I'm in the middle of moving out of my apartment and back to Logan. My last hope at a job for the immediate present fell through, when Valley Fair amusement park in Shakopee, MN, hired the ME/Electrician spot op position before I received an interview, and filled the audio technician position with a local for the sake of expediency, even after taking the time to interview me.
Anyway. I'm writing about the moving process. It's raining and I'm sitting in Wendy's, hoping that perhaps it might let up (though it doesn't appear that it will) a bit before I return to my endeavors.
Over the years and moves I've accumulated a fair amount of shit. Junk. Crap. I hesitate to throw things away because of some potential future value. I hang on to every little thing, every DC adapter, every piece of electronic junk I might use some day. Tools that are obviously barely functional. Pieces of what anyone else might call garbage that I might one day use to build something.
Well no more. Most of it's in the dumpster already. I'm hoping that perhaps my enforced inertia, my seeming inability to move forward and change my state of being, is somehow connected to this debris of life. Like an emotional and mental anchor, lodging me thoroughly in place.
So by divesting myself of it, of anything not directly connected to my work or my amusements, anything that serves no purpose other than filling a closet, I hope that I cut this seemingly unbreakable tether to the status quo. That I am allowed to rise up like a balloon freed of its ballast,
Can it really make much of a difference? I don't know that I can say, but I know that it's a lot less shit to take back home and store there. I'll be glad to be rid of it. I'll return to logan a few hundred pounds lighter for it, and certainly with less shit to worry about.
I'll keep you posted on whether it affects my inertia.
Monday, May 31, 2010
Thursday, May 20, 2010
For the Audience
A lot of people I have worked with in theatre seem to be about creating worlds for the audience, for immersing the spectator into a brand new world of their creation. For giving those people a chance to suspend their disbelief and lose themselves in the story.
I don't truck with that.
For some reason, I find myself perfectly content to do the theatre for the sake of itself. Sure, I like to see a good house and can draw satisfaction from a crowd that enjoyed the show. But I don't think that's my primary motivation. I guess I view the process as a series of problems to be solved, and I enjoy nothing more than solving them. From the very early stages of the show, everything's somewhat nebulous, but in whatever capacity I'm working on the show (be it as a designer, an electrician, the sound technician or carpenter, whatever) there's a series of problems to be solved. As a designer I have to solve the problem of presenting the world we've come up with to the audience. As a technician I need to solve the more practical issues of implementing what the designers and director have decided needs to be the world of the play. I don't know which I prefer, but I think they both have their merits.
There's something very visceral and real about constructing a world of our own, crafting a reality. If it's a giant blue marble world, fine; I guess I'll be setting up the router for a lot of tile. If it's a deconstructed city, well then let me grab the welder and plasma cutter. I don't have to worry about justifying these things as a technician, leave it up to the director and design team. I've done pretty much everything outside of the costume department in support of one show or another, from building and painting to composing music. Everything I do is in support of what we're building.
This is why I know that I'll be happier if I can find work in theatre, rather than the larger and less well-defined "Entertainment" industry. I know the skills are ultimately the same working as an electrician for a production company that does concerts and corporate events, but the intent is different, and that means all the world.
I don't truck with that.
For some reason, I find myself perfectly content to do the theatre for the sake of itself. Sure, I like to see a good house and can draw satisfaction from a crowd that enjoyed the show. But I don't think that's my primary motivation. I guess I view the process as a series of problems to be solved, and I enjoy nothing more than solving them. From the very early stages of the show, everything's somewhat nebulous, but in whatever capacity I'm working on the show (be it as a designer, an electrician, the sound technician or carpenter, whatever) there's a series of problems to be solved. As a designer I have to solve the problem of presenting the world we've come up with to the audience. As a technician I need to solve the more practical issues of implementing what the designers and director have decided needs to be the world of the play. I don't know which I prefer, but I think they both have their merits.
There's something very visceral and real about constructing a world of our own, crafting a reality. If it's a giant blue marble world, fine; I guess I'll be setting up the router for a lot of tile. If it's a deconstructed city, well then let me grab the welder and plasma cutter. I don't have to worry about justifying these things as a technician, leave it up to the director and design team. I've done pretty much everything outside of the costume department in support of one show or another, from building and painting to composing music. Everything I do is in support of what we're building.
