<p>Overall, what is the Tisch program like? Is it a lot of work? Do you do a lot of acting? Is it easier that you thought it would be? Please share your experiences, they would be helpful!</p>
<p>The program at Tisch is amazing. The faculty, both academic and studio, are amazing and clearly know what they are talking about. I’m in the acting program so we do a lot of acting and it is definitely a lot more challenging than I thought it would be. Finding the time to balance work between academics and studio work can also be really challenging.
I think that Tisch Drama is one of those programs where if you put all you’ve got into it and take advantage of every opportunity/experience, it can be the best program out there, especially because it is in the heart of show business. But I also feel that there are those who are not so determined and committed to becoming a professional, working actor, and that they get away with it. But as long as you focus on your own development and growth, there are unlimited opportunities and learning experiences at Tisch/NYU.</p>
<p>Some questions for you, Clay: I loved my audition with Tisch but was a bit concerned with the amount of people they accept. I knew NYU had a large program but I didn’t think they took almost 400 freshman across all 6 studios! </p>
<p>-How large are the classes (within your studio)?
-Do you get enough personal attention?
-What about performance opportunities?
-How competitive are they, especially with the grad acting program?</p>
<p>Thanks! Anyone with knowledge of Tisch could certainly answer these. :)</p>
<p>Like all schools, you re going to find people who are both satisfied and unsatisfied with the program. And even though I really wish I could say otherwise, I am one of the latter.
However, I am really against ‘bashing’ programs, so I won’t do that, but I will say that I am dissappointed in a lot of the changes in a lot of the changes being made to the Tisch drama program. That being said, I do feel as if I have improved in many ways, and I will leave here being a stronger performer.
This is SO true, at least, from what I have observed this year. Clay, I think we’re in the same studio (Strasberg, right?)
It really is what you make of it.
AlexaMT, I hope you don’t mind if i answer those questions too :)</p>
<p>-How large are the classes (within your studio)? My group had 14 last semester, and 15 this semester, and we’re the largest group. All of our classes are this number except one, which is a lecture class which was added, which combines two groups.</p>
<p>-Do you get enough personal attention? In some ways, yes. In my acting classes, we do not work on our scenes every week, and that way, when we do work on them, we get a lot of time spent discussing them after and before and get our questions answered which is really nice. Same with my singing class and vocal production and speech. this is a big YAY 
In the other aspect of ‘personal attention’, the school wide one, this would be a big NO. To me, it seems like the administration could really care less about the freshman, and I don’t know if that’s to expected be at any large scale school or not, but it’s a huge turn off for me. I have received many rude emails from the school and several things have happened to me without apology… but I digress.</p>
<p>-What about performance opportunities? For freshman? Freshman aren’t allowed to perform in NYU productions at all. It kinda sucks. I’m going through show withdrawal now. Another thing: this year, it seemed like there were only 3 “big” main-stage productions- The Civil Rights Project, The Forest, and Tommy (which was phenomenal, by the way). The rest of the main-stages were I think Cabarets or ran for one day/night. (Someone please correct me if I’m wrong.) This is another issue for me, decline in main-stage productions. Apparently this is how it will be from now on. The studio productions are a different story. Each studio does some productions as well. For example, last semester, Strasberg did Autobahn, Edges and Ledges, and Spring Awakening.
