The problem lies in the fact that there is both a state law in Illinois and a city of Chicago law, and the latter is forbidden from making the former any weaker. This means that an exemption for theater can be tricky – lest Chicago fall to the thespian hedonism currently infesting Minneapolis.

Before the Ban, With a Cast of Thousands

Thanks to a comment by Karl, I learned that in Minneapolis there are many bars getting around the smoking ban by declaring their bars  theatrical venues and the cigarettes props. The actors, of course, are the customers, “playing themselves before the ban on cigarettes.” It’s a pretty ingenious little loophole, and while it may seem ridiculous, so does the idea that people need that much babysitting.

Alderman Brendan Reilly, who is fighting to get an exemption for Chicago theatre, realizes that this is not a great example for the opponents of smoing in any form. Still, as he fights for the rights of the Jersey Boys and others to light up, he is confident it can be overcome. ” “The Department of Public Health will know the difference between the Chicago Theater and Joe’s Pub.”

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I feel that – it warms my heart, actually. At age 18 I started on what I thought was going to be a career in musical theatre, but got a bit sidetracked, and didn’t end up getting my degree in dance until the venerable age of 29. Ten years later, I have taught ballet to three year olds and the rumba to 70 year olds, worked with world-class dancers like Heidi Latsky, presented before World Dance Symposiums, and danced on stage to “Let’s Get Physical” with Foxy Veronica’s Peach Pies at a goth club.

Because in the end it’s not about the movements or the technique, Milia. It’s about your movement, your technique, and your body moving. You want to dance? Dance, then. If you make the movement authentic, it will be good.

Pina Bausch and Tanztheatre Wuppertal

I’m having trouble finding the documented evidence, so this is anecdotal, but when I was at one point doubting my ability to dance when compared with the 18 and 19 year olds I was training with, my mentor Douglas Rosenberg told me about Pina Bausch. Aside from being a fantastic dancer and choreographer herself, he told me that at certain points in her career she’d refused to have any dancers younger than…oh, 35 or 40, I don’t remember which…in her company. They hadn’t lived enough life to put the meaning that she wanted into the movements.

Now, this may be an unfair comparison – many young dancers are exquisitely expressive, and age is no virtue – but it has served as inspiration to me as my movements change with age. The legs do not lift me as high, but the intention behind the leap has more depth now than it did before. And in the end, there is always a new Spring in my step.

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But since this isn’t my usual audience, I can make a confession here that I wouldn’t make there. I’m actually very shy. Few people believe me, even among my closest friends, but I identify as an introvert. I’m an introvert who can address an audience of 20,000 people every week, speak with spontaneous panache at a convention, and talk your ear off at a party. This is not a paradox. Shaking a stranger’s hand, I’m simultaneously relaxed and confident, and anxious enough to chew my own arm off to get away. The trick I’ve learned is simply faking it well; often well enough to forget that I’m faking it myself. And how did I learn to fake it?

Improv comedy.

I think everybody should learn to do improv. Especially the people who know with total certainty that they could never do improv. I had my formative experience with it in Georgia Tech’s theater group, DramaTech. We started with a few weekends’ worth of workshops, which became a performing troupe, the Let’s Try This Players — they’re still around 15 years later. Tech’s an engineering school; I’m not the only geeky introvert this troupe converted to a social mayfly.

The thing about improv is that it always looks much harder than it is. In truth, the hardest part of it is simply letting go of the belief that it should be hard. Once you learn to allow it to be easy, to let it flow, it’s easier to keep it going than to turn it off.

I learned two basic principles in improv that can be applied to any social situation anywhere. Together they’re enough of a social toolbox to defuse any social fear. They are spontaneity and acceptance.

Spontaneity simply means living in the moment. The surest way to freeze on stage in improv is to spend time planning your next line. You’re in a dynamic environment, the other people are constantly changing the context, and by the time you get to your clever line it simply isn’t relevant anymore. You can’t plan the scene, just as you can’t plan good conversations. Other people are too independent. The only thing you can do is open your mouth at the right time, and trust that whatever comes out will be the right thing. If you’re truly living in the moment, fully aware of your context, and confident enough, it will be. And when it is, that builds your confidence and awareness. It’s a self-reinforcing feedback loop once it gets started.

