Viet Explorer’s Post

Workshop week in Berlin/ MA Theater&Music Management at HfMDK Frankfurt It was our last visit to the @Berlin University of Acting Ernst Busch for the summer semester. In the picture, a group of students from our master's program is working with the dramaturgy students on a mission statement (another group is sitting in the other part of the room). The focus was on three parts of a very complex workshop cycle. On the first day, we started to create a mission statement in three groups: the groups developed a statement for the State Theater in Karlsruhe, the Deutsches Theater Berlin and a city theater. The mission statement is the essential prerequisite for functional communication and production processes at all levels of a cultural organization and at the same time a protective instrument for all employees. Employees should be actively involved in the development of a mission statement, esp. in the formulation of the main values & headlines. In the second part of the workshop, we developed the financial structure of a public theater. Step by step, we examined the key elements on the expenditure and income side and developed sub-budgets based on the real conditions that we currently find in the theater landscape. This also includes the consequences of a just canceled NV Bühne collective agreement, which shows the full fragility of the theater system and the unreliable and weak agreements between employers and unions. The main aspects that were discussed were follows: * the high personnel costs of + 80%, which is due to the precious repertory system * the still too low average fees for artists - compared to musicians, technicians, and administration * the immense management costs, which are on average between 4 and 10 times higher than the ø fee for artists * the low budget share of ø 10% for artistic production costs * the low income due to the subsidized ticket prices. Can we therefore speak of a structural financial crisis? Possibly. In any case, we can speak of a structural asymmetry in fees when artistic directors earn up to 8-10 times more money per month than a young actress. There was a also a fine workshop at the Berliner Ensemble on modern marketing and communication tools - thank you to Ingo Sawilla. And in the nights: theater, theater, theater.... The interdisciplinary collaboration with the dramaturgy students of the "Ernst Busch" University has already enriched us enormously at the last workshop in Berlin. It is exciting for our students to see and experience how projects and concepts develop from the interdisciplinary ideas. Theater is teamwork in which the individual must be prepared to merge her/his artistic input with that of the other colleagues to the point of insignificance. Anyone who wants to stand out here, be it an artistic or stage director, or a leading actor, has not yet understood the magic principles of theater "ensembleism" and endangers the theater at least as much as any offensive or toxic desire for power.

Meyer Sound Ushers Oakland’s Paramount Theatre into a Second Century of Audience Excitement New System Is the First to Pair LEOPARD Line Arrays with 2100-LFC Low-Frequency Control Elements. When it opened in 1931, Oakland’s 3,476-seat Paramount Theatre was the largest movie palace on the West Coast. Audience capacity dropped marginally – to 3,040 – during the 1973 restoration, while the sumptuous Art Deco interior was painstakingly restored to its original magnificence. This fall, the resplendent architecture was complemented by a new Meyer Sound reinforcement system, supplied and installed by Sound Image, a Clair Global Brand. The Paramount Theatre has been awarded multiple historic designations, including that of a U.S. National Historic Landmark. The status assures the preservation of the theater’s visual aesthetics, but it raised challenges for the audio system renewal. To consult on the complexities involved, Paramount Theatre General Manager Jason Blackwell turned to Berkeley-based The Shalleck Collaborative, Inc. “Ian Hunter at Shalleck encouraged us to install delay speakers under the balcony,” says Blackwell. “But there was no way we could make it work effectively and affordably within the strict historic preservation guidelines. Ultimately, we had to put the building first.” The system as installed comprises dual front arrays of 14-each LEOPARD compact linear line array loudspeakers, with the top 12 the M80 version with an 80-degree horizontal pattern, and the bottom two with the standard 110-degree spread. Corner fills are, per side, one each UPQ-D1 and UPQ-D2 full-size loudspeakers, with six ULTRA-X20 compact wide coverage loudspeakers for front fill. Controlled deep bass is supplied by four cardioid arrays of three-each 2100-LFC low-frequency control elements, with two arrays flown and two ground stacked. Eight MJF-210 low-profile stage monitors are available for artist foldback. For Blackwell, the system is already paying dividends. “Now we can handle any show that comes in so nobody has to pay for outside sound system rentals, especially with all the rigging labor expense. In the past, some shows would go elsewhere, and when some shows would bring in third-tier rental systems it would hurt our reputation. Now we can put all that behind us.” Blackwell gives a tip of the hat to Steward Kurt Dreyer and Head Audio Engineer Sean McGuire for their invaluable input on the project, and to the Paramount Board for enthusiastically backing the project. “I am confident that we put in a top-tier system and we will have full support from a great local company,” he remarks. “I know they will be around whenever we need them.” The complete audio renewal supplied by Sound Image also included a Yamaha CL5 and CL3 consoles (FOH and monitor respectively) and four additional Shure Axient wireless systems. The Paramount Theatre building is owned by the City of Oakland but is operated by the theater’s own independent non-profit entity.