-How competitive are they, especially with the grad acting program?I I’m not sure about the grad program, but there are a heck of a lot of people in the drama program here and all the sophomores-seniors are allowed to audition.</p>
<p>Like Clay said, it really is what you make of it. I was in another studio that wasn’t a good fit for me, so I went forward and made sure the situation got taken care of. Despite everything, I really have learned a lot here. I’m not denying that it’s a great program. And I don’t know that what’s happening now will be the same for next year, but I know that there are a lot of unhappy freshman, some who are transferring. I do know that one particular studio is possibly undergoing a ‘makeover’ after losing half it’s freshman class to other studios, schools in NYU, and people dropping out all together. The loss of the Classical studio was the last straw for me.</p>
<p>If you have more questions, please let me know, and I’d be more than willing to answer them. I’m sorry if I offended anyone with my post, I know it’s a much loved program, but this is my opinion. (and sorry its so long) :)</p>
<p>I’m not a student and so my perspective should be taken for what it is…a parent of a very satisfied Tisch grad '09. </p>
<p>-How large are the classes (within your studio)? </p>
<p>I believe no classes my D ever took in studio (she was in two different studios) was over 15. Thus the class sizes are small, much like a program that is small to begin with. However, you are exposed to more teachers and more students over the four years, rather than the same 15 kids or same couple of teachers. </p>
<p>-Do you get enough personal attention? </p>
<p>I believe my D got lots of personal attention over her years at Tisch and continues to network and get employment due to personal attention even post graduation from faculty at Tisch. On occasions I had to visit Tisch, and met faculty, directors, the Dean, well known visiting directors, etc., all seemed to know my kid. </p>
<p>-What about performance opportunities?</p>
<p>At Tisch, it is not all about Mainstage shows, though those also exist. There is a plethora of performance opportunities at many levels such as mainstage shows, studio productions, student run shows (such as GAP), student directed shows such as at Playwrights (students majoring in directing), graduate musical theater writing program, independent projects (original material), etc. My D was involved in every single type I just listed over her four years at Tisch and was always in a show of some type. </p>
<p>-How competitive are they, especially with the grad acting program?</p>
<p>The graduate drama program is completely separate from undergrad, and grad students have their own productions are not in any of the UG productions.</p>
<p>Hi Alexa,
I do have to say though that for me personally, I really think that Tisch is an amazing program.
Now the two posters above probably answered a lot of your questions here, but I will try to chime in.</p>
<p>-How large are the classes (within your studio)?
Like Ariel said, the studio classes are very small, I have 13 in my group. Also keep in mind that from what I’ve heard, the numbers do drop as a good number of people realize that they do not want to become actors and they transfer out of Tisch into the College of Arts and Science. Some leave NYU altogether.</p>
<p>Even academic classes through Tisch are very small. </p>
<p>-Do you get enough personal attention?
I definitely get more than enough personal attention in my studio classes. My group has 13 people and ALL my teachers know me well. They know my personal strengths and weaknesses, artistic strength and weaknesses, and I really feel like I do get personal attention.</p>
<p>Even in my Tisch theater studies and academic classes I feel like my professors know me well. I personally e-mail and keep in contact with them anytime I have a problem with an assignment, and I feel like that creates a connection. I also know students who never bother to talk to their academic/theater studies professors and therefore could be left out.</p>
<p>In terms of administration attention, I have to semi-agree with both of the posters above. Tisch, and NYU as a whole is just one of those schools where you simply have to take initiative. I don’t believe that the administration as a whole makes the effort to get to know each and every student. However, if you take the initiative it’s not like they are trying to shun you or anything.</p>
<p>I personally meet and e-mail my adviser often just to keep updates on what is going on, and to get guidance on my artistic and academic studies. I can say that I have seen her on the streets of New York City and at NYU and that she knows my name and still remembers my goals/plans. She even remembers the kinds of academic classes I wish to avoid next year from that short 15 minute advising meeting we had in the fall semester, haha!</p>
<p>I also volunteer as a Tisch Arts Representative, where current Drama students answer questions at the Tisch Open Houses, so I feel like I have gotten to know people like the Manager of Admissions, etc. They stop and say hello anytime I am in the Drama department floor at 721 Broadway (The Tisch Building). </p>
<p>After being on the run crew for the Tisch Musical, The Who’s Tommy, I also got to know Liz Bradley, the chair of the department, and I got to talk to her about her vision for Tisch, theater in general, etc. She served as chair of the Carnegie Mellon Drama Dept for 7 years and I can say that she definitely sees a change for the Tisch Drama department, and some view it as a good kind of change and some view it as bad. But after talking to her I know for a fact that she knows what she is doing. Plus she has the full trust and faith of Dean Campbell (as quoted in the NYU Newspaper), who is also an accomplished educator and knows what she is doing in terms of the people she hires.