Acceptance was our most unbreakable rule in improv: never say no. “No” kills the scene. Failure to collaborate kills. If someone asks you to hold steady the invisible ladder they’re climbing and you say “No,” there’s nowhere to go from there. It’s not funny and there’s no plot that comes out of “No.” The correct answer is “Yes, and…” Accept and validate the point of view that the people around you are building — and then add to it with your own ideas. The same is true in any group dynamic. You have the power to change anything around you, but only if you accept the power of everyone else to do the same. This doesn’t mean having no boundaries; but if you’re doing improv (or life) and people are constantly pushing your limits and making you say “No,” you’re probably on the wrong stage.

These ideas are not unique to improv, and I know I’m not the first person to talk about socializing effectively with them. You can read the same stuff in How to Win Friends and Influence People. But improv is where it sunk in for me. Making it funny, having fun, is how I fully absorbed it. If you ever find yourself in my shoes, think about improv yourself. It’s worth a try. (And then can I please have
them back? I like those shoes.)
–
Have Fun,
Steve Eley (sfeley@gmail.com)
ESCAPE POD - The Science Fiction Podcast Magazine
http://www.escapepod.org

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© 2008 Michael J. Wallach – Used by Permission of the Author

It used to be simple. You met an agency that you liked and you were presented with an agency contract that you could comfortably sign.  But, it doesn’t work like that anymore. What do I mean by that?  In the old days (not more than approximately five years ago) there was basically just one contract that an actor was given to sign. You were presented with a SAG Franchised Theatrical Motion Pictures and Television Contract. No problem. Signing it was easy because there were safeguards built into the agreement which guarded the actor from giving away important rights. But, it’s not quite like that anymore. Approximately 50++% of all talent agencies are no longer SAG franchised. In fact, as a personal manager of twenty years, I was comfortable allowing my client to sign such a SAG franchised contract without scrutinizing it because I knew that SAG had guidelines built into the contract that would protect my client.

What’s changed?  Most agencies are no longer franchised by the Guild and therefore are not bound to sign a potential client to a SAG Franchised Theatrical Motion Pictures and Television contract. So, what kind of contract does a non-franchised talent agent sign an actor to these days?  The answer is an agreement called a General Services Agreement. Is there a difference in the two contracts?  Absolutely.

Let’s talk about the basic differences. These differences can change your entire relationship with your agency. For example, it can keep you stuck in an agreement that you have learned was a mistake to enter into in the first place.  It can cost you more than ten percent…

So, before being specific about the different agency agreements, let me say that in spite of the agreement you sign, you can still turn a General Services Agreement into a positive move for your career!  (I’ll explain later in the article.)

OK, let’s examine the safeguards that a SAG agreement afforded you. First off, SAG didn’t allow an actor to sign an initial agency contract for more than one year.  This meant, of course, that the agreement’s term was relatively short and an actor knew that if it didn’t work out, after the year was up, he or she could move on to another agency.
But, with a General Services Agreement, an agency can sign you for up to seven years. (Yes, seven years because the state of California controls a general contract and the state rule is that a personal services agreement is enforceable for up to seven years.  It’s the same as signing a personal services contract to perform as a series regular on a series where the producer/network can sign you for up to seven years!)

What else does a SAG franchised agreement protect you with? It protects your right to get out of the agency contract if it’s not working and you’re not satisfied.  Specifically, you can get out of the agreement if you haven’t worked 15 days in the first 151 days.  How is this different than with a General Services Agreement?  Since such an agreement is only regulated by state law, you can only get out if you haven’t worked one day in the last four months!

Another important distinction between the two contracts that you may be presented with involves the type of representation that the agency will have over you. Simply put, when you sign a SAG franchised agreement, the only kind of representation is for theatrical motion pictures and television (and sometimes commercials). However, if you sign a General Services Agreement, you will likely be represented as not only an actor but also as a director, producer, writer, choreographer, and many more capacities!  So, you will not only be paying a commission as an actor but also for other fields should you happen to produce or write something that gets sold. In other words, was it your intention to give an agency a commission for something other than as an actor?

