Your characters have points of view about specific issues in their lives, in their larger community, their family and in the world. Everyone argues - no matter how saintly - even if they won't have that argument aloud, they have it in their head. Everyone has their idea of how to solve a problem - sometimes the solution benefits them personally, sometimes it benefits everyone.
How does character approach problem solving? How do they argue? Do they always have to win? Do they think of others or just themself?
DAILY CREATIVE EXERCISE:
WRITE A BOP
The Bop is a form of poetic argument consisting of three stanzas, each stanza followed by a repeated line, or refrain, and each undertaking a different purpose in the overall argument of the poem.
The first stanza (six lines long) states the problem, and the second stanza (eight lines long) explores or expands upon the problem. If there is a resolution to the problem, the third stanza (six lines long) finds it. If a substantive resolution cannot be made, then this final stanza documents the attempt and failure to succeed.
Have your lead character use this form to explain a current problem in their life and how they plan to resolve it. Then write another poem from the perspective of the person creating that problem for your lead.
Steal the form from the poem below for structure.
Bop: Haunting
By Lyrae Van Clief-Stefanon
In the evening she comes, her same unsatisfied self,
with the hard, smug look of salvation. Mama,
stop bothering me. When we argue, she says
what you’re saying is not scriptural.
You need to get back in your Bible.
In one dream, I slap her. I’m tired of her mouth.
I hate to see the evening
Sun go down
Yesterday, I dreamed a vampire
held my wrist, dared me to wake
to her, corporeal, stolid. Mama,
was that you? I refused to touch
her body in the casket.
At the gravesite I refused everything
but dry-eyed silence,
her picture in my hand.
I hate to see the evening
Sun go down
This is what I get for conjuring—
Mama, after me all night,
fussing about the holy ghost
when what I need is sleep.
But last night I lay dreamless.
I didn’t sleep sound.
I hate to see the evening
Sun go down
April 25, 2008
grants
American Library Association Announces Outreach Grant Program for Federal Writers' Project Documentary
Deadline: July 11, 2008
The American Library Association ( http://www.ala.org/ ), in partnership with Spark Media ( http://www.sparkmedia.org/ ), a Washington, D.C.-based production and outreach company, has announced an innovative library outreach program to enhance and increase the nationwide impact of Spark Media's documentary film, "Soul of a People: Voices from the Writers' Project."
Major funding for the program has been provided by the National Endowment for the Humanities ( http://www.neh.gov/ ).
The film and library outreach program (http://www.ala.org/soulofapeople ) is designed to acquaint public, academic, and special library audiences with the story of the largest cultural experiment in U.S. history -- the Federal Writers' Project of the Works Progress Administration -- told against the backdrop of the Depression and 1930s America.
Following an application process, thirty libraries will be selected to receive a $2,500 grant from the National Endowment for the Humanities to present five different public outreach programs during the period of the national broadcast of "Soul of a People" in the Spring of 2009. The grants will be used for scholar honoraria, book purchases, publicity, and other program-associated costs. Libraries will be asked to enlist from a local college or university a lead project scholar with expertise in American history, the WPA, and/or the WPA era to help
present and plan programs, ensure that program content conveys the intended humanities themes, and work with local media and other partners in planning.
Librarians applying for "Soul of a People" grants must register their institution at Grants.gov ( http://www.grants.gov/ ). Prospective applicants are advised to register with Grants.gov
as soon as possible, since the process can take up to two weeks to complete.
The application and guidelines for "Soul of a People" and complete instructions for registering and applying through Grants.gov may be found at the ALA Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15012637/soulofapeople
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
---------------------------<<>>----------------------------
Lifetime Networks Invites Entries for Every Woman's Film Competition
Deadline: July 8, 2008
To nurture the next generation of great women filmmakers, the Lifetime Movie Network ( http://www.lmn.tv/ ), the Hollywood Reporter ( http://www.hollywoodreporter.com/ ), New York Women in Film & Television ( http://www.nywift.org/ ), the Paley Center for Media ( http://www.paleycenter.org/ ), the William Morris Agency ( http://www.wma.com/ ), and Women in Film Los Angeles ( http://www.wif.org/ ) are launching the second annual
Every Woman's Film Competition, presented by the Lifetime Movie Network.
The competition is open to all women who are legal residents of the United States and who, by the entry date, are at least 18 years of age. Competition entrants will produce short films of
three to five minutes in length.
First- and second-place winners, as well as three honorable mentions, will be selected. In addition, the LMN.tv audience will have a chance to vote online for their favorite film and deter-
mine the selection of a special LMN.tv Audience Winner. The judge-selected first- and second-place winners will receive $5,000 and $2,500, respectively, to advance their film projects,
exposure on Lifetime Movie Network and LMN.tv, as well as trips to both the Hollywood Reporter Women in Entertainment Breakfast and the Hamptons International Film Festival, where they will be featured guests. The three honorable mention recipients, as well as the favorite filmmaker chosen by the LMN.tv audience, will win $1,000 each. Contest information is available at the program's Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15012638/filmcontest
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
Deadline: July 11, 2008
The American Library Association ( http://www.ala.org/ ), in partnership with Spark Media ( http://www.sparkmedia.org/ ), a Washington, D.C.-based production and outreach company, has announced an innovative library outreach program to enhance and increase the nationwide impact of Spark Media's documentary film, "Soul of a People: Voices from the Writers' Project."
Major funding for the program has been provided by the National Endowment for the Humanities ( http://www.neh.gov/ ).
The film and library outreach program (http://www.ala.org/soulofapeople ) is designed to acquaint public, academic, and special library audiences with the story of the largest cultural experiment in U.S. history -- the Federal Writers' Project of the Works Progress Administration -- told against the backdrop of the Depression and 1930s America.
Following an application process, thirty libraries will be selected to receive a $2,500 grant from the National Endowment for the Humanities to present five different public outreach programs during the period of the national broadcast of "Soul of a People" in the Spring of 2009. The grants will be used for scholar honoraria, book purchases, publicity, and other program-associated costs. Libraries will be asked to enlist from a local college or university a lead project scholar with expertise in American history, the WPA, and/or the WPA era to help
present and plan programs, ensure that program content conveys the intended humanities themes, and work with local media and other partners in planning.
Librarians applying for "Soul of a People" grants must register their institution at Grants.gov ( http://www.grants.gov/ ). Prospective applicants are advised to register with Grants.gov
as soon as possible, since the process can take up to two weeks to complete.
The application and guidelines for "Soul of a People" and complete instructions for registering and applying through Grants.gov may be found at the ALA Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15012637/soulofapeople
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
---------------------------<<>>----------------------------
Lifetime Networks Invites Entries for Every Woman's Film Competition
Deadline: July 8, 2008
To nurture the next generation of great women filmmakers, the Lifetime Movie Network ( http://www.lmn.tv/ ), the Hollywood Reporter ( http://www.hollywoodreporter.com/ ), New York Women in Film & Television ( http://www.nywift.org/ ), the Paley Center for Media ( http://www.paleycenter.org/ ), the William Morris Agency ( http://www.wma.com/ ), and Women in Film Los Angeles ( http://www.wif.org/ ) are launching the second annual
Every Woman's Film Competition, presented by the Lifetime Movie Network.
The competition is open to all women who are legal residents of the United States and who, by the entry date, are at least 18 years of age. Competition entrants will produce short films of
three to five minutes in length.
First- and second-place winners, as well as three honorable mentions, will be selected. In addition, the LMN.tv audience will have a chance to vote online for their favorite film and deter-
mine the selection of a special LMN.tv Audience Winner. The judge-selected first- and second-place winners will receive $5,000 and $2,500, respectively, to advance their film projects,
exposure on Lifetime Movie Network and LMN.tv, as well as trips to both the Hollywood Reporter Women in Entertainment Breakfast and the Hamptons International Film Festival, where they will be featured guests. The three honorable mention recipients, as well as the favorite filmmaker chosen by the LMN.tv audience, will win $1,000 each. Contest information is available at the program's Web site.
RFP Link:
http://fconline.foundationcenter.org/pnd/15012638/filmcontest
For additional RFPs in Arts and Culture, visit:
http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
April 24, 2008
advance press for party favors
Politics at a Price
by CHRISTOPHER HAYES & TE-PING CHEN
[posted online on April 1, 2008]
Nicole Sexton was a wide-eyed intern in the White House Office of National Service when she first caught Potomac fever: an addiction to DC politics, and the belief that government could make any number of "grandiose ideas" real. She made the transition into the secretive and highly lucrative world of DC fundraising, where she spent fifteen years rising to become one of the Republicans' top fundraisers.
But gradually, she grew disillusioned with the entire system. And today, after helping the Republicans regain their majority in the Senate as the 2002-2005 Director of Finance for the National Republican Senatorial Committee, Sexton has done what few fundraisers in the field are willing to do: leave. Today, she works for the ONE campaign, helping to raise awareness about AIDS and the crisis of extreme poverty around the world.
Author of the forthcoming Party Favors--a fictionalized account of her experience as one of the GOP's most well-connected insiders--Nicole Sexton sat down with The Nation to share her perspective on the rarely talked-about world of political fundraising, the stakes involved, and the difficulty of defining your priorities when your politics are for sale.
So tell me, if I'm running for a seat in the House and I hire you. What's the process? What do you tell me?
First, we'll look at your personal Rolodex. We'll put a finance crew together of people who believe in you--it might be someone who owns a grocery store, or someone who's president of a bank. It's grassroots, and you'll build your donor list from them. You'll also receive support from the NRCC (National Republican Congressional Committee) and state parties, and they'll provide resources or outlets for you to raise money through.
But what if I wanted to run for Congress? I mean, I don't really know any bank presidents. I probably wouldn't get very far.
Everybody has somebody that they know who has a Rolodex. Or you know someone who's a stockbroker or banker, or in some sort of corporate capacity is connected to people...Most of the people I ended up working for--well, a few came from the House, but the majority had come from a governor's position or had been in the private sector, so it wasn't an overwhelming challenge for them.
When you're working for a candidate, what kind of dynamic exists between you and your client? What's that relationship like?
As the fundraiser, you probably have the most intimate relationship with the candidate of anyone on staff. You get to know his friends, his network. Sometimes it's tough. Some people that I've worked with really love raising money and it's not been an arm-twist at all, but others can't stand it.
What's the norm?
Can't stand it. It's a chore. Most of the time for senators, the calls are preset so the donor knows you're calling, and you know that you'll get the contribution. But still, they'll want to fill your ear with how they feel about the war, or a piece of legislation, or pending legislation. After all, you know, they're paying for time. I wouldn't go so far as to say it's dollars for legislation--but you're certainly getting someone's ear. That's part of the deal.
Talk to me a little about what donor psychology is like. It seems to me there's a number of reasons you might give money--you have an ideological affinity, or you share a personal or social connection-- A personal or social connection, or because it's good business. And if we're talking about big check writers, more often than not, it's just good business. A lot of big campaign contributors write checks across the aisle for that reason.
So what makes someone a good fundraiser?
A good Rolodex. A comfort level with asking for money. And then--if you're a good fundraiser, and you're smart, you know who to target. So if you're fundraising for a Senator who's on the Oil and Gas Committee, you'll give them 25 call sheets with calls to make to people in that industry. Senators raise a lot of money, and the fundraiser will get a percentage of all that.
Is there an industry standard?
Ten percent. Or these days, a lot of people are charging 15%. Or some people get a retainer, usually $5000 a month, and they'll get a percentage of only major gifts. Or if you're a fundraiser who isn't just doing major donations but is managing the direct mail or the Internet [fundraising] portion, you'll get a percentage off of that. Everything is done on percentages.
What's a Senate campaign in Missouri cost? $15 million? $20 million?
I'd say, $12-15 million.
So you can walk away with $1.5 million.
It's not unheard of. People make a lot of money. And that has the whole industry messed up.
Because too much money is going through the campaign back into the pockets of consultants?
Too much goes into the checked box of overhead. Right now we have finance and media consultants buying second houses on their consulting fees--and that's money from the guy that gives $50 and works at T.J.Maxx. As I moved further along in my career, I saw more and more money and more misappropriation of funds and disregard for donors. In today's political world, unless you can afford $2000 and can stand in a reception where the candidate's going to show up, the likelihood of you ever being able to shake hands with a candidate or ask them a question is slim-to-none. For me it was a real eye-opener--seeing the complete disconnect between the individual and the elected official. It's not every politician, but it was enough that I didn't want to be a part of it anymore.
by CHRISTOPHER HAYES & TE-PING CHEN
[posted online on April 1, 2008]
Nicole Sexton was a wide-eyed intern in the White House Office of National Service when she first caught Potomac fever: an addiction to DC politics, and the belief that government could make any number of "grandiose ideas" real. She made the transition into the secretive and highly lucrative world of DC fundraising, where she spent fifteen years rising to become one of the Republicans' top fundraisers.
