SOS APPRENTICE APPLICATION 2018

Transcription

1 SOS APPRENTICE APPLICATION 2018 *APPLICATION DEADLINE: March 1, 2018* NAME: AGE: HOME ADDRESS: SCHOOL (if applicable) LAST DAY OF SCHOOL **Please list any CONFLICTS between MAY 1-JULY 3, 2018: Which apprenticeship are you applying for? APPRENTICESHIPS OFFERED: ARTS ADMINISTRATION: Administration Apprentices will get to experience the many facets of arts administration including: marketing, education, box office, house management, and fundraising and development to name a few. The apprenticeship will be designed to focus on the successful candidate s specific interest in arts administration. Applicants should be highly organized, self-motivate, go-getters with the ability to work independently on a variety of projects. Successful candidates will be able to work with a variety of personalities in a fast paced environment. ACTING: We offer two types of acting apprenticeships SOS Players and Mainstage. SOS PLAYERS: A group of 4-6 actors will work with the Playwriting and Directing Apprentices to devise a 30-minute version of Macbeth appropriate for a young audience. The play will tour local schools and libraries and, once we are in production, be performed nightly. Additionally, each actor will understudy a role in the mainstage production of Macbeth and be required to attend some mainstage rehearsals. Applicants must be very strong actors who are extremely creative, collaborative, and are comfortable thinking outside the box. **must be available to start Monday, May 14, MAINSTAGE: The number of mainstage apprentices is determined by the needs of the production. This year we seek 4 actors for the mainstage production. Mainstage Acting Apprentices will play small roles in our production of A Midsummer Night s Dream. Applicants must be strong actors who have

2 experience in performing Shakespeare beyond scene work and are highly collaborative. Professional experience a plus. Please Note: Mainstage Acting Apprentices are part of the SOS Apprentice Company and do not have an elevated status because they are in the mainstage production. They will be expected to fully participate in all aspects of the Apprentice Program. COSTUME: The Costume Apprentice will work directly with the costume designer and wardrobe supervisor. Duties will include: assisting the costume designer in pulling costumes; attend and assist in costume fittings; assist in costume alterations; work with the wardrobe supervisor during the run of the show; laundering the costumes nightly. Additionally, the costume apprentice will design the costumes for one of the new plays performed in our Budding Bards Festival. The Costume Apprentice will be responsible for working with the director of the new play in creating a design and providing sketches. *due to budget restraints costume designs will not be fully realized. Applicant should have sewing skills and the ability to work with a wide range of personalities. DIRECTING: The Directing Apprentice will direct the 30 version of A Midsummer Night s Dream for a young audience and at least one of the new plays for the Budding Bards Festival. The Directing Apprentice will also assist the director of the mainstage A Midsummer Night s Dream. The Directing Apprentice will work with the Playwriting Apprentices and SOS Players to devise, and then direct, a 30 version of A Midsummer Night s Dream appropriate for a young audience. The play will tour local schools and libraries and, once we are in production, be performed nightly. After directing the 30- minute A Midsummer Night s Dream the Directing Apprentice will assist the director of the mainstage production of A Midsummer Night s Dream. Applicants should be highly collaborative with a working knowledge of Shakespeare and the ability to work with a wide range of personalities; self-motivated, hard working, able to multi-task, and be reliable; available to meet with the director of Macbeth prior to May 1, either in person or via Skype. **must be available to start Monday, May 14, EDUCATION: The Education Apprentice will perform wide array of duties throughout the apprenticeship. Responsibilities include: Creating and implementing the curriculum for The Groundlings summer camp (6-8 year olds) and two A Midsummer Night s Dream Jr. camp (9-11 year olds and year olds) which results in a minute version of A Midsummer Night s Dream; creating A Midsummer Night s Dream study guides; creating, implementing and running activities at the First Folio Kids Corner during the run of the production. Additionally, the Education Apprentice will serve as one of the Teaching Artists for our residency with sixth graders at the King School in Stamford, CT. Applicants should be self-motivated, independent, creative and flexible thinkers, and feel confident in his/her ability to teach Shakespeare to children. Familiarity with Augusto Boal s Theater of the Oppressed and his approach to theater is a plus. **must be available to start Monday, May 14, PLAYWRITING: The Playwriting Apprentice will write a 30 version of A Midsummer Night s Dream appropriate for a young audience. Working with the Directing Apprentice and the SOS Players, the Playwriting Apprentice will devise and write the play. The

