Project #4: Unconventional Theatre

1. D.D.D.

by Kawaguchi Takao

http://www.kawaguchitakao.com/works/ddd.html

This piece has a minimal set consisting of a table with strings of lights hung above and around. All of the communication in the show is conveyed through the extemely agressive movement of the male human body and is enhanced with the agressive sounds of electric guitars. At one point in the show, the audience uses plastic transparent sheets to cover themselves in order to shield themselves from projectile mess (oil). Time is sped up and slowed down at any given moment; years go by in seconds.

2. Aftermath

by Uninvited Guests

http://www.uninvited-guests.net/aftermath/aftermath.htm

This show lasts about 6 hours long. The audience is invited to be close and intimate with the cast and performers as they cut clothing from each other and create injuries using make-up. With adding blood to the wounds, the bodies become surfaces maked by real and unreal violence. Acts of gentileness produce visual and emotional mayhem.

3. Too Much Light Makes The Baby Go Blind (TMLMTBGB)

by Neo-Futurists

http://www.neofuturists.org/index.php?option=com_content&task=view&id=20&Itemid=45

This show is only an hour long, but attempts to squish 30 mini plays in 60 minutes. The actors always appear as themselves and address the audience as so. Each of these 30 plays is written by actors in the show. As new material is added at random to the sequence, the menu of shows changes constantly week by week. This show is completely organic and no single performance can ever be reproduced.

4. Pay Up

by Pig Iron Theatre Company

http://www.pigiron.org/productions/pay-up

Audience members enter a warehouse where a loud voice from speakers invites them to choose "opportunities" or performances they can see by paying money. Eight different pieces are performed in cubicles throughout. The audience's interaction is essential to the experience about to take place. They must pick quickly, where they want to go in the labyrinth for time does not allow for all performances to be seen by one audience member. Viewers become close as well as removed from performances (i.e.: they view a one of the performances through peep holes).

5. Water Fools

by Ilotopie

http://www.ilotopie.com/gb/company/2006_water_fools.htm

Water Fools is performed in outside water environments that lay next to urban city environments. The performances utilize illogical machinery which, along with great lighting, music, and lots of fireworks, create brand new myths for the audience to see. Luminous aspects of the show create a whole new world within our natural surroundings.

Project #5: Teaching

Secondary Level

1. Requirements:

You must have a bachelor's degree from an accredited college or university. Texas institutions do not offer a degree in education. Every teacher must have an academic major, as well as teacher training courses. The only exemption from the degree requirement is for individuals seeking Career and Technology certification to teach certain courses, such as welding or computer-aided drafting.

-You must complete teacher training through an approved program. These programs are offered through colleges and universities, school districts, regional service centers, community colleges, and other entities.


-You must successfully complete the appropriate teacher certification tests for the subject and grade level you wish to teach.

2. Teaching Program: Sam Houston State University
Major: Theatre Arts
Minor: Art
http://www.shsu.edu/~cai_www/secondary.htm

Community Colleges

Adjunct - Drama Professor

Institution:
San Jacinto College
Location: Pasadena, TX
Category: Faculty - Fine and Applied Arts - Theatre and Dance
Type: Part-Time/Adjunct

Requirements: Master's Degree with at least eighteen (18) graduate hours in Drama.
Responsibilities: Teaching Drama.
Salary: Current approved adjunct rate.

http://www.higheredjobs.com/community/details.cfm?JobCode=175347158

Senior Colleges and Universities

Lectureship in Drama

Institution:
The University of Auckland
Location: Auckland, New Zealand
Category: Faculty - Fine and Applied Arts - Theatre and Dance
Application Due: 05/31/2009
Type: Full Time

An applicant should hold a PhD or equivalent, have a plan for active research, and be able to teach both academically and practically at Undergraduate and Postgraduate levels. Since some courses involve practical work, an ability to provide production assistance will be very useful. Specific areas of teaching expertise needed include a third year undergraduate course in contemporary drama and a second year course in the history of drama. There will be an opportunity to teach at least one postgraduate course in an applicant's specialist area. Applicants should supply the following: a full CV; a list of publications (including creative works, productions and performances); a complete teaching history; a statement of research interests; and an outline of a course in their specialist area for a postgraduate class.

