Abolish Undergraduate Art Majors

November 3, 2008 by dennisbaker 

Article Review
“A Modest Proposal” by Tony Kushner, American Theatre, January 1998
Keynote address to Association of Theatre of Higher Education Conference

I don’t think you earn your income as an artist to be an artist. But if you are an artist, the artist is what you do, whether or not you’re paid for doing it; it is what you do, not what you are. I regard artist not as a description of temperament but as a category of profession, of vocation. What we call education in the arts is mostly training; it is, in fact vocational training.

This being the year of my ten-year high school reunion I could not help but look back to see what has become of my twenty-eight years of living. While the creation of social media outlets like facebook and myspace allows one to easily connect with people from the past, one’s ideals, hopes and goals of days gone might not so easily within reach.

The summer before my senior year in high school I just had been through a “mountain-top” experience at the two-week seminar for high school juniors at the Oregon Shakespeare Festival. With all the passion and drive of a hormonal seventeen year old, I was ready to enter my senior year and begin my life devotion to the theater. I quit the basketball team to assistant direct the one play that was produced that year and pursued acting and auditioning outside of school.

That January I read the article “A Modest Proposal” by Tony Kushner published in the American Theatre magazine. I was floored by his premise to abolish all undergraduate art majors. Being from a small town in central California, where the cows at times out numbered the people and my total graduation class was a couple of hundred students, I thought maybe this was crazy east coast, liberal arts ideals rearing its ugly head. As I read the article I grew to appreciate the ideas Kushner proposed, specifically the desire for young artists to receive an education and not merely vocational training. I wished I could say I followed his advice, but I fell into the trap of training. I moved to Los Angeles so I could get an undergraduate degree in communication and theater. Like many students I thought it was the best situation. I was able to get a degree, study theater and pursue acting in Los Angeles. Many good things came from that decision, a beautiful wife, life long friends and studying with some great mentors, but looking back I wonder if I sacrificed formative years of education at the alter of vocational training. As I pursue a graduate degree in theater education I decided to re-read Kushner’s article to see what has changed, if anything. Undergraduate art majors are growing more than ever so what can be taken away from the article now?

Kushner’s proposal is simple: abolish all undergraduate art majors. His thesis is wrapped in the idea that the institutions have exchanged education for vocational training, “since the undergraduate arts majors mill is almost as profitable for cash-strapped institutions of higher learning as pesticide development and biochemical warfare research, certainly considerably more profitable than liberal arts departments”. Colleges and universities main goal is to make money and with so many people wanting to pursue the arts, the schools are going to go where the money is flowing. What college would deny eighteen year old students the “right” to pursue a major in theater, visual arts, writing, filmmaking, photography or musical composition? According to Kusher, schools that elevated education over training. “Education, as opposed to training, I think, addresses not what you do, or will do, or will be able to do in the world. Education addresses who you are, or will be, or will be able to be.”

How is one supposed to study to be an artist? Vocational training in of itself is not bad. The article points out there are many graduate programs, conservatories and private schools in all major cities that will be happy to take your money for exchange in how to make it in the profession. Seventeen through twenty-one year old undergraduate students don’t need vocational arts training, they need an education. “Think of the liberal arts, in other words, as meta-Acting Training for Life.”

Kusher continues, “The vocalization of the liberal arts undergraduate education echoes the loss in the world at large of interest in the grand dialectic of life, in all dialectics, in breadth, in depth, in thinking as a necessary luxury, in the Utopian.” Jill Dolan in her book Utopia in Performance: Finding Hope at the Theatre and in her speech to the Association for Theatre in Higher Education entitled “Unhappy Thespians: A Manifesto on Training Theatre Students” continues where Kushner left off. She is a practioner of the idea that education should be the focus and models this at Princeton University where the school’s motto of arts education seems to echo what Kushner recommends.

Believing that the best training for a career in the theater is a broad-based liberal arts education, Princeton does not have a concentration in Theater. Instead, we offer a certificate in Theater and encourage students, should they have the inclination, to make connections in their artistic work between their fields of concentration and their love of the theater. The program offers the kinds of courses and co-curricular activities that will allow the student, upon graduation, to move into the best graduate conservatories to pursue advanced training in playwriting, acting, directing, design, stage management, and dramaturgy. But most students who take courses in the program do not elect to enter the certificate program; they simply enroll in the courses that interest them. Students with a particular interest in and commitment to the arts, however, may want to obtain the program certificate.