This is why I know that I'll be happier if I can find work in theatre, rather than the larger and less well-defined "Entertainment" industry. I know the skills are ultimately the same working as an electrician for a production company that does concerts and corporate events, but the intent is different, and that means all the world.
Working, or not
I've applied to a lot of places recently, and so far have had no real success.
This is tremendously discouraging. I have, in the past year or so, accepted the fact that I really am good at what I do. I think this is a big step for me. I believe it's natural for people to be self-deprecating, to not really believe in their own abilities. It's hard to accept that you might, in fact, be better at something than most (or all) of the folks around you. I would never claim to be the best, there's always someone better, somewhere.
At the same time though, I know I have an expansive skill set. I do electrics and sound, which isn't that uncommon of a pairing. I know lighting is my strongest suit. I'm fast with the hang and focus, I rarely fail to get the board to do what I want when I'm programming, I'm good at dealing with DMX networks. I know electricity, so I can build props or wire up any sort of practicals. My biggest failing is that I haven't got much experience with the latest generation of lighting consoles, or HOG consoles, but that's just from a lack of exposure. I know if I had a few hours with some of this technology, I could be well on my way to proficiency. It's just a matter of exposure.
I know quite a bit about sound, I know that there's always more to learn, but this is another area I've devoted a lot of time to. I understand the equipment and the theory. Again, not a lot of experience with the latest consoles (digital is getting big) but they're not that far removed from their analog brothers as far as the way they work. Exposure.
I'm a capable carpenter, I know that. Working in the shop isn't my favorite thing, but it's something I've been doing just as long as lighting and sound. I'm comfortable in a shop, familiar with any tools you're likely to run into in theatre. I can weld reasonably well, with the two most common processes. I even know a little bit of scenic painting.
You'd think that would make it relatively easy to find a job. That's not the case. I don't know if this recession means more seasoned professionals are vying for entry level positions or what, but even a minimum wage (well, $0.25 an hour more than that) in the middle of nowhere was flooded with applications. And that's one that included custodial duties.
I don't know what I can do to make myself more attractive as a prospective employee, or how to convince people I would really be a positive choice. I almost envy the actors' audition process. It's an opportunity to immediately and without a doubt demonstrate your abilities. I get a page or two of skills and work experience, and hopefully they call me for a phone interview. What good is a phone interview in determining someone's suitability? Everyone's going to give the same bullshit answers about dedication and passion, right?
It's immensely frustrating and I don't like it, no sir not one bit.
This is tremendously discouraging. I have, in the past year or so, accepted the fact that I really am good at what I do. I think this is a big step for me. I believe it's natural for people to be self-deprecating, to not really believe in their own abilities. It's hard to accept that you might, in fact, be better at something than most (or all) of the folks around you. I would never claim to be the best, there's always someone better, somewhere.
At the same time though, I know I have an expansive skill set. I do electrics and sound, which isn't that uncommon of a pairing. I know lighting is my strongest suit. I'm fast with the hang and focus, I rarely fail to get the board to do what I want when I'm programming, I'm good at dealing with DMX networks. I know electricity, so I can build props or wire up any sort of practicals. My biggest failing is that I haven't got much experience with the latest generation of lighting consoles, or HOG consoles, but that's just from a lack of exposure. I know if I had a few hours with some of this technology, I could be well on my way to proficiency. It's just a matter of exposure.
I know quite a bit about sound, I know that there's always more to learn, but this is another area I've devoted a lot of time to. I understand the equipment and the theory. Again, not a lot of experience with the latest consoles (digital is getting big) but they're not that far removed from their analog brothers as far as the way they work. Exposure.
I'm a capable carpenter, I know that. Working in the shop isn't my favorite thing, but it's something I've been doing just as long as lighting and sound. I'm comfortable in a shop, familiar with any tools you're likely to run into in theatre. I can weld reasonably well, with the two most common processes. I even know a little bit of scenic painting.
You'd think that would make it relatively easy to find a job. That's not the case. I don't know if this recession means more seasoned professionals are vying for entry level positions or what, but even a minimum wage (well, $0.25 an hour more than that) in the middle of nowhere was flooded with applications. And that's one that included custodial duties.
I don't know what I can do to make myself more attractive as a prospective employee, or how to convince people I would really be a positive choice. I almost envy the actors' audition process. It's an opportunity to immediately and without a doubt demonstrate your abilities. I get a page or two of skills and work experience, and hopefully they call me for a phone interview. What good is a phone interview in determining someone's suitability? Everyone's going to give the same bullshit answers about dedication and passion, right?
