INTERMISSION 4 Scenes & Musical Numbers ACT ONE Scene 1: Onstage “Just Desserts” .
    [Show full text]
  • Southern Comfort
    FROM THE NATIONAL ALLIANCE FOR MUSICAL THEAtre’s PresideNT Welcome to our 24th Annual Festival of New Musicals! The Festival is one of the highlights of the NAMT year, bringing together 600+ industry professionals for two days of intense focus on new musical theatre works and the remarkably talented writing teams who create them. This year we are particularly excited not only about the quality, but also about the diversity—in theme, style, period, place and people—represented across the eight shows that were selected from over 150 submissions. We’re visiting 17th-century England and early 20th century New York. We’re spending some time in the world of fairy tales—but not in ways you ever have before. We’re visiting Indiana and Georgia and the world of reality TV. Regardless of setting or stage of development, every one of these shows brings something new—something thought-provoking, funny, poignant or uplifting—to the musical theatre field. This Festival is about helping these shows and writers find their futures. Beyond the Festival, NAMT is active year-round in supporting members in their efforts to develop new works. This year’s Songwriters Showcase features excerpts from just a few of the many shows under development (many with collaboration across multiple members!) to salute the amazing, extraordinarily dedicated, innovative work our members do. A final and heartfelt thank you: our sponsors and donors make this Festival, and all of NAMT’s work, possible. We tremendously appreciate your support! Many thanks, too, to the Festival Committee, NAMT staff and all of you, our audience.
    [Show full text]
  • Mactheatre Theatre Departme
    Think You Need A BFA? ................................................................................................................... 3 Is a BFA Degree Part of the Recipe for Musical Theater Success? ................................................. 7 A Little Quiz ................................................................................................................................... 12 Broadway's Big 10: Top Colleges Currently Represented on Currently Running Shows .............. 14 Monthly College Planning Guide For Visual & Performing Arts Students. ................................... 18 Theatre and Musical Theatre College Audition Timeline in a Nutshell ........................................ 48 Gain An Edge Over The Summer ................................................................................................... 50 6 Keys To Choosing The Perfect College For The Arts. ................................................................. 53 The National Association for College Admission Counseling Performing and Visual Arts Fairs in Houston & Dallas. ......................................................................................................................... 55 Unifieds ......................................................................................................................................... 58 TX Thespian Festival College Auditions......................................................................................... 68 Theatre College-Bound Resource Index. .....................................................................................
    [Show full text]
  • January 2018 :: Sightlines :: USITT
    January 2018 :: Sightlines :: USITT January 2018 Print this page › NEWS & NOTICES: Tweet Share Lead story › Member Spotlight: Mark Putman Member Spotlight: Mark Putman Fellows of the Institute Q&A with production manager and sound designer for Missouri State University and member of USITT’s Heart of America Regional Section, The Green Scene Mark Putman... more » 2018 Student Ambassador Mentors New Fellows AIDS Memorial Quilt USITT will induct three new Fellows into the Institute at USITT 2018 in Fort Lauderdale: Dan Culhane, Travis De Castro, and Susan Tsu... Tri-Annual Art Auction more » In Memoriam: Doris Siegel, David William Weiss The Green Scene Announcements Dathan Powell focuses on the work of young artists who recognize the prospect of sustainable theatre making an impact in disciplines other INTERNATIONAL: than our own... more » PQ 2019 Design Exhibit Winners Student Ambassador International Guests 2018 NEWS FROM: Three international guests will join select student ambassadors in Fort Executive Director Lauderdale to bring a global perspective to USITT 2018... more » Spotlight on Giving: Tammy Honesty AIDS Quilt Information President Do you know any of these names? Help complete this memorial by providing bios and anecdotes to be featured in TD&T... more » LAST WORD: Conference Deadline Is Tri-Annual Art Auction and Garage Sale at USITT 2018 Coming! Have artwork or books that are collecting dust at home? Consider FOR THE RECORD: donating them to the Tri-Annual Art Auction and Garage Sale for others Leadership to enjoy... more » Contributing Members PQ 2019 Design Exhibit Winners Sustaining Members Winners of the 2019 Prague Quadrennial Design Exhibit are announced..
