<p>Hartt Admissions...</p>
<p>Yes, we did talk, and it was very informative and useful. From what I can recall (and correct me if I'm wrong), your program is conservatory based and restrictive in terms of minoring and double majoring. Those are my primary reasons for ruling out the Hartt school from my list. I'm seeking a more flexible program at this time.</p>
<p>J,</p>
<p>One thing you might want to consider, which hasn't been mentioned yet, is the option at NYU for drama majors to do their advanced studio year at Stonestreet Studios. All drama majors do a minimum of two years in their primary studio, and then are required to do a year of advanced studio, which has many options. One of those options is Stonestreet which focuses on Film and TV acting, directing, and producing.</p>
<p>The other comment that I wanted to make was to echo nyumom's about drama students and film students working together very well at Tisch. In addition to the approximate 100 theatre productions which happen at Tisch every year, there are innumerable opportunities for drama kids to act in works by the Film/TV department. Film kids are always on the lookout for actors to be in their films. It's a very collaborative atmosphere, and I know that during her four years at Tisch, my D acted in many student films.</p>
<p>The Tisch Talent Guild also encourages collaboration of students from the various departments.</p>
<p>I'm guessing this has been asked about and discussed somewhere on CC.
Does anyone have a list of good, reputable non audition acting programs for a safety school. My daughter really wants a BFA conservatory program, but the thought of not getting in anywhere is scary..lot of competition out there.
Her grades and scores are pretty good, top 6%, 1350/2070 SAT so academically is doesn't have to be too much of a safety. any suggestions? oh yea, wants to stay in the northeast.</p>
<p>I really don't have enough to go by to say which schools are safeties for your D and would not want to make such an assessment based on too little information. I will throw out some BA in Theater schools you may wish to look at and determine if they might be likely admits for your D (some may be). </p>
<p>Skidmore
Muhlenberg (has optional audition)
Sarah Lawrence
Conn College (likely not a safety but a very good non audition option, has optional audition)
Drew
Hofstra (chance to audition after second year into their BFA)
Goucher (in MD)
Wheaton (in MA)</p>
<p>She could have one non-audition BA safety but also consider an audition-based BA (usually easier odds than BFA) such as:
Fordham
American
James Madison
(all are likely academic safeties for her)</p>
<p>rookiemom: non-audition schools, if not applying for performance scholarship, include West Virginia, Wyoming, Montana, Marietta. Your D's academic stats, however, are way above the typical student at these universities (though I do not know the profile of the BFA students). I would suddext looking at Tulane. It has a small group of BFAs (do not audition until end of first year). The BFA program seems to be relatively unknown; its status significantly below that of the University. We are also looking at Bennington (BA) - my S could take more acting courses there than in a BFA program because it has an open curriculum. Tulane and Bennington, however, are two of the priciest colleges in the country.</p>
<p>rookiemom: my S has similar aspirations (BFA) and anxieties (admission). His academic stats, however, do not come close to your D's. That is why we are looing at privates/large publics that have nice facilities, excellence in teaching and are 'hidden gems' - see my thread on 'Hidden Gems'.</p>
<p>Rookiemom's D wants to stay in the Northeast. Also, students with a strong academic profile can have BA safety schools that may be reaches or matches to another student.</p>
<p>Note about James Madison University --</p>
<p>An audition IS required for the BA Musical Theatre Concentration, but is NOT required for the BA Theatre Concentration. However, students interested in the BA Theatre Concentration are encouraged to audition in order to (1) have a chance to interact with and get feedback from the faculty; (2) to get a sense of the BA Theatre Concentration at JMU; (3) receive a recommendation from the School of Theatre and Dance. </p>
<p>JMU has become much more competitive academically over the past few years, and many more qualified students apply than for whom there are spaces. The School of Theatre and Dance is able to send a list of students in whom they are very interested to the admissions office. This can helpo these particular students with their admission to JMU. </p>
<p>The reason why the audition is NOT required for admission to the Theatre Concentration? -- The Theatre Concentration at JMU includes students interested in all areas of theatre. There is quite a bit of choice within the major and students in the Theatre Concentration work one-on-one with their advisor to choose the courses in the major that best suit their particular interests, and training needs.... students with a strong interest in Acting take more acting, students with a strong interest in Design take more design, etc... </p>
<p>JMU offerers what our accreditors call an "intensive BA". There are close to 30 productions presented each year at JMU. There is an active student group (the oldest student group on campus), which produces student produced, directed, designed, acted work all under the auspices of the School of Theatre and Dance and with the guidance of a faculty advisor. There is specific information on the Theatre Concentration and the School of Theatre and Dance at: <a href="http://www.jmu.edu/theatre/%5B/url%5D">http://www.jmu.edu/theatre/</a></p>