Liz Bradley is one of the reasons why Tommy was so successful, because she set the bar higher than past Tisch shows, and she demanded a certain kind of excellence that was supposed to be challenging, in terms of sets, lighting, costumes, production quality, and yes, performance quality. From what I’ve heard, she is also a prolific fundraiser and raised the money needed for Tisch to do all these big shows. In fact, she had to leave the Tommy reception early to go meet with donors.</p>
<p>Also, at the end of the fall semester, all drama students filled out a survey from the Tisch Drama Department regarding what we thought of our studio experience and any suggestions we had. These were read by the Drama Dept Administration, including Liz Bradley.</p>
<p>I also personally e-mailed her, more than once, regarding suggestions and concerns I had about Tisch Drama, and she has replied every single time with courtesy and respect, and she has promised to look into the matter. I really appreciate this because I know that as Chair of a large department she is very busy, but I felt like she took time out of her busy schedule to address the concerns of one student, which shows how much she cares. I mean everyone has something they are not happy about, and it can be so easy for her to just ignore these whiny college students haha. I do feel STRONGLY that she cared about the concerns I had and she really listened to them and is looking into things and making changes. Also, when I introduced myself to her on the bus she remembered all the concerns I told her about in my e-mail, and recognizes me and says hello everytime I see her in the theater or at Tisch. I definitely did not feel like I was being ignored by the administration. I feel that once I took the initiative to talk to her and get to know her, I established a connection that will last throughout my 4 years at Tisch and perhaps beyond.</p>
<p>Now back to personal attention. Everytime I have been in the Drama Department floor at Tisch I have been greeted by the administrators and advisers, including the Chair, who then introduce themselves and try to get to know me. I do feel like it is a warm and nurturing place. But then many drama students rarely go to 721 Broadway so it is easy to feel left out of Tisch Drama and to feel a lack of community as a drama department. Once again, you have to take the initiative. </p>
<p>When the crew of Tommy went to see the first run through of the show in the Tisch building, we were introduced by the director as “family” and we got to know many of the people working on the show, who were either Tisch faculty members or students. There definitely was a sense of community with these people, including the cast, crew, creative team, etc.</p>
<p>-What about performance opportunities?
I agree with what SoozieVT said in terms of performance opportunities. There are a ton. When I went to the seminar for Intro to Theater Production, the teacher (Tisch Faculty Member) explained the changes to the Tisch shows. In the past, they have had 5 mainstage shows, including 4 plays and 1 musical. Only 5. They believed that this was too limiting in terms of the number of students who could participate. They decided to instead, spread out the shows into multiple (I believe 11), where more students could participate. The teacher also pointed out that a good educational experience did not necessarily require a huge production. Although Tommy itself was a huge production. Now most of the Tisch Stageworks show are meant as learning experiences. Some are huge productions like The Forest and Tommy, and some are smaller cabarets. But they are all meant to synthesize the learning experience, and this way, more students get the opportunity to participate. I mean, one of the Tisch Stageworks this year is a cabaret that is directed and taught by SUTTON FOSTER. She is teaching a SEMESTER long course on Song Performance. How amazing is that?! She even came to see Tommy.</p>
<p>Like Soozievt said, there are tons of other productions including Studio Productions which are held in 100 seat theaters (usually) and pretty well produced. These productions might not be the flashiest productions you’ve ever seen, but that’s not the point. The point is to learn and apply the training you get in your classes. There are over 200 productions each year. and besides these studio productions like SoozieVt said, there are also GAP shows, and student directed shows at ETW and Playwrights, and often times other studios let you audition for their shows.</p>
<p>Also, I was told by a friend that next year Tisch Drama will be launching Tisch New Stage, which pretty much focuses on new works in development so that students get the opportunity to collaborate with up and coming composers, playwrights, etc.
I feel like there are many changes coming, and that most of them are great changes, but they will take some getting used to.</p>
<p>Art is changing because the world is changing, and it makes no sense if the institutions that train artists don’t change along with this developing and expanding art form. What worked 10 years ago to train actors might not necessarily work today. Just think of it, today’s musicals are so much more pop/rock oriented, and instead of mostly ballet/jazz/tap choreography, there is now so much more Hip Hop/Latin-Based dancing.</p>
<p>I also know that the Tisch Drama department is looking at ways to help seniors transition into professional careers, and they are looking at the curriculum for this. (The old Tisch formula of the Industry Nights was only limited to a certain number of students). They are looking at a “studio” semester that focuses on Industry Transition.</p>
<p>-How competitive are they, especially with the grad acting program?
