PRELUDE: PREPARING FOR SCHOOL
In that spirit, if you enjoy the performing arts "scene," you are
cordially invited to make a study of it during your higher education,
regardless of what you think of your own talents. And you can get involved in
performing arts even before you're finished with high school or your GED.
Julia Ward, Programs Director of the Association of Performing Arts
Presenters, has a great deal to say about this:
"Working in the performing arts doesn't just mean dancing or singing
onstage. Almost any skill you excel at and are inspired by can be applied to
the arts. Get to know what you're good at and what types of activities you
enjoy. If you're good at getting your friends excited to go out, you might
enjoy working in publicity or promotions. If you're good at taking care of
people, you might want to work in artist services. If you are intensely
well-organized, stage management might be the place for you. If technology is
your thing, there's no shortage of work in sound and lighting.
"While you're in school or before seeking out a college program, I would
recommend checking out the local theaters and performing-arts centers in your
town. Often times, these organizations need volunteer ushers, who get to see
the performances for free after seating patrons. If your school has a music,
theater, or dance program, participate in it. Do you prefer being backstage
or onstage? If you want to be an actor, musician, or performer, many colleges
will have you audition -- so previous experience is important -- but there
are always exceptions to the rule. If you're interested in arts
administration, any previous leadership experience with school clubs, sports,
community theaters, or museums would speak well of your abilities.
"And, if you're really gung-ho about a career in the arts, you can always
do an 'information interview' with an arts professional. While people are
very busy, most are willing to set aside time to talk to you about their
careers, education and the field in which you're interested."
Johann Zietsman, CEO of the International
Society for the Performing Arts Foundation (ISPA), recommends that if
you're interested in a performing-arts education and career, you should read as much
as possible about the industry (on the Internet, in trade papers if you have
access to them, and so on) while you're still in high school or preparing for
your GED. If you want to be a performer, be as active as you can in school
performances, classes, and productions. And if you want to be a musician or
dancer in particular, music and dance lessons can be helpful; the younger you
begin taking them, the further along you can be, although it's never too late
to start.
Amy Dolan, National Education and Outreach Coordinator for the theatrical
union Actors' Equity Association,
urges aspiring actors to "do as much performing as you can" in that same time
frame. Find a theater that supports a mixed cast of both professional and
non-professional actors, she says; that way you can get both valuable
experience and opportunities to network with pros. If possible, get involved
with a theater that offers the Equity Membership Candidate (EMC) program for
Actor's Equity; once you put in your acting dues (currently 50 weeks of work)
and your monetary dues (currently $50), you can join the union. "Being in a
union," she advises, "is the difference between being able to do acting as a
hobby and being able to do it as a career."
THE FIRST MOVEMENT: PICKING A SCHOOL
When you're ready to choose a school, there's plenty to investigate about
each school besides the usual criteria like how much it will cost, where it's
located, and how long the program of study is. Zietsman recommends that you
ask what percentage of the graduates of any given school have gone on to
successful performing-arts careers, because "it's a very difficult field to
break into." He also suggests that you find out how many performance
opportunities there will be during any given school year, and how many
different groups or ensembles you could potentially perform or crew with
(without jeopardizing your academic studies, of course). Other questions to
ask: Are there any local performing groups that you could volunteer or intern
with? Are the faculty experienced in the performing arts -- that is, "not
only do they teach, but also do they perform or have they performed
professionally themselves?" And do at least some of the faculty members have
"a strong reputation as a teacher who turns to successful performers or other
performance teachers?"
Dolan agrees that faculty who aren't performers are "less likely to reach
out to the theater community," and thus less likely to be able to make their
students aware of current trends and opportunities in the field. She also
mentions that, if you eventually want to be a professional actor, you might
want to choose a school affiliated with a summer stock theater. You'll be
able to audition there during spring break, and if you're picked up for a
summer production, you'll have a chance to network with pros, choreographers,
etc. For more guidance in picking a program of theater education, Dolan also
recommends consulting the latest edition of the "Directory of Theatre
Training Programs" by Jill Charles et al (many college libraries
have a copy).