But gradually, she grew disillusioned with the entire system. And today, after helping the Republicans regain their majority in the Senate as the 2002-2005 Director of Finance for the National Republican Senatorial Committee, Sexton has done what few fundraisers in the field are willing to do: leave. Today, she works for the ONE campaign, helping to raise awareness about AIDS and the crisis of extreme poverty around the world.
Author of the forthcoming Party Favors--a fictionalized account of her experience as one of the GOP's most well-connected insiders--Nicole Sexton sat down with The Nation to share her perspective on the rarely talked-about world of political fundraising, the stakes involved, and the difficulty of defining your priorities when your politics are for sale.
So tell me, if I'm running for a seat in the House and I hire you. What's the process? What do you tell me?
First, we'll look at your personal Rolodex. We'll put a finance crew together of people who believe in you--it might be someone who owns a grocery store, or someone who's president of a bank. It's grassroots, and you'll build your donor list from them. You'll also receive support from the NRCC (National Republican Congressional Committee) and state parties, and they'll provide resources or outlets for you to raise money through.
But what if I wanted to run for Congress? I mean, I don't really know any bank presidents. I probably wouldn't get very far.
Everybody has somebody that they know who has a Rolodex. Or you know someone who's a stockbroker or banker, or in some sort of corporate capacity is connected to people...Most of the people I ended up working for--well, a few came from the House, but the majority had come from a governor's position or had been in the private sector, so it wasn't an overwhelming challenge for them.
When you're working for a candidate, what kind of dynamic exists between you and your client? What's that relationship like?
As the fundraiser, you probably have the most intimate relationship with the candidate of anyone on staff. You get to know his friends, his network. Sometimes it's tough. Some people that I've worked with really love raising money and it's not been an arm-twist at all, but others can't stand it.
What's the norm?
Can't stand it. It's a chore. Most of the time for senators, the calls are preset so the donor knows you're calling, and you know that you'll get the contribution. But still, they'll want to fill your ear with how they feel about the war, or a piece of legislation, or pending legislation. After all, you know, they're paying for time. I wouldn't go so far as to say it's dollars for legislation--but you're certainly getting someone's ear. That's part of the deal.
Talk to me a little about what donor psychology is like. It seems to me there's a number of reasons you might give money--you have an ideological affinity, or you share a personal or social connection-- A personal or social connection, or because it's good business. And if we're talking about big check writers, more often than not, it's just good business. A lot of big campaign contributors write checks across the aisle for that reason.
So what makes someone a good fundraiser?
A good Rolodex. A comfort level with asking for money. And then--if you're a good fundraiser, and you're smart, you know who to target. So if you're fundraising for a Senator who's on the Oil and Gas Committee, you'll give them 25 call sheets with calls to make to people in that industry. Senators raise a lot of money, and the fundraiser will get a percentage of all that.
Is there an industry standard?
Ten percent. Or these days, a lot of people are charging 15%. Or some people get a retainer, usually $5000 a month, and they'll get a percentage of only major gifts. Or if you're a fundraiser who isn't just doing major donations but is managing the direct mail or the Internet [fundraising] portion, you'll get a percentage off of that. Everything is done on percentages.
What's a Senate campaign in Missouri cost? $15 million? $20 million?
I'd say, $12-15 million.
So you can walk away with $1.5 million.
It's not unheard of. People make a lot of money. And that has the whole industry messed up.
Because too much money is going through the campaign back into the pockets of consultants?
Too much goes into the checked box of overhead. Right now we have finance and media consultants buying second houses on their consulting fees--and that's money from the guy that gives $50 and works at T.J.Maxx. As I moved further along in my career, I saw more and more money and more misappropriation of funds and disregard for donors. In today's political world, unless you can afford $2000 and can stand in a reception where the candidate's going to show up, the likelihood of you ever being able to shake hands with a candidate or ask them a question is slim-to-none. For me it was a real eye-opener--seeing the complete disconnect between the individual and the elected official. It's not every politician, but it was enough that I didn't want to be a part of it anymore.
Why?
It just felt disrespectful and dirty. I see a lot of people who work in the industry, and they're consumed not by fundraising for the candidate, but fundraising for themselves. It's an unknown, unregulated industry, and nobody talks about it because no one ever quits or leaves it. But how can you be sincere about your own beliefs when you're constantly looking for your next client? There's no moral compass there.
And that's why you left?
Yes--because it became much more about a numbers game and how many seats we were winning than a real understanding of what the ideology was. And I had serious concerns with some of the incumbents we helped keep in office. I felt they weren't connected to their constituencies anymore, or had used their position for their advantage....I'm a big believer in term limits. The sweet scent of power is intoxicating. The whole system needs an overhaul.
What would that look like?
For one, there should be a limit on the amount of time a candidate can fundraise. Right now, Hillary's been raising money for this race for at least the past six years. And at some point, the dollar becomes so much more important than the kind of leader you're going to be. That's why they call it the green primary. We should require broadcasters to give a certain amount of free time to candidates, and I think there should be a limit to the amount of his or her own money that a candidate can put into the race. There are a lot of changes you could make, but all of them would end up putting fundraisers out of business, and taking money away from broadcasters and the political consultants who make a fortune. And nobody's going to fight for that.
What do you make of Obama's small donors?
I think it's beautiful. Obama's the only one whose fundraising operation started small and has consistently grown.
What potential do you think there is for the Internet as a small-donor aggregator? Beyond Obama, are you ever going to be able to raise a lot of money as a House candidate online?
Oh yes, I think the Internet will replace direct mail--like it's already starting to do on the Democratic side. Republicans still like direct mail, but that will change. If you look at Huckabee, he didn't even have a finance director, and look how far he got.
Has McCain-Feingold at all recalibrated the role of big donors? Do you think their role can ever be supplanted?
No. No. The money's shifted through 527s. It's like water down the sidewalk--it will always find a way to seep into the cracks. Money and influence go hand-in-hand and always will. But I do think you can allow the little voice to get a little bit louder by leveling the playing field a little bit.
It just felt disrespectful and dirty. I see a lot of people who work in the industry, and they're consumed not by fundraising for the candidate, but fundraising for themselves. It's an unknown, unregulated industry, and nobody talks about it because no one ever quits or leaves it. But how can you be sincere about your own beliefs when you're constantly looking for your next client? There's no moral compass there.
And that's why you left?
Yes--because it became much more about a numbers game and how many seats we were winning than a real understanding of what the ideology was. And I had serious concerns with some of the incumbents we helped keep in office. I felt they weren't connected to their constituencies anymore, or had used their position for their advantage....I'm a big believer in term limits. The sweet scent of power is intoxicating. The whole system needs an overhaul.
What would that look like?
For one, there should be a limit on the amount of time a candidate can fundraise. Right now, Hillary's been raising money for this race for at least the past six years. And at some point, the dollar becomes so much more important than the kind of leader you're going to be. That's why they call it the green primary. We should require broadcasters to give a certain amount of free time to candidates, and I think there should be a limit to the amount of his or her own money that a candidate can put into the race. There are a lot of changes you could make, but all of them would end up putting fundraisers out of business, and taking money away from broadcasters and the political consultants who make a fortune. And nobody's going to fight for that.
What do you make of Obama's small donors?
I think it's beautiful. Obama's the only one whose fundraising operation started small and has consistently grown.
What potential do you think there is for the Internet as a small-donor aggregator? Beyond Obama, are you ever going to be able to raise a lot of money as a House candidate online?
Oh yes, I think the Internet will replace direct mail--like it's already starting to do on the Democratic side. Republicans still like direct mail, but that will change. If you look at Huckabee, he didn't even have a finance director, and look how far he got.
Has McCain-Feingold at all recalibrated the role of big donors? Do you think their role can ever be supplanted?
No. No. The money's shifted through 527s. It's like water down the sidewalk--it will always find a way to seep into the cracks. Money and influence go hand-in-hand and always will. But I do think you can allow the little voice to get a little bit louder by leveling the playing field a little bit.
using poetry for character development 5
Forcing our characters to keep their thoughts succinct, brief, helps to solidify exactly what is important to them. It cuts to the core of their motivations and desires.
DAILY CREATIVE EXERCISE:
WRITE A TANKA
Tanka is an ancient form of Japanese poetry believed to exist for the last 1300 years which makes it older than haiku. As a form, the tanka poem consists of 31 syllables arranged in a metric pattern of 5 – 7 – 5 – 7 – 7.
In Japanese, tanka is written in one straight line with no stresses and no rhyme scheme though the sounds and words are meant to resonate emotionally as in contemporary American free verse.
In English, we usually divide the lines into the five syllabic units:
5
7
5
7
7
Use this form to explore the driving motivation behind all of your characters actions. You can choose a theme such as OBSESSION or LOSS and have each of your characters write a tanka to express their "take" on it.
Use the below poems as a guide for structure and form. Tankas often deal with how nature is reflective of our inner emotional states. How a tree can symbolize our own growth, how the weather express our moods. Let your characters grow nostalgic, self-reflective. Let them wallow a bit.
Lying alone
my black hair tangled
uncombed,
I long for the one
who touched it first.
-- IZUMI SHIKIBU
Did he appear
because I fell asleep
thinking of him?
If only I'd known I was dreaming,
I'd never have wakened.
-- ONO NO KOMACHI
DAILY CREATIVE EXERCISE:
WRITE A TANKA
Tanka is an ancient form of Japanese poetry believed to exist for the last 1300 years which makes it older than haiku. As a form, the tanka poem consists of 31 syllables arranged in a metric pattern of 5 – 7 – 5 – 7 – 7.
In Japanese, tanka is written in one straight line with no stresses and no rhyme scheme though the sounds and words are meant to resonate emotionally as in contemporary American free verse.
In English, we usually divide the lines into the five syllabic units:
5
7
5
7
7
Use this form to explore the driving motivation behind all of your characters actions. You can choose a theme such as OBSESSION or LOSS and have each of your characters write a tanka to express their "take" on it.
Use the below poems as a guide for structure and form. Tankas often deal with how nature is reflective of our inner emotional states. How a tree can symbolize our own growth, how the weather express our moods. Let your characters grow nostalgic, self-reflective. Let them wallow a bit.
Lying alone
my black hair tangled
uncombed,
I long for the one
who touched it first.
-- IZUMI SHIKIBU
Did he appear
because I fell asleep
thinking of him?
If only I'd known I was dreaming,
I'd never have wakened.
-- ONO NO KOMACHI
teaching the arts
* THEATRE FACULTY
University of Arkansas at Fort Smith (Arkansas)
(date posted: 4/23/2008)
http://chronicle.com/jobs/id.php?id=0000557785-01&pg=e
* Dept. of Theatre Arts
University of Miami (Florida)
(date posted: 4/22/2008)
http://chronicle.com/jobs/id.php?id=0000557312-01&pg=e
* Theatre Generalist (Visiting Assistant Professor)
University of Miami (Florida)
(date posted: 4/18/2008)
http://chronicle.com/jobs/id.php?id=0000557309-01&pg=e
* Drama Instructor
South Texas College (Texas)
(date posted: 4/23/2008)
http://chronicle.com/jobs/id.php?id=0000557773-01&pg=e
University of Arkansas at Fort Smith (Arkansas)
(date posted: 4/23/2008)
http://chronicle.com/jobs/id.php?id=0000557785-01&pg=e
* Dept. of Theatre Arts
University of Miami (Florida)
(date posted: 4/22/2008)
http://chronicle.com/jobs/id.php?id=0000557312-01&pg=e
* Theatre Generalist (Visiting Assistant Professor)
University of Miami (Florida)
(date posted: 4/18/2008)
http://chronicle.com/jobs/id.php?id=0000557309-01&pg=e
* Drama Instructor
South Texas College (Texas)
(date posted: 4/23/2008)
http://chronicle.com/jobs/id.php?id=0000557773-01&pg=e
April 23, 2008
poetry for character development 4
I find it is unusually helpful to have a character of the play tell me the entire story of the play from their perspective. They only see the plot elements that directly impact their lives. They don't know the underlying motivations of the other characters or they may have STRONG opinions about how things SHOULD be happening.
A great way to get this information out of your characters is a story poem.
DAILY CREATIVE EXERCISE:
WRITE A STORY POEM
To get started on a story poem, begin by quickly writing down a sequence of events that happens to one of your supporting characters, from beginning to end. USE THEIR VOICE - NOT YOURS! You might be surprised how a peripheral character knows so much about your structure and plot!
You may want to write this out first as prose, then add line breaks and stanza breaks when you complete your first draft. Or you may choose to mimic the structure and form of the poem below to give yourself a road map.