This mindset seems to be echoed in the work of Dr. Scott Walters in the writings of his blog Theatre Ideas and his work at University of North Carolina-Asheville. In a recent post he describes the sympathy for the students in trying to embrace this type of arts education.

And so when they arrive in a class like Dolan’s, or in my own, they revolt against the attempt [from teachers] to encourage them to think, to develop their own ideas, their own beliefs, and develop them as part of a rich conversation that has been ongoing for 2500 years — because they know that it is a lie; that once they leave that particular classroom, they will once again be forced to erase themselves. Why go through the pain of developing as a unique individual when one must rejoin the masses again in order to survive, to be cast? I have sympathy for them, because they have been told that there are no alternatives, and those who have revolted against those limited opportunities by college have self-selected themselves into other departments, other field of endeavor.

In a undergraduate performing arts program the mentality is to shape the curriculum based on the industry. The problem is that colleges and universities are not supposed to be extensions of the entertainment industry, but rather they are to produce what Dolan calls artist-citizen-scholars. Artists that question society and through their art speak for those that do not have a voice. Instead performing art students are trained to accept the fact that they are viewed by all in the industry as an equivalent of a coke can, a product that is to make money for agents, managers, producers, advertising firms and production companies and if they are lucky have some money left over for themselves.

As Kushner pointed out ten years ago, “I can say let’s get rid of it and we don’t have to worry that anything will actually happen.” The same holds true now. As long as it makes money the schools will not get rid of undergraduate art majors or offer sufficent alternatives. As an educator what can I hope for is that there will be more teachers like Dolan and Walters who try to change the system from within. Teachers who show the students an alternative so that one or two might see the current form of arts education as a facade and that an education that can truly benefit an artist is much bigger and broader than what is currently being offered. How is this specifically to be done? Kushner’s suggests, “What I would hope you might consider doing is tricking your undergraduate art major students. Let them think they’ve arrived for a vocational training and then pull a switcheroo. Instead of doing improv rehearsals, make them read The Death of Ivan Illych and find some reason why this was necessary in learning improv.”

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Filed under: Acting, Auditioning, NYU Steinhardt, Teaching, Theater/Theatre
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Win Copies of Milton Katselas’ “Acting Class: Take a Seat”

October 17, 2008 by dennisbaker 

We know you just love the chance to win something, so here at DENNIS BAKER LLC we want to start rewarding our loyal readers.
milton katselas acting class
The first giveaway is of Milton Katselas new book Acting Class: Take a Seat. I try to only giveaway books that I’ve read and would actually recommend. I have began to read it and do enjoy it, a full review will be coming soon.

“Previously only available to Katselas’ students at the prestigious Beverly Hills Playhouse, Acting Class presents the concepts and methods that have helped lead a generation of actors to success on stage, in cinema, and on television. Now for the first time, this all-encompassing book is available to the general public, taking readers and sitting them in the legendary acting class of Milton Katselas, where he not only covers techniques and methods, but also includes valuable discussions on the attitude any artist needs to fulfill his or her dream.”

Now you know you want to win it, right? Good, because we have 2 copies to give away!

How to enter this contest? Simply leave a comment below and we’ll randomly pick 2 winners (deadline for entry is 6pm ET Friday, Oct. 24th).

That’s all you need to do! And, if you’re not a lucky winner, you can be a winner anyway by picking up a copy of Acting Class: Take a Seat for yourself.

Filed under: Acting, Auditioning, Books, Film, Los Angeles, Teaching, Theater/Theatre
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No Audition Class for Rutgers Graduate Acting Students

September 24, 2008 by dennisbaker 

The Rutgers graduate acting program is not supplying its third year students with an auditioning teacher.  The teacher for the course went on sabbatical and the administration decided not to pay for a replacement. A student brings in audition material to perform and the other classmates critique it.  Most of these classmates have no professional acting or audition experience. And they are paying for this?

