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2008 : last updates
 Theory of Spectatorship
 Film Directing 101
Theatre w/Anatoly
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Since I have no time to talk about biz in classes, I say it here. The myths:* "There is no money in theatre"...
What kind of money? My students make $50/night with the local summer review show (no less than a plummer or automechanic are getting for their hour of work). We puy them to teach low division classes: 3 hours/week = over $2000/semester... And this is in Fairbanks.
You want more? You have to hasle. Your are in business for yourself, you are the business. How long do you think would it take to get a startup business without inicial investment to become profitable?
This is you, the start-up company.
* "There is no jobs..."
If you expect to be paid right away -- forget it. Do you know how much many galleries take on the exhibitions of new artists? 100% Do you understand why? Rather simple: they risk the money, you are not. Same with the shows.
You are the product. The unknown one. Nobody knows, will they make or lose money on you.
* The "struggling" (or starving) artist...
Nothing wrong with "struggle" and nobody starves in America. If you work on the NEW product without investment, what do you expect? Sometimes it take decades for the huge companies to come with a revolutionary product, before they strike the gold... or lose the research investment. Why do you think it should be different for you?
* But some guys are so lucky...
Stop reading my pages, don't waste your time. Go away and pray.
...
For you, who is still here -- do you have your business plan?
This is what I asked in my Intermediate Acting classes. Why are you taking another acting class? Do you consider professional acting? Most of them raise their hands (forget those who don't know why their are in class). So, how to you plan make money by acting. Let me repeat it: HOW - YOU - will MAKE - MONEY - by ACTING ?
Think about every single word - "YOU" for example. What is so special about you? Why should it be, when in NYC over 200.000 union actors? Lets look at your resume (I require it on the day of the first class): what could grab my interest? No, no, you point it for me...
Or -- what do know about ACTING? Back to resume...
After get through the whole sentence word-by-word and personal, we can talk about the first one -- "HOW" -- this is the plan.
After three-four weeks I callect their Actor's Journals; to see what do they understand and this "business plan" (or at least some thoughts about it). I don't know what do they teach in HS, but the plan must have dealines! What deadlines?
What is your date of graduation to start with?
...
Remember "why you" question? The classes about types (usually Advanced Acting) is a total pain... What are you -- character actor, comedy, stage, film... You have to know what you are selling!
Oh, no! Selling?
Yes, it's a market, products, demand, promotion, advertising -- and guess what -- you have nobody who is working for you, no agent, no manager, no publicist... Well, they all are YOU!
How do you sell your product (auditions)? And what is your product?
Let me take a look at the Don Juan, which I set to direct in 2003. Did you read the play? No? Too bad, you already in disadvantage. So, do you offer? No, not your acting skills, not even yourself...
I use the car salesman formula. What do they do first? I try to sell themselves to me; they need to make me like and trust them. The law of the hard sale is not to go further untill you acheaved the first objective (use the laws of dramatic composition; we can move further untill you are do with the exposition). What is the next major step? Do they sell you "cars" now?
No, they sell your the company; varietry of cars, starting with the most expensive ones, the brands and so on. They prepare you for the car you want; it's a dance and you must remember about objectives and super-objective of your auditions. What is the super-objective of this drama? Yes, to get casted.
If I call you back, do you know what am I looking for? I am shopping for the role -- you are the material for this role... Maybe now you can understand, why is this so inportant to know the script. This "role" is the product, which I will selling to the public! Are with me? They will paying us money, real money...
....
What for? Yeah, dreams, emotions, feelings, thoughts -- like everything, every other product in the world. You do not buy a car, friend, you buy yourself-in-this-car... Read Spectator Theory
The rest is later...
support pages: appendix * links * classes * directing * facebook.com [my students] * ...Dear Anatoli,How are things going? I hope Dangerous Liasons went well. I wanted to let you know what I am up to right now. I am currently in Seattle, Washington. I am working on 2 shows right now that pay money, though only a bit. I also have arranged for my own show (The Devil & Billy Markham, the storyteller piece I did for Winter Shorts) to be produced in September. This group is called the Fringe Festival and if it works out it might be a good thing to pass on to students and such.
It's primarily for original pieces and the entry fee depends on how large an audience you want and how many performances you plan to do. In my case I'm doing 6 shows for 50 people and it worked out to about $455. They provide the venue (they pay rent) with a local theatre, house staff, light crew, house manager, ticket person, press, and general publicity. We do our own marketing and pay for rights (if any). I set my own ticket price and they take an additional $3 per ticket and I keep the rest. They also offer to compensate pay for your director and performers (Since I am filling both hats, I plan to pay my director and performer rather well). The average price is $12+ for a given show, but I'm only charging $7/$5 for mine because my main purpose is exposure.
Things are going well acting wise, but it is hard to find good work in Seattle. Unless The Devil & Billy Markham pans out with serious acting work, I plan to move on to L.A. soon after. I also have my headshots done and have just joined an extras' union here so I am waiting to see where that leads me. Please say hello to Faculty and friends at UAF for me.
Best Wishes, Shannon.
Money for Good Students
Visit the Golden Key National Honor Society (http://gknhs.gsu.edu)Featured at this web site is information regarding an undergraduate student research competition called the Student Scholastic Showcase which recognizes undergraduate research from all fields of study.
The Showcase serves as a kick-off event for Golden Key's international convention held in early August in Orlando, Florida. It provides a unique forum for exposure and discussion of many interesting topics.
Applications are now being accepted for students to present their research findings at the 1999 Showcase. Three students will be selected and each will receive a commemorative plaque and a $1,000 scholarship. Entries must be submitted no later than April 1, 1999.In addition to visiting the Golden Key web site, you may also phone 1-800-377-2401 for more information.
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"The great composer does not set to work because he is inspired, but becomes inspired because he is working" - Ernest Newman *
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2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin
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