Whatever you do, just write.
TOMATOES
- by Stephen Dobyns -
A woman travels to Brazil for plastic
surgery and a face-lift. She is sixty
and has the usual desire to stay pretty.
Once she is healed, she takes her new face
out on the streets of Rio. A young man
with a gun wants her money. Bang, she’s dead.
The body is shipped back to New York,
but in the morgue there is a mix-up. The son
is sent for. He is told that his mother
is one of these ten different women.
Each has been shot. Such is modern life.
He studies them all but can’t find her.
With her new face, she has become a stranger.
Maybe it’s this one, maybe it’s that one.
He looks at their breasts. Which ones nursed him?
He presses their hands to his cheek.
Which ones consoled him? He even tries
climbing onto their laps to see which
feels most familiar but the coroner stops him.
Well, says the coroner, which is your mother?
They all are, says the young man, let me
take them as a package. The coroner hesitates,
then agrees. Actually, it solved a lot of problems.
The young man has the ten women shipped home,
then cremates them all together. You’ve seen
how some people have a little urn on the mantel?
This man has a huge silver garbage can.
In the spring, he drags the garbage can
out to the garden and begins working the teeth,
the ash, the bits of bone into the soil.
Then he plants tomatoes. His mother loved tomatoes.
They grow straight from seed, so fast and big
that the young man is amazed. He takes the first
ten into the kitchen. In their roundness,
he sees his mother’s breasts. In their smoothness
he finds the consoling touch of her hands.
Mother, mother, he cries, and flings himself
on the tomatoes. Forget about the knife, the fork,
the pinch of salt. Try to imagine the filial
starvation, think of his ravenous kisses.
A great way to get this information out of your characters is a story poem.
DAILY CREATIVE EXERCISE:
WRITE A STORY POEM
To get started on a story poem, begin by quickly writing down a sequence of events that happens to one of your supporting characters, from beginning to end. USE THEIR VOICE - NOT YOURS! You might be surprised how a peripheral character knows so much about your structure and plot!
You may want to write this out first as prose, then add line breaks and stanza breaks when you complete your first draft. Or you may choose to mimic the structure and form of the poem below to give yourself a road map.
Whatever you do, just write.
TOMATOES
- by Stephen Dobyns -
A woman travels to Brazil for plastic
surgery and a face-lift. She is sixty
and has the usual desire to stay pretty.
Once she is healed, she takes her new face
out on the streets of Rio. A young man
with a gun wants her money. Bang, she’s dead.
The body is shipped back to New York,
but in the morgue there is a mix-up. The son
is sent for. He is told that his mother
is one of these ten different women.
Each has been shot. Such is modern life.
He studies them all but can’t find her.
With her new face, she has become a stranger.
Maybe it’s this one, maybe it’s that one.
He looks at their breasts. Which ones nursed him?
He presses their hands to his cheek.
Which ones consoled him? He even tries
climbing onto their laps to see which
feels most familiar but the coroner stops him.
Well, says the coroner, which is your mother?
They all are, says the young man, let me
take them as a package. The coroner hesitates,
then agrees. Actually, it solved a lot of problems.
The young man has the ten women shipped home,
then cremates them all together. You’ve seen
how some people have a little urn on the mantel?
This man has a huge silver garbage can.
In the spring, he drags the garbage can
out to the garden and begins working the teeth,
the ash, the bits of bone into the soil.
Then he plants tomatoes. His mother loved tomatoes.
They grow straight from seed, so fast and big
that the young man is amazed. He takes the first
ten into the kitchen. In their roundness,
he sees his mother’s breasts. In their smoothness
he finds the consoling touch of her hands.
Mother, mother, he cries, and flings himself
on the tomatoes. Forget about the knife, the fork,
the pinch of salt. Try to imagine the filial
starvation, think of his ravenous kisses.
April 22, 2008
poetry for character development 3
Your characters have a way that they do things that may be a very different approach than you would take as a person yourself or as a writer trying to fix script issues. Sometimes, it's best to get out of the way and let them fix the problems themselves.
DAILY CREATIVE EXERCISE
WRITE A "HOW TO" POEM
In the voice of your lead character, address an obstacle blocking your lead from getting what they want. Maybe your lead wants to seduce his/her lover. Write a "how to seduce" poem in their voice. Maybe your lead wants to kill his/her enemy. Write a "how to get rid of so-and-so" poem.
Use the form and structure of the below poem as your guide.
How to See Deer
by Philip Booth
Forget roadside crossings.
Go nowhere with guns.
Go elsewhere your own way,
lonely and wanting. Or
stay and be early:
next to deep woods
Inhabit old orchards.
All clearings promise.
Sunrise is good,
and fog before sun.
Expect nothing always;
find your luck slowly.
Wait out the windfall.
Take your good time
to learn to read ferns;
make like a turtle:
downhill toward slow water.
Instructed by heron,
drink the pure silence.
Be compassed by wind.
If you quiver like aspen
trust your quick nature:
let your ear teach you
which way to listen.
You've come to assume
protective color; now
colors reform to
new shapes in your eye.
You've learned by now
to wait without waiting;
as if it were dusk
look into light falling:
in deep relief
things even out. Be
careless of nothing. See
what you see.
DAILY CREATIVE EXERCISE
WRITE A "HOW TO" POEM
In the voice of your lead character, address an obstacle blocking your lead from getting what they want. Maybe your lead wants to seduce his/her lover. Write a "how to seduce" poem in their voice. Maybe your lead wants to kill his/her enemy. Write a "how to get rid of so-and-so" poem.
Use the form and structure of the below poem as your guide.
How to See Deer
by Philip Booth
Forget roadside crossings.
Go nowhere with guns.
Go elsewhere your own way,
lonely and wanting. Or
stay and be early:
next to deep woods
Inhabit old orchards.
All clearings promise.
Sunrise is good,
and fog before sun.
Expect nothing always;
find your luck slowly.
Wait out the windfall.
Take your good time
to learn to read ferns;
make like a turtle:
downhill toward slow water.
Instructed by heron,
drink the pure silence.
Be compassed by wind.
If you quiver like aspen
trust your quick nature:
let your ear teach you
which way to listen.
You've come to assume
protective color; now
colors reform to
new shapes in your eye.
You've learned by now
to wait without waiting;
as if it were dusk
look into light falling:
in deep relief
things even out. Be
careless of nothing. See
what you see.
congrats to yuri
THE HOLLYWOOD REPORTER
March 24
Meet Yuri Lowenthal - A New Geek Hero for a New GeekHollywood
The face behind the voice: a hero leaps from the small screen to the big one
HOLLYWOOD, March 24 -- In a Hollywood where the hottest properties are coming from comic books, cartoons andvideo games, it seems only right that Yuri Lowenthal should be the next breakout talent. After all, already at this stage in his career he's played some of our times' most-loved heroes and once even kicked an animated Samuel L. Jackson's butt.
Lowenthal has thousands of fans, yet most have never seen his face."Well, to be honest, Sam did kick mine back. And he kicks harder," saidYuri, in a recent interview in his Hollywood home. He's referring to his role in Spike TV's AFRO SAMURAI, which Jackson produced and starred in and to which a sequel and a video game is already in production. In it, Yuri plays Afro (Jackson)'s childhood friend turned mortal enemy. "Stuff like that's a dream come true," says Lowenthal, a self-avowed fanboy who has played no less than Superman on Kids' WB's hit show,LEGION OF SUPERHEROES. "Yeah, I pretty much should just retire after that. I mean, where do you go from there?"
Apparently the answer is: only up, up and away. He has been heard in hundreds of shows, videogames and television commercials. "It's a funny wayto be famous, though. I still get to keep my anonymity." Not for long. With roles on TV shows like ALIAS, THE GILMORE GIRLS and CLOSE TO HOME, and several upcoming feature films, he might have to breakout his sunglasses and baseball cap.
And perhaps the ultimate crossover? PRINCE OF PERSIA: THE SANDS OFTIME, the seminal videogame that won him a legion offans for his work as the Prince, is set for a big-budget adaptation byDisney and JerryBruckheimer. Will there be a part for him in the new incarnation? "I hope so. I'm campaigning for it now. It would certainly be a love letter to the fans who've made the franchise so popular," says Lowenthal.
So what's next for Yuri? For the internationally raised actor, travel is nothing new. At the end of the month he's off to Japan (Lowenthal is fluent in Japanese, French and German) to shoot the lead in a feature forTokyopop. He's also prepping for a feature by first-time director Keith Arem scheduled to begin shooting at the end of the year.
"We're excited that our film, TUMBLING AFTER, is in its final stages of post-production," says Lowenthal. The feature film, produced by his production company, Monkey Kingdom Productions with wife and partner Tara Platt, already has interest among distributors. "We formed the company because we believe there's power in creating your own opportunities." And in this new geek Hollywood, everyone knows that "with great power comes great responsibility."
April 18, 2008
grants
Council on Foundations Invites Entries for Film & Video Festival
Deadline: June 27, 2008
The Council on Foundations ( http://www.cof.org/ ) and Grantmakers in Film + Electronic Media ( http://www.gfem.org/ ) are seeking submissions of films and videos for the Council on Foundations' 42nd Annual Film & Video Festival, to be held May 4-6, 2009, in Atlanta, Georgia.
To be eligible, projects must have received full or partial funding for either production or distribution from a private, community, operating, or corporate foundation; a corporate giving program; or a donor network. The grantmaker does not have to be a member of the Council on Foundations or GFEM. The council will not consider submissions that have been funded solely by public agencies or federal or state grants.
The films and videos must have been completed within the past two years. Works may be of any length -- from feature length to a brief public service announcement. No works in progress will be con- sidered. Organizations and filmmakers may submit as many film and video projects as they wish. Each entry must be accompanied by a check in the amount of $60 payable to the Council on Foundations. (The fee helps cover a portion of the program's administrative expenses.)
Visit the program's Web site for complete program details and application procedures. RFP Link: http://fconline.foundationcenter.org/pnd/15012521/fundfilm
For additional RFPs in Philanthropy and Voluntarism, visit: http://foundationcenter.org/pnd/rfp/cat_philanthropy.jhtm
l
--------------------------<<>>-----------------------------
L'Oreal Paris Celebrates Community Achievement and Volunteerism With Annual Women of Worth Program
Deadline: June 16, 2008
L'Oreal Paris ( http://www.lorealparis.com/ ) has announced that it will continue to recognize and support women who actively serve others in their communities with its third annual Women of Worth grassroots awards program. The initiative honors and awards women from across the United States for their inspiring volunteer work and community enrichment initiatives. This year, ten Women of Worth honorees will each receive $5,000 for their nonprofit causes and a $5,000 donation will be made on their behalf benefiting ovarian cancer research and awareness initiatives, the philanthropy of record for L'Oreal Paris.
In addition, one National Honoree will be chosen via a public vote this fall on the Women of Worth Web site and will receive a $25,000 donation to her nonprofit organization. To date, the L'Oreal Paris Women of Worth initiative has recognized twenty women nationwide for their outstanding commitment to their causes -- ranging from improving literacy, to protecting the environment, to raising awareness of female health issues.
To be eligible, a nominee must be a woman 18 years of age or older; have a record of exemplary service within her community and the community at large; be able to demonstrate the impact of her work within her community; be aspirational and inspirational to others; demonstrate commitment to her cause; exemplify leadership; and be non-compensated.
Visit the Women of Worth Web site for complete program informa- tion and to submit a nomination. RFP Link: http://fconline.foundationcenter.org/pnd/15012523/womenofworth
For additional RFPs in Women, visit: http://foundationcenter.org/pnd/rfp/cat_women.jhtml
Deadline: June 27, 2008
The Council on Foundations ( http://www.cof.org/ ) and Grantmakers in Film + Electronic Media ( http://www.gfem.org/ ) are seeking submissions of films and videos for the Council on Foundations' 42nd Annual Film & Video Festival, to be held May 4-6, 2009, in Atlanta, Georgia.
To be eligible, projects must have received full or partial funding for either production or distribution from a private, community, operating, or corporate foundation; a corporate giving program; or a donor network. The grantmaker does not have to be a member of the Council on Foundations or GFEM. The council will not consider submissions that have been funded solely by public agencies or federal or state grants.
The films and videos must have been completed within the past two years. Works may be of any length -- from feature length to a brief public service announcement. No works in progress will be con- sidered. Organizations and filmmakers may submit as many film and video projects as they wish. Each entry must be accompanied by a check in the amount of $60 payable to the Council on Foundations. (The fee helps cover a portion of the program's administrative expenses.)
