For performing arts, “You always want Arts managers as part of your company because they’re the ones who want to figure out how to make it possible for the art to reach audiences and how they can enable the creativity from people that they’re working with to achieve their highest possible level and to be as relevant as possible to audiences,” explains Elizabeth Bradley. “You have general managers and executive directors sometimes producing artistic directors.”

Based on her performing arts education, Bradley clarifies, “If you take an example of a company such as the Manhattan Theatre Club, the Signature Theatre, the Roundabout in New York, or the Atlantic Theater, you’d see these are not-for-profit companies, meaning they’re not run to create profit from a particular commercial offering to a group of investors. They have a mission for public good and education, and they are contributing to the culture through the realization of their mission.”

“The people who lead those companies, from a logistical perspective, make sure there’s enough money to put the season up, that there’s an artistic director or artistic producer who’s appropriately supported, that there’s a marketing team, a publicity team, a fundraising team, and a group sales team.” Bradley continues, “Of course, the very important people who work in a theater venue, if a company has their venue, as the Manhattan Theatre Club and Roundabout does.”

Elizabeth then concludes, “Who’s working in those box offices, what ushers are showing the patrons to their seats, who’s hiring the front-of-house manager, who’s working with volunteers in the company, and who’s running the education department? All of those functions tend to reside, depending on the budget size of the company, with a general manager or an executive director, or sometimes an artistic producer.” These are lessons well taught in online performing arts education.

“Once a production you feel is ready to go, and even before you’ve announced it, you want to put together your team, which is public relations, marketing, advertising, people who will be doing your social and digital, and also your management” says Jeffrey Richards, describing the role of a producer in pre-production meetings that take place prior to performing arts shows and productions.

The Importance of Learning Marketing in Performing Arts Education

“So much has changed even since I began nearly 20 years ago, with the emphasis on how you’re marketing a show,” says Richards, who also says “that emphasis has changed from when people just automatically used to take full-page ads in ‘The New York Times’ to now doing commercials on television and using the internet to a much greater extent.”

Richard explains that other members of the team are also frequently involved in the marketing decision-making. “An author or the playwright or the composer and the librettist team have a say in what the artwork is going to be.” He continues to explain “sometimes you include them on the commercial because you want their approval and to feel comfortable in the way that you’re selling the production. To that extent, I have in recent years asked playwrights to have discussions with the ad agency so that they can understand what the playwright is doing in terms of the playwright’s vision, I can say.”

“So they have an understanding of where they should go, and how they should treat the material. And once you have the playwright working with you, I should say it’s the producer’s responsibility to marshal all of those people and to make sure that you have a coherent framework as you are moving forward [with your production].”

When online performing arts education professional and NYU Tisch professor Ruben Polendo is in conversations with students on making or engaging in theater, one of the questions that come up is about the history of theater. “How did theater start? Where did it start?” he asks. “How did it develop to the kind of theater that we recognize now?”

Theater in Prehistory

The history of the performing arts probably begins 200,000 years ago with the origin of modern humans on the savannas of Africa. It could go back even further to the evolution of pre-modern ancestors one or two million years ago. “The impulse to tell me a story is really built into us on a very biological level, that we organize the world in terms of stories,” says Dr. Jeff Kaplan, a performing arts professor at Manhattanville College.

We communicate in terms of gestures. The meaning of words really constitutes a very small part of communication. Therefore, having somebody telling a story to the group or expressing themselves through abstracted movement are probably things that go back to the beginning of time.

Theater in Greece

The origins of theater began in Ancient Greece, at least from the Western tradition. It was a series of festivals to the gods: citizens who lived in the area would gather to attend plays. They were treated as competitions and festivals. The playwright Sophocles might have battled it out against Euripides or others, sharing their newest work.

Ancient Greek theater mirrors today’s tradition if you were to see your favorite writer revealing and presenting their newest creation for the first time. “It was new. It was raw. It was kind of like watching Hamilton for the first time,” comments Dr. Harvey Young, the dean of