How can this be okay in an MFA acting program. The big sell of these programs is that they will prepare you for the professional life of an actor. Last time I checked the major component of an actor’s life is auditioning. Actors audition far more than they are actually hired to perform. This is completely baffling. How is Rutgers expected to be taken seriously as an graduate MFA acting program when the administration is not willing to pay for a teacher to help in such an essential component of an actor’s career? As prospective students begin to research acting programs for auditions at the end of the year/beginning of next year I hope they highly question attending (and paying) an institution who is not willing to put resources into such an important aspect of an actors training.

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Free Acting Seminar in Los Angeles

August 22, 2008 by dennisbaker 

Friend and teacher Mick Montgomery is holding a free acting seminar on Saturday, August 30th from 2-6pm at the Actors Workout Studio in North Hollywood.  If you are reading this from Los Angeles, I highly recommend it!  You can click on the image to enlarge it or read the details below.

The title of the seminar is “Discover the Actor You’ve always wanted to be!”

The class will include a discussion on discovering who your inner actor is and will feature an introduction to the Meisner Acting Technique as taught @ the Actors Workout Studio. This is not a sit down and listen to someone talk for four hours seminar. It’s an active and fun class designed to get you rooted in your body.

Space is limited so sign up today! You can call 310.754.9121 for any questions about the seminar. Also, feel free to send this to any acting friends who may be interested in attending.

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Filed under: Acting, Auditioning, Los Angeles, Theater/Theatre
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Audition with Liz Ortiz-Mackes

March 19, 2008 by dennisbaker 

Casting Solutions and Liz Ortiz-Mackes called me in today for an audition for the play The Infinite Ache. What was great was she called me in from seeing me read at the NYCAP held by the Screen Actors Guild. I followed up with a thank you postcard and a couple of weeks later they called. I thought that was pretty awesome and was excited to see it all work out. I thought the audition went okay at best. I felt a little flat and tried to pull myself out of it. It is something that can happen in auditions. In the middle of the scene you sense that it is not going well, which can throw you off, and you spend the rest of the audition trying to re-connect. No excuses and time to move on. Still I am glad I had the opportunity and I am excited that it a workshop led to an audition!

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NYCAP & Baltimore Shakespeare Festival

February 29, 2008 by dennisbaker 

I attended my first New York Casting Access Project (NYCAP) that is run by the Screen Actors Guild Foundation. It is free casting workshops for SAG actors to meet and read for New York casting directors. Liz Ortiz-Mackes from Casting Solutions was the casting director at this workshop. She has a great, positive energy. It was great to interact with industry again and meet positive people. She had some great things to say and what I held onto was the idea than an actor needs to be inspired for their work to be inspiring. So much of this environment is negative and being in that negative place for the last year and half, it felt like fresh water to be with someone who was positive and respectful. The read went well. She could tell that I had a strong theater background and thought that I took the adjustment really well. It’s nice to start building a professional contact list in New York.

I also went down to Baltimore to audition for the Baltimore Shakespeare Festival. They open their season with two outdoor summer shows, Twelfth Night and Taming of the Shrew. I read for both directors and the experience was great. They have a great indoor stage at a church. The directors asked to see a contemporary monologue and was asking questions about my callback availability, always a good sign. So much so, I will be heading down there this Sunday for callbacks for Twelfth Night. I’m excited because this is a show I have never done, and just fully read it today. I have not heard yet what role I was called back. i saw outdoor pictures from past shows and the outdoor space looks beautiful as well. The one catch is they do not provide housing. I am going to send out feelers to east coast people to see if they know anyone in Baltimore. The rehearsal and performances span five to six weeks, so if all else fails maybe I can get a room to rent through craigslist. I am going to worry about getting a part first.

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The month of April

April 6, 2007 by dennisbaker 

There is a month left of school! The work is beginning to pile up as we prepare for finals. Below is a list of the work that needs to be done. We will have to perform our acting scenes, Shakespeare monologue, and dance final for the faculty during finals week. School if officially over on May 9th. All the work below has to be memorized, which is what I will be doing this weekend:

1. Final scene for acting class

2. Final scene for directing class

3. “Chicago” poem for speech class

4. Final scene for Stage Combat

5. Shakespeare scene for Voice and Speech class

This year has FLOWN by and seems only recently that I started this program. This past month about twenty to twenty-five prospect students came out to visit. It brought back all the memories of coming to visit last year. Seeing how tired the students were, intrigued by the classes, and excited about beginning my studies. The students brought a refreshing energy and the feeling that we as first years need to remember how hard it is to get into a program like this and that we still need to be grateful even though we are tired and frustrated at times.