Art Made Here! - Fall Fund Drive The Seacoast Repertory Theatre is more than just an entertainment venue. As a premier regional Production House, we create professional theatre from the ground up, every week of the year. From the dazzling lights and intricate sound designs to the meticulously crafted costumes, special effects and showstopping choreography, every aspect of our productions are born right here in the minds of the artists we employ. But what is a “Production House”? What does that mean exactly, and why does it make Portsmouth special to have one? As a major contributor to the American Theatre Scene, we approach each show in our season as if it’s the first time each story has ever been told, aiming to create singular presentations of even the most beloved classics. To bring these unique perspectives to life, we curate teams of professional artists, technicians, craftspeople, builders, stitchers, designers, architects, electricians, musicians, and dancers for each production. We hire hundreds of diverse, creative wizards from around the world to work, live and play in Portsmouth, NH. The result of these efforts are one-of-a-kind theatrical experiences that can only be witnessed right here within our historic walls, helping make Portsmouth a perfectly unique destination. In fact, more than 65% of our audiences come from more than an hour away. Tourists from around the globe come to experience the magic that is the heartbeat of every Seacoast Repertory Theatre performance. The impact of our work is unmistakable. A recent study by Americans For The Arts reveals that arts and culture organizations infused over $70 million into the greater Portsmouth economy last year. In fact, each time a patron visits The Rep, they spend an average of $37-$66 outside of the theatre through local dining, shopping, parking, accommodations, and more. With nearly 50,000 art lovers gracing our premises annually, in addition to the hundreds of professional artists we bring in who live and spend locally, millions of dollars are poured into the local economy as a direct result of the art on our stage. The Rep is more than a theatre; we’re an economic pillar of Portsmouth. Yet, for all we contribute to the cultural and economic fabric of the region, ticket sales alone cannot sustain us, especially if we aim to keep our shows accessible to everyone. Nationally, regional production houses like ours depend on 30%-50% of their yearly revenue from grants, donations, and sponsorships. Without escalating ticket prices, our only path to offering this high quality, accessible art, not to mention fair and equitable wages for our dedicated team, lies in your hands in your support during our fall fund drive. Creating original art is hard work, but it’s what makes The Rep special. Your contribution to The Rep ensures that nationally renowned, original art will continue to have a home in this historic city. Join us in fostering this artistic movement! It’s Art Made Here!

International Theater Systems: Theater in China M.A. Theater and Music Management HfMDK Frankfurt The composer Qi Chu, gave us an excellent introduction into the history, present and structure of the Chinese theater system. Starting with the history of theater in the various historical dynasties up to the Cultural Revolution under Mao Zedong and from there to the present, we dealt with the various phases of development of the Chinese culture. Later, the students discussed the significance of the play Nora for the Chinese theater landscape and and its effects: the at least partial emancipation of women in the more academic and intellectual circles. Mao's wife, who later as his widow would take the Cultural Revolution to its extremes and lead it into a bloody phase of denunciation, persecution and imprisonment in camps, was once an actress herself and shone in the role of Nora. China is a theater country in the broadest sense of the word. On the one hand, the country draws on traditional forms of theater, comedy, acrobatics, dance and singing, which are shown at every opportunity in order to maintain cultural competitiveness with the West. But there is also a modern Chinese theater, with new authors and directors who also deal with political subtexts, which, similar to the Prague Spring of 1968, or the theater in the former GDR until 1989, are based on charging canonical texts with current political content. The training in the theater academies in Beijing and Shanghai, as well as in many other cities in China, is also first-class. In 2024, over 9,000 applicants applied for acting at the Beijing Academy of Performing Arts, of which only 28 were accepted. The high demand testifies to the importance of theater in the country. This is just my opinion and does not take into account the opinion of our students: China's present is characterized by great diversity. On the one hand, there is political and bureaucratic Beijing, and on the other, cities such as Shanghai and others at the southern coast line where capitalism and forms of liberalism have taken root. And yet the Chinese Communist Party rules the country with a firm hand. Alongside huge leaps in development, we also find cultural conformity and violations of human rights, which do not change the fact that Western companies are happy to trade with Chinese companies or to invest in the huge country in East Asia. The Berlin Philharmonic Orchestra is also currently in China. The thirst for Western culture, which coexists peacefully alongside Chinese culture, seems insatiable. Culture has great power and can bring people together, not only through artistic exchange, but also through exchange about values, and about ethical and democratic aspects of social life.