Visit the program's Web site for complete program details and application procedures. RFP Link: http://fconline.foundationcenter.org/pnd/15012521/fundfilm
For additional RFPs in Philanthropy and Voluntarism, visit: http://foundationcenter.org/pnd/rfp/cat_philanthropy.jhtm
l
--------------------------<<>>-----------------------------
L'Oreal Paris Celebrates Community Achievement and Volunteerism With Annual Women of Worth Program
Deadline: June 16, 2008
L'Oreal Paris ( http://www.lorealparis.com/ ) has announced that it will continue to recognize and support women who actively serve others in their communities with its third annual Women of Worth grassroots awards program. The initiative honors and awards women from across the United States for their inspiring volunteer work and community enrichment initiatives. This year, ten Women of Worth honorees will each receive $5,000 for their nonprofit causes and a $5,000 donation will be made on their behalf benefiting ovarian cancer research and awareness initiatives, the philanthropy of record for L'Oreal Paris.
In addition, one National Honoree will be chosen via a public vote this fall on the Women of Worth Web site and will receive a $25,000 donation to her nonprofit organization. To date, the L'Oreal Paris Women of Worth initiative has recognized twenty women nationwide for their outstanding commitment to their causes -- ranging from improving literacy, to protecting the environment, to raising awareness of female health issues.
To be eligible, a nominee must be a woman 18 years of age or older; have a record of exemplary service within her community and the community at large; be able to demonstrate the impact of her work within her community; be aspirational and inspirational to others; demonstrate commitment to her cause; exemplify leadership; and be non-compensated.
Visit the Women of Worth Web site for complete program informa- tion and to submit a nomination. RFP Link: http://fconline.foundationcenter.org/pnd/15012523/womenofworth
For additional RFPs in Women, visit: http://foundationcenter.org/pnd/rfp/cat_women.jhtml
using poetry for character development 2
Your characters often know alot more about each other than you know as the writer. Often, when we allow them to speak about the people that surround them (without the confining walls of our current project) we discover that they have juicy details and hidden secrets they need to share.
Poetry takes us out of our comfort zone and allows us to play for just a moment and hopefully, trip on new information.
DAILY CREATIVE EXERCISE:
Write a One-Sentence Poem
Write a poem that is atleast six to twelve lines long and contains only one sentence. Write this poem in the voice of your lead character talking about their enemy and/or lover and the topic is jealousy.
Use this poem as an example of the form but feel free to run longer.
The New Dog
by Linda Pastan
Into the gravity of my life,
the serious ceremonies
of polish and paper
and pen, has come
this manic animal
whose innocent disruptions
make nonsense
of my old simplicities—
as if I needed him
to prove again that after
all the careful planning,
anything can happen.
Poetry takes us out of our comfort zone and allows us to play for just a moment and hopefully, trip on new information.
DAILY CREATIVE EXERCISE:
Write a One-Sentence Poem
Write a poem that is atleast six to twelve lines long and contains only one sentence. Write this poem in the voice of your lead character talking about their enemy and/or lover and the topic is jealousy.
Use this poem as an example of the form but feel free to run longer.
The New Dog
by Linda Pastan
Into the gravity of my life,
the serious ceremonies
of polish and paper
and pen, has come
this manic animal
whose innocent disruptions
make nonsense
of my old simplicities—
as if I needed him
to prove again that after
all the careful planning,
anything can happen.
line producer needed
Buccaneer Films is currently looking for a LINE PRODUCER to complete a budget for its upcoming feature JUST THIS SIDE OF SALEM, a supernatural comedy.There is an open possibility for the Line Producer to remain on from Development through Post Production.
JUST THIS SIDE OF SALEM is a joint production with Another Fork and Spoon Productions and was a Finalist at the Beverly Hills Film Festival Screenplay Competition.Pay is negotiable. Director: Danny Ortiz, Producer: Dylan Seal, DP: George Feucht. This independent film will shoot on 35mm in Albuquerque, NM. Start Date: TBD.
TO SUBMIT:Email your resume to: buccaneerfilms@gmail.com
PLEASE DO NOT send reels or other materials until you are asked to do so.
JUST THIS SIDE OF SALEM is a joint production with Another Fork and Spoon Productions and was a Finalist at the Beverly Hills Film Festival Screenplay Competition.Pay is negotiable. Director: Danny Ortiz, Producer: Dylan Seal, DP: George Feucht. This independent film will shoot on 35mm in Albuquerque, NM. Start Date: TBD.
TO SUBMIT:Email your resume to: buccaneerfilms@gmail.com
PLEASE DO NOT send reels or other materials until you are asked to do so.
upm and director needed
The producers of a new independent feature urban comedy film "Everybody's A Player" are seeking:
UNIT PRODUCTION MANAGER with experience in $5M+ budgets to create a realistic budget. Needs to be familiar with international travel, visas and work permits.
EXPERIENCED DIRECTOR with strong comedy experience who understands the MadTV sense of humor. This is a SAG project with an estimated budget of $5M. As we are currently negotiating with two international distributors, and US distributors, they are expecting from us a director who is known in comedy and has a good track record. Must have a good resume.
For more information, please contact:
Angela Storm and Michael Lugenbuehl
SeaCave Productions
11271 Ventura Blvd., #333
Studio City, CA 91 604
Office: 818-985-5349
FAX: 818-985-531 5
email: seacave@sbcglobal.net
UNIT PRODUCTION MANAGER with experience in $5M+ budgets to create a realistic budget. Needs to be familiar with international travel, visas and work permits.
EXPERIENCED DIRECTOR with strong comedy experience who understands the MadTV sense of humor. This is a SAG project with an estimated budget of $5M. As we are currently negotiating with two international distributors, and US distributors, they are expecting from us a director who is known in comedy and has a good track record. Must have a good resume.
For more information, please contact:
Angela Storm and Michael Lugenbuehl
SeaCave Productions
11271 Ventura Blvd., #333
Studio City, CA 91 604
Office: 818-985-5349
FAX: 818-985-531 5
email: seacave@sbcglobal.net
producers needed
"The New Girl Next Door" (a PSA) is the real story as told by prominent females of color representing various professions (Journalism, Athletics, Entertainment, Authors, Models, Entrepreneurs) speaking candidly to the next generation. The project will place a positive message in the public realm specifically intended for young females of color, approx. 13 to 21 years old, specifically targeting those living in our inner cities.
"The New Girl Next Door" is in search of "Fundraising" Producer (any location) and Two "Associate Producers," one in Los Angeles and one in NYC. Please note the bulk of the work for the Associate Producers will be in NYC. We currently have 25% of the funding in place, a fiscal sponsor, and conformation of three A-List females w/several more considering. Once selected for the interview process you will receive more details (treatment, principal conformations, crew bios, etc.) about the project (short synopsis below).
1. "Fundraising" Producer - Fee: Percentage
In search of an experienced professional to join an intimate creative team. You must have experience in securing major donor sponsorship. You should be bold, creative, and have a passion for the project. You will receive "Producer" credit and a generous percentage for all funding you bring to the table and given warm leads. This position is specifically geared for a seasoned professional, especially considering the caliber of the principals/subjects.
2. Associate Producer - Fee: Paid
In search of a professional and talented Associate Producer for documentary style interviews of 5 or more subjects. You must be highly organized and flexible with good communication, computer, and interpersonal skills. You need to be a detail-oriented individual w/excellent management skills. Additional experience: strong research skills, production scheduling, book crew, organize shoots, manage intern and more. You should have a strong background in field production and most importantly accustomed to dealing w/high profile personalities.
Please send your resume, links to work, and references w/full contact information to Mary at mavsil@earthlink.net
"The New Girl Next Door" is in search of "Fundraising" Producer (any location) and Two "Associate Producers," one in Los Angeles and one in NYC. Please note the bulk of the work for the Associate Producers will be in NYC. We currently have 25% of the funding in place, a fiscal sponsor, and conformation of three A-List females w/several more considering. Once selected for the interview process you will receive more details (treatment, principal conformations, crew bios, etc.) about the project (short synopsis below).
1. "Fundraising" Producer - Fee: Percentage
In search of an experienced professional to join an intimate creative team. You must have experience in securing major donor sponsorship. You should be bold, creative, and have a passion for the project. You will receive "Producer" credit and a generous percentage for all funding you bring to the table and given warm leads. This position is specifically geared for a seasoned professional, especially considering the caliber of the principals/subjects.
2. Associate Producer - Fee: Paid
In search of a professional and talented Associate Producer for documentary style interviews of 5 or more subjects. You must be highly organized and flexible with good communication, computer, and interpersonal skills. You need to be a detail-oriented individual w/excellent management skills. Additional experience: strong research skills, production scheduling, book crew, organize shoots, manage intern and more. You should have a strong background in field production and most importantly accustomed to dealing w/high profile personalities.
Please send your resume, links to work, and references w/full contact information to Mary at mavsil@earthlink.net
news jobs in LA
ABC7 IS AN EQUAL OPPORTUNITY EMPLOYER
To apply, please go to www.ABC7jobs.com
Or send resume to:
Human Resources, 500 Circle Seven Drive, Glendale, Ca. 91201
JOB LINE: 818/863-7562
SENIOR ONLINE NEWS PRODUCER
ABC7 is looking for a dynamic, self-motivated, technically-savvy news junkie to join our growing web team. Candidates should have experience working and multitasking in a high-pressure news environment. Strong editorial skills and sharp news judgment is a must. Knowledge of ENPS news system, line producing experience, and non-linear editing experience all pluses. Candidates must be available to work flexible hours, including overnights and weekends. Applicant must possess: strong writing and copy-editing skills; strong computer skills; solid knowledge of basic HTML; and be comfortable with Adobe Photoshop. Key responsibilities include: timely posting of breaking local and national news; monitoring, tracking progress, and supervision of other web staff; working with the news producers and assignment desk to coordinate on-air and online news coverage; coordinating special projects with various station departments; site troubleshooting and overall maintenance of the high editorial standards of ABC7 and abc7.com.
NEWS PROMOTION PRODUCER
ABC7 is seeking a news promotion producer to work with newscast producers to create compelling promotion. Previous promotion and news producing experience a plus. Must have excellent creative writing ability, and must be able to thrive under tight deadlines.
HELICOPTER REPORTER
ABC7 is looking for a helicopter reporter or helicopter pilot/reporter. Previous experience in radio or TV news, traffic reporting, or law enforcement preferred. Previous experience as a helicopter reporter a plus. Must be quick at assessing information and be comfortable in non-scripted situations on-air. Please send resume and non-returnable videotape.
FREELANCE ASSIGNMENT EDITOR
ABC7 Eyewitness News, Southern California's breaking news leader, is seeking a part-time Assignment Editor. This position is for our 11pm newscast but applicant should be flexible enough to work additional fill-in shifts at various times during the week. Previous assignment desk experience is a must. Knowledge of Southern California a plus. Must be able to multi-task and make decisions quickly, function effectively under deadline pressure, and have previous experience coordinating the movements of reporters and multiple microwave and satellite trucks. If you have great story ideas, great contacts, and love breaking news, please apply.
FREELANCE GRAPHIC ARTISTS
ABC7 is looking for freelance Graphic Artists. Candidates must be resourceful, creative artists who are team players able to work under tight deadlines and can multi-task. Individuals should have ability to conceptualize and design in broadcast, print, and web media. Minimum 3 years of broadcast design experience; Advanced level in Adobe Photoshop and Adobe After Effects; experience in Final Cut Pro, VizRT, Adobe Illustrator, and Quark. Experience in Cinema 4D a plus.
GENERAL ASSIGNMENT REPORTERS
ABC7 is seeking dynamic freelance General Assignment Reporters to join our top rated news team. Qualified candidates must have excellent writing and live presentation skills. A minimum of five years television broadcast news experience in a medium to large market is preferred. If you are interested in applying your reporting skills in a challenging and exciting news market, send your resume and non-returnable videotape.
ENG CAMERAPERSONS
ABC7 is seeking experienced ENG camerapersons for freelance employment. Successful candidates will have at least two years experience in daily newsgathering, live microwave truck operation, and editing in the field. Non-linear editing experience a plus. Scheduling flexibility, including willingness to work weekends, early mornings, late nights, and holidays a must.
NEWSWRITERS
ABC7 is seeking experienced television newswriters for freelance employment. Minimum of two years broadcast news experience. Ability to work quickly and under continuous deadlines. Knowledge of ENPS news system, line producing experience, and non-linear editing experience all pluses. Scheduling flexibility and willingness to work weekends, overnights, and holidays a must.