    [Show full text]
  • Playbill 2017
    PLAYBILL ALPHA PSI OMEGA DELTA PSI OMEGA Alpha Psi Omega Delta Psi Omega Chapters in Action Scholarship Winners 2017 History of Alpha and Delta Psi Omegas In the early twentieth century, interest in the dramatic arts grew tremendously on college and university cam- puses. By 1920, most colleges had a dramatic organization staging plays annually for the campus and the com- munity at large. Also around this time, little theatre productions and dramatic workshops began taking place. This furthered the interest in theatre on campuses everywhere, especially in the western part of the country. At this time, several honororary groups were formed to recognize and reward exemplary student participation in those productions. In 1921, at Fairmont State College in Fairmont, West Virginia, college theater took root. A faculty director was hired in 1923, and the Masquers were formed. The Masquers were charged with presenting a season of 4 to 5 major productions per year for students and the general public. In 1924, the Masquers began searching for a na- tional honorary organization to join. As there was no truly national organization, Elinor B. Watson, Robert Sloan, and Fairmont faculty director Paul F. Opp researched forming such a national organization. As a result of their research and work, a proposed national constitution was drawn up, and, on August 12, 1925, the first cast of Alpha Psi Omega members, drawn from the Masquers, was initiated. It was then decided that each chapter was to be called a "cast," and Fairmont College became the Alpha Cast. Soon after, Marshall Col- lege in Huntington, West Virginia, expressed interest in chartering a cast of Alpha Psi Omega; they founded the Beta Cast.
    [Show full text]
  • Musical Theatre in the Mountains: an Examination of West Virginia Public Theatre’S History, Mission, Practices, and Community Impact
    MUSICAL THEATRE IN THE MOUNTAINS: AN EXAMINATION OF WEST VIRGINIA PUBLIC THEATRE’S HISTORY, MISSION, PRACTICES, AND COMMUNITY IMPACT. David S. Sollish A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2010 Committee: Michael B. Ellison, Advisor Elaine J. Colprit Graduate Faculty Representative Jonathan L. Chambers Ronald E. Shields ii ABSTRACT Michael B. Ellison, Advisor The purpose of this study was to examine the ways in which a professional theatre can impact its community and to provide useful suggestions for young producers hoping to start their own theatre. By using the West Virginia Public Theatre as a case study and by examining its three-part mission (to entertain, to educate, and to improve the quality of life), this study highlights both effective and ineffectual practices conducted by the theatre, its administration, and its staff to ascertain the efficacy of that mission. Furthermore, the numerous voices stemming from my personal interviews with a cross-section of the community have served as a principal source of data from which to analyze the theatre’s impact on the blue-collar, sports- focused society of North Central West Virginia. West Virginia Public Theatre was established in 1985 and since has grown to be a reputable summer stock company. Modeled on the Pittsburgh Civic Light Opera, West Virginia Public Theatre has developed from a small, unknown theatre performing in a parking lot tent to a well-respected summer stock theatre with aspirations of further developing into a regional company.
    [Show full text]
  • 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
    [Show full text]
  • University of Northern Colorado School of Theatre Arts and Dance Student Handbook 2018
    University of Northern Colorado School of Theatre Arts and Dance Student Handbook 2018 -2019 2 Table of Contents Introduction • Letter from the School Director .................................................................................................... 6 • Inclusion and Mission Statements ................................................................................................. 7 • Faculty ......................................................................................................................................... 8 • Staff ............................................................................................................................................. 16 School Policies and Procedures • Code of Ethics .............................................................................................................................. 19 • Faculty and Student Relations ...................................................................................................... 19 • Class Obligation and Attendance Policy ....................................................................................... 20 • Probation, Expulsion, and Production Eligibility Policies and Procedures ..................................... 20 • Program Requirements ................................................................................................................. 21 • Advisors and Advising.................................................................................................................. 18 o Appeals ............................................................................................................................