http://www.higheredjobs.com/search/details.cfm?JobCode=175370229

Project #5: Graduate School

1. University of Connecticut / Connecticut Repertory Theatre

MFA Program

Actor-Training Philosophy: Although we do not rigidly conform to one method of actor training, our program is based on the core aspects of Konstantin Stanislavski’s theories, combined with useful applications of his work by practitioners such as Stella Adler, Uta Hagen, Robert Lewis, Peter Kass, Sanford Meisner and Michael Chekhov. Our head of performance training, Dale AJ Rose, studied with Hagen, Adler and Kass, and taught acting in New York City. In addition, Professor Rose’s approach to actor training is heavily influenced by dance and the theatrical movement styles of Le Coq and the Dell ‘Arte International School of Physical Theatre. He fosters techniques of mask and clowning that strengthen the actor to go beyond being an interpreter to being a creator of theatre. Suzuki technique continues to be part of the training and stimulates the actor’s dynamic connection to center. Our belief is that these theatrical movement techniques are a response to the psychologically driven techniques of Stanislavski, and will take the actor into the most exciting theatre of the 21st century.


2. University of Washington

MFA Program

Program of Study:
The primary focus of PATP training is to provide our actors with the practical tools and sensibilities to become effective, outstanding performers. Every student appears in at least five productions, a self written solo show and an original, small, ensemble production. Recognizing the challenges and opportunities of acting in film, television and digital media, we provide our students with screen acting, voice over and audition technique to prepare our graduates for work in all venues. We provide the means, equipment and professional expertise to make professional quality videos to showcase our students' talents. During the third year, classes and projects focusing on career and business are part of the curriculum. At the end of the third year we prepare a professional showcase for Seattle, Los Angeles and New York. Also, each actor in the program leaves with a professional quality audition “reel”.

Fun Fact: Seattle is #1 for the most arts-related businesses per capita in the U.S., and 21,025 residents work in arts-related businesses, ranking Seattle #3 in the nation.

3. University of Iowa / Iowa Summer Repertory

MFA Program

The MFA in acting at The University of Iowa is unique because of our emphasis on new work. Our mission is to train the actor of the future: an artist who understands and promotes the development of new theatre, and actively seeks opportunities to collaborate with other artists. Iowa is also recognized as a developing center for creative collaboration and is home to the premiere playwriting program in the United States. As such, our actors actively and consistently participate in the creation of original works. In addition to a rigorous training program in voice, movement, acting, and theatrical analysis; a wealth of performance opportunities; an outstanding faculty; and world class guest artists, our students are trained in methods of theatrical collaboration. The aim is to nurture the visionary actor-not a prop or a pawn, but a participant in the creation of a living event. In pursuit of this aim, we seek individuals who are socially conscious, personally disciplined, and hungry for new experience.

Project #5: The Profession

NON-UNION

1. DOG SEES GOD — OPEN Auditions
Red Door Theatre Company
New York, NY
http://www.actorsequity.org/CastingCall/browse_notice.asp?NoticeID=18699&NoticeType=1

Description:
Actors (m/f). See Breakdown for details. Set in a contemporary high school.
Actors should be 18+ playing late teens.

Matt:The jock. Handsome (hahaha jk), cocky, popular, a germophobe.

2. THE TRAGEDY OF KING LEAR — OPEN Auditions
Players Shakespeare / Gallery Players
Brooklyn, NY
http://www.actorsequity.org/CastingCall/browse_notice.asp?NoticeID=18674&NoticeType=1

Description:
SeekingActors (m/f). All roles open except Lear.
All minorities, types and ages encouraged to attend.
Shakespeare training and experience required.

UNION

1. Great Lakes Theatre Festival/Cleveland Play House
For the 2009-2010 Season
LORT Non-Rep
http://www.actorsequity.org/CastingCall/browse_notice.asp?NoticeID=18605&NoticeType=1

Description:
TWELFTH NIGHT by William Shakespeare. Roles available: Curio, Antonio, Valentine, Ensemble. All other roles are cast.

2. Actors' Shakespeare Project 2009-2010 — EPAs
Actors' Shakespeare Project
Cambridge, MA
http://www.actorsequity.org/CastingCall/browse_notice.asp?NoticeID=18705&NoticeType=1

Description:
A MIDSUMMER NIGHT'S DREAM. Director: Benjamin Evett1st rehearsal: December 1, 2009. Runs: January 2 – 31, 2010.
Available roles:
Lysander:a young man in love with Hermia, daughter of Egeus
Snug:a worker from Athens, part of the mechanicals
Starveling:a worker from Athens, part of the mechanicals
Theseus:The Duke of Athens
Hippolyta:Queen of the amazons, recently captured by and betrothed to Theseus