And another distinction is that the SAG franchised agreement limits the commission one pays to ten percent.  A General Services Agreement (controlled by the state of California) does not limit your commission to ten percent!

There is a positive way to approach the above situation. Let’s discuss. What is one to do when presented with a General Services Agreement?  Do you sign it out of desperation? Or, do you try to negotiate the terms with the agency trying to sign you?  The answer is the latter.  When an agency wants to sign you, the playing field has leveled out. While it may seem that they have all the cards, the fact is that you are wanted and needed by the agency that wants to sign you. So, discuss the terms. What do I specifically mean by that?  For example, tell the agency that you only want to sign for one year; that you want the same out clauses that a SAG agreement gives you; that you only want to be represented as an actor; and that the commission should not exceed ten percent.
Remember, the agency wants you – probably as much or more than you want the agency – so negotiate!

Michael J. Wallach, a manager and attorney for more than twenty years has written a book entitled “How To Get Arrested®”: A Motivational Story For Actors Breaking Into Hollywood. It answers many questions and does it in story form as opposed to it being written in text book style. Wallach also created and teaches a course for UCLA Extension called “This Business of Acting” which was offered in the Winter Quarter ’08.

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I’d been to Edinburgh with the same company back in 2002, when I had the chance to see a show from a Russian physical theatre company, Derevo. That show was called La Divina Commedia, took place in a circus tent in an industrial part of the city and was at the time – and still to this day – an example of some of the finest, most dreamlike and Boschian performance work I’ve experienced.

 That’s Right: Boschian.

Theatre in the round, four blocks of audience with a tower between each block. A tightrope at least twenty feet up across the stage. A woman, naked from the waist up, immaculately muscled, pale and dusted white wearing faun legs and curling ram horns summoning the three other performers as rabid dog animals only just prevented from attacking the audience. I looked closely at one of those dog-people and for a moment saw nothing at all that was human there.
The show in 2006 was entitled Ketzal and took place at what is well known as one of the most exciting and innovative performance venues at the Fringe, Aurora Nova. This year it’s unfortunately not a part of the festival which even though I’m not going to be able to be there upsets me tremendously. Ketzal, however, was a fitting way for me to end my relationship with the venue.

Again, the imagery is amazingly dreamlike, severely disturbing and unlike anything you’ll have seen on this side of the ocean. They have a complete mastery of environmental design – as soon as you enter the theatre you are, without a doubt, somewhere else. Mark Monahan from telegraph.co.uk reviewed Ketzal in 2006 and said, “Quite simply, Ketzal, the company’s latest show (named after the Naguan for “bird”), is one of the strangest, darkest, most mesmerisingly beautiful things you may ever see.” Frankly, I couldn’t agree with him more. If you EVER get the chance to experience a performance by Derevo, do not pass it up. You can also see their video and still image work at their e-life site.

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We need more fine artists in politics, obviously. And I’m not talking Reagan & Schwarzenegger…

Post from: Fame or Famine

Visit the Heights

Broadway.com has a charming little video where Lin-Manuel Miranda takes you backstage of In the Heights for a very personal tour backstage. He doesn’t do the normal “We’re so happy to be here, blah blahblah.” Instead he shares the video games he likes, the personal notes from people, his own personal image issues (“I think this mirror makes me look fat!”).

Some of it’s heart rending, such as the tragedy he found out about opening night (no, I’m not going to tell you, go watch it yourself!), the difficulties of doing 8 shows a week and basically living in the theatre.

He talks with some of the cast like Olga Merediz, who seem a little less natural than he does…but let me tell you, it’s making me really want to see the show. I think that he goes a little overboard in talking about bits and pieces of the set – at times it seems that he’s really stretching for material – but it’s all authentic, and that’s what counts.

Check it out. Tell me it doesn’t make you want to be there too.

 image courtesy of newscom

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Sounds Great, Gray! How Can I Help?