To apply, please go to www.ABC7jobs.com
Or send resume to:
Human Resources, 500 Circle Seven Drive, Glendale, Ca. 91201
JOB LINE: 818/863-7562
SENIOR ONLINE NEWS PRODUCER
ABC7 is looking for a dynamic, self-motivated, technically-savvy news junkie to join our growing web team. Candidates should have experience working and multitasking in a high-pressure news environment. Strong editorial skills and sharp news judgment is a must. Knowledge of ENPS news system, line producing experience, and non-linear editing experience all pluses. Candidates must be available to work flexible hours, including overnights and weekends. Applicant must possess: strong writing and copy-editing skills; strong computer skills; solid knowledge of basic HTML; and be comfortable with Adobe Photoshop. Key responsibilities include: timely posting of breaking local and national news; monitoring, tracking progress, and supervision of other web staff; working with the news producers and assignment desk to coordinate on-air and online news coverage; coordinating special projects with various station departments; site troubleshooting and overall maintenance of the high editorial standards of ABC7 and abc7.com.
NEWS PROMOTION PRODUCER
ABC7 is seeking a news promotion producer to work with newscast producers to create compelling promotion. Previous promotion and news producing experience a plus. Must have excellent creative writing ability, and must be able to thrive under tight deadlines.
HELICOPTER REPORTER
ABC7 is looking for a helicopter reporter or helicopter pilot/reporter. Previous experience in radio or TV news, traffic reporting, or law enforcement preferred. Previous experience as a helicopter reporter a plus. Must be quick at assessing information and be comfortable in non-scripted situations on-air. Please send resume and non-returnable videotape.
FREELANCE ASSIGNMENT EDITOR
ABC7 Eyewitness News, Southern California's breaking news leader, is seeking a part-time Assignment Editor. This position is for our 11pm newscast but applicant should be flexible enough to work additional fill-in shifts at various times during the week. Previous assignment desk experience is a must. Knowledge of Southern California a plus. Must be able to multi-task and make decisions quickly, function effectively under deadline pressure, and have previous experience coordinating the movements of reporters and multiple microwave and satellite trucks. If you have great story ideas, great contacts, and love breaking news, please apply.
FREELANCE GRAPHIC ARTISTS
ABC7 is looking for freelance Graphic Artists. Candidates must be resourceful, creative artists who are team players able to work under tight deadlines and can multi-task. Individuals should have ability to conceptualize and design in broadcast, print, and web media. Minimum 3 years of broadcast design experience; Advanced level in Adobe Photoshop and Adobe After Effects; experience in Final Cut Pro, VizRT, Adobe Illustrator, and Quark. Experience in Cinema 4D a plus.
GENERAL ASSIGNMENT REPORTERS
ABC7 is seeking dynamic freelance General Assignment Reporters to join our top rated news team. Qualified candidates must have excellent writing and live presentation skills. A minimum of five years television broadcast news experience in a medium to large market is preferred. If you are interested in applying your reporting skills in a challenging and exciting news market, send your resume and non-returnable videotape.
ENG CAMERAPERSONS
ABC7 is seeking experienced ENG camerapersons for freelance employment. Successful candidates will have at least two years experience in daily newsgathering, live microwave truck operation, and editing in the field. Non-linear editing experience a plus. Scheduling flexibility, including willingness to work weekends, early mornings, late nights, and holidays a must.
NEWSWRITERS
ABC7 is seeking experienced television newswriters for freelance employment. Minimum of two years broadcast news experience. Ability to work quickly and under continuous deadlines. Knowledge of ENPS news system, line producing experience, and non-linear editing experience all pluses. Scheduling flexibility and willingness to work weekends, overnights, and holidays a must.
April 17, 2008
teaching the arts
* Theatre/Humanities Position
Darton College (Georgia)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000555473-01&pg=e
* Theatre
Shorter College (Ga.) (Georgia)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000555957-01&pg=e
* Assistant/Associate Professor of Theatre
University of the Cumberlands (Kentucky)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000555462-01&pg=e
* Guitar Assistant Professor
Louisiana Tech University (Louisiana)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000556103-01&pg=e
* Assistant/Associate Professor for Communications Studies and Theatre
Missouri Western State University (Missouri)
(date posted: 4/11/2008)
http://chronicle.com/jobs/id.php?id=0000556422-01&pg=e
* Speech/Technical Theatre Instructor
Western Nebraska Community College (Nebraska)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000556570-01&pg=e
* Music Education
Rider University (New Jersey)
(date posted: 4/11/2008)
http://chronicle.com/jobs/id.php?id=0000556506-01&pg=e
* Adjunct - Applied Voice/Diction
Rider University (New Jersey)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000556512-01&pg=e
* Adjunct - Applied Voice
Rider University (New Jersey)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000556521-01&pg=e
* Theatre and Performance Studies
University of Pittsburgh main campus (Pennsylvania)
(date posted: 4/15/2008)
http://chronicle.com/jobs/id.php?id=0000556699-01&pg=e
* Theatre Faculty Position
Bethel College (Tennessee)
(date posted: 4/16/2008)
http://chronicle.com/jobs/id.php?id=0000557013-01&pg=e
* Director of the Browning Center for the Performing Arts
Weber State University (Utah)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000555579-01&pg=e
* Technical Director/Lighting Designer
Whitman College (Washington)
(date posted: 4/15/2008)
http://chronicle.com/jobs/id.php?id=0000556732-01&pg=e
* Lecturer (Arts and Visual Design)
University of Wisconsin at Green Bay (Wisconsin)
(date posted: 4/16/2008)
http://chronicle.com/jobs/id.php?id=0000556976-01&pg=e
Darton College (Georgia)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000555473-01&pg=e
* Theatre
Shorter College (Ga.) (Georgia)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000555957-01&pg=e
* Assistant/Associate Professor of Theatre
University of the Cumberlands (Kentucky)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000555462-01&pg=e
* Guitar Assistant Professor
Louisiana Tech University (Louisiana)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000556103-01&pg=e
* Assistant/Associate Professor for Communications Studies and Theatre
Missouri Western State University (Missouri)
(date posted: 4/11/2008)
http://chronicle.com/jobs/id.php?id=0000556422-01&pg=e
* Speech/Technical Theatre Instructor
Western Nebraska Community College (Nebraska)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000556570-01&pg=e
* Music Education
Rider University (New Jersey)
(date posted: 4/11/2008)
http://chronicle.com/jobs/id.php?id=0000556506-01&pg=e
* Adjunct - Applied Voice/Diction
Rider University (New Jersey)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000556512-01&pg=e
* Adjunct - Applied Voice
Rider University (New Jersey)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000556521-01&pg=e
* Theatre and Performance Studies
University of Pittsburgh main campus (Pennsylvania)
(date posted: 4/15/2008)
http://chronicle.com/jobs/id.php?id=0000556699-01&pg=e
* Theatre Faculty Position
Bethel College (Tennessee)
(date posted: 4/16/2008)
http://chronicle.com/jobs/id.php?id=0000557013-01&pg=e
* Director of the Browning Center for the Performing Arts
Weber State University (Utah)
(date posted: 4/14/2008)
http://chronicle.com/jobs/id.php?id=0000555579-01&pg=e
* Technical Director/Lighting Designer
Whitman College (Washington)
(date posted: 4/15/2008)
http://chronicle.com/jobs/id.php?id=0000556732-01&pg=e
* Lecturer (Arts and Visual Design)
University of Wisconsin at Green Bay (Wisconsin)
(date posted: 4/16/2008)
http://chronicle.com/jobs/id.php?id=0000556976-01&pg=e
April 16, 2008
using poetry to create character
My weekly writing group most recently began using poetry to create raw material for other written work such as plays, screenplays, etc. This is a method I've used many times to discover my characters, uncover plot and to further examine the relationships between my lead character and his/her enemy or lover.
Often, my poems end up as monologues or as scenes within a play. The poem itself gets transposed into dialogue, which helps heighten the style and language of the piece without any "effort" - very often a poem can tell a writer, in so few words, what the essence of a scene actually is. It "cuts to the quick" and resonates with emotional truth.
Poetry creates the "aha" moment - which always leads to good drama.
DAILY CREATIVE EXERCISE:
"WRITE A PHOTOGRAPH"
Write a poem that captures your character like a photograph. See them in a specific fleeting moment. See them as another character saw them. Freeze that image in time. Flesh out the specifics, explore the details.
Use this poem as your inspiration. Steal its structure and make it your own. Copy the form or reject the tone. Use this poem as a launching pad for your own exploration.
Grammar
by Tony Hoagland
Maxine, back from a weekend with her boyfriend,
smiles like a big cat and says
that she's a conjugated verb.
She's been doing the direct object
with a second person pronoun named Phil,
and when she walks into the room,
everybody turns:
some kind of light is coming from her head.
Even the geraniums look curious,
and the bees, if they were here, would buzz
suspiciously around her hair, looking
for the door in her corona.
We're all attracted to the perfume
of fermenting joy,
we've all tried to start a fire,
and one day maybe it will blaze up on its own.
In the meantime, she is the one today among us
most able to bear the idea of her own beauty,
and when we see it, what we do is natural:
we take our burned hands
out of our pockets,
and clap.
Often, my poems end up as monologues or as scenes within a play. The poem itself gets transposed into dialogue, which helps heighten the style and language of the piece without any "effort" - very often a poem can tell a writer, in so few words, what the essence of a scene actually is. It "cuts to the quick" and resonates with emotional truth.
Poetry creates the "aha" moment - which always leads to good drama.
DAILY CREATIVE EXERCISE:
"WRITE A PHOTOGRAPH"
Write a poem that captures your character like a photograph. See them in a specific fleeting moment. See them as another character saw them. Freeze that image in time. Flesh out the specifics, explore the details.
Use this poem as your inspiration. Steal its structure and make it your own. Copy the form or reject the tone. Use this poem as a launching pad for your own exploration.
Grammar
by Tony Hoagland
Maxine, back from a weekend with her boyfriend,
smiles like a big cat and says
that she's a conjugated verb.
She's been doing the direct object
with a second person pronoun named Phil,
and when she walks into the room,
everybody turns:
some kind of light is coming from her head.
Even the geraniums look curious,
and the bees, if they were here, would buzz
suspiciously around her hair, looking
for the door in her corona.
We're all attracted to the perfume
of fermenting joy,
we've all tried to start a fire,
and one day maybe it will blaze up on its own.
In the meantime, she is the one today among us
most able to bear the idea of her own beauty,
and when we see it, what we do is natural:
we take our burned hands
out of our pockets,
and clap.
April 15, 2008
FREE ARTS TUNE-UP
ARTS INFORMATION FOR INDIVIDUAL ARTISTS & SMALL BUDGET ORGANIZATIONS
The Arts Tune-Up is free, but you do need to REGISTER through SurveyMonkey by clicking on this link: www.surveymonkey.com/lacac_atucc08
We are pleased to announce an "Arts Tune-Up" event for individual artists and small budget organizations. This free event is designed to put you in contact with arts consultants, working artists, and administrators who can provide information and answer questions on a variety of topics including fundraising, how to market and publicize your art, information on new loan fund programs for artists and organizations, benefit opportunities for artists, training programs for artists and organizations, board development for arts organizations, arts education resources, and much more.
Saturday, May 3: Culver City
10 a.m. to 1 p.m.
Veterans Memorial Park Teen Center
4135 Overland Avenue
Culver City, CA 90230
Parking is available and free of charge
HERE IS HOW THE ARTS TUNE-UP WORKS!
There will be several tables set up with an arts expert/consultant located at each table.
Locate the table that has the topic you want to learn more about and join that table. Each table discussion will last for 25 minutes. After 25 minutes an announcement will be made, indicating that that session is over. Then rotate to another table with a topic you want to learn more about as the sessions repeat. There will be a series of 5 round-robin sessions of 25 minutes each.
You are welcome to come by for one session or stay for all five.
Schedule Registration and Check-in: 9:45 – 10:00 a.m.
Welcome: 10:00 – 10:10 a.m.
Round 1: 10:10 – 10:35 a.m.
Round 2: 10:40 – 11:05 a.m.
Networking: 11:05 – 11:20 a.m.
Round 3: 11:20 – 11:45 a.m.
Round 4: 11:50 – 12:15 p.m.
Round 5: 12:20 – 12:45 p.m.
Wrap up: 12:45 – 1:00 p.m.
Topics for Artists:
Artist Residencies & Live-Work Housing
Arts Education In-School Resources and Working in Arts Education (K-12)
Cultural and Community Outreach
Fundraising for Individual Artists
Getting Your Sh*t Together
Health Insurance for Individual Artists
Legal Issues and Contracts, Copyright and Collections
Marketing for Visual Artists
PR (for Performing Artists)
Topics for Organizations:
Arts Education In-School Resources (K-12)
Board or Bored: Practical Tips for Engaging Your Board
Cultural and Community Outreach
Fundraising for Organizations
Legal Issues and Contracts, Copyright and Collections
Marketing for Organizations
AND MORE...
