Thursday, August 03, 2006

Unintended Consequences...

... or, where are the freelancers?

I was hoping to share with you two wonderful things we have done at the Drama School for this season, and then ask if you could possibly help with the unfortunate unintended consequence of our efforts.

Wonderful Thing #1: The End of the Service Posture

Over the past several years we have been doing a top to bottom review of what we do. One of the final phases of this navel gazing was to really look at why (pedagogically) we do shows. Toward the end of that discussion we arrived at the notion that production needed to be much more closely tied to class, instructors, and curriculum and that being faithful to that notion meant two things: 1. that someone ought not get the “sink or swim” experience of having an assignment prior to the corresponding class, and 2. that a student should never have an assignment just because we have an assignment that needs to be filled. An artifact of this by the way is that we shouldn’t have any assignment that is not associated with a class, a condition we have unfortunately had in the past.

So any assignment a student will get in the future is one that they are both ready for and will benefit from.

Wonderful Thing #2: Co-Producing with the School of Music

There is a history of Drama supporting Music’s shows informally. Our students have typically been their designers, managers, and technicians as side jobs. This has often lead to some unfortunate circumstances: people taking gigs they aren’t really ready for or aren’t really available to do, people working and not being paid, people doing very little and being paid enormously, students having problems and not having any support, and an incredible decline in the Kresge facility and equipment among other things. For the following season, the heads of the schools have decided to do a swap of sorts. In exchange for Drama providing design and production support for both SOM shows, the School of Music has agreed to provide Drama with a much higher level of orchestra than we have become accustomed to for our Musical. In addition to that, it inserts Drama staff and Faculty into the process to hopefully correct many of the above problems.

So, School of Music show positions go on the grid just like Drama shows and are evaluated for assignment under the terms listed above.

The Unintended Consequence: Real Need for Many Freelancers

The school has historically hired guest directors. More recently we have overhired occasional technicians and even freelanced in a designer from time to time. This coming season is more complicated by more than an order of magnitude. It will see hiring at Director, Designer, Technician, Manager, and even Actor.

What we have discovered in this process is that the freelance pool appears to be unexpectedly shallow, and by removing our own students, staff, and faculty it appears downright dry.

And yet there is quite a bit going on without us. So, the point, we need to know about any available freelancers in Pittsburgh or people with the means and availability to come to Pittsburgh and crash (it appears that while we can probably swing transportation, housing is likely beyond our means). If any of you are available, please let me know. If you know of anyone suitable, please let me know. And if you could please pass this solicitation on to contacts in your address book that might be able to help – either with work or the search – we would really very much appreciate it. Spread the word.

It would be very depressing to see such a no-brainer obvious good educational initiative defeated by a lack of available professional participants.

10 comments:

Katy said...

why is the text smaller on this post?

I'll pass the word onto those that I know. Have you posted on gt.o yet?

Is there now a props class? How are those positions associated with a class? I'd be interested to see what the prerequisite classes are for the various grid positions. because I'm a dork.

Did Becca's thesis lend any insight about the Pgh freelance market?

Anonymous said...

I'm curious too (joining Katy in her dorkiness...) Does that mean there's less variety in each person's crew assignments? Do managers only have management positions, because they only have management classes? Or do the low-level design classes we all took count as prerequisites? (Or am I totally dating myself because it doesn't work that way anymore?) =)

Don't know if I think the specialization would be a good thing or a bad thing - I can't say I loved being thrown into those other assignments, but I did come out with a much wider variety of skills than I would have otherwise...

Just sent you an email with a few potential freelancer ideas... Good luck!

David said...

hmm

I copied the text from someplace else.

It is on gt.o

There is now a props class.

You know, I haven't gone to Becca's thesis about this. It might.

In all likelihood there will be less of a range of actual assignments as far as titles. Everyone will work in every shop as crew, but the old off focus crew head experiences are probably going away. Individual tracks just have too many pegs to climb for the side trips. I'm not happy about that, but I got quite a bit in the compromise so I guess I'll live with myself.

Managers, after build crews, will pretty much do management assignments: ASM, APM, SM, PM, and maybe some crazy scheme - like commercial project management.

There IS real value to the breadth of assignment, but the opinions vary, and like we discussed here a while ago, one persons depth is anothers breadth.

Keep the freelancers coming!

Katy said...

Good that there is a props class, but what exactly does one learn in a props class? Is Norm teaching it? Is it more "how to manage the props department/process" or "how to make/find props that the designer/director will accept" or "how to design props to fit the overall design concept"?

Yup, I'm still a dork.

David said...

The Props class is part of the new stagecraft configuration.

What used to be one mini of lighting, one mini of costumes and one semester of carpentry - all in one section - will now look like this:

4 sections, one mini each of lighting, costumes, carpentry, rigging, metals, paints, paints, and sound. Teachers are mostly like you would expect. This also includes shop time on production in the shop you are in during that mini, and one run crew.

We're still working on course content but I think it centers around materials, tools, safety, PPE, standard procedures, management structure, and estimating for each section.

David said...

clearly one of those paints should be props

Katy said...

With the new stagecraft sequence, is it 2 minis at a time, all freshman year, or one mini at a time for the first two years?

David said...

One mini at a time, two subjects per mini, for one year.

cait said...

It's interesting because I'm not sure if there is any appropriate way to respond to these changes as an alumnus. The faculty has clearly been debating over these changes for several years and I am forming an opinion based only on what information is available.

I've been driving my boyfriend nuts with talk about this because, apparently, it provokes some pretty strong responses in me. I think that some of these changes are fantastic and that the students will be happier and feel more respected while completing their degree. But every change has a positive and negative conqequence and I am left wondering if the CMU this sounds like will be one that would have worked for me.

And since each student is different and has his/ her own specific needs, that's fine. And since I've only attended the program through periods of major transition, I was wondering what the "finished" curriculum goal is? What kind of school does CMU Drama want to be? If I were a prospective student, what are the things that I should consider when deciding whether or not to attend CMU? What makes CMU Drama different than other comprably ranked drama conservatories?

David said...

I was wondering what the "finished" curriculum goal is? What kind of school does CMU Drama want to be? If I were a prospective student, what are the things that I should consider when deciding whether or not to attend CMU? What makes CMU Drama different than other comprably ranked drama conservatories?

Clearly a full post here. "Finshed" varies by option, but would all follow the mission of training leaders and innovators in theatre and also run parallel with the pillars: diversity, community, experimentation, and education.

But really that's saying a lot without saying anything.

I think the reasons for coming to CMU are more people than curricular - other students, Faculty & Staff, and the Alumni network. I don't think that changes as the top of our list of positives.

The curricular reasons are about strong foundation, a real connection to ideas and process, the parity of tracks, and the conservatory within the resources of the university.

But I am riffing a little. It might not be a bad idea to come up with a real answer.