<p>If anyone has more questions please feel free to PM me.</p>
<p>What do you see when you look at West Coast schools? If you choose a school with a strong film department, such as USC or Chapman U, and look into their acting program, it might work well for that cross-over, as long as you respect the way they teach acting which is obviously your primary concern. I know that Chapman just reorganized their performing arts department, and has a nice performing facility. I don't know anything about their acting program, but film production is excellent there. </p>
<p>USC is great for film.</p>
<p>UCLA is tricky, though, I can tell you that much. You can't apply to become a major there until you're a sophomore, so you can spend two years there taking fine liberal arts classes but then be denied the major. Not nice if you're from out-of-state. INstate rates are $6k, OOS north of $40k.</p>
<p>Is it possible to attempt transfering into UCLA's BA program after completing freshman year at a different school, so as to avoid "wasting" a year?</p>
<p>I was wondering about the whole notion of "back up" or "safety" schools for BFA acting students. My s is applying to all the "big name" programs. . .or many, anyway, hoping to get in and hoping to use the name to get a career start after 4 years. Now, if you don't get in to the "TOP" tier programs, should you take that as an indication that you just might not be "right" for the field (since it's so competitive)? How much of a disadvantage is it to end up at a "safety" school--a lesser known school with less presteige? It's hard to know how to think about this. Any thoughts?</p>
<p>JMaslin,
In fact I did see a lengthy explanation of how the transfer process works from other schools into UCLA re: theater or film majors. Best is to go onto their site, look up their theater or performing arts dept, and read for this closely.
I found it so complicated. It seemed to me you can't declare yourself a theater major when you apply as a freshman if you ever want to go into film later (my S's goal). S phoned there for advice and was told to list himself as an Undecided Major, or English, or anything, just to preserve his option to become a film major as a junior. This all made NO SENSE to him, and gradually he became sour about UCLA because there were so many unanswered questions, as if the department is in flux and trying to communicate its philosophy through all these rules. </p>
<p>We live nowhere near there, but if he had more time (rushed because skipped llth grade), I'd have urged him to go and talk to people in the department to find out what's really going on there.</p>
<p>To repeat our understanding from the website and phone questioning: They don't want anyone who's been a declared Theater major since Freshman year to apply for or enter their Film Major as a Junior. You can't begin to major in Film until junior year.</p>
<p>So, how would anyone on the admissions team know or care about your long-term direction wtihin that school as a lowly freshman applicant dreaming of majoring in film someday? His app as a freshman made no sense and was unfocused, to follow their rules. He did his best with the essays to express his goal, however. </p>
<p>It became discouraging before he even began. Still, he submitted an App and didn't get in. No loss. He got into another California college for film that thrills him (Screenwriting major at Chapman U. in Orange). Chapman determined from freshman year by competitive portfolio review that this would be his major right from the start. So S's just fine. And for $40K (which we'd have paid from OOS), it made sense to send him to a private not public university in California, or so we feel. Others see that all quite differently, I know. He was given need-based and merit-based aid from Chapman, and who knows how he'd have fared with finaid at UCLA from OOS.</p>
<p>But I would still like to understand the "real deal" at UCLA. I know they graduate excellent actors (Rob Reiner spoke of this recently, and how exclusive it was to be an Acting undergrad major fro UCLA as he was). But from the POV of incoming freshmen, my area of concern, it was confusing. </p>
<p>I think being so far out-of-state increased our discomfort with UCLA. I'm not giving it a fair shake here, so if interested, please pursue but with real conversations with faculty!</p>
<p>letsfigureitout,
My other S majored in Theater, but as a B.A. in a non-audition college. I think that applying to some of these can be a safety plan as well for someone applying to BFA programs. He got a lot of stage time, and a fine quality theater department with good faculty who had theory and experience. He says, however, it isn't the kind of intense training in acting that a BFA provides.
This S never wanted a BFA, but preferred a B.A. but largely because he has strong academic interests alongside the acting. After the BA, I thought he should go right on to an MFA and carry out his idea, but his profs said not to. They favored him moving directly to NYC to work in as many plays as he could find, and determine if he "liked the life" before investing in an MFA. They said they'd support his app for an MFA immediately, but even more so if he followed their advice.