It's immensely frustrating and I don't like it, no sir not one bit.
Sunday, March 28, 2010
jobs
Right now I'm in the thick of job searching. I've sent resumes to both coasts and to more than a few places in between. Until last week the response has been minimal. That is to say, I've received a single email informing me that while the position I had applied for was filled, they would certainly keep my resume on file and contact me if a position opened up in the future.
In the past few days a couple things have happened. First and foremost, I received an email from Shakespeare and Company, in Massachusetts. The email was short, merely stating they had read my resume (which I believe reads quite well) asking if I was still available and interested in working for the company. I sent a resume out in January, applying for a position as ME. Looking back at the job listing, I discovered something that sounded genuinely exciting. The company does a 13 show season across 3 different theaters. The listing states that 'some' positions are summer only. I think I've decided that if the position they've got in mind for me (apparently, that is, why else would they contact me?) goes for the whole season (until next March!) then I'm taking that job, regardless of what else might come up. Excepting something yet more awesome, but what are the chances of that?
I also discovered that First Presbyterian Theater will be creating a position for someone with a technical background. Presumably to handle designs, set building and light hang/focus. The job would pay (not terribly well, but regularly) and offer benefits. This is, I think, a fairly attractive prospect. It doesn't offer the fast-paced, intense theatre environment I really crave. But it would offer a regular paycheck for a few years while I built up a design portfolio. Wouldn't a position of responsibility look decent on a resume, even in a community theater? I don't know.
Now, neither of these opportunities, obviously, mean much until I can learn more about them.
That said, it is a gluttony of choice, which is not something I've had to date.
I feel like I'll end up taking the job in MA no matter what, if it's available. The trouble with the local job is that it's just not theatre up to a level that I can really enjoy. If no one's invested in the show, what's the point?
In the past few days a couple things have happened. First and foremost, I received an email from Shakespeare and Company, in Massachusetts. The email was short, merely stating they had read my resume (which I believe reads quite well) asking if I was still available and interested in working for the company. I sent a resume out in January, applying for a position as ME. Looking back at the job listing, I discovered something that sounded genuinely exciting. The company does a 13 show season across 3 different theaters. The listing states that 'some' positions are summer only. I think I've decided that if the position they've got in mind for me (apparently, that is, why else would they contact me?) goes for the whole season (until next March!) then I'm taking that job, regardless of what else might come up. Excepting something yet more awesome, but what are the chances of that?
I also discovered that First Presbyterian Theater will be creating a position for someone with a technical background. Presumably to handle designs, set building and light hang/focus. The job would pay (not terribly well, but regularly) and offer benefits. This is, I think, a fairly attractive prospect. It doesn't offer the fast-paced, intense theatre environment I really crave. But it would offer a regular paycheck for a few years while I built up a design portfolio. Wouldn't a position of responsibility look decent on a resume, even in a community theater? I don't know.
Now, neither of these opportunities, obviously, mean much until I can learn more about them.
That said, it is a gluttony of choice, which is not something I've had to date.
I feel like I'll end up taking the job in MA no matter what, if it's available. The trouble with the local job is that it's just not theatre up to a level that I can really enjoy. If no one's invested in the show, what's the point?
Lost
I want to lose myself in theatre. I want to leave the stasis of the now. The uncertainty, the boredom, the doubt and the distaste. I want to descend into a maelstrom of activity, a beehive of preparations, of building, lighting, painting, welding, soldering and improvising. There's nothing more appealing than endless hours fighting constraints. Space and time. Pushing against reality to affix in its place one of my own creation.
That's what it's all about, isn't it? Control of our world. Wresting order from chaos, conversely, chaos from order. Imposing the will on the space and time and perceptions of the audience. That's meta. The down and dirty and grittiness of it is the madness of it.
I want to be invested in that. I want to spend all day on it, only to sleep for the briefest of periods to attack the world again the next day.
That's what it's all about, isn't it? Control of our world. Wresting order from chaos, conversely, chaos from order. Imposing the will on the space and time and perceptions of the audience. That's meta. The down and dirty and grittiness of it is the madness of it.
I want to be invested in that. I want to spend all day on it, only to sleep for the briefest of periods to attack the world again the next day.
