<p>I'm piping in again. Many of you know me for my honesty, so if you don't want to hear what I'm going to say, you might want to close your browser window now...</p>
<p>"I don't believe it's the right thing to cut such a huge number of students to accept a bunch of transfers"</p>
<p>The UofA doesn't cut to a certain number - they have a maximum class size (based on faculty resources - low student:teacher ratios for more one-on-one time with students), but they don't cut/admit to reach that number. That is not part of the consideration. The three T's: talent, trainability and tenacity - these are all considerations that are made.</p>
<p>Believe me, cutting students that you have grown to love over the school year is extremely hard. While at UofA, I personally witnessed (and shed) tears over the heartbreak in making cuts. I experience the same thing at my current school. Believe me, the teachers aren't glib in the decision sessions - I've heard again and again, "This is people's LIVES we are talking about here, folks!" But that argument can also be the reason that cuts are made...because this is a PROFESSIONAL ACTOR training program. Students know this coming in - that not all students will advance. Transfer students might come in with more talent, and will not be penalized for taking their preliminary study at a junior college, another university that wasn't a fit for them, or as a UofA freshman or sophomore liberal arts student. Students in the liberal arts track may not have known about the need to audition into the BFA as a freshman; in these cases they are naive, but not always untalented - in fact, they have to work very hard to keep up on their chops, (without the resources devoted to BFA kids), in order to remain competitive.</p>
<p>After investing a year (or two in some cases), you can tell if a student has the three Ts mentioned above. If the student is not advancing at a rate that prepares them for the next level of study, they are not viable in the program. Period. Passing them to the next level, when that will be certain failure, is unkind, unjust, unscholarly (is that even a word, Eve?), and also reflects badly on the department who has to account for retention, graduation rate, attrition, etc. (administrative "bean counters" make sure of this).</p>
<p>However I'm torn on the issue of students not knowing this was coming, especially because I wasn't there in the classroom, in the voice lessons, in the rehearsal hall, in the performance space, nor in the jury audition. Typically, students will hear the same comments in feedback throughout the year - those weaknesses or habits that are not being addressed sufficiently and still need attention. In class, they may be bright, diligent, pleasant, excellent students, and responsive to coaching (where the TEACHER is really the creative artist); but the juries are NOT to be coached by faculty...a fact I haven't heard addressed here. As faculty, we are told "hands off the jury material," so that we can see where the student is as a self-sufficient artist. We expect that after a year (or two) of study, the students should be able to bring a certain amount to the plate on their own, in a high pressure environment (as auditions always are). In my experience, this is where many a jury student fails: in bringing it on their own, and aslo evidencing this in the jury audition when the pressure is on. Even though they may have made great growth in the safe environment of the classroom, if they can't transfer that to the jury, how can we expect that they can transfer it to the performance stage with an audience (a much more stressful situation)?</p>
<p>That is one common element among professional training programs - the ability to learn and grow into self-sufficient artists who are viable (at the end of only four years, or less for transfers) to work professionally, without a safety net. I don't know what the students were hearing in the classroom, rehearsal hall, and in their jury results, so I can't say whether or not they had any idea of their weaknesses. Nor do I know whether or not they were able to show their best work in the jury audition. (I do admit the numbers cut this year are very high...as Prof. Bagwell pointed out, as well as acknowledging the unusual nature and rarity of this high number).</p>
<p>BTW, they have the opportunity to talk to the entire performance faculty about the reasons why their jury was insufficient...they should use that opportunity to find closure to some degree.</p>
<p>The same competition that draws students to a top-notch training program can be a double-edged sword. The competition level helps make the training excellent (as you are studying with the best students possible), and it is also reflective of the professional world you have chosen. It also means that there is a very tangible potential to be cut, based on both objective and subjective criteria. This should definitely be a consideration when choosing a school...how you, personally, would be able to handle the financing, disappointment, demands, expectations, numbers and limitations of each program you consider. YOU are the customer, but you have to be sure that you aren't expecting more than what a program is. What you feel it SHOULD be is not relevant. It is what it is. </p>
<p>So, YES, shop wisely. Shop in advance. Ask questions. Find out when the potential cuts are made. Ask if there is a target number. Find out if transfer students are admitted regularly. TALK TO THE CURRENT STUDENTS - not just the students that the department can hook you up with (because at any school, those are likely be students who have had a great experience there), but go to the campus and talk to the students you see in the halls or the greenroom. See if you can observe classes and/or rehearsals. See a production there, if possible. Do your homework before accepting. I know this sounds expensive, but there is much you can do before narrowing down and traveling to visit - thank the lord for the internet!!! And better an expense now than a greater expense and TIME investment in a school you won't be happy attending.</p>
<p>And, I would also point out that musical theatre is THE most expensive performance art form there is!!! You need sheet music, librettos, CDs to research material, occasionally an accompanist or vocal coach, voice lessons, dance clothes, dance shoes (in triplicate), tickets to see live theatre as often as possible, theatrical makeup, vitamins and good food to keep you healthy, etc. The list goes on and on. These are not expenses that are usually covered by tuition. If you are concerned about the expense, this field may not be a viable option for you at this point.</p>
<p>Okay, I've rambled and preached enough. I just strongly feel that forewarned is forearmed.</p>
<p>eve</p>