Ward sums up: "Whether you're interested in becoming a performing artist
or working in arts administration, hands-on experience is crucial. You want a
school that will provide with you plenty of opportunities to ply the craft
you're learning. Check out how many productions are offered a year by a
school's music, theater, or dance department. Are internships required to
graduate from the program? Look very carefully at the interests of the
faculty and the types of work they tend to produce. This information is easy
to find online. Even if a school isn't a top name, there may be a couple of
key professors whose interests are right up your alley. You may also want to
find out what percentage of the school's courses are taught by graduate
students versus the professorial faculty. While graduate students often make
great teachers, you want to have equal time with the more experienced
professionals."
There is certainly no shortage of institutions to choose from:
- You can study
performing arts at some community colleges and junior
colleges, including Community College of
Southern Nevada in Las Vegas; Kirtland
Community College in Roscommon, MI; Citrus
Community College in Glendora, CA; Moraine Valley
Community College in Palos Hills, IL; and Jones
County Junior College in Ellisville, MS. Community and junior
colleges with a good theater or performing-arts center tend to be more
likely to have performing-arts programs.
- Many
traditional colleges and universities offer performing
arts as a certificate or degree program. Examples include Adelphi University in
Garden City, NY; American
University in Washington, DC.; Chipola
College in Marianna, FL; Coe College in
Cedar Rapids, IA; Purdue University in
West Lafayette, IN; and Charles Sturt
University in Wagga Wagga, NSW, Australia.
- You can learn the
trade at a dedicated performing-arts school or
conservatory such as The
Juilliard School in New York City; North Carolina School for the Arts in
Winston-Salem, NC; Theater
Academy of Finland in Helsinki; Janáček Academy
of Music and Performing Arts (JAMU) in Brno, Czech Republic; and National Taiwan Junior College of
Performing Arts in Mucha and Neihu, Taiwan. Many of these schools
accept only a small percentage of their applicants and are ferociously
competitive; many others, including the Academy of Performing Arts in San
Diego, offer classes in the performing arts that don't lead to a
certificate, diploma, or degree.
- Very few
career schools offer performing-arts instruction,
because relatively few students are interested and, frankly, performing arts isn't that stellar of a career opportunity (more on that later). Online schools will probably not support the
performing arts until the Internet has enough bandwidth for high-quality
two-way peer-to-peer transmission of real-time sound and video.
What are the pros and cons of studying at a dedicated performing-arts
school as opposed to a traditional or community college? Dolan says it's up
to you to "decide how [broad or] narrow you want your education to be" and
that "if you're passionate that [performing] is all you want to do, you might
thrive at a conservatory." But for most students she recommends a college or
university education leading to a Bachelor of Fine Arts (BFA) or similar
degree. Not only should you "make sure there are other things on the
[school's] educational palette that interest you," just to avoid burning out,
but she also asserts that if you're more widely educated, "you're better at
auditions, better at writing cover letters, and more." She points out that
you'll be more convincing and have better acting insights if, for example,
"you're in a play about the Depression and [you've studied] American
history." She qualifies Zietsman's earlier comments about reading as much
about the industry as possible by urging students to learn how to function in
the outisde world as well: "Don't just read BackStage and the
trade papers. Read newspapers, research health insurance, and find out for
yourself how 401(k) retirement plans work!" Zietsman agrees; while he
acknowledges that students who've been "dedicated to the field since a young
age and have ambitions to be soloists, etc., might only get distracted in a
university setting," he says he thinks most students need a broad educational
background; with it, they "bring more to a performance than just narrow
skills."
You definitely want to make sure that the school you attend is accredited
(regularly approved after being inspected every few years by an organization
for educational standards). In the US, traditional universities and colleges
are accredited by regional
organizations; provincial organizations handle this in Canada; and UK
schools are often accredited by the Qualifications and Curriculum
Authority (QCA). In addition, schools of music, theatre, and dance the US
can be specifically accredited by the National Associations of Schools of
Music (NASM), Theatre (NAST), and Dance (NASD) respectively; their unified
website is here.
THE SECOND MOVEMENT: SCHOLARSHIPS AND SUBJECTS OF
STUDY
Paying for school can be a challenge; some exclusive performing-arts
schools, in particular, are very expensive. Besides the usual mix of student
grants and loans, be sure to carefully investigate whether you qualify for
any scholarships. Though scholarships are sometimes offered by the school,
Ward says that "depends on the program." She goes on, "Some colleges have
special scholarships for exceptional actors. Some have scholarships for band
members. Be sure to speak not just with the college's financial aid office,
but with the office of the actual arts program itself. You will get more
detailed and reliable information this way."