With the end of the semester upon us I have also began to think of procuring work for the summer. It has been difficult to do with so much going on. I have put out some feelers to the graduate students of different acting programs regarding web design. Some interest has been expressed and I hope to turn those prospects into a couple of jobs. I have auditioned for a couple of summer stock theaters, but nothing has come of that to date. I have a audition for the Princeton Summer Theater tomorrow. That being twenty minutes away, it would be a nice gig to do.

Filed under: Acting, Auditioning, Graduate School, Rutgers, Theater/Theatre
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Rutgers Not Ranked 3

March 11, 2007 by dennisbaker 

The current information about the Top Ten schools (with Rutgers being ranked #3) that is on the web is not from US News and World Report. Go to Rutgers MFA Acting program to read first hand accounts about the program and some unethical behavior.

Filed under: Acting, Auditioning, Graduate School, Theater/Theatre
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Eight Steps to a Solid Audition for an MFA Program

January 28, 2007 by dennisbaker 

Published in Backstage on November 02, 2006

From researching schools and preparing monologues to filling out applications and making travel arrangements, getting accepted into a graduate school’s MFA program can be complicated. But all that research and paperwork can pay off: Actors who apply to graduate school have decided to postpone an immediate career to pursue training that will, hopefully, expand them as artists and make them more-versatile actors.

I auditioned for grad schools for three years after my undergraduate studies, and each year I learned more about the process. But to gain even more insight, I interviewed three actors: Frances Uku, a recent graduate of the American Repertory Theatre’s Institute for Advanced Theatre Training at Harvard University; Ted Stephens III, a second-year student in the MFA acting program at the University of Florida; and Carmen Gill, who graduated from the University of California, San Diego’s MFA acting program last year.

1. Research Schools

I thought I knew every MFA program in the country. But then I discovered the Chicago College of Performing Arts at Roosevelt University — only I was too late to audition. As the list that accompanies this article attests, there are over 100 MFA acting programs in the United States, and their websites are the place to start in finding the one that’s right for you. If one of them is nearby and looks interesting, go see a show or ask if you can sit in on a class. American Theatre magazine is another good source of information.

2. Select Your Monologues

Rarely performed monologues are often recommended, though a familiar one is fine as long as you can do it better than anyone else. The actors all mention that their undergraduate program or a scene study class gave them the opportunity to read newer plays and find a less-familiar piece that was right for them. The overdone works found in monologue books are generally to be avoided, unless it’s as a third or fourth backup. Uku, however, praised Alternative Shakespeare Auditions for Women by Simon Dunmore (there’s also one for men), and according to Gill, “The piece I chose from [a monologue book] was hilarious and I felt happy performing it, which showed. No one I performed it for had heard the monologue before and didn’t seem to care it was from an acclaimed play.” Of course, always read the entire play before performing a monologue, so you can understand its context and make better choices.

3. Find a Coach

An experienced hand to guide you is vital in preparing your monologues. Some actors choose teachers they’ve studied with or older actors with whom they’ve worked, while others prefer an experienced director. If you’re coming straight from an undergraduate program, your current acting teachers may be your best resource. If you’ve been out of school for a while, finding a coach can be more challenging, though there are some who specialize in preparing actors for grad school auditions. Uku worked with New York’s Charles Tuthill, who teaches a class called “Auditioning for Graduate School.” I chose director Andrew Traister because he had worked at some of the schools I was interested in attending. Having sat through many auditions, he was able to suggest monologues that weren’t overdone and that would show off my personality, and under his guidance I had a confidence that my earlier auditions lacked.

Treat your audition as a performance; give it the same time you would if you were rehearsing a show. Make an appointment to meet with your coach about three months before your first audition, and discuss the monologues you might want to do and ask for alternatives. Take your time exploring which pieces you most connect with, then work with your coach to fine-tune them into a performance. When it comes to length, shorter is almost always better. A total of three minutes for your two monologues is fairly standard, though many recruiters claim they know within the first three lines whether they’re interested in you.

