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WHAT
The Actors Arsenal Bootcamp is a 6 Week online Class. Each week, students will dial into a Teleseminar. During this 90 minute class, April Yvette Thompson will cover a new topic each week. At the end of the lecture, there will be a 30-45 minute Q&A where April will answer questions. Each week, students will receive worksheets prior to the Monday class to help them follow along, take notes and write down exercises that April will take students through during the class. HOTSEATS! There will also be weekly hot seats that students can sign up for during April's office hours. These hotseats will be 15 minute one-on-one Skype session calls with April to discuss personal career development or clarify strategies discussed during the weekly teleseminar. There will be 8 hotseats avalailable weekly Class Schedule ---------- 6pm-7:30pm, December 11, 18, 22, 29, 2014 and January 8, 15, 2015 If student is not able to make the weekly teleseminar, a recording will be provided. FREE BONUSES FOR STUDENTS OF THE ACTORS ARSENAL 1. FREE PRIVATE COACHING Students of the Actors' Arsenal 6 Week Course will receive a FREE one-hour Strategy Session with April via Skype. 2. FREE VIDEO OF THE ACTOR & THE BUSINESS ONE DAY CRASH COURSE - students will receive FREE video of this 8 hour class divided up into Four Weekly Lessons. The cost of this class is usually $100. 3. Students will received a FREE VIDEO of April's DIRTY 30 - an 30 minute full body and vocal warm-up. 4. Students will receive recordings of all of the teleseminars from the 6 Week Course. Class Overview Week One - What do I need to get started in the business? - Actors Arsenal =Tools for Success - Headshot, Resume, Reel & Website, Audtion outfits, Auditon material - What is a press kit and how do I use it to set up agent/manager meetings? Week Two - What is my emotional type? What is my physical type? How to get your agents to submit you for the right projects How to determine your physical/emotional type and translate that into 3 marketing blurbs that your agents can use to pitch you to Casting directors. Week Two - Headshot/Center of Range exercise - What are your emotional chords: Loss of Love, Fighting Injustice, the Underdog who rises to the top? - This exercise will teach you how to research your emotional chords, distill them down in to breakdowns of which characters you play best and most authentically. - This exercise will also help you choose audition material, clothing, colors for your marketing materials that scream a clear, consistent message about both your emotional/physical types. Week Three - Self-Submission for Casting Projects and Building Business Relationships How to use April's weekly casting projects strategically to get you auditions and build relationships with Casting Directors and Directors. Week Three - Self-Submission for Casting Projects and Building Business Relationships How to use April's weekly casting projects strategically to get you auditions and build relationships with Casting Directors and Directors. Week Four - How to Get an Agent A step-by-step strategy to build relationships with casting directors and agents by targeting a new industry person every 3 months. A step-by-step process that guarantees that at the end of the 3 month period, not only will this person know your name and your work, but they will also create a file for you and add you to their “Go-To” actors list. Week Five - Producing your own work & financing your acting career - How to raise money to produce my webseries? My play? My film? - How to raise money to buy create my website, reel, audition outfits and marketing materials. Week Six - How do I produce a webseries, play, film that will get me noticed and move my career forward? - How to create and build a crowd funding campaign - How to create or find scripts and pull together a production team Click Here to Register Now
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""""One of the most mortifying moments I experienced in my theatrical career was when I was asked to bring the entirely African-American cast of a new musical we were workshopping, a new piece by an African-American librettist and composer, across the street to the Dorothy Chandler Pavilion and up into the plush boardroom so they could perform a song or two for the board of directors. I wanted to say something, but I didn't. For one thing, it would take an invaluable 45 minutes to an hour out of the creative team's limited time together. But... every year we had to do the same old song and dance for the board to remind them that yes, we did do new plays and musicals, so yes, it was sometimes a good idea to expose the board to new voices, to the vibrancy of an exciting work in progress.
You all know where this is going, don't you? I led the team in. The talent in that team! The writer/composer himself and the cast, lauded veterans of the stage and the most promising members of the next generation of acting giants. And there was our board. White, as white as can be, white white white white. And very comfortable. They'd just been served lunch, I believe. My theater spared no expense in pleasing our board and catering to their demands (oh my god, I'm feeling such rage right now! I'm pretty sure we had a staff member who was mostly dedicated to help our richest board members get house seats to shows on Broadway and the West End. But I digress...) The only black face in the audience seated at the conference table? The only person of color? The head of our education department, of course. My heart went out to her. The cast sang a song from the show. They did it. And they brought it. Because they were and are professionals. And the very pillars of the Dorothy Chandler Pavilion reverberated down to the parking lot. It was breathtaking. And I had just been complicit in the remaking of a scene for the millionth time: black bodies and voices entertaining white audiences, an institution raising money on the backs and voices of black bodies. I was too mortified to apologize to our writer and to our cast, none of whom, I should add, expressed even an iota of discomfort. They were professionals, and they shone. And come to think of it, they'd probably all become accustomed to this scene. "It's just how theater works," they might have thought with a shrug of their shoulders. Or maybe they seethed inside, for the millionth time, when all they were trying to do is workshop a new musical. Well, I apologize sincerely now to our writer and those actors. I wish I had had the courage to put my foot down. It is not how theater should work. I quit the American theater on Valentine's Day 2016, so I've been out more than four years now. And honestly I don't plan to return, which is why I can write with such candor. The heart of the problem, my friends, is with the non-profit structure, which is capitalism on steroids. Who are the bosses ultimately in an American institutional theater? The board of directors. Who are the board of directors? For the most part, those members of the community not with the strongest attachment to the art form but those with the deepest pockets. Often they're really not members of the community. They often just drop in. They are sometimes mere tourists. It's no wonder that that board meeting was held in the Dorothy Chandler Pavilion. The theater, like most American theaters, had built its board of directors on the old opera model: You get the richest folks together, offer them galas and house seats and receptions and private recitals and showings (for which artists often don't get paid extra, mind you), you pamper them and make them feel more special and entitled than they already do, and then they'll write you big checks to support the kind of art they like, the kind of art they can bring their kids and grandkids to. AND they--not the artists, not the community--get to hire the institution's leadership. It is a rotten model. Rotten to the core. How can any artistic institution claim to be working for and in the community with that model? It's got to be torn down. It's got to be reinvented. And I have no idea what the next model will be. I really don't. And no, honestly I don't think government is the solution frankly. Some of the most bloated, self-satisfied, decadent theater I've ever seen was in Germany, where it was almost fully government-funded. Lots of bells and whistles and provocations and completely soul-dead. I see amazing and galvanizing lists of demands recently being made and posted by theater artists of color. These are vital demands. But they don't address the central issue. As long as the ultimate bosses of an artistic institution remain the community's deepest pockets, nothing will change. Nothing. You'll be putting band-aids on a gaping wound. Sorry, but it's true. So please figure something else out. Maybe for a few years you just avoid the institutions. You've already started. In the pandemic, so many of you are making amazing art without an institution. Find those who truly adore your work and ask them to fund it. Screw non-profit. Form a corporation and value your art art-making as a resource that profits you, your viewers/audience and your community. I have no idea. But please don't return to a new version of the old. After the virus, after he's out of office, after police reform and nationwide conversations about race, after, after, after, begin something new. I can't wait to see what it is!” Words: Pier Carlo Talenti Video: Griffin Matthews April Yvette Thompson Categories
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