<p>Does anyone know what days (if any) NYU is going to participate in the Unifieds this year?</p>
<p>My D is a high school junior who wants to attend a BFA program in MT. NYU has always been on my D's "dream list" and we are now embarking on some college visits. I went to NYU's Web site and read about visiting, but one thing I was unable to ascertain (and this could be simply the result of my own incompetence!) is whether visitors to Tisch are permitted to observe/sit in on classes in musical theater, acting, etc. We've been able to arrange such things at other colleges with BFAs in musical theater. I would love to know if it is possible at Tisch, and if so, who I contact. (I did try emailing someone at Tisch months ago asking about the CAP21 show season, and never did get an answer. I am sure they are very busy, or perhaps my message got lost.)
Any assistance/answer you could give me would be really helpful.
L</p>
<p>NMR, I am not Tisch Arts Rep :) but here is what I can tell you about your questions. To my knowledge, they don't allow observers in the studio classes, or at least not at CAP. On our visit, my D did get to observe two CAP21 dance classes but arranged it through a friend she had IN the program who asked her teachers for permission for my D to visit. But going through Tisch, I don't think this could have been arranged. That's all she saw. </p>
<p>However, besides NYU's tour and info. session which we attended, we also went to Tisch's information session which was rather small and questions could be asked. I also asked at Tisch BEFORE the visit, if my D could speak to anyone from CAP21 and they provided a student to meet with her for a half hour prior to the Tisch information session and that was great. We met in a lounge outside the space where the Tisch session was to be held. When I saw other parents and kids sitting there who did not realize you could call and request to meet with a student rep, I invited them to sit in with us while we chatted with this nice young man about the program and so there were a few families who were a part of that. </p>
<p>So, line up the Tisch info session and ask to get a one on one with a CAP21 kid too. Then see if you can see a show if the dates work out. </p>
<p>I have never seen a Tisch show but will be seeing Hair and Into the Woods (the latter being my D's show) this fall, finally.</p>
<p>PS...while not on topic, sorry...but I just want to say that this SAME very good friend (whose dance classes my D observed as a guest) who just graduated CAP21 (my D had done shows with her for years), is now the understudy for the brand new Spelling Bee Tour and in fact, the other night was opening night in Baltimore (your city) and the actress playing Logainne got sick in the middle of the show, and D's friend went on during opening night, which included all the press and Lapine was in atttendance.</p>
<p>Hi I am new to cc and have always wanted to go to NYU specifically Cap21. I am auditioning this year, but I was wondering if someone could answer a question for me. I have a couple of friends who are in CAP21 who told me there is a huge gap in the level of talent in the program because of the number they accept and because of students gaining admission because of who they are and not the talent they have (or don't as the case may be). Has anyone else heard this? I always thought this was the school for me, but maybe what I am really looking for is a school that takes a smaller number of students who are all talented. (Of course I do realize that will be harder to get in to). Has anyone else who attends seen a big variation in the level of talent?</p>
<p>Thanks for any input.</p>
<p>Soozievt ... yes, the critics all mentioned that the girl playing Logainne got sick and that an understudy had to take over! How thrilling for your D's friend. (I read a bunch of reviews and at least one commented that the understudy/stand in did a good job.) My D saw Spelling Bee on Saturday and really enjoyed it! Too bad she missed seing your D's friend. </p>
<p>Thanks for the advice, Soozievt. I will take your advice about asking if my D can perhaps have a short session with a current student.</p>
<p>mtsinger-</p>