4. Figure Out How to Pay for It

And not just for the school itself, where the annual tuition can top $25,000, but for all the application and audition fees, which can really add up. In my third year of auditioning, I applied to 23 schools — each with its own fees — and attended the University/Resident Theatre Association auditions (see below), entailing travel expenses plus hotel and food costs in Chicago. If you’re currently enrolled in an undergraduate program, your college may offer scholarships to help students applying to grad schools. Also, talk to fellow students; if you’re all auditioning in the same place, you could travel together and share a hotel room. If your undergraduate theatre department doesn’t organize a group trip to U/RTA, start one yourself; the department may assist once it sees how many students are interested. Draft a budget and figure out how to get the most out of your auditioning money. Uku, for example, was living in New York and chose to audition at schools she could reach by public transportation.

5. Schedule Your Auditions

There are two ways to be seen: You can sign up for group auditions through U/RTA, or you can set up a private audition.

Applications for U/RTA auditions are usually due in November of the year prior to the auditions, which are held annually in New York, Chicago, and San Francisco. Candidates auditioning in New York and Chicago are screened by a panel of teachers and members of the professional theatre community, and those deemed eligible move on to the final auditions, where they’re seen by the colleges. (There’s no screening audition in San Francisco.) Interviews and callbacks with individual schools follow the final auditions. Those who don’t make the final auditions can attend a later open call, though there’s no guarantee the schools you’re interested in will be there. See U/RTA’s website, www.urta.com, for further details and a list of schools attending.

The advantage of auditioning at U/RTA is that you’ll be seen by a large number of schools in one trip, minimizing your expenses (more schools audition in New York and Chicago than in San Francisco). The downside is that with so many people auditioning at once, you don’t get to choose a school as much as the school chooses you. When I auditioned for the University of California at Irvine, the head of the acting department said the program sees over 1,000 people a year and selects only eight. If you’re choosy about which school you attend, U/RTA may not be right for you.

If you’re staying in a hotel while auditioning at U/RTA, “I would really recommend having a laptop or computer at your disposal,” says Stephens, “so that if you do get some [interviews], you can take a few minutes to learn about each school before your callback.” Individual interviews take place in the evening after your morning callback, leaving you the afternoon to research the schools that expressed interest in you. You’ll likely be asked why you want to attend the program, and research could give you an answer that will make you stand out.

For the schools at the top of your list, you should schedule a private audition. Don’t leave your chance of being seen in the hands of a screening panel. Many top schools require private auditions, as they don’t attend U/RTA, while others schedule a round of private auditions at the same time and place as U/RTA. (Also note that some schools audition only every three years.) In my second year at U/RTA, I didn’t get passed on to the final auditions, and though I attended the open call and interviewed with some schools, I didn’t feel good about my prospects. The next year, I knew I needed to be seen by as many schools as possible, so in addition to auditioning at U/RTA, I found out which schools were holding private auditions there and scheduled slots with them in order to maximize my face time.

After the callback, it’s time to follow up, which could include visiting the campus. Gill found that talking to current students was her best resource: “It’s hard to get a sense of what you actually are doing each day in graduate school from the course listings. I was able to ask them what their day-to-day life was like at school, what the vibe of the program was as a whole, and if they were happy with their choice. They were all surprisingly honest about their school’s pros and cons. I never felt like people were trying to sell me on their school.”

6. Keep Studying

If you’re not accepted on your first try, keep studying. I spent the two years after my undergraduate program studying voice and the Meisner technique, and in my third year of auditioning, many schools were impressed that I was still taking classes even though I wasn’t in a formal program. Schools like to see students who are committed to their craft and who won’t quit under the rigors of grad school training. Some of them — such as American Conservatory Theater in San Francisco — offer summer programs with the same instructors who teach in the MFA program. It’s a good way for them to get to know you better, it gives you a taste of the grad school experience, and it could help you stand out when auditioning for the school in the future.

7. Get Some Experience

Schools also appreciate professional experience. “While I was getting my [undergraduate] degree in theatre,” says Stephens, “I continued to act, both academically and professionally with some of the regional theatres around the Quad City area, and also dabbled in producing, stage management, theatre marketing, and even sound-designed a show. I really treasure the four years or so that I wasn’t a full-time student, because it allowed me to gain some real-world experience, travel around the world…all things that I use every day as an actor in graduate school and professionally now. I really believe that the time off allowed me to gain a worldly perspective. In that time off, I gained a better understanding of myself so that I could in turn share that strong sense of self in my acting.”