Johann Zietsman points out that you can also get scholarships from "orchestras,
dance companies, and theater groups," although many of them will have a very
specific idea in mind of the type of student they want. For instance, "Alvin Ailey American Dance Theater
gives scholarships to students who fit their profile." You can also get
scholarships to ballet camps and other intensive or seminar events to
supplement what you learn at school.
Once you're in school, what kinds of subjects should you study besides
those of your chosen specialty? Ward has some good thoughts here as well: "If
you are interested in pursuing arts administration, it might seem logical to
minor in an arts discipline. However, this isn't always the best choice. It
is extremely important to remain up-to-date on a variety of art forms, but
your business sense may be even more important. Even the arts are about the
bottom line. A business background and some marketing savvy go a long way in
the performing arts business. And, if you're interested in becoming a
performer, don't forget that it's a tough market out there. It may take years
before you get your big break. If you don't want to end up waiting tables,
it's a good idea to learn skills that can keep you close to the art you love,
but can also provide a regular paycheck. You might consider taking courses
such as dramaturgy, marketing, arts administration, and K-12 education."
Dolan heartily agrees: "Business writing, economics, finance...it's a
business like anything else, and you need to know how to operate in the world
as a functioning businessperson." She goes on to spell out some cold hard
facts about the theater acting profession: "Even union actors only work 16
weeks a year on average, and their mean salary for that work is only $6300."
At any given time, 85% of actors are not employed in a paying acting job; it
would be wise to try to work out a steady alternative source of income.
Zietsman thirds the motion: "Take business management." Even if you don't
end up becoming your own manager, as many performers do, you still want to
know enough about business to avoid being taken advantage of. He also makes
the poignant observation that "dancers and operatic singers have a fairly
short shelf life"; if you go into one of these professions, there's a good
chance that you'll someday have to acknowledge that you can no longer meet
the job's demands. "The need to have an exit strategy in place is not often
talked about," he acknowledges sadly. "I've seen too many people reach the
end of their performing career and become bitter, because they have no other
life or place to go." He strongly recommends studying some of the subjects
you'll need for a second career while you're still in school: "You'll have to
find something else to do, and you need to be prepared for that going in."
THE THIRD MOVEMENT: INTERNSHIPS AND EMPLOYMENT
As you pursue a higher education in the performing arts (or just about any
other field), it's always a good idea to try to get some experience under
your belt before you graduate by interning somewhere. Your school and faculty
members should be able to help you find internships. Beyond that, Dolan says
that the EMC program is the internship vehicle for Actors' Equity, and that
lots of prospective actors and theatre crew intern by apprenticing (she
recommends the New York Times article "The
Apprentices," printed in the Theater section of the Sunday, August 22,
2004 edition, as a good look at the process in action).
Ward affirms that "All kinds of internships are available for performing
arts students. All you have to do is contact your local theater or performing
arts organization to find out what types of opportunities are offered. You
may also find that an organization doesn't have a formal internship program,
but can use your help in other ways that will allow you exposure to the
creative process at work."
Zietsman suggests that if you're interested in arts management (that is,
if you think you might want to be a performing-arts manager, agent, or
administrator), you can find internships at foundations, entertainment
companies, and similar organizations. If you want to be a performer, he
concurs with Ward: "You can get internships with dance companies and
orchestras, although these are often not advertised. Even if you end up with
a box-office job, things can happen; if they suddenly need an extra violin,
you're already there!"
Before and after you graduate, you can look into the requirements for, and
benefits of, joining professional associations and unions, of which there are
many -- international, national, regional, and local. In addition to Arts
Presenters, ISPA, and Actors' Equity, there are the Theatre Communications Group (TCG), Screen Actors Guild (SAG),
North American Performing Arts Managers and
Agents (NAPAMA), International Alliance of
Theatrical Stage Employees (IATSE), Canadian Institute of Theatre Technology
(CITT), International Association of
Theatre for Children and Young People (ASSITEJ), Professional Lighting and Sound Association
(PLASA), Incorporated Society of Musicians
(ISM), International Dance
Teachers Association (IDTA), American Federation of
Musicians (AFM), and American
Guild of Musical Artists (AGMA), just to name a very small sample.