I’m so glad you asked. You can help by either donating a post or donating money. Contrary to popular belief, writing content for blogs is not the glamourous life filled with decadence and luxury you might think. Coming up with a post per hour for 24 hours…that’s going to be a challenge. You can help by sending a short entry (at least two paragraphs) to gray@b5media. If you include any images, please make sure you have complete rights to them – otherwise, if it’s a celeb I can probably find an image to illustrate your article.

But I’m not the only one – these other blogs are also participating, and for every article you help write for the Blog-Off you’ll also be entered into a drawing for $30 cash!

• Gilmore Girls News – Arieanna Schweber (arieanna@b5media.com)
• Daytime Talk- Jeanne Dupuis (jeanne.dupuis@b5media.com)
• Ugly Betty News- Tom Landers(tom.landers@b5media.com)
• 24 Headquarters- Diana Earle (diana.earle@b5media.com)
• New to TV- Cheril Vernon (cheril.vernon@b5media.com)
• Gossip Girl Report- Kelly Phillips Erb (kelly.erb@b5media.com)
• Medium Dreams- Katelyn Thomas (katelyn.thomas@b5media.com)
• Screamstress- Alexandra Dyer (alexandra@b5media.com)
• Disney Society- Julie Bonner (julie.bonner@b5media.com)
• Desperate Blog- Julie Bonner (julie.bonner@b5media.com)
• Dance Watcher- Lynn DeVries (lynn@b5media.com)
• CSI Fanatic- Lynn DeVries (lynn@b5media.com)
• Reality Exploits- Lynn DeVries (lynn@b5media.com)
• VH1 Reality World- Lynn DeVries (lynn@b5media.com)
• House is Right- Lynn DeVries (lynn@b5media.com)
• Searching Bones- Lynn DeVries (lynn@b5media.com)
• Film Gecko- Jane Boursaw (jane.boursaw@b5media.com)
• Comedy Centric – Chandra Williams (chandra.williams@b5media.com)
• Grrl TV - Chandra Williams (chandra.williams@b5media.com)

Or, as I said, money’s good too. You can donate to the Actor’s Fund here. The donations can be as little as $1, or as large as you’d like, but we’d like to think of this as a pledge drive – so, say, $5 per blog post for the blog you’re supporting, or something like that.

My own theme is going to be “Around the World in the Arts”, with a post about the arts in whatever time zone is coming into daytime of June 20th (which is also the solstice) each hour. If you have any suggestions, by all means, let me know!

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Li Chiao-Ping is a choreographer and dancer originally from San Francisco, now living in Wisconsin. Her dance company has toured all over the world, and she has dedicated her company to “offering programs of emotionally charged and athletic works, with striking visual design and the music of contemporary composers.” She has been the chair of several dance departments and is the wife of award-winning video artist Douglas Rosenberg.

The auditions will be held June 6 from 9-11am at Dance New Amsterdam, Studio 4, which is at 280 Broadway (2nd Floor) in New York, NY. Dancers need to have strong contemporary dance skills and be willing to relocate to Madison WI – which is not so bad, as it’s only a couple of hours from Chicago, and the home of a very friendly performing arts blogger.

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Alexei Ratmansky

In the New York Times Chip Brown has written a piece about the very young artistic director of the Bolshoi Ballet, Alexei Ratmansky. At 39 he has become “one of the most sought after choreographers in the world.” Instead of plotting his escape from totalitarianism, the article describes how he calmly waits for visa approval in order to bring his style to America.

The piece is in-depth, not only describing his creative process but also the environment that he lives in – like some other brave performers, the new Russia is sometimes a quite tumultuous place to be an artist.

Carlos Acosta

For those looking for more thorough summer reading, one of the greats of the ballet world has written a memoir that has movie written all over it. Carlos Acosta is a principal dancer with the Royal Ballet – and like other greats such as Nureyev, he was born under a communist regime: Cuba.

The story of his fantastic rise from street urchin breakdancing to Michael Jackson bootlegs all the way to premiere ballerino makes for fascinating (if at times hyperbolic) reading, according to the New York Times book review. Still, it might be just the thing for those of us recovering from the end of Dancing with the Stars…

images courtesy of Newscom

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