    [Show full text]
  • Term One 2016
    TERM ONE 2016 WOW – we are definitely full steam ahead. Department reviews of last year’s results, assessment calendars, swimming sports and athletics, rehearsals for productions, introducing new units to name a few things we are up to. 2016 is full of opportunities for Drama NZ Members. Your branch committees are meeting and planning. The National Executive are planning our 2016 workshop series, the DNZ PAT Project team are planning and creating, the Wellington branch are busy organising the Annual conference. Finally do not forget it is time to renew your membership – the easiest way is via the website – this means paying by paypal….it may be easier to do it yourself and claim back from your school. And as always remember Drama NZ is here for you…..if you have ideas or need support contact us now…… 2015 DRAMA NZ NATONAL EXECUTIVE: Drama NZ website: www.drama.org.nz Drama NZ email: [email protected] President: [email protected] Drama NZ Facebook: Emma Bishop -- Saint Kentigern College, AKLD https://www.facebook.com/pages/DramaNZ/182 928978490756 Vice-President: [email protected] Drama NZ: the Primary Edition Facebook: Charles Bisley – Kelburn Normal Primary School, WGTN https://www.facebook.com/groups/8185480349 00707/ Secretary: [email protected] Jo Matheson – Newlands College, WGTN DNZ Northland Facebook: https://www.facebook.com/groups/33144490031 Treasurer: [email protected] 5666/ Teresa Callaghan – Green Bay High School, AKLD DNZ Auckland Facebook: https://www.facebook.com/groups/51352323879
    [Show full text]
  • Jennifer Barnhart Has Been a Puppeteer on Sesame Street for 13 Seasons, Playing Such Diverse Characters As Grandma Snuffleupagus, Mama Bear, and Gladys the Cow
    Jennifer Barnhart has been a puppeteer on Sesame Street for 13 seasons, playing such diverse characters as Grandma Snuffleupagus, Mama Bear, and Gladys the Cow. She is thrilled to be the new performer (as of Season 46) for Zoe, created by the legendary Fran Brill. Jennifer is also honored to be one of the puppeteers for Raya, a Sesame International character. In addition to Sesame Street, Jennifer has worked on a host of other children's television programs, including Johnny and the Sprites, Bear in the Big Blue House, Oobi, The Book of Pooh, and Lomax: The Hound of Music. Jennifer created the role of Cleo on the multiple Emmy Award- winning PBS show Between the Lions. Jennifer was part of the Original Broadway Company (Outer Critics Circle Award for Best Ensemble) of the Tony Award-winning musical Avenue Q. She is a puppet consultant/coach for many regional and university productions of Avenue Q, and she directed a production of it for the Adirondack Theatre Festival. Foavorite theatrical roles include Lady Macbeth, General in King Lear, Mistress Quickly in The Merry Wives of Windsor, Mrs. Cratchit in A Christmas Carol, Veronica in God of Carnage, and Officer Randy in Superior Donuts. In NYC, Jennifer has performed at The Vineyard Theatre, the Union Square Theatre, HERE, Gallery Players, and LaMAMA, ETC. Regionally, she has played at Alabama Shakespeare Festival, The Arden Theatre, Goodspeed Opera House, and CT Repertory Theatre. She has been on As the World Turns as well as a few turns on Law & Order: SVU (playing a puppeteer in one appearance).
    [Show full text]
  • „ES GEHT IMMER Um Künstler Und Zuschauer“
    T h e m a Bau und Be T r i e B KARIN WINKELSESSER „E S GEHT IMMER uM KüNSTLER uND ZuSCHAuER“ Richard Pilbrow über seine Karriere als Lichtgestalter und Theaterplaner Vor mehr als 50 Jahren wollte BTR: Richard, du hast einen internationalen allerdings sehr enttäuschend. In meiner Ju- Ruf als Lichtgestalter, aber auch als Grün- gend hatte ich Edward Gordon Craig gele- Richard Pilbrow mit Licht ar- der des Planungsbüros „Theatre Projects“ sen, und der beschrieb die Inspizienten als erlangt. Deine Karriere hast du als Lichtge- Meister der Theaterkunst und -technik! Ich beiten. Er hat wesentlich dazu stalter begonnen. Der Weg von der Licht- arbeitete in zwei Shows, und alles, was ich zur Theaterplanung war konsequent, aber es zu tun hatte war, in der Ecke zu stehen und beigetragen, den Beruf des Licht- war ein langer und kurvenreicher Weg. Du einen Knopf für die nächste Sequenz zu hast Handbücher über Lichtgestaltung ver- drücken. Dies hatte nichts mit dem zu tun, gestalters zu begründen. Dafür öffentlicht, und jetzt wurde dein neuestes was ich vom Theater erwartete! Ich war sehr Buch vorgestellt: „A Theatre Project“. Dies erhielt er jetzt den Ritterschlag enttäuscht und verzweifelt. Mein Hobby in ist eine Kombination aus persönlicher und der Schule war schon Beleuchtung gewesen, als „Knight of Illumination“. beruflicher Autobiografie. Weiterhin geht aber damals, 1956/57, gab es in England es darin auch um die Prinzipien der Thea- den Beruf eines Lichtgestalters noch nicht. Gleichzeitig explodierte der Bau terplanung, die du im Laufe der Jahrzehnte Das wurde vom Elektriker gemacht. Ich las entwickelt hast. Dieser „Richard Pilbrow dann ein Buch über amerikanisches Thea- von Opernhäusern und Thea tern Almanach“ ist eine exzellente Gelegenheit, ter, wo sie genau diesen Beruf beschrieben, die Entwicklung des Berufes „Lichtgestal- Lichtgestalter.
    [Show full text]