Once you get your diploma or degree, you'll want to have a good resume
ready and be ready to network through your family and friends and anyone else
who might help, because the search for jobs (or, if you're a performer,
auditions or casting calls) will commence. Lots of websites can help you in
the hunt; instead of stopping with general-purpose job portals like Monster.com and Yahoo! Hotjobs, you should also monitor
performing arts-specific sites such as PerformingJobs.com. dance.net (which lists job postings for
musicians, actors, and other personnel as well as dancers), Crew Net, and Playbill's job pages. In addition to
the ISPA's job postings, Zietsman
recommends MyAuditions.com as a
good site to check for performing arts opportunities, and also encourages
students to get involved with organizations like ISPA, of which he says:
"Organizations like ours are bringing peope together regularly to rub
shoulders with pros. There are costs involved, but we try to make it easier
for younger emerging artists to pay for them. That's the catch-22: The people
who need the networks most are those least able to afford them.
Sometimes...you just have to hustle."
Dolan also advises checking websites and trade papers and puts in another
plug for unions, which "create an automatic community and networking
opportunity." Ward again sums it up: "Finding a job in the arts is about who
you know and what you know. Build up as many contacts as you can through your
school career, and don't be afraid to use them. Your greatest source of
promotion might be an old professor or the house manager you ushered for back
in high school. You never know who will have the connection that helps land
you a job. In terms of what you know, there are many organizations serving
artists and performing arts professionals by providing job listings. Those
listings include TCG's ArtSEARCH,
Arts Presenters' JobBank, and
the job bank of your local or regional cultural alliance. It's also a good
idea to target your research. What are the places and who are the people you
dreamed about working for while you were in school? Each of those
organizations has a website - often with a Human Resources page dedicated to
job openings. And, if they aren't too busy, arts professionals are available
for 'informational interviews,' which can help you by both educating you and
getting you on the person-in-charge's radar screen."
As to what kinds of jobs and performance opportunities might be more
available than others when you graduate, Ward suggests, "In the future, there
will likely be a great demand for professionals to act as CEOs and Presidents
of organizations. This kind of work is increasingly business-oriented and
requires a good deal of skill in development. It's true now and will
undoubtedly continue to be true, but if you can make money by writing great
grants or schmoozing the right people, there will always be an arts
administration job for you. Working as a technician or performer is more
tricky. Technicians, in addition to having well-organized unions, often work
in an apprentice-master style. So, it's important to have an "in." As for
performing on stage or recording albums, it's never been easy. That won't
change, but what you can do is start thinking about what success means to
you. Few artists are able to make a living touring, and even fewer artists
qualify as rich and famous. Would you be happy putting on performances in
your home town and teaching kids how to act, sing or dance? Would you like to
sing in a local choral group or review performances for newspapers? There are
other ways to put your performance talents to work -- in arts administration,
music therapy, criticism or training business professionals in public
speaking and performance. Your skill and capacity for recognition isn't
limited to the stage -- only to your imagination."
Dolan wraps up the career discussion with a little down-to-earth advice
for performers: "No matter what kind of [performance] you do, you need to
come back to the ABCs of acting, singing, [playing,] and dancing. Do what you
do intelligently and it will come across the footlights."
CODA: CONCLUSION
When they're done well, there's nothing like the performing arts to lift
the spirits of the performers, support staff, and audience. Few other
professions afford such a simultaneous gratification to the "workers" and the
"customers." Yes, you might have to do some other kind of work on the side to
support yourself, even if you do excel in your performing arts education and
any jobs or roles that follow. But in all your endeavors -- on and off the
stage, during and after your career -- if you concentrate on enriching the
lives of others, you will be enriched yourself, in ways that go far beyond
the numbers in your bank account. Life itself is a performance, after all;
make yours a good one.
W. Randy Hoffman sings tenor...ten or twelve miles away, preferably.
He also writes a lot of songs that he doesn't publish. Silly boy.
Note: Mention of any particular institution in this
article does not constitute endorsement of that institution by Education.org
or vice versa.
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