What makes a show showstopping? I am incredibly excited about the future! I foresee evolution in three different aspects of live entertainment: 1.Talent & Craftsmanship Talent has been and always will be the most admired virtue – the skilled actors, singers, dancers, musicians, acrobats and other special talent who have mastered their art, and who are the story. Without them, there is no show, no need to build sets and props, nobody to costume or direct. The new era of entertainment will be driven by talent and quality, not quantity. If talent is the story, think of craftsmanship as the storytellers. It is the next generation of trailblazing writers, directors, choreographers, dramaturgists, costume and prop makers, scenographers and composers who will craft the shows, ensuring they’re well told, no matter how innovative. 2. Unique Venues Where we see a show can be as much a part of the experience as the show itself. Entertainment trendsetters are redefining or even reinventing venues. One emerging trend is the multipurpose venue – it might be an art gallery by day, a performance space by night. Or a lobby that turns into a dance floor, with a deejay, a light show and a bar. Public spaces in our hotels, cruise ships, even office buildings can become these new venues. Technology will also shape them. Think automation, moving walls, aerial or vertical stages or backdrops. I also think we’ll see more intimate venues – smaller spaces, a smaller cast, closer proximity to the audience. This will make the experience more immersive than ever. 3. Total Works of Art 19th-century German composer Richard Wagner coined the term Gesamtkunstwerk to sum up his approach to operas, treating them as total works of art. By synthesizing all its elements – music, poetry, drama, theatre, costume, and set design – he ensured that the entire performance existed as a unified, coherent, total work, mesmerizing audiences on multiple levels. In our ever evolving quest for memorable experiences, there is a shift towards the multisensory. Like Wagner, I believe that we can make our audience feel with all senses by integrating the poetic, visual, musical and dramatic arts, with a dash of technology. These are the elements that will usher in the next era of wow. Want to know and see more? Want to ideate or create a concept? Contact us to glimpse Lukas’ Atelier of dreams and creations [email protected]

Nice to see K-musicals and K-theatre getting some good feedback! I have to say that Korea does a wonderful job at marketing all of their performing arts. And its the whole process, from cover graphics, pre-opening interviews, and rehearsals to getting those ticket-selling actors and actresses cast. Licensed and big-name productions don't necessarily need those but, of course, do gain big-name stars as well. I know that ticket power isn't everything, but it does really help the production's exposure, especially if its what you call it in Korean (창작) or an independent production. Because there are those fans who would not normally go to the theater or have any interest in that show, but are now required to come out and support their bias while also getting an opportunity to see them in a more intimate setting. Win-win for everyone! (most of the time). I know there are some avid theater-goers who do not approve of stars in theater because it feels like they're already successful and known. Why do theater when its not as lucrative and pushes other struggling actors out of work? But what most fans don't realize is that a lot of those "stars" were also struggling theater actors long before they got their shot at fame. So here's to more good results and numbers in the coming years! And to an avid interest in Korea's Performing Arts! https://lnkd.in/gbKMfeAp

Aloha, In 2017, the Pahoa town fire burned several historic buildings which included shops, restaurants and the community historic Akebono Theater. In 2018, the Puna district got badly hit by a lava eruption that destroyed homes, businesses, a community surf spot, and a fishing harbor known as Pohoiki. These catastrophic disasters have impacted the community in many ways. The lack of recreation events, facilities, and employment opportunities has made it difficult for our community to rebuild the pride in our district. Many adults and children have turned to drugs, alcohol abuse, crime, and suicide as a source to express themselves. Puna is one of the nine districts of Hawaii County on the Island of Hawai’i. This district is so large that the landmass is compared to the size of the entire island of Oahu. The Puna jurisdiction is a growing population where there are not enough consistent activities to accommodate the community. I believe it is very important that we provide more recreation facilities as an avenue for the community to express and heal it. I am asking for your support to help me build a performing arts theater called the Hawaii Island Theater in Pahoa town for our community. This performing arts center will include a theater with public seating which will be used for theatrical plays, dance, and live music. The multimedia center will serve the public as a hub to gather and facilitate the community to be independent producers to serve our community. There are many studies conducted that recognize that art and cultural activities can be useful tools towards building a community’s identity, meaning, and spirit. I believe one of the indicators of a healthy community – the kind of place that is likely to be loved and endured – is good evidence of creative expression. Whether it’s music, dance, media, or something else; people like being around artists who inspire. This core value comes by showing empowerment and enriching the lives of those who are served, and by strengthening the community in which we live. Working with further businesses is another way to outreach to collaborate with the community partnerships of private, non-profit, schools, county, state, and federal institutions that could foster and create sustainable relationships to support the community projects. A community partnership oftentimes develops into new business networks which provide a successful outcome for the producer. These connections form pathways for knowing and sharing social, cultural, and materials to complete important projects in the community. My mission is to make this performing arts theater/multimedia center a refuge of rehabilitation for the Puna community to express themselves through performing arts of theater, music, and media. Feel free to visit my website www.keonialvarez.com