<p>as someone who has been in professional environments... even in a professional performing arts high school in midtown manhattan... i can tell you... there is always what feels like a gap of talent. some people do better in competitive environments where they recognize that everyone is extremely talented. however, some people, as i have, will do better in environments where they feel that they are at the top level of skill and ability. it really just depends on whether you want to be built up as an artist or broken down to be built back up.</p>
<p>it's up to you though.</p>
<p>I would imagine that any "talent gap" might occur because acceptance is, in large part, dependent upon an audition. Some people audition wonderfully, but show less substance or growth after the fact. Others with great potential don't get in because they audition poorly. You may not want to accept or reject a program based upon the reflections of a few students (whether ecstatic or disgruntled).</p>
<p>Jasmom,</p>
<p>You are right, I don't want to decide based upon what I have been told from only 2 sources. That is why I am trying to get more of a feel of what others have experienced within Cap21. Neither of my friends are disgruntled. Actually they both like Cap21 (although one of my these students turned down a spot at a "top program" because NYU was always the dream but now thinks she would have been forced to keep up with more talented students in the other program). That is just her opinion though. I think I will still apply and see what happens. Who knows, I may not even get accepted.</p>
<p>i agree with jasmom.</p>
<p>I agree with the others. Even in a selective group, there are going to be gaps in talent. Some will have more talent than others. This is likely true anywhere. It may be easier to notice in a larger program where there are more variations as there are more people. As Jasmom says, auditions are the main factor in the artistic selection. Auditions are not foolproof. Someone auditions well but may not have a great work ethic. Someone may be talented who doesn't audition well. Someone may be a great singer but a so so actor or dancer. There are also all sorts of students. </p>
<p>Some programs cut students after the first or second year whom they had deemed qualified and talented in a very competitive admissions process initially. Somewhere down the line, reason must have exist that they no longer feel the student is working out in the program. I don't believe in such cut systems and don't wish to debate them again here, but I'm giving that as an example of even very talented qualified kids who got in during a very competitive admissions/auditions process, whom then are deemed not "fit" to stay in the program! So, auditions are not a foolproof selection process. Also, I'd like to think all programs would nurture each individual with what his/her skill set is, even when the skills differ from one kid to the next. If a kid is not working hard, that is a different issue. </p>
<p>My D goes to NYU/Tisch/CAP21 and comments all the time about how hugely talented so many kids are in the program and so it is challenging. Yet, she also says she has met some that are less talented. She continues to learn and feel challenged. I know some highly talented kids who attend and have never heard any complain that it wasn't challenging enough. There are some kids who are not at that same level, but there are plenty who are, enough to keep the challenge and learning environment really intense and demanding. There are plenty of kids there who have been standouts in their regions and are quite accomplished. There are likely some there who are less so, but I'd say that is likely the case in many places. And once they get there, things change. You can have a highly talented kid not really working hard and some eager ambitious kid whose skills are a bit behind the others who works their butt off. Overall, I haven't heard any comments from students I know there about it not being challenging or there not being enough talented kids there. Like anywhere, not everyone in a group fits the same description. </p>
<p>MTsinger wrote:
[quote]
there is a huge gap in the level of talent in the program because of the number they accept and because of students gaining admission because of who they are and not the talent they have (or don't as the case may be).