There will be lots of basic information for individual artists and small arts organizations. While seasoned artists, arts administrators and board members are welcome to attend, the information is geared more toward those people who are earlier in their careers and are looking for some basic ideas to help them with the business side of their work.
The Arts Tune-Up is free, but you do need to REGISTER through SurveyMonkey by clicking on this link:
www.surveymonkey.com/lacac_atucc08
The Arts Tune-Up is free, but you do need to REGISTER through SurveyMonkey by clicking on this link: www.surveymonkey.com/lacac_atucc08
We are pleased to announce an "Arts Tune-Up" event for individual artists and small budget organizations. This free event is designed to put you in contact with arts consultants, working artists, and administrators who can provide information and answer questions on a variety of topics including fundraising, how to market and publicize your art, information on new loan fund programs for artists and organizations, benefit opportunities for artists, training programs for artists and organizations, board development for arts organizations, arts education resources, and much more.
Saturday, May 3: Culver City
10 a.m. to 1 p.m.
Veterans Memorial Park Teen Center
4135 Overland Avenue
Culver City, CA 90230
Parking is available and free of charge
HERE IS HOW THE ARTS TUNE-UP WORKS!
There will be several tables set up with an arts expert/consultant located at each table.
Locate the table that has the topic you want to learn more about and join that table. Each table discussion will last for 25 minutes. After 25 minutes an announcement will be made, indicating that that session is over. Then rotate to another table with a topic you want to learn more about as the sessions repeat. There will be a series of 5 round-robin sessions of 25 minutes each.
You are welcome to come by for one session or stay for all five.
Schedule Registration and Check-in: 9:45 – 10:00 a.m.
Welcome: 10:00 – 10:10 a.m.
Round 1: 10:10 – 10:35 a.m.
Round 2: 10:40 – 11:05 a.m.
Networking: 11:05 – 11:20 a.m.
Round 3: 11:20 – 11:45 a.m.
Round 4: 11:50 – 12:15 p.m.
Round 5: 12:20 – 12:45 p.m.
Wrap up: 12:45 – 1:00 p.m.
Topics for Artists:
Artist Residencies & Live-Work Housing
Arts Education In-School Resources and Working in Arts Education (K-12)
Cultural and Community Outreach
Fundraising for Individual Artists
Getting Your Sh*t Together
Health Insurance for Individual Artists
Legal Issues and Contracts, Copyright and Collections
Marketing for Visual Artists
PR (for Performing Artists)
Topics for Organizations:
Arts Education In-School Resources (K-12)
Board or Bored: Practical Tips for Engaging Your Board
Cultural and Community Outreach
Fundraising for Organizations
Legal Issues and Contracts, Copyright and Collections
Marketing for Organizations
AND MORE...
There will be lots of basic information for individual artists and small arts organizations. While seasoned artists, arts administrators and board members are welcome to attend, the information is geared more toward those people who are earlier in their careers and are looking for some basic ideas to help them with the business side of their work.
The Arts Tune-Up is free, but you do need to REGISTER through SurveyMonkey by clicking on this link:
www.surveymonkey.com/lacac_atucc08
April 14, 2008
PAGE 73 APPLICATIONS DUE
The application deadline for next year's P73 Playwriting Fellowship is fast approaching. Applications are due (post-marked) by May 1, 2008 and are online here.
The P73 Playwriting Fellowship is a year-long program that provides support to one early career American playwright each year, from January 1 to December 31. During the year, Page 73 serves as the fellow's producer and advocate, providing support for career development, the development of one or more new theatrical projects, and a cash stipend. Past fellows are Kirsten Greenidge, Quiara Hudes, Jason Grote and Krista Knight. This year's fellow is Tommy Smith. Please see the application and guidelines for complete details.
The P73 Playwriting Fellowship is turning 5 this year, and in honor of this anniversary we are pleased to announce an increase in the program's cash stipend to $5,000!
For the application, click here. ALL APPLICATIONS ARE DUE BY MAY 1, 2008!
The P73 Playwriting Fellowship is a year-long program that provides support to one early career American playwright each year, from January 1 to December 31. During the year, Page 73 serves as the fellow's producer and advocate, providing support for career development, the development of one or more new theatrical projects, and a cash stipend. Past fellows are Kirsten Greenidge, Quiara Hudes, Jason Grote and Krista Knight. This year's fellow is Tommy Smith. Please see the application and guidelines for complete details.
The P73 Playwriting Fellowship is turning 5 this year, and in honor of this anniversary we are pleased to announce an increase in the program's cash stipend to $5,000!
For the application, click here. ALL APPLICATIONS ARE DUE BY MAY 1, 2008!
ARC: ARTISTS' RESOURCE for COMPLETION
THE DURFEE FOUNDATION
Postmark Deadline is Tuesday, April 29, 2008.
And for the first time, you can now submit your applications ONLINE! You can choose to apply online or by mail. We're hoping to go completely paperless by the end of the year though, so should you decide to apply, we encourage you to do so online.
ARC grants provide rapid, short-term assistance of up to $3,500 to individual artists who live in Los Angeles County. Funds must be used to enhance work that is near completion and scheduled for presentation between June 10, 2008 and November 11, 2008. Artists in any discipline may apply. Applicants must have a secure invitation from an established organization to present their work. There are four grant cycles per year.
For more information, application, or guidelines visithttp://www.durfee.org/programs/arc/index.html
Postmark Deadline is Tuesday, April 29, 2008.
And for the first time, you can now submit your applications ONLINE! You can choose to apply online or by mail. We're hoping to go completely paperless by the end of the year though, so should you decide to apply, we encourage you to do so online.
ARC grants provide rapid, short-term assistance of up to $3,500 to individual artists who live in Los Angeles County. Funds must be used to enhance work that is near completion and scheduled for presentation between June 10, 2008 and November 11, 2008. Artists in any discipline may apply. Applicants must have a secure invitation from an established organization to present their work. There are four grant cycles per year.
For more information, application, or guidelines visithttp://www.durfee.org/programs/arc/index.html
teaching the arts
* Violin Instructor and Voice Instructor
Medicine Hat College (Canada)
(date posted: 4/8/2008)
http://chronicle.com/jobs/id.php?id=0000555997-01&pg=e
* Assistant Professor of Theatre and Communication Arts
Bemidji State University (Minnesota)
(date posted: 4/7/2008)
http://chronicle.com/jobs/id.php?id=0000554895-01&pg=e
* Assistant Professor of Dance
Cottey College (Missouri)
(date posted: 4/7/2008)
http://chronicle.com/jobs/id.php?id=0000555092-01&pg=e
* Visiting Assistant Professor in Video Production
Franklin & Marshall College (Pennsylvania)
(date posted: 4/9/2008)
http://chronicle.com/jobs/id.php?id=0000556032-01&pg=e
* Theater Arts Instructor
Walla Walla Community College (Washington)
(date posted: 4/7/2008)
http://chronicle.com/jobs/id.php?id=0000555725-01&pg=e
Medicine Hat College (Canada)
(date posted: 4/8/2008)
http://chronicle.com/jobs/id.php?id=0000555997-01&pg=e
* Assistant Professor of Theatre and Communication Arts
Bemidji State University (Minnesota)
(date posted: 4/7/2008)
http://chronicle.com/jobs/id.php?id=0000554895-01&pg=e
* Assistant Professor of Dance
Cottey College (Missouri)
(date posted: 4/7/2008)
http://chronicle.com/jobs/id.php?id=0000555092-01&pg=e
* Visiting Assistant Professor in Video Production
Franklin & Marshall College (Pennsylvania)
(date posted: 4/9/2008)
http://chronicle.com/jobs/id.php?id=0000556032-01&pg=e
* Theater Arts Instructor
Walla Walla Community College (Washington)
(date posted: 4/7/2008)
http://chronicle.com/jobs/id.php?id=0000555725-01&pg=e
April 05, 2008
unique opp to get your work seen in NYC
GO LIGHT PRODUCTIONS is seeking artists who need technology and advertising space to make their digital art projects a reality in real-world spaces. Utilizing state-of-the-art digital imaging technology, advertisers have a new twist to traditional static billboards.
In simple terms, we are interested in any material that fits parameters as follows:- high contrast, bright colors- suitable for minors - we are showing in public, in the street- animated - maybe even short movies, or individual images in sequence (max.1,2 minutes)- hi-res files, to utilize the capability of the equipment- should work well without sound, silent
Work will be displayed at the corner of 72nd and B'way - a very busy corner with lots of pedestrian and auto traffic. We conceive it as a promotional event involving suitable artwork, non-profit just to illustrate the possibilities of the light projection medium and give artists an opportunityto show their work in an unconventional, yet highly effective manner. Our rental house will supply the most powerful technology available, we'll produce the event, send out invites, maybe even have a van or truck there hand out free drinks, sort of an "outdoor vernissage". Also, the technology would allow us to provide a "live-feed" from the street.
We are planning for the 3rd week of April, 3 consecutive nights, possibly longer - and we are working to get the material lined up right now.The lure of projecting powerful mega images as large as 400' by 400' ontoskyscrapers, sandy beaches, athletic fields and mountains motivated the founders Alex Vandoros and James Giddings to develop their ownstate-of-the-art mega format nighttime projection medium. By customizing the most potent projection technology available, GO LIGHT PROJECTIONS conceptualizes and executes creative mega images worldwide. With offices inNew York, Paris and Munich, GO LIGHT PROJECTIONS is capable of coordinating presentations in multiple cities simultaneously anywhere in the US or Western Europe.
Interested? Contact Alexander Vandoros at alex@gooutdoor.com.
In simple terms, we are interested in any material that fits parameters as follows:- high contrast, bright colors- suitable for minors - we are showing in public, in the street- animated - maybe even short movies, or individual images in sequence (max.1,2 minutes)- hi-res files, to utilize the capability of the equipment- should work well without sound, silent
Work will be displayed at the corner of 72nd and B'way - a very busy corner with lots of pedestrian and auto traffic. We conceive it as a promotional event involving suitable artwork, non-profit just to illustrate the possibilities of the light projection medium and give artists an opportunityto show their work in an unconventional, yet highly effective manner. Our rental house will supply the most powerful technology available, we'll produce the event, send out invites, maybe even have a van or truck there hand out free drinks, sort of an "outdoor vernissage". Also, the technology would allow us to provide a "live-feed" from the street.
We are planning for the 3rd week of April, 3 consecutive nights, possibly longer - and we are working to get the material lined up right now.The lure of projecting powerful mega images as large as 400' by 400' ontoskyscrapers, sandy beaches, athletic fields and mountains motivated the founders Alex Vandoros and James Giddings to develop their ownstate-of-the-art mega format nighttime projection medium. By customizing the most potent projection technology available, GO LIGHT PROJECTIONS conceptualizes and executes creative mega images worldwide. With offices inNew York, Paris and Munich, GO LIGHT PROJECTIONS is capable of coordinating presentations in multiple cities simultaneously anywhere in the US or Western Europe.
Interested? Contact Alexander Vandoros at alex@gooutdoor.com.
The David Calicchio/Marin Theatre Company Emerging American Playwright Prize
Norton J. “Sky” Cooper established the Emerging American Playwright Prize award at Marin Theatre Company in 2007 in honor of David Calicchio’s lifelong career as a playwright and in support of Marin Theatre Company’s commitment to the discovery and development of new and emerging American playwrights. The Calicchio Prize will be awarded annually to a professionally unproduced playwright for a new work that shows outstanding promise and a distinctive new voice for the American theatre. The play selected as the Calicchio Prize winner will receive 2 public staged readings at Marin Theatre Company as part of the theatre’s annual Nu Werkz Series. The playwright will receive a $2,500 award, as well as travel and accomodations for the MTC rehearsal period (25 hours).
GUIDELINES
Plays must be full-length in comedy, drama, etc. Musicals, translations, adaptations, individual one-acts and any play previously submitted for the David Calicchio Prize are not eligible. Collaborations are welcomed, in which case prize benefits are shared. Playwrights may not have received a full-scale, professional production of the submitted play, or any of their other works, prior to submission. Plays and playwrights that have had workshop, reading or non-professional productions are still eligible. Playwrights must be citizens of the United States. Only one submission per playwright is allowed each year. If you plan to also submit your play to the Sky Cooper Play Prize you may do so but it must be the same play.
Submission is a two-phase process:
Phase I: Submit a two-page maximum abstract of the play including title, character breakdown, brief story synopsis and playwright bio or resume. Also include 10 pages of consecutive sample dialogue. Literary agents may submit full scripts of their client’s work. All abstracts and dialogue samples will be read. From these, selected manuscripts will be solicited for Phase II by October 1.