Theater Management 2_9: Diversity Management M.A. Theater and Music Management at HfMDK Frankfurt Our student Janina Haring gave an excellent introduction to Diversity Management. Unlike in the Anglo-Saxon world, diversity has only been taken seriously in German cultural institutions for around ten years. Diversity is often implemented against strong objections and reluctance, although this of course always encounters structural and personnel barriers. Implementing diversity without the commitment of all managers is an illusion, as a number of failed examples show. Janina had invited Judith Blumberg to the seminar, a former 360 Degree agent who attracted a lot of attention some time ago with her resignation letter: https://lnkd.in/eSP4Ex7j. In 2023, I contacted her myself for an interview, parts of which have also been included in my last book Ethical Theater (2024): "Diversity agents of the Federal Cultural Foundation: There is currently no consistent strategic engagement with diversity and diversity management in German theaters, even though the funds of the Federal Cultural Foundation (KSB) have so far been used to support so-called diversity agents at the theaters from the “360° - Fund for Cultures of the New Urban Society” program. The agents are experts with a high level of diversity competence who will be provided with a full personnel cost subsidy and an additional €150,000 in project funds for a period of four years. At the start of the program, the 12 supported theaters hired primarily young women (10), the majority of whom were people of color (8). 12 out of 140 theaters is a relatively modest number given the urgent need to develop diversity in the theaters, but it was at least a start. Judith Blumberg, who held this position at the Karlsruhe State Theater but has since given up the position, is critical of the program's lack of impact, of structural anchoring and of sustainability. She was not endowed with rights that would have allowed her to more strongly assert the interests of people with experiences of migration and/or racism in selection interviews. In her relatively isolated work in a staff position, she was dependent on the interests and time of her theater director, who broke off the initial bilateral, 15-minute discussions per week and delegated them to the head dramaturge. As in other areas, the structures of the theater were almost impossible to break through - an assessment shared by 90% of her colleagues in the 13 theaters. They felt hardly recognized and largely isolated from the theater's essential decision-making and information processes, and often fought against a tokenization of their person. Judith also mentioned that neither the theaters nor the Cultural Foundation made it possible to provide adequate psychological protection for the agents. Unfortunately, the new management of the foundation has since canceled the 360-degree program and will no longer continue it.

International Theater Productions - Country Portfolios II: Spain M.A. Theater and Orchestra Management at HfMDK Frankfurt The challenge of this semester in the course International Production Systems is the analysis of 12 international theater systems. In the past few weeks, we have looked at the French and Spanish theater systems, which seem to be similar to the German system but differ in some key aspects. Like the German system, the Spanish theater landscape consists of a public, a private and an alternative (independent) theater system. The main difference is that theaters in Spain generally have no ensembles and therefore cannot offer a varied repertoire. New casts are made for each production. The only variety in the program consists in guest performances. In the graphic you can see the arrow of time, which traces a development in the development of theatres that is typical for the Iberian peninsula. We will compare this with Portugal tomorrow (thanks to our formidable master student Henrik Greiner, who presented a rich impulse for this hour). Why are we dealing with this in our course? The general neoliberalism of international festivals and guest performances in the field of performing arts, which has long since taken hold of the so-called independent theater scene, can only be countered by alternative forms. This can be achieved if one places value on the reception and appreciation of the respective cultural peculiarities and framing conditions. One can only limit neoliberalism by placing value on the reception and appreciation of the respective cultural peculiarities and conditions. This counters the approach that every guest performance could be shown in every country in the same way, completely out of context, without taking cultural conditions into account. This is a complete anachronism. I believe that we first need to develop in-depth knowledge of the country and a great deal of caution in order to break through the neoliberal approach of internationally touring productions and return to more humility and caution towards the countries in which we perform.

I love the performing arts and especially watching live performances--dramas, musicals, operas, classical music, and jazz, especially vocalists and also jazz pianists. What gets me the most excited is how technology today is adding to my experience, whether the technology is in front of the curtain or behind the curtain. As I've been reading "Raising the Curtain: Technology Success Stories from Performing Arts Leaders and Artists" by Brett Ashley Crawford and Paul Hansen, I've been impressed by the diversity of the artists and arts leaders who've contributed to this well-researched book. All the contributors have been generous in sharing what works, what hasn't worked, and some of the lessons they learned. The interviews that are sprinkled throughout the book offer fascinating insights that anyone who works in the performing arts can learn from. If you're a performer or work in an arts organization, I highly recommend you buy this book. It's wonderful! #wiley #performance #performer #theatre #theater #dancer #classicalmusic #arts #artsandculture #artsmarketing