CMU School of Drama


Sunday, November 25, 2018

NFTRW Weekly top Five

Here are the top five comment generating posts of the past week:

The Simple Joy of “No Phones Allowed”

www.raptitude.com: A few nights ago I saw Jack White in concert. It was a wonderful night, and a big part of that was due to a new rule he has imposed on all his tour dates: no phones.
When you arrive, you have to put your phone into a neoprene pouch, supplied by a company called Yondr, which they lock and give back to you. If you want to use your phone during the show, you can go into the concourse and unlock it by touching it to one of several unlocking bases. The concert area itself remains screen-free.

Trigger Warnings at the Theater: Should This Be a Thing?

www.clydefitchreport.com: I recently went to Seattle Public Theatre to see Fade, a two-character, one-act 2016 drama by Tanya Saracho. This column is not about Fade. It concerns the trigger warning posted at the house door.

Why Every Company Should Have a Performance Psychologist

www.dancemagazine.com: A dancer once contacted me because he was devastated after walking in on his girlfriend with another man. While he was distressed about ending the relationship, he was most concerned about a major performance coming up. They had to dance a romantic pas de deux. When I met with them together, she was afraid he would drop her and he didn't want to look lovingly in her eyes. My role was to help them find ways to make magic onstage and keep their personal difficulties offstage. They ended up dancing to rave reviews.

Why You Should Keep a Daily Sketchbook—and How to Get Started

Artsy: A sketchbook can be much more than just a notebook for drawing. “It can be thought of as a closet, an attic, a basement or a file folder, where unedited thoughts are stored in a jumble,” explains Olivia Petrides, a professor at the School of the Art Institute of Chicago. “A sketchbook is a way to process raw information.”

Money, generational wealth, and the reality of making it in the arts

Vox: Not long ago, my wife, a composer, asked me if I would ever advise a student from a low-income family to pursue a career in the arts. I am a writer, librettist, and an arts and literature teacher. I thought the answer was obvious.
“What do you mean? Of course.”
“But they don’t have money.”
“If a student were really passionate and talented, she’d figure out a way.” That’s always been something my parents told me. “Think about what you’d do if money were no object, and then work hard. You’ll find a way to make money.”

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