[/quote]
</p>
<p>Any gaps in talent are not related to numbers that are picked as much as the other reasons. It may be more noticebale when you have more people to compare. I have no clue what you mean, however, by "gaining admission because of who they are and not the talent they have". What do you mean by "who they are?" The students whom I know who attend, whom I knew (I know many) before they even attended....NYU didn't know who they were. They never heard of them. I'll include my own kid in there. She is a no name. Just another auditionee. To my knowledge, the kids who got in, were admitted based on 50% artistic review (the audition) and 50% on academic review (the application and all that entails). What is meant by "who they were"? Those two things reflect who they are. Do you mean they got in because of some "in"? I don't know anyone with an "in". There might be someone (though I don't know them) but surely not the majority. I'd say that about any college. The kids I know who attend were unknowns before they got there and had no "connections".</p>
<p>My daughter is planning to apply to Tisch for MT and is in the process of selecting her final auditions peices. Some schools have posted "do not use " lists. Does Tisch have any suggestions for the selection of audition peices?</p>
<p>I have never seen a "do not use" list from Tisch. They want two contemporary contrasting monologues as you likely know. I would just go by general audition guidelines as far as material selection. There are various suggestions and pointers. But on this one aspect you bring up, generally try to steer clear of overdone material but the chosen pieces need not be so unusual or unique. She is not going to be graded on how unique her material is but on how it fits her well and how she connects with it and acts it. </p>
<p>If you have other "do not use" lists from other schools, you can always consider avoiding those pieces as a guideline for any school. Also, she may as well not prepare different materials for different schools if she doesn't have to, just the ones she has to if they require different types of pieces or eras, etc. Just so you know, long after my D got into CAP21 and other BFA programs, I came across a list of "do not use monologues" from a school she didn't apply to. One of her contemporary monologues she used at a majority of her schools, including Tisch, came from a play I saw on the list. So, those rules are not hard and fast UNLESS you are applying at that particular school and then of course you should follow them to a T. </p>
<p>Susan</p>
<p>I'll be auditioning for Tisch this year (It's been my top school since freshman year, so I'm really pumped!), and was wondering how important a good resume is. You see, I'm a fairly strong dancer and therefore have always been stuck in dance-heavy roles. This means that my resume isn't exacty up to par, unfortunately. However, auditioning has always been my forte, so I'm curious: how big a part does the resume play in admissions decisions?</p>
<p>Hey-
I'm just another prospective student (Tisch is also my first choice). I went to an info session there and they mentioned that resumes and previous experience really isnt that important. They might be interested in seeing it, but the way they explained it, it shouldnt make or break you. What they told us is that they really only care about what goes on in your 10 minute audition. If you suck and you've had the lead roles in everything you've done, they probably wont care but at the same time if your fab and youve only ever been in the chorus they probably wont care. In short, I don't think you should worry about it!</p>
<p>Who am I anyway? Am I my resume?....you people know the rest!</p>
<p>Hey-
I'm just another prospective student (Tisch is also my first choice). I went to an info session there and they mentioned that resumes and previous experience really isnt that important. They might be interested in seeing it, but the way they explained it, it shouldnt make or break you. What they told us is that they really only care about what goes on in your 10 minute audition. If you're awful but you've had leading roles in everything it won't help you but at the same time if you're fabulous and you've had minor/chorus roles they probably won't care. In short, don't worry about the resume too much.</p>
<p>I think that at least one way the resume was used for my s was as a way to get to know him in the interview. I'm sure this helped to shape the interviewer's thoughts about studio fit.</p>
<p>I have a question about NYU's screenwriting program
Is it in the Tisch program or some other program?
also, how do people generally like it?</p>
<p>thanksss</p>
<p>hello everyone! i was recently place in the meisner extension at nyu for the fall of 2007. I have tried and tried to research the studio but i have only been able to find a limited amount of information. Any information you can give me about M.E will be greatly appreciated! Thanks
Jared.</p>
<p>Congratulations, jared2149!</p>
<p>Hey, I was just wondering if anyone knows the audition procedure for off-campus auditions? I'm auditioniong on Feb. 6th in Chicago, and since there are two sessions a day, I didn't know if they held workshops, group auditions, etc. Thanks!</p>
<p>to jared:</p>
<p>i'm a current tisch drama student.
meisner extension is the smallest studio having only 16 kids in the entire studio, while most of the others have around 40-60. So while we have to split up into groups, everyone in Meisner gets to know eachother.</p>
<p>It is a straight acting studio without much emphasis on musical theatre, just so you know. While some of the other studios, like Strasberg or Playwrights Horizons, studies musical theatre at least a little bit and may even put on musicals, I do not believe Meisner dabbles in that. </p>
<p>But, anyway, as far as the technique goes, it's Stanislavski based (as is pretty much most things).. and you can learn about it here:</p>
<p>I actually only hear GREAT things about Meisner actors.. they really are some of the best.. and since the program is so small.. obviously Tisch saw something in you by placing you in Meisner. They really think it can work for you.</p>
<p>ps.. I am in love with my school.</p>