The undergrad and grad programs are COMPLETELY separate. Different teachers, faculty, building, facilities, students. There is no collaboration what so ever. They don’t do our shows we don’t do theres. We don’t even use the same theaters. Nothing to be worried about.</p>
<p>Wow, this might have been the longest post I’ve ever made on CC. I hope it helps. Sorry about the length. Also, keep in mind some of the things I’ve said are the things I’ve read about and heard about through teachers, fellow students, advisers, etc. One of the bad things about Tisch is that they don’t always let people know what they are doing/thinking of doing. But I have some pretty factual evidence to back most of this up.</p>
<p>WOW! Thank you all, especially Clay for that wonderful insight. I’m sure this will help out many people.</p>
<p>Clay, it is really neat to observe you on CC after all the time you were the prospective student with inquisitive posts and now you are immersed at Tisch, seemingly very happily and are giving back to new prospective students. Wow, you have come a long way. You are also paying it forward. Your post is very informative for those new to Tisch. Also, Tisch does have some changes going on and so you are giving up to date information. Very nice!</p>
<p>It so happens that yesterday, when I was in NYC, one of my daughter’s friends who is now a senior at Tisch, was in my car, and we were talking about the class she is taking with Sutton Foster, which focuses on Rogers and Hart and will culminate with a cabaret performance at Joe’s Pub. </p>
<p>My D has already graduated. I can think of two things she is currently doing that each are involved through Tisch faculty members, another thing she is in that involves all Tisch graduates, and another job she got also through a Tisch graduate, and come to think of it another show she was asked to do by an alum that got her name from Tisch faculty, and well, I just thought of one more thing she is doing now also involving Tisch grads…well, I should stop because truthfully as I am writing this, I can think of at least a half dozen things she is involved with at the moment, and each one is either through a Tisch faculty member (all for pay) or through or with Tisch grads! She even coaches current Tischies and grads. She may be out of Tisch but Tisch will always be with her.</p>
<p>Just wanna add a few more things…
I think a lot of it varies based on personal opinion. Like for example, regarding the performance opportunities, I’d rather have the option of having 5 larger shows with longer runs than having 10 cabarets that run for one night each, but that’s just me. And when I applied ED, that’s what I thought I would be getting.
It’s great if you get an advisor like that as well. Mine is wonderful and was extremely helpful when I wanted to change studios, but is incredibly busy because he also runs auditions, so you usually have to make an appointment with him week or so in advance, but he is awesome I remembered him from my own audition and was really excited when I got him as my advisor.
It was a really hard decision for me, but in the end, you really have to do what’s best for you. It was always between 2 schools for me, and the performance opportunities and the Classical program were 2 of 3 things that slightly tipped the scale for NYU, so when they are the things that immediately get changed this year, it made me very nervous. I only applied to one school to transfer, and had I not gotten in, I would have stayed at NYU. It was such a tough decision to even fill that application out, because I worked so hard to get here, and I was so ecstatic when I got in last year.</p>
<p>soozievt, it sounds like your daughter had a great time while see was here, and it’s great that she’s doing so much right now! I am very jealous :)</p>
<p>monologue, I truly think it is a matter of fit. It really isn’t a matter of which school is better or best. </p>
<p>I am happy for you that you are able to make the changes you are seeking and it’s all good. </p>
<p>Also each person’s experience at school is quite different. Everyone is taking different studios or classes and is in different sorts of productions and other activities. </p>
<p>The shows my D was involved with were not one night cabarets. Perhaps that is a new thing at Tisch but she was in various types of productions at all levels. She was in new works (even wrote/composed her own), mainstage, student run shows, student directed, guest artist workshops, studio productions (not even her own studio), independent projects, and so on. She also was very involved in an a capella group. She was in things outside of school at times as well. </p>
<p>It’s also hard to say as you are a freshman and haven’t even fully experienced each thing Tisch has to offer and are not in the shows yet, either. So, there is a lot of variety of experiences. I think you are heading to a great program as well (I think I told you that my niece is a junior in the program you are transferring to). The important thing is to be very happy at your school and to get a lot of it. I hope that for you, as I know my own kid reaped so much that it was all she hoped for and more. As a parent, I see her still reaping from Tisch even though she is no longer a student there. </p>