Due to the high number of submissions, not every playwright will receive a response to their Phase 1 submission. Do not send a manuscript with or instead of the abstract. Unsolicited manuscripts will not be read. Due to the high number of submissions we cannot return any Phase I materials. If you would like notification that your submission was received, please send it with a SASP. Electronic submissions are accepted in Word or PDF format only and paper copies must be sent to MTC if requested. Please NO PHONE OR EMAIL inquiries.
Phase II: All manuscripts that have been solicited after Phase I will be read. Manuscripts should be neatly typed, securely bound and have the playwright’s name, contact address and phone number clearly visible on the front page. No solicited manuscript will be returned without a self-addressed, stamped envelope with adequate postage.
All final selections are made by Jasson Minadakis, Artistic Director of Marin Theatre Company.
Submissions are accepted between April 1 and August 31 (postmarked).
Address all submissions to:
The David Calicchio/Marin Theatre Company Emerging American Playwright Prize
Marin Theatre Company
397 Miller Avenue,
Mill Valley, CA 94941
Or Electronically to davidcalicchio@marintheatre.org
GUIDELINES
Plays must be full-length in comedy, drama, etc. Musicals, translations, adaptations, individual one-acts and any play previously submitted for the David Calicchio Prize are not eligible. Collaborations are welcomed, in which case prize benefits are shared. Playwrights may not have received a full-scale, professional production of the submitted play, or any of their other works, prior to submission. Plays and playwrights that have had workshop, reading or non-professional productions are still eligible. Playwrights must be citizens of the United States. Only one submission per playwright is allowed each year. If you plan to also submit your play to the Sky Cooper Play Prize you may do so but it must be the same play.
Submission is a two-phase process:
Phase I: Submit a two-page maximum abstract of the play including title, character breakdown, brief story synopsis and playwright bio or resume. Also include 10 pages of consecutive sample dialogue. Literary agents may submit full scripts of their client’s work. All abstracts and dialogue samples will be read. From these, selected manuscripts will be solicited for Phase II by October 1.
Due to the high number of submissions, not every playwright will receive a response to their Phase 1 submission. Do not send a manuscript with or instead of the abstract. Unsolicited manuscripts will not be read. Due to the high number of submissions we cannot return any Phase I materials. If you would like notification that your submission was received, please send it with a SASP. Electronic submissions are accepted in Word or PDF format only and paper copies must be sent to MTC if requested. Please NO PHONE OR EMAIL inquiries.
Phase II: All manuscripts that have been solicited after Phase I will be read. Manuscripts should be neatly typed, securely bound and have the playwright’s name, contact address and phone number clearly visible on the front page. No solicited manuscript will be returned without a self-addressed, stamped envelope with adequate postage.
All final selections are made by Jasson Minadakis, Artistic Director of Marin Theatre Company.
Submissions are accepted between April 1 and August 31 (postmarked).
Address all submissions to:
The David Calicchio/Marin Theatre Company Emerging American Playwright Prize
Marin Theatre Company
397 Miller Avenue,
Mill Valley, CA 94941
Or Electronically to davidcalicchio@marintheatre.org
The Sky Cooper/Marin Theatre Company New American Play Prize
Norton J. “Sky” Cooper established the New American Play Prize at Marin Theatre Company in 2007 to celebrate the work of the American playwright and to encourage the creation of bold, powerful new voices and plays for the American stage. The Sky Cooper Prize will be awarded annually to either an established or emerging playwright for an outstanding new work. The play selected as the Sky Cooper winner will receive a full production at Marin Theatre Company as part of the theatre’s annual season and will be given regional and national promotion. In addition, the playwright receives a $10,000 award, as well as travel and accommodations for the MTC rehearsal period.
GUIDELINES
Plays must be full-length in any genre: comedy, drama, etc. Musicals, translations, individual one-acts and any play previously submitted for the Sky Cooper Prize are not eligible. Collaborations are welcomed, in which case prize benefits are shared. Plays may not have received a full-scale, professional production prior to submission. Plays that have had a workshop, reading or non-professional production are still eligible. Playwrights must be citizens of the United States. Playwrights with past production experience are especially encouraged to submit new work. Only one submission per playwright is allowed each year. If you are eligible for the David Calicchio Award you may submit the same play for both prizes.
Submission is a two-phase process:
Phase I: Submit a two-page maximum abstract of the play including title, character breakdown, brief story synopsis and playwright bio or resume. Also include 10 pages of consecutive sample dialogue. Do not send videos. Literary agents may submit full scripts of their client’s work. All abstracts and dialogue samples will be read. From these, selected manuscripts will be solicited for Phase II by October 1.
Due to the high number of submissions, not every playwright will receive a response to their Phase 1 submission. Do not send a manuscript with or instead of the abstract. Unsolicited manuscripts will not be read. Due to the high number of submissions we cannot return any materials. If you would like notification that your submission was received, please send it with a SASP. Electronic submissions are accepted in Word or PDF format only and paper copies must also be sent to MTC if requested. Please NO PHONE OR EMAIL inquiries.
Phase II: All manuscripts that have been solicited after Phase I will be read. Manuscripts should be neatly typed, securely bound and have the playwright’s name, contact address and phone number clearly visible on the front page. No solicited manuscript will be returned without a self-addressed, stamped envelope with adequate postage.
All final selections are made by Jasson Minadakis, Artistic Director of Marin Theatre Company.
Submissions are accepted between April 1 and August 31 (postmarked).
Address all submissions to:
The Sky Cooper New American Play Prize
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA 94941
Or Electronically to skycooper@marintheatre.org
GUIDELINES
Plays must be full-length in any genre: comedy, drama, etc. Musicals, translations, individual one-acts and any play previously submitted for the Sky Cooper Prize are not eligible. Collaborations are welcomed, in which case prize benefits are shared. Plays may not have received a full-scale, professional production prior to submission. Plays that have had a workshop, reading or non-professional production are still eligible. Playwrights must be citizens of the United States. Playwrights with past production experience are especially encouraged to submit new work. Only one submission per playwright is allowed each year. If you are eligible for the David Calicchio Award you may submit the same play for both prizes.
Submission is a two-phase process:
Phase I: Submit a two-page maximum abstract of the play including title, character breakdown, brief story synopsis and playwright bio or resume. Also include 10 pages of consecutive sample dialogue. Do not send videos. Literary agents may submit full scripts of their client’s work. All abstracts and dialogue samples will be read. From these, selected manuscripts will be solicited for Phase II by October 1.
Due to the high number of submissions, not every playwright will receive a response to their Phase 1 submission. Do not send a manuscript with or instead of the abstract. Unsolicited manuscripts will not be read. Due to the high number of submissions we cannot return any materials. If you would like notification that your submission was received, please send it with a SASP. Electronic submissions are accepted in Word or PDF format only and paper copies must also be sent to MTC if requested. Please NO PHONE OR EMAIL inquiries.
Phase II: All manuscripts that have been solicited after Phase I will be read. Manuscripts should be neatly typed, securely bound and have the playwright’s name, contact address and phone number clearly visible on the front page. No solicited manuscript will be returned without a self-addressed, stamped envelope with adequate postage.
All final selections are made by Jasson Minadakis, Artistic Director of Marin Theatre Company.
Submissions are accepted between April 1 and August 31 (postmarked).
Address all submissions to:
The Sky Cooper New American Play Prize
Marin Theatre Company
397 Miller Avenue
Mill Valley, CA 94941
Or Electronically to skycooper@marintheatre.org
new grants
ASCAP Foundation Announces New Grant Guidelines
Deadline: August 1, 2008 (Letter of Inquiry)
The ASCAP Foundation ( http://www.ascapfoundation.org/ ) is a publicly supported charitable organization dedicated to support- ing American music creators and encouraging their development through music education and talent development programs. As part of this mission, the foundation annually provides grants to non- profit organizations engaged in educational programs for aspiring songwriters and composers. The foundation is accepting Letters of Inquiry from U.S.-based nonprofit 501(c)(3) organizations engaging in music education and talent development programs that are consistent with the mission and objectives of the ASCAP Foundation and that support music education programs for aspiring songwriters and composers.
The foundation's average grant is between $3,000 and $5,000, and is made on an annual one-time basis. The foundation does not consider requests for general operating or administrative support or annual giving campaigns, capital purposes, endowments, deficit operations, recordings, marketing efforts or performance and production funding. The foundation does not purchase adver- tisements, sponsor events, or donate equipment. Full grant applications are by invitation only. Those interested in applying for a grant must first submit a Letter of Inquiry Form by August 1, 2008. Applicants will hear within one month of receipt of their Letter of Inquiry whether their organization will be invited to submit a full grant application. Letters of Inquiry should be submitted to the ASCAP Foundation as early as possible. Full grant applications for 2009 funding must be re- ceived by October 1, 2008.
Visit the ASCAP Foundation Web site for complete program guidelines, application procedures, and information on previously funded programs. RFP Link: http://fconline.foundationcenter.org/pnd/15012258/ascap
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
Humanities Council of Washington, D.C., Accepting Proposals for Community Heritage Projects
Deadline: May 1, 2008
The Humanities Council of Washington, D.C. ( http://wdchumanities.org/ ) has announced its second annual Request for Proposals for projects focused on community heritage, history, and preservation projects in the District of Columbia. Projects may focus on a range of ideas and issues from commu- nities across the district, and may include a wide variety of formats, from a historical resource center for a neighborhood to an oral history project for a community. Projects that will bring neighborhood histories and heritage and preservation resources to a wider audience, such as Web site creation or expansion, are strongly encouraged.
Grant funds are available to organizations that are headquartered within the District of Columbia and have 501(c)(3) nonprofit status or D.C. nonprofit government status. Groups and organizations without nonprofit status may work with a qualifying organization that agrees to act as a fiscal sponsor. Eligible projects must be D.C.-based and -focused; grounded in the humanities; and centered on community heritage, history, or preservation. The program will provide up to two grants per ward of up to $4,000 each. Funds are designated for short projects that can be completed within the 120-day grant period; contained components of larger projects that can be completed within those 120 days; or for planning work to develop a larger project.
Visit the Humanities Council Web site for complete program information. RFP Link: http://fconline.foundationcenter.org/pnd/15012259/humanities
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
National Storytelling Network Invites Applications for Applied Storytelling Award
Deadline: May 2, 2008 (Preliminary proposals)
The National Storytelling Network ( http://www.storynet.org/ ) invites applications for the fifth annual Brimstone Award for Applied Storytelling. The award focuses on the transformational properties of story- telling and aims to increase understanding of the ways story- telling can promote change in individuals and communities. The award provides a grant of $5,000 for a project that will be completed in calendar year 2009.
The grant will support a model storytelling project that is service-oriented, based in a com- munity or organization, and to some extent replicable in other places and situations. Many different sorts of projects can be considered for the award, including community, organizational or institutional programs, curricular activities, short residencies, and projects combining complementary art forms. Applicants who are not members of the National Storytelling Network must pay the current membership fee to become an NSN member.
Program information and an application form are available at the NSN Web site. RFP Link: http://fconline.foundationcenter.org/pnd/15012260/storytelling
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
Deadline: August 1, 2008 (Letter of Inquiry)
The ASCAP Foundation ( http://www.ascapfoundation.org/ ) is a publicly supported charitable organization dedicated to support- ing American music creators and encouraging their development through music education and talent development programs. As part of this mission, the foundation annually provides grants to non- profit organizations engaged in educational programs for aspiring songwriters and composers. The foundation is accepting Letters of Inquiry from U.S.-based nonprofit 501(c)(3) organizations engaging in music education and talent development programs that are consistent with the mission and objectives of the ASCAP Foundation and that support music education programs for aspiring songwriters and composers.
The foundation's average grant is between $3,000 and $5,000, and is made on an annual one-time basis. The foundation does not consider requests for general operating or administrative support or annual giving campaigns, capital purposes, endowments, deficit operations, recordings, marketing efforts or performance and production funding. The foundation does not purchase adver- tisements, sponsor events, or donate equipment. Full grant applications are by invitation only. Those interested in applying for a grant must first submit a Letter of Inquiry Form by August 1, 2008. Applicants will hear within one month of receipt of their Letter of Inquiry whether their organization will be invited to submit a full grant application. Letters of Inquiry should be submitted to the ASCAP Foundation as early as possible. Full grant applications for 2009 funding must be re- ceived by October 1, 2008.
Visit the ASCAP Foundation Web site for complete program guidelines, application procedures, and information on previously funded programs. RFP Link: http://fconline.foundationcenter.org/pnd/15012258/ascap
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
Humanities Council of Washington, D.C., Accepting Proposals for Community Heritage Projects
Deadline: May 1, 2008
The Humanities Council of Washington, D.C. ( http://wdchumanities.org/ ) has announced its second annual Request for Proposals for projects focused on community heritage, history, and preservation projects in the District of Columbia. Projects may focus on a range of ideas and issues from commu- nities across the district, and may include a wide variety of formats, from a historical resource center for a neighborhood to an oral history project for a community. Projects that will bring neighborhood histories and heritage and preservation resources to a wider audience, such as Web site creation or expansion, are strongly encouraged.