He moved to NYC and is using THAT as his proving ground. He has a marketable skill for part-time day jobs that enable him to support himself as long as he shares an apt, lives frugally, and works hard. He began as a live-in nanny and lucked into an apartment with responsibilities for the kids just 20 hours per week. This provided him living space and work immediately. From that posiiton, he auditioned and was in a half dozen plays (off-off-Broadway) in the first year after graduation. The next year, he was so tightly scheduled that as one play came down, he was ready to rehearse the next. There were student films and iindependent films always looking for actors. Most of these jobs paid but a few did not. He takes things that advance his artistic understanding and help him hone his craft, not to buy groceries, so there's a lot of freedom in that ("don't give up your day job" is the mantra). He switched from the nanny job+apartment into a shared roommate apartment as his day jobs gained strength by Year 2. </p>
<p>Honestly, I'd rather see kids try themselves out as actual actors to figure out if they "have it" since "it" includes all the perserverance and work ethic to press forward, as well as raw talent. </p>
<p>There might be gender differences with this advice. My S tells me that for men, most stage parts are for ages 25-35, while for women it's a bit younger, ages 18-25. So I am more relaxed that a male has the time to develop after he graduates as a 21-year-old and grow into these parts. Might be more pressure on females. </p>
<p>I can also identify all kinds of quirky stories for you about how the college pathway of a famous actor makes sense only when you look backwards. My folks taught at humble New England College, and during their years there, Geena Davis was an undergrad. I'd never send anyone to NEC for acting today, but somehow she worked it all through. Quriky things, like an acting prof (not a department even) there in those years who knew how to mentor her. It makes no sense for the next person, except to say that luck and timing, along with talent and training, are part of the successful stories.</p>
<p>Finally, each person has to define what success means. To become a working actor, either in NYC or a repertory company across the country in a regional setting, does not mean everyone has to be George Clooney. There are moderated degrees of success and achievement, so think about whether it's the actual acting (making a moderate livings as one) or wild celebrity that defines "success."</p>
<p>Along the way, pick up a marketable skill for day-jobs, where there's flexibility in scheduling and good per-hour rate of pay. Don't worry WHAT it is. I've met actors whose dayjobs are: tax return specialists for H&R Block, dental hygienist, nanny,
foreign language tutor, etc. Everyone refers to waiting tables, and that's because it's the classic flexible job where you don't have to schedule long in advance. Often actors in their first years don't know if they'll be winning an audition or performing more than a few weeks or months ahead of time, so such jobs work well to segue with acting schedules. Also waiters are physical, charming, handsome so there's some overlap of skill sets. Just realize that waiting tables isn't the only choice for a day job, but most everybody needs a day job at first.</p>
<p>Payingthreetuitions said -- "There might be gender differences with this advice. My S tells me that for men, most stage parts are for ages 25-35, while for women it's a bit younger, ages 18-25. So I am more relaxed that a male has the time to develop after he graduates as a 21-year-old and grow into these parts. Might be more pressure on females."</p>
<p>I think that the mid-20s on up interms of stage work in plays is pretty accurate for women as well. There are not many plays written about people in their late teens or early 20s. Many of the actors and actresses who play the teens/ 20s roles are actors in their mid to late-twenties or actual teens who have been working in the business since they were much younger. So, while there is more pressure on women to stay young looking (although I have heard that it is getting equally challenging for men too), I think that young actors and actresses in their early 20s are on similar footing regardless of gender. Of course, there are alot more women competing for jobs then men, but it is tough (yet possible :)!) for all. </p>
<p>As far as not having a chance at the business if you don't get into a "top" BFA school -- I would not take that as an indication that your child should pursue another path. There are many paths to get to the "same" place. There are also many successful actors who did not graduate from top BFA programs. </p>
<p>Good Luck!!</p>
<p>Thanks for your thoughts. I am optimistic that my s will get into some of the BFA programs. . .but in terms of the "what if???. . .I do not think that the BA option is for him right now. He does well in his academic subjects, and he seems to have a passion for history, but he REALLY wants the intense theater training. He is young, so a gap year wouldn't be a bad idea. In fact, with all the shows and the summer programs, he's really never WORKED. THAT would be novel!</p>
<p>I hope you do not mind me posing a question, given that some of the CCers on this thread are making inquiries about their sons. I broached this subject about a year ago and only two individuals (no longer around) responded, in private. It is common knowledge that there are more female applicants to many BFA theater programs than male applicants. Also, with some exceptions (i.e., Juilliard, CMU, Rutgers, etc) many BFA programs, as reported in Everett's recent guide book on theater programs, have more women enrolled than men. My question is this, and I do ot want to start a debate on what is right or wrong, but merely want to know how the decision making proces works, should these facts guide where we apply? First, might we set our eyes toward better programs than we might have thought (I am a 'glass half empty type)? Second, assuming Everret's data is approximately accurate, might it work in our favor to apply to programs consisting of, say, less than 40% men? Finally, might being a male (assuming comparable audition/stats) further enhance acceptance ED (early decision).