Saturday, March 27, 2010
Tool Review - Stage Junk's Ultimate Focus Tool
I'm sure anyone who's spent much time doing theater beyond a purely community level has run into these guys. I came across their booth last year at USITT and saw their offerings. I quickly placed an order for my own tool, the 'ultimate focus tool.'
Here's a photo I shot with my cell phone not long after receiving it. It's got my name and everything.
This is a tremendously awesome tool for anyone who does any significant amount of time with lighting. It's machined from aluminum, so it weighs just about nothing. I shortened the fancy purple cord it came with so it'll hang from my wrist without being so loose it might fall off.
Being aluminum, it is now showing some signs of wear, but I don't doubt it'll last for a good number of years to come, and I won't mind replacing it in the event it does eventually fail.
They also now manufacture a ratcheting version of the tool, which I've also had the opportunity to play with. I was thoroughly impressed with it. It's heavier, but probably lighter than any of the ratcheting lighting wrenches I've used in the past, plus the addition of a steel toolface means wear is more or less eliminated.
The continuity checker is a lifesaver. I don't know how much time in pulling bases it's saved me, but it's probably a lot. It speeds the troubleshooting process very appreciably. Plus it's a dead simple design that can easily be repaired at home.
There's not really a whole lot to say other than, "If you do a lot of lighting hangs, get this tool."
Here's a photo I shot with my cell phone not long after receiving it. It's got my name and everything.
This is a tremendously awesome tool for anyone who does any significant amount of time with lighting. It's machined from aluminum, so it weighs just about nothing. I shortened the fancy purple cord it came with so it'll hang from my wrist without being so loose it might fall off.
Being aluminum, it is now showing some signs of wear, but I don't doubt it'll last for a good number of years to come, and I won't mind replacing it in the event it does eventually fail.
They also now manufacture a ratcheting version of the tool, which I've also had the opportunity to play with. I was thoroughly impressed with it. It's heavier, but probably lighter than any of the ratcheting lighting wrenches I've used in the past, plus the addition of a steel toolface means wear is more or less eliminated.
The continuity checker is a lifesaver. I don't know how much time in pulling bases it's saved me, but it's probably a lot. It speeds the troubleshooting process very appreciably. Plus it's a dead simple design that can easily be repaired at home.
There's not really a whole lot to say other than, "If you do a lot of lighting hangs, get this tool."
Harvey
Currently my only theatrical pursuit in this town is a lighting design at First Presbyterian Theater, for their production of Harvey.
I've got a production meeting today with the director and other designers. As yet there hasn't been a lot of progress on my end of things. I helped with the set build, but I haven't been in all week to see what's happened with the painting. So that will be a surprise I guess.
Being a straight play, it won't offer a huge amount of opportunity for creativity and mind-blowing techniques, but I think I'll be able to lend a unique hand to the space. I've previously designed two shows at Pres, The Underpants and You're a Good Man, Charlie Brown, and I think both of those definitely showed a little bit of deviation from the norm.
I'll try and find something to push for, anyway.
I've got a production meeting today with the director and other designers. As yet there hasn't been a lot of progress on my end of things. I helped with the set build, but I haven't been in all week to see what's happened with the painting. So that will be a surprise I guess.
Being a straight play, it won't offer a huge amount of opportunity for creativity and mind-blowing techniques, but I think I'll be able to lend a unique hand to the space. I've previously designed two shows at Pres, The Underpants and You're a Good Man, Charlie Brown, and I think both of those definitely showed a little bit of deviation from the norm.
I'll try and find something to push for, anyway.
Introductions
My name is Derek. I'm a theatrical lighting designer, electrician, carpenter, sound engineer, welder, fixer, inventor and general jack-of-most trades. I am currently on hiatus from schooling, having not felt my previous institution was guiding me in a direction that I was most comfortable moving in.
Currently I'm embroiled in a job search. I've sent resumes to both coasts and to plenty of places in the middle. I've received one response that seems positive, and I genuinely hope it results in a job. I promise I'll disperse details to the faceless internet should that be the case.
Recently I've felt an urge to resume writing, a craft I haven't seriously pursued since English classes in high school. A few abortive attempts at short stories resulted in some generic, dystopian science fiction akin to what I generally find myself reading. This seemed like a pointless venture, so I've decided to pursue the popular and relatively harmless blog format. I'll write about my job search, and hopefully about the job I find.
In addition to theater, I also pursue photography and music as hobbies. Perhaps I'll discuss those in the future.
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