Uku agrees: “I took two 12-week advanced scene-study classes back to back at HB Studio in New York City, one strictly Shakespeare-based and the other using contemporary plays, both taught by Austin Pendleton. I had never taken an acting class before Austin, so I found both classes useful in introducing me to contemporary American and British writing, as well as to the vocabulary of acting and the theatre.”

8. Be Yourself

Most important when auditioning for graduate school is to be yourself. “I think the key with these auditions is being comfortable in your own skin,” Uku says. “I thought I was unworthy because I was new to acting, hadn’t studied acting as an undergraduate, grew up abroad, looked like an ingénue but had the aura of a leading lady. It’s funny how it’s exactly because of those things that I’m now one of those rare people who lives off acting income alone.” Says Stephens, “The most important part about auditioning is not who you know, what show you’ve been in, or what reviews you’ve gotten, but rather that you are yourself. That you’re a person interested in not only furthering your own abilities but also sharing the arts with others. People that are [themselves] are always the most interesting and honest, and the most fascinating on stage.”

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So You Wanna Be A Star?

January 21, 2007 by dennisbaker 

Here is an article that I had saved in my inbox:

Q&A with Anna Deavere Smith: So you wanna be a star?
By Marc Silver
Posted 1/21/06

In our celebrity-besotted culture, the arts have an irresistible attraction for young people. But jobs in the arts are not as plentiful as stars in the sky (or even as stars in Hollywood). Actor and playwright Anna Deavere Smith offers guidance in her new book, Letters to a Young Artist: Straight-up Advice on Making a Life in the Arts. Smith, a Tony Award nominee and Pulitzer finalist, writes and performs one-woman shows that capture diverse voices from a place of crisis: Twilight: Los Angeles, 1992, about the riots, for example. She also portrays the national security adviser on West Wing.

Shouldn’t you really be doing a book called Advice on Not Making a Life in the ArtsWell, you know, artists just have always been on the fringe of society. Plato kicked us right straight out of the republic.

So it’s never easy to be an artist.

You make that decision to be an artist cautiously. You won’t have the same options for survival that your friends who are as educated as you have. You have to educate artists to be cagey, smart, mobile, flexible. Don’t get in a situation where, if you’re an actor, all you can do is audition.

You talk about renting yourself out but not selling out.

I am talking about understanding that your identity belongs to you. It’s seductive to have somebody tell you what you should be doing. But in the end, an artist has to take responsibility for his or her own voice and destiny.

What kind of choices will lie ahead for young artists?

You may have to decide not to go forward with a project. You may have to decide to do something commercial at a moment when you might want to do something not commercial but that isn’t going to make you a shred of money. You may have to end a romantic relationship because that relationship is requiring more of you than you can give. On the other hand, you may decide to have a romantic relationship or get married or have a child because those things are going to make you a more whole person.

Does a thick skin help? In the book you tell of being turned down for a role in a sitcom because you aren’t three-camera funny.

You have to move on to the next thing. But yeah, yeah, it hurts. You have to get used to the fact that hurt is a part of it.

You say a great deal about the power of presence.

Some people are just not aware of what they’re doing physically. When I teach a class and people are sitting as if bored to tears on the first day I expect you to look like you want to be there. Everything’s [about being] so cool and hanging back now. I do think presence is a kind of energy level that can be cultivated.

I have a 17-year-old daughter who wants to act. What advice do you have for her?

I think the most important thing and this sounds kind of churchy she should practice every day finding the joy in what she’s doing. Because it’s that joy and that real desire to communicate that is going to keep the whole thing alive for her no matter what happens. We think of the clown as the figure who, no matter how tough authority is, keeps coming back. The clown is irrepressible. What she should cultivate is that irrepressibility.

And how should she pick a college drama program?

She should go to a school where she sees that irrepressibility in her potential classmates. And where there’s a lot expected of her, and where she can practice failing as well as succeeding. And someplace where questions are valued as much as answers. She should use her education to discover her questions as in a quest not the answers.

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