<p>Here’s an interesting twist…at the auditions to get into Tisch, as you know, there is one auditor (or that’s how it was in the past in any case). My D had an auditor from ETW. My D wanted CAP21 and got placed in CAP21 and was very happy there. She chose to spend her last three semesters in ETW and auditioned and got into it. At ETW, she had a class with the faculty member who auditioned her to get into Tisch. In her final semester, that person was the advisor on her independent project (she wrote/composed and staged an original musical). That same person, who is a professional singer/songwriter, asked my D to perform with her at a music festival in Germany this summer, all expenses paid and to record there. I think it is rather funny that this person was the one who admitted her into Tisch back when she was 16. Who would have ever known then (my D wasn’t even trying for ETW then). </p>
<p>I could tell you many similar stories my D experienced while at Tisch and since, and have to say that so many faculty at Tisch are working professionals and the connections one can make there are really neat. There is a ton of networking and so when you graduate, you are already immersed in a web of creative people in NYC.</p>
<p>I commend you for pursuing what is best for you and I think you have done very well so far and wish you well on the next step of your journey as a performing artist.</p>
<p>I noticed a number of people saying that the Classical Studio is going away. How soon will it be gone? I was recently accepted to NYU, and the Classical Studio was one of the reasons I was excited about it. Is it gone now, or will it be gone in the near future? Any information on that would be appreciated.</p>
<p>I personally have not heard any rumors regarding the classical studio being taken down and I don’t know where they originated. But I can tell you that I have talked to my academic advisor, who works directly for Tisch Drama, who told me that although she is not directly involved with these kinds of administrative/curricular decisions, she is always in meetings with the chair and people who make these decisions, and that the studio is NOT being taken down. She told me that it is one of the most popular advanced studios. Also, the head of the classical studio, Louis Scheeder, is the Associate Dean of Tisch.
Now I don’t know the source of the rumors and how accurate it may be, but I can tell you that if they did want to end the classical studio, the advisors would probably know about it, after all, the entire department’s offices are on the same floor and I’m sure they probably would have heard some thing. </p>
<p>But if you want to be 100 percent sure, you can always e-mail Louis Scheeder himself.</p>
<p>On the Theater forum, a parent called Tisch today to check on the rumor being mentioned here and was told there is NO truth to that rumor. The Classical Studio at Tisch is alive and well and continues.</p>
<p>I am puzzled why anyone would think that Classical Studio (which is run by the Tisch) would be phased out. I am guessing that people have heard about the situation with CAP21 and Strasberg no longer being associated with Tisch and somehow applying that to Classical Studio.</p>
<p>NMR…you’d be amazed at the rumors of things that are out there. One of my advisee’s told me a rumor regarding Tisch that was way way more bizarre. I won’t bother to post it as this is how false rumors spread.</p>
<p>NMR…i couldn’t send you a pm to reply to yours…please clear your inbox! :]</p>
<p>Thanks so much for clearing that up. I had been startled and upset to hear that the studio may be gone.</p>
<p>Can someone tell me what the classical studio is? I have gathered from a different string that it something that you apply to your Jr. year. However, I would like to know why it is held in such high esteme - not that I am putting it down, just that I have not been educated in that sense.</p>
<p>The Classical Studio is a one year Advanced Studio Training Option at NYU focusing on Shakespeare and classical texts/technique, but also applying that technique to contemporary texts as well from what I’ve read. At NYU after two years of the studio you are assigned to when you gain acceptance, otherwise known as your Primary Studio Training, you are given the option of transferring to another studio.
The studio is held in such high esteem because of the training and faculty there. Personally I have never looked into it as an option for me, but from what I’ve heard the head of the studio is amazing.</p>
<p>In addition, I’d venture to say that with good classical training you can do ANYTHING as an actor…you are not limited in the types of role you can play. It’s worth its weight in gold, and not all programs are strong with regard to classical training.</p>