<p>I have decided to attend either a BA or BFA program in Theatre, with an emphasis on acting. The Musical Theatre thread has much to say about the following question, but I have not seen much re: acting. I have been very involved in sports, but am now focused on acting. However, I do not have much of an acting resume; just lead roles in HS performances. I have also taken acting classes in the evening. I have been told that I am good. My question is this. Will attending a summer program like those offered by Syracuse, Rutgers, Boston University (not cheap) increase my chances of acceptance, in general; not necessarily to these programs, but to the top and second-tier programs? I plan to apply to BU, Syracuse, Fordham, the Guthrie program at the University of Minn., and Muhlenberg. I have also been told that guys have a better chance of acceptance than women. Is this true?</p>
<p>Yes, it will help...and theatre departments sometimes need more men. Under those conditions, a guy can get a little bump.</p>
<p>Thanks Isleboy. You were one of only a couple who replied to a similar question a little while back. I am a pretty straight kid - jock, etc; most theatre kids that I meet try really hard to be 'out there' - theatre cool. I worry about fitting in. My father suggests that when I audition, I use my all-american personality as a strength. In the musical we are staging, I am also choreographing the sword fight scenes (was a nationally ranked fencer). I assume that this and my playing football (was being recruited - I am a Junior - but gave it up for acting; coaches not pleased) will be a plus when I interview.</p>
<p>No problem...it's sometimes more difficult when you don't fit neatly into a pigeon hole, for people to give advice. It is better in the long run though to be breaking boundaries. </p>
<p>Actually, your ECs are a great combo. I know what you mean about 'theater cool.' I like lighting and set design, as well as acting. Like you, I'm an athlete, so I can relate. Doing both also creates funny situations with different friends. Try having a party with both groups present. :)</p>
<p>Of course, watching such interactions can help on the stage...makes it very authentic. Good luck with the interview. And, with your schools.</p>
<p>briansteffy:</p>
<p>Just an aside. For stage sword scenes, your fencing background may get in the way. What seems obvious to a fencer is invisible to an audience, especially if you are using mostly the point. You'll need to put in a lot of slashing moves and they'll need to have moulinets to read from the audience. Yes, yes. I know. A moulinet gets you killed in a real fight, but this isn't real.</p>
<p>Safety is paramount. If you're going to be using the edge (and you really, really need to use the edge), don't use epees or sabres. The blades can break. I know an actor who has a prodigious scar on his neck from where an epee broke and managed to gounge him. Use schlager blades. If you MUST use rapiers (and I strongly recommend against it because of the extra weight), then rehearse the living @#$%% out of your cast and make them take it one move at a time until they are absolutley perfect before letting them take it to half and then three-quarter speed.</p>
<p>I have been hurt in stage combat and have seen many others hurt.</p>
<p>Be careful out there!</p>
<p>I used to fence with a guy who made a living teaching sword play for the stage. He taught me. Thanks for telling about schlager blades. I will look into them. Though I do worry that one of the main characters has no coordination whatsoever.</p>
<p>brian:</p>
<p>Another thing to watch for. If you choreograph a head cut, the guy doing the parry really HAS to parry forward of the forehead at about a 45 degree angle, ESPECIALLY if you use any kind of flexible blade. If the parry is over the head and the attacker is a little short, the foible can slip off off and slash right across a person's face. I saw a guy very nearly lose an eye from that very thing.</p>
<p>Good luck. Be safe.</p>
<p>Let me change the topic. There is plenty of discussion on CC about the best-ranked Theatre programs. Obviously, CMU, J., NYU and some of the Ivies are 'ranked' high. I do not expect to make a living from acting. But what programs are the best in terms of; students are happy; it's fairly laid back, but still intense; the profs are really focused on the students and not their writing or own interests. If you threw all the 'rankig' BS out the window, where would you go?</p>
<p>Southern Methodist, Syracuse, Yale, Vassar, Grinnell, Johns Hopkins, URochester, Brandeis, Columbia, Fordham, Wesleyan, Swarthmore, Oberlin, Denison, College of Wooster, Duke, Loyola Marymount, Vandy, Reed, Goucher, Wheaton (MA), Carleton, Occidental, Chapman U, UCLA, USC, Brown, Trinity (CT), DePaul, Emerson...</p>
<p>briansteffy:</p>
<p>First, get a BA, not a BFA. You will be better educated with a BA, your options for grad school will be greater (including for an MFA if you decide you want one), and a BA is likely to give you a much broader theater education than a performance-based BFA.</p>
<p>The next thing is a lot more complex. I've seen the same threads you've seen, and what seems always to be missing is an understanding of the steps in the process, the techniques taught, the focus (or lack thereof) on one or more of the threats in "triple threat," etc. Some of the top schools are just great for some kids and some are just horrible, depending on the kid's strengths and weaknesses. For instance, there is a top professor who is known for psychological stripping as a means of reaching "center" before teaching techniques away from center. That's great for some kids. Others might become suicidal.</p>
<p>The thing about acting training is that it makes you worse before you get better. I know that I didn't assimilate all the pieces until I was out and working for a couple of years. Serious actors should look for a definite, systemic approach to the art/craft instead of a cafeteria of disjointed offerings from a number of faculty members who rarely if ever talk to each other. If you're not going to be a serious actor, then the issue is probably one of how much chance you'll get to work.</p>
<p>I would look closely at LACs. Vassar is famous for the huge number of productions they do, many of them student produced and directed. Whitman does many shows and is small enough that parts should be available. Oberlin has a reputation for doing good theater and providing good training.</p>
<p>Once again, good luck.</p>
<p>Tarhunt. Thank you. Both of my parents are college profs and are under the tuition exchange agreement with, primarily small LACs; except for BU, Syracuse, Fordham, and Catholic - good BA or BFA programs. They want me, however, to go to a small LAC. My grades are not outstanding, so I am not going to get a tuition exchange at someplace like Bucknell or Bard. I have been looking at Sewanee, Beloit, Muhlenberg, Skidmore, and Franklin & Marshall (where my father is ???). I know that Muhlenberg has a good rep. Sewanee is the most interesting place I have been, Beloit fits me the best. Sewanee has nice facilities, but I do not know much more than this. I know that Skidmore's theatre Dept. has a good reputation, but I know little about the other programs.</p>
<p>briansteffy:</p>
<p>Wish I had some insights into the theater departments you've mentioned. I really don't. I know a young lady who is very skilled on stage who wanted to go to Skidmore. I assume she thought it was a good program.</p>
<p>Wish I could help more.</p>