3 language of the play will be comprised of colloquial English and text from Shakespeare s A Midsummer Night s Dream. The play will tour local schools and libraries and be performed nightly during the run of A Midsummer Night s Dream. The Playwriting Apprentice will also write at least two one-act plays for the Budding Bards New Play Festival. **must be able to start Monday, May 14, PRODUCTION: The Production Apprenticeship explores four areas of theater production: stage management, costume design, technical direction, and producing. An emphasis will be placed on the successful candidate s specific interest within the realm of technical theater which may include but is not limited to: prop design; lighting design; sound design; set construction; production management; producing. For example, an applicant interested in prop design would work with the set designer in creating and implementing the props for A Midsummer Night s Dream. STAGE MANAGEMENT: The Stage Management Apprentice will assist the Stage Manager and Assistant Stage Manager for A Midsummer Night s Dream. During rehearsals in NYC the Stage Management apprentice will work closely with the SM and ASM performing a myriad of duties including keeping line note to maintaining the rehearsal space. During production the Stage Management Apprentice will work backstage with the ASM. Applicants should be highly organized, responsible, collaborative, and work well with others. ALL APPRENTICES: Are required to actively participate in all master classes. During tech all apprentices will be assigned jobs that they will perform throughout the run of the show. All apprentices are expected to participate in the Budding Bards New Play Festival.

4 APPLICATION PROCESS Once we have received your completed application, you will be contacted to schedule your interview and audition, if applicable. INTERVIEWS: All applicants must interview. Interviews will be conducted either in person or via Skype. The interview will last approximately minutes. ALL ACTING APPLICANTS: In addition to an interview you will be required to audition. Your audition will occur during your interview. Please prepare two contrasting Shakespeare monologues. Each monologue should be approximately one minute in length. Please note: Refrain from using monologues from Macbeth or the sonnets as audition pieces. MAINSTAGE APPLICANTS: Your interview/audition will be approximately 1 hour in duration. In addition to preparing two contrasting monologues, please prepare one of the A Midsummer Night s Dream monologues, and familiarize yourself with the audition sides, provided below. ALL APPLICANTS please provide the following: Two references, one professional/educational and one personal. A written personal statement answering the following questions: What drew you to theater? Who are you as an artist and where are you in your artistic journey? What interests you in apprenticing at Shakespeare on the Sound and what do you hope to gain from the apprenticeship? *PRODUCTION and ARTS ADMINISTRATON applicants should provide an additional statement that details your specific interest within your discipline and what fuels that interest. ADDITIONAL MATERIALS: Please provide additional materials specific to the Apprenticeship for which you are applying: ACTING: For the SOS Players and Mainstage: Prepare two contrasting Shakespeare monologues. Each monologue should be approximately one minute in length. DO NOT: prepare a monologue from A Midsummer Night s Dream or use any of the sonnets. Additionally For Mainstage: Prepare one of the A Midsummer Night s Dream monologues provided below. All applicants: provide an up to date headshot and resume. DIRECTING: Chose one of the Shakespeare plays listed below and write a treatment detailing your concept for directing the play. Your treatment should include: your approach to the play in general; theme/s you plan to explore in your production; concept for the production; set, costume, and lighting design; sound/music, if any; casting breakdown (based on the assumption that your production has the budget for 5 equity contracts, 5 non-equity contracts, and two apprentices). Your treatment should be no longer than 2 pages in length.

5 PLAYWRITING: Submit two contrasting samples of your work as a playwright (one-acts are acceptable.) Chose one of the Shakespeare plays listed below and write a 5-minute version of Act 1 (approximately 5 pages) that would be appropriate for an audience of children ages Your Act 1 should be a mixture of colloquial English and Shakespeare s text from the play. Additionally, you should include one instance of audience interaction. You may set your Act 1 in a frame. You have a cast of 4 actors. Even if you chose a tragedy you may use humor to tell your story. **Keep in mind that children are smart; do not dumb down your version of Act 1. EDUCATION: You are teaching A Midsummer Night s Dream to children 6-8 years of age at the SOS GROUNDLINGS camp. Write a lesson plan that explores the themes LOVE and FRIENDSHIP. Your lesson plan should reflect a 1.5 hour time period. COSTUMES: Chose one of the Shakespeare plays listed below and submit a treatment detailing your concept of the costumes. Your treatment should include: Your design concept; how and why your design supports the play; time period. Additionally, please pick one of the main characters in the play and design his/her costumes throughout the play. Provide sketches as well as a detailed design concept for each sketch. STAGE MANAGEMENT: Write a statement expressing your opinions on the following: What makes a good stage manager? What is the relationship between the stage manager and director? What is the relationship between the stage manager and the actors? What is your biggest challenge as a stage manager? What is your favorite part of being a stage manager? PLAY CHOICES: As You Like It Macbeth Much Ado About Nothing Romeo and Juliet Julius Caesar Please contact Claire Kelly at claire@shakespeareonthesound.org with any questions.