Two individuals last year advised me to shoot higher and consider current gender composition. It should be noted that these were both controversial CCers, who are not around any more. Thanks
Again; a disclaimer - I am a profeminist male, as is my S.</p>
<p>In the performing arts there are usually far more female applicants than male applicants, and most departments want to have as balanced a program gender-wise as possible. Some even aim to have more men than women (but this seems to be more often the case in graduate programs than undergraduate schools). So, but the law of averages, a higher percentage of the male applicants will be accepted to a given school than female applicants (assuming that the school is aiming for a balanced class). This does not mean that these schools still do not see far more many talented young men audition than for whom they have spots. So it is still highly competitive. My opinion for young men is pretty much the same as it is for young women. Have some schools that are long shots, some that feel like strong possibilities, and at least one safety school (that does not require an audition -- to which you will be admitted academically). When calculating where schools fall on the list -- I think that the gender data could be used in calculating the middle group of schools (although there are never any guarantees). The long shots will always be long shots, regardless of gender -- but you have nothing to lose by shooting high.</p>
<p>Thanks KatMT. I told my S this AM that this is the weekend we get 'real' and outline HIS list of reach, shot, and safety programs. As parents, we have imposed a cost ceiling limiting him to tuition exchange schools (Syracuse, Evansville, Hartt, DePaul, Bennigton(BA), Otterbein, Marietta, Drake, Webster) and most state supported BFA programs.
One of the greatest benefits of his attending BU's theater program this past summer were the conversations he had with his peers about the realities of getting into this and that program. He now understands how complex and difficult the admissions process is. Its easy to identify the reach (far reach) programs, but it is much more difficult to figure out which shot and safety programs to apply to. The complexity of making these SAFER-TO-SHOT decisions inspired me to initiate a thread a couple of weeks back; BFA Theater: Hidden Gems. Not much of a response. I wanted to get some discussion going on programs rarely/never discussed on CC that are also too far away from many to visit.
Some of the SAFER programs on our list include Marietta, Drake (now requires audition), West Virginia, Wyoming, Montana. My S can also go to the LAC that I teach at, which actually has a very good theater program and, from an academic (college as a whole) point of view has by far the best reputation compared to all the programs on our list. But my S is not the type that wants to be forced through so many general and distribution requirements common to LACs these days.
The SHOT-TO-REACH programs that we are considering include FSU (acting), Connecticut, Oklahoma, Hartt, Evansville, Utah, Rhode Island, and Illinois. We plan to audition at FSU in early Dec. and hope to visit Hartt and Connecticut, while catching Evansville, Utah, Illinois, and Oklahoma at the Chicago Unifieds
The REACH-TO-FAR REACH programs that we are definately applying to include Syracuse, Guthrie and Rutgers, and we are also considering Purchase, and CCM (acting). He has accepted the fact that we will not pay for BU, NYU, CMU, Miami, and Michigan because we want money left for graduate school. What's the saying? Hope for Plan A (theater related career) but prepare for plan B.
Though he could potentially go to DePaul tuition-free (tuition exchange), we are not fans of their cut system - though he understands why they might do this; he goes to a Catholic HS (humor intended). We also are considering Arizona, but are skeptical, given CCer comments on their cutting practices.
Obviously we need to narrow this list.</p>
<p>Hello everyone. I was accepted into the BFA Acting program at SU and am entering next month in August for Fall 2013! I’m very excited. I know SU has great opportunities such as studying abroad in London and performing at the Shakespeare Globe theatre, and also the Tepper Semester in NYC, but other than those two, do SU performers get good exposure to professionals in the business?</p>