Grant funds are available to organizations that are headquartered within the District of Columbia and have 501(c)(3) nonprofit status or D.C. nonprofit government status. Groups and organizations without nonprofit status may work with a qualifying organization that agrees to act as a fiscal sponsor. Eligible projects must be D.C.-based and -focused; grounded in the humanities; and centered on community heritage, history, or preservation. The program will provide up to two grants per ward of up to $4,000 each. Funds are designated for short projects that can be completed within the 120-day grant period; contained components of larger projects that can be completed within those 120 days; or for planning work to develop a larger project.
Visit the Humanities Council Web site for complete program information. RFP Link: http://fconline.foundationcenter.org/pnd/15012259/humanities
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
National Storytelling Network Invites Applications for Applied Storytelling Award
Deadline: May 2, 2008 (Preliminary proposals)
The National Storytelling Network ( http://www.storynet.org/ ) invites applications for the fifth annual Brimstone Award for Applied Storytelling. The award focuses on the transformational properties of story- telling and aims to increase understanding of the ways story- telling can promote change in individuals and communities. The award provides a grant of $5,000 for a project that will be completed in calendar year 2009.
The grant will support a model storytelling project that is service-oriented, based in a com- munity or organization, and to some extent replicable in other places and situations. Many different sorts of projects can be considered for the award, including community, organizational or institutional programs, curricular activities, short residencies, and projects combining complementary art forms. Applicants who are not members of the National Storytelling Network must pay the current membership fee to become an NSN member.
Program information and an application form are available at the NSN Web site. RFP Link: http://fconline.foundationcenter.org/pnd/15012260/storytelling
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
international fesival of making theater
The 4th International Festival of Making Theater, will be held in Athens, Greece, July 6th - 13th 2008.
During a whole week of creative interaction, Theater Makers from different parts of the world will have the opportunity to share and get acquainted with new working methods and ideas, regarding the following three sectors: Acting, Movement and Voice. Especially for this year Theater of Changes will host the following workshops:
"Paths of Voice", Sophie Hutin ( France )
"Inside Out - From realism and beyond", Sašo and Mojtina Jurcer ( Slovenia)
"Connected Motion", David Barker (U.S.A. Arizona)
"Freeing the natural voice" Francoise Walot (Belgium)
"Writing with the Body - Suzuki Method and Physical Composition", Maria Porter (U.S.A. New York)
"Dramatic Corporeal Mime - Acting through movement", Ivana Peranic (Croatia)
"Voice through the Lens of Archetype", Leigh Wilson Smiley (Maryland U.S.A.)
"Preparation", Giles Foreman (United Kingdom)
"The journey to the heart of the actor-joy , absurd, nonsense, and folly. ", Moshe Malka (Israel)
"Actor and the voice of his character", Marina Markovic (Serbia)
"Giving body to a thought", Janaina Tupan - Sebastien Loesener ( Brazil - France)
"The Physical Ensemble", Phillip Mackenzie (Australia)
"Improvisation as a tool for acting and directing", Evdokimos Tsolakidis (Greece)
"Problem, Process, Product, Performance - The 4 Ps of the Human Instrument", Lon Gordon (Illinois U.S.A.)
"Dancing Qi Gong", Martina Morasso (Italy)
For more information visit www.toc.gr
The festival's programme is the following:
Sunday July 6th Arrival day
Monday July 7th - Friday July 11th Workshops, Performances, Discussion.
Saturday July 12th Excursion to Epidaurus This year we will attend National Theatre's production of Aristophanes' "The Frogs"
Sunday July 13th Departure day
English will be the official language of the festival.
INVITATION for PARTICIPANTS
The Theater of Changes invites, actors, directors, drama school students, dancers, choreographers, singers, acting, voice and movement teachers and finally all those with a vivid interest in performing arts to attend the workshops of the 4th International Festival of Making Theater (In.F.o.Ma.T.), which will be held July 6th-13th, 2008, at the Theater of Changes, 19a 3is Septemvriou str, 104 32, Athens, Greece. The selected participants will be divided into three groups.
All participants should send their Application Form until June 30th 2008 (once the Application Form is filled just press the "submit button").
Having sent the Application Form the selected participants will receive by email the pre-approval (including details concerning the payment procedure) of their participation to the Festival. Final approvals will be made once fee payment is settled. Since the number of the participants is limited, priority will be given to those applications received the earliest possible.
During a whole week of creative interaction, Theater Makers from different parts of the world will have the opportunity to share and get acquainted with new working methods and ideas, regarding the following three sectors: Acting, Movement and Voice. Especially for this year Theater of Changes will host the following workshops:
"Paths of Voice", Sophie Hutin ( France )
"Inside Out - From realism and beyond", Sašo and Mojtina Jurcer ( Slovenia)
"Connected Motion", David Barker (U.S.A. Arizona)
"Freeing the natural voice" Francoise Walot (Belgium)
"Writing with the Body - Suzuki Method and Physical Composition", Maria Porter (U.S.A. New York)
"Dramatic Corporeal Mime - Acting through movement", Ivana Peranic (Croatia)
"Voice through the Lens of Archetype", Leigh Wilson Smiley (Maryland U.S.A.)
"Preparation", Giles Foreman (United Kingdom)
"The journey to the heart of the actor-joy , absurd, nonsense, and folly. ", Moshe Malka (Israel)
"Actor and the voice of his character", Marina Markovic (Serbia)
"Giving body to a thought", Janaina Tupan - Sebastien Loesener ( Brazil - France)
"The Physical Ensemble", Phillip Mackenzie (Australia)
"Improvisation as a tool for acting and directing", Evdokimos Tsolakidis (Greece)
"Problem, Process, Product, Performance - The 4 Ps of the Human Instrument", Lon Gordon (Illinois U.S.A.)
"Dancing Qi Gong", Martina Morasso (Italy)
For more information visit www.toc.gr
The festival's programme is the following:
Sunday July 6th Arrival day
Monday July 7th - Friday July 11th Workshops, Performances, Discussion.
Saturday July 12th Excursion to Epidaurus This year we will attend National Theatre's production of Aristophanes' "The Frogs"
Sunday July 13th Departure day
English will be the official language of the festival.
INVITATION for PARTICIPANTS
The Theater of Changes invites, actors, directors, drama school students, dancers, choreographers, singers, acting, voice and movement teachers and finally all those with a vivid interest in performing arts to attend the workshops of the 4th International Festival of Making Theater (In.F.o.Ma.T.), which will be held July 6th-13th, 2008, at the Theater of Changes, 19a 3is Septemvriou str, 104 32, Athens, Greece. The selected participants will be divided into three groups.
All participants should send their Application Form until June 30th 2008 (once the Application Form is filled just press the "submit button").
Having sent the Application Form the selected participants will receive by email the pre-approval (including details concerning the payment procedure) of their participation to the Festival. Final approvals will be made once fee payment is settled. Since the number of the participants is limited, priority will be given to those applications received the earliest possible.
April 03, 2008
teaching the arts
* Assistant Professor of Theatre History/Dramatic Literature University of Central Florida (Florida) (date posted: 3/31/2008) http://chronicle.com/jobs/id.php?id=0000553761-01&pg=e
* Chair of Production Design Savannah College of Art and Design (Georgia) (date posted: 3/28/2008) http://chronicle.com/jobs/id.php?id=0000554724-01&pg=e
* Stage Manager/Space Supervisor University of Minnesota-Twin Cities (Minnesota) (date posted: 3/31/2008) http://chronicle.com/jobs/id.php?id=0000554941-01&pg=e
* Assitant Professor of Theatre Technology, Assistant Professor of Theatre Lighting Design, and Artist In Residence Oklahoma City University (Oklahoma) (date posted: 4/1/2008) http://chronicle.com/jobs/id.php?id=0000555098-01&pg=e
* Technical Theatre, one year appointment Westminster College (Pa.) (Pennsylvania) (date posted: 3/31/2008) http://chronicle.com/jobs/id.php?id=0000554008-01&pg=e
* Lecturer in Theatre Stephen F. Austin State University (Texas) (date posted: 4/2/2008) http://chronicle.com/jobs/id.php?id=0000555196-01&pg=e
* Technical Director/Instructor University of Virginia's College at Wise (Virginia) (date posted: 4/1/2008) http://chronicle.com/jobs/id.php?id=0000554966-01&pg=e
* Chair of Production Design Savannah College of Art and Design (Georgia) (date posted: 3/28/2008) http://chronicle.com/jobs/id.php?id=0000554724-01&pg=e
* Stage Manager/Space Supervisor University of Minnesota-Twin Cities (Minnesota) (date posted: 3/31/2008) http://chronicle.com/jobs/id.php?id=0000554941-01&pg=e
* Assitant Professor of Theatre Technology, Assistant Professor of Theatre Lighting Design, and Artist In Residence Oklahoma City University (Oklahoma) (date posted: 4/1/2008) http://chronicle.com/jobs/id.php?id=0000555098-01&pg=e
* Technical Theatre, one year appointment Westminster College (Pa.) (Pennsylvania) (date posted: 3/31/2008) http://chronicle.com/jobs/id.php?id=0000554008-01&pg=e
* Lecturer in Theatre Stephen F. Austin State University (Texas) (date posted: 4/2/2008) http://chronicle.com/jobs/id.php?id=0000555196-01&pg=e
* Technical Director/Instructor University of Virginia's College at Wise (Virginia) (date posted: 4/1/2008) http://chronicle.com/jobs/id.php?id=0000554966-01&pg=e
Which Theatre Festival Is Right For Me?
Have you ever wondered how to get your show up in New York City? Tried to figure out which is the right theatre Festival for you and your team?
Then join the Summer Play Festival and the NYC Mayor's Office of Film, Theatre and Broadcasting for a free panel that will take a look at a wide range of New York theatre Festivals presented throughout the year. SPF, the Fringe Festival, the New York Musical Theatre Festival, and Teatro StageFest will be on hand to discuss the way that works are submitted, chosen, produced and funded - all to help you figure the best place to go for the biggest splash.
"Which Theatre Festival Is Right For Me?" will take place on Monday, April 21 at 7pm to 8:30pm at New World Stages - 340 West 50th Street, between 8th and 9th Avenues.
Please RSVP to message@film.nyc.gov by April 19 to secure your seat.
Then join the Summer Play Festival and the NYC Mayor's Office of Film, Theatre and Broadcasting for a free panel that will take a look at a wide range of New York theatre Festivals presented throughout the year. SPF, the Fringe Festival, the New York Musical Theatre Festival, and Teatro StageFest will be on hand to discuss the way that works are submitted, chosen, produced and funded - all to help you figure the best place to go for the biggest splash.
"Which Theatre Festival Is Right For Me?" will take place on Monday, April 21 at 7pm to 8:30pm at New World Stages - 340 West 50th Street, between 8th and 9th Avenues.
Please RSVP to message@film.nyc.gov by April 19 to secure your seat.
April 02, 2008
ARC: ARTISTS' RESOURCE for COMPLETION Grant
THE DURFEE FOUNDATION
Second Quarter Postmark Deadline is Tuesday, April 29, 2008.
And for the first time, you can now submit your applications ONLINE! You can choose to apply online or by mail. We're hoping to go completely paper-less by the end of the year though, so should you decide to apply, we encourage you to do so online.
ARC grants provide rapid, short-term assistance of up to $3,500 to individual artists who live in Los Angeles County. Funds must be used to enhance work that is near completion and scheduled for presentation between March 18, 2008 and August 5, 2008. Artists in any discipline may apply. Applicants must have a secure invitation from an established organization to present their work. There are four grant cycles per year.
For more information, application, or guidelines visit
http://www.durfee.org/programs/arc/index.html
Second Quarter Postmark Deadline is Tuesday, April 29, 2008.
And for the first time, you can now submit your applications ONLINE! You can choose to apply online or by mail. We're hoping to go completely paper-less by the end of the year though, so should you decide to apply, we encourage you to do so online.
ARC grants provide rapid, short-term assistance of up to $3,500 to individual artists who live in Los Angeles County. Funds must be used to enhance work that is near completion and scheduled for presentation between March 18, 2008 and August 5, 2008. Artists in any discipline may apply. Applicants must have a secure invitation from an established organization to present their work. There are four grant cycles per year.
For more information, application, or guidelines visit
http://www.durfee.org/programs/arc/index.html
Subscribe to:
Posts (Atom)