Here are a few posts from last week's Greenpage that might be worth your time...
WSJ: Sarah Guillot-Guyard lay dying on the floor of a basement inside a darkened Cirque du Soleil theater here, one leg broken and blood pooling under her head.
It was June 2013, and the 31-year-old mother of two had fallen 94 feet in front of hundreds of horrified spectators after the wire attached to her safety harness shredded while she performed in the dramatic aerial climax of the company’s most technically challenging production, “Kà.”
It was the first fatality during a Cirque show, and it capped an increase in injuries at Cirque with the “Kà” production. The show had one of the highest rates of serious injuries of any workplace in the country, according to safety records kept by Cirque that were compared with federal records by The Wall Street Journal.
AMERICAN THEATRE: This might look like the end, but it’s likely only the beginning. From its offices in New York City, Actors’ Equity Association yesterday announced the decision of its national council to effectively dismantle the current Equity 99-Seat Plan—a unique L.A. code, in place since 1988, by which union members can volunteer in small theatres for small stipends—and offer in its place what they called “a broad range of options.”Daily Infographic: Apart from the personal development and the bettering of your language skills, international experience is a great way to market yourself to future employers. Studying abroad is an incredible opportunity presented to high school and college students with numerous rewarding benefits.
Unfortunately, a small percentage of American students actually take advantage of this.
Event Industry News: A new way of thinking
Take away the 100-foot screens, blasting lasers, holographic projections and elaborate sets and what do you have left? Thousands of people with nothing much to do but look at a solitary figure standing on a platform.
Creative staging can be almost as crucial as the music or show itself – transforming concerts and festivals into an unforgettable, transcendent, multi-sensory experience.www.newsweek.com: The show can’t possibly go on. Or, at least, no ballet company should be expected to woo paying audiences without its principal dancers twirling and whirling in hand-stitched tutus.
And there’s the problem. There just aren’t enough tutus to go around.
“Fashion colleges don’t teach students how to sew; they just teach them to be designers,” says Opera Philadelphia’s costume director Millie Hiibel. “I get applicants who don’t even know how to sew on a button.”