6 A MIDSUMMER NIGHT S DREAM MONOLOGUE CHOICES: CHOOSE ONE TITANIA (Act 2, scene 1) Set your heart at rest: The fairy land buys not the child of me. His mother was a votaress of my order: And, in the spiced Indian air, by night, Full often hath she gossip'd by my side, And sat with me on Neptune's yellow sands, Marking the embarked traders on the flood, When we have laugh'd to see the sails conceive And grow big-bellied with the wanton wind; Which she, with pretty and with swimming gait Following,--her womb then rich with my young squire,-- Would imitate, and sail upon the land, To fetch me trifles, and return again, As from a voyage, rich with merchandise. But she, being mortal, of that boy did die; And for her sake do I rear up her boy, And for her sake I will not part with him. HELENA (Act 1, scene 1) Call you me fair? that fair again unsay. Demetrius loves your fair: O happy fair! Your eyes are lode-stars; and your tongue's sweet air More tuneable than lark to shepherd's ear, When wheat is green, when hawthorn buds appear. Sickness is catching: O, were favour so, Yours would I catch, fair Hermia, ere I go; My ear should catch your voice, my eye your eye, My tongue should catch your tongue's sweet melody. Were the world mine, Demetrius being bated, The rest I'd give to be to you translated. O, teach me how you look, and with what art You sway the motion of Demetrius' heart.

7 BOTTOM (Act 4, scene 1) [Awaking] When my cue comes, call me, and I will answer: my next is, 'Most fair Pyramus.' Heigh-ho! Peter Quince! Flute, the bellows-mender! Snout, the tinker! Starveling! God's my life, stolen hence, and left me asleep! I have had a most rare vision. I have had a dream, past the wit of man to say what dream it was: man is but an ass, if he go about to expound this dream. Methought I was--there is no man can tell what. Methought I was,--and methought I had,--but man is but a patched fool, if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen, man's hand is not able to taste, his tongue to conceive, nor his heart to report, what my dream was. I will get Peter Quince to write a ballad of this dream: it shall be called Bottom's Dream, because it hath no bottom; and I will sing it in the latter end of a play, before the duke: peradventure, to make it the more gracious, I shall sing it at her death. LYSANDER (Act 2, scene 1) Content with Hermia! No; I do repent The tedious minutes I with her have spent. Not Hermia but Helena I love: Who will not change a raven for a dove? The will of man is by his reason sway'd; And reason says you are the worthier maid. Things growing are not ripe until their season So I, being young, till now ripe not to reason; And touching now the point of human skill, Reason becomes the marshal to my will And leads me to your eyes, where I o'erlook Love's stories written in love's richest book.

8 OBERON (Act 2, scene1) I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine: There sleeps Titania sometime of the night, Lull'd in these flowers with dances and delight; And there the snake throws her enamell'd skin, Weed wide enough to wrap a fairy in: And with the juice of this I'll streak her eyes, And make her full of hateful fantasies. Take thou some of it, and seek through this grove: A sweet Athenian lady is in love With a disdainful youth: anoint his eyes; But do it when the next thing he espies May be the lady: thou shalt know the man By the Athenian garments he hath on. Effect it with some care, that he may prove More fond on her than she upon her love: And look thou meet me ere the first cock crow. HERMIA (Act 1, scene 1) My good Lysander! I swear to thee, by Cupid's strongest bow, By his best arrow with the golden head, By the simplicity of Venus' doves, By that which knitteth souls and prospers loves, And by that fire which burn'd the Carthage queen, When the false Troyan under sail was seen, By all the vows that ever men have broke, In number more than ever women spoke, In that same place thou hast appointed me, To-morrow truly will I meet with thee. PUCK (Act 2, scene 1) The king doth keep his revels here to-night: Take heed the queen come not within his sight; For Oberon is passing fell and wrath,

9 Because that she as her attendant hath A lovely boy, stolen from an Indian king; She never had so sweet a changeling; And jealous Oberon would have the child Knight of his train, to trace the forests wild; But she perforce withholds the loved boy, Crowns him with flowers and makes him all her joy: And now they never meet in grove or green, By fountain clear, or spangled starlight sheen, But, they do square, that all their elves for fear Creep into acorn-cups and hide them there.