Anyone else going to Tisch regardless of how much you'll owe?

[fishbowlfreshman]

<p>I was fully prepared to have my head bitten off after posting that! LOL At any rate, there was a veteran Regional Theatre actor posting on CC a couple of years ago who went by the name of Tarhunt who from all I’ve seen and heard manifested an almost clichéd example of the mindset of the generation now serving as the gatekeepers to that area of theatre. Agree or disagree, it’s worth looking up some of his old posts for examples of what I was talking about in regard to some of those preferences and prejudices. Here are some quotes …</p>

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Here’s what a leading theater AD had to say about theater education. </p>

<p>I met with an artistic director at a leading US theater recently. He has a great deal of experience in some of the most prestigious theaters in the country as well as in academic theater. </p>

<p>Since I once made my living in theater, I’m often asked about the “best” theater programs. Since he currently makes his living in theater, and is in charge of acquiring and casting talent, I asked him for his opinion.</p>

<p>I was taken aback at his extremely quick and strong response:</p>

<p>“Tell them (the high school kids) to get an education!!!”</p>

<p>He went on to say that he has had little success with BFA program students. His feeling is that they are too poorly educated to really grasp the subtleties of scripts, psychological interactions, or even to grasp the symbolism of various authors and how this should be incorporated in their performances or their direction.</p>

<p>He also said that top MFA programs look more favorably on BAs than BFAs, and that the real meat of theater training should occur in MFA programs.</p>

<p>I can’t emphasize strongly enough how accomplished and informed this man is, or how strong his advice.</p>

<p>So, I thought I’d pass it on.

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My experience working with actors from many different backgrounds is that those with only BFAs tend to be shallow and not remotely up to the demands of the more difficult roles. Overall, I’d say the best actors I’ve worked with have BAs or BSs, coupled with MFAs, with several years of experience in live theater, usually in high-quality theaters where they work with highly skilled, seasoned actors. (Note that, as ALWAYS, there are exceptions). When the actors with only BFAs from programs that are heavy on trade courses start to show that they are capable of doing brilliant Bricks, Willies, Cyranos, Hamlets, Vanyas, and Heddas, I’ll believe it and give it credit.

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<p>He pulled no punches whatsoever when it came to his views on the MT crowd … </p>

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I can speak only from experience. Part of that experience is doing roles and sitting in on auditions with a director-friend when I could find the time over a 30-year, full and part-time acting career. Part of that is sending two children off to theater careers (God help them). Another part is seeing a lot of theater and reading the bios in the programs.</p>

<p>My experience in auditions for straight plays is that the people who have resumes heavy in MT and MT training tend to be brassy, broad, and full of very bad habits. So many times, I have seen MT people whom my friend thought were perfect for a straight role be unable to tone down their approach well enough to land the work – even with my friend spending an inordinate amount of time working with them in call backs. One training program in my state is so infamous for turning out cardboard actors that certain acting mannerisms have taken on the local name of “(name of school) disease.”</p>

<p>My experience working with some MT actors is similar. There have been notable exceptions, but the general rule is that they don’t listen, rarely have a true moment, and are so interested in “emoting” that it would be laughable if it weren’t for the fact that one has to be on stage with them, trying to figure out how to salvage something from the scene.</p>

<p>In no way am I saying that all MT programs are created equal, but I have no reason to believe that the majority of them are turning out skilled actors, since I have not seen it on stage, in auditions, or at performances I have attended.

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<p>Of course, the question that must be begged is why they contend the American system should take seven years to accomplish what the British “trade courses” typically do better in three … Also, I think the great equalizer in all this is innate ability which varies greatly. I made reference in my last post to geniuses like Ben Kingsley and actors like that certainly exist although I tend to think they’re more or less a handful in a generation kind of thing. For a real treat, get on YouTube and check out Kingsley’s one man show as [Edmund</a> Kean](<a href=“http://www.youtube.com/watch?v=0O-Ib2ep1hc]Edmund”>http://www.youtube.com/watch?v=0O-Ib2ep1hc) keeping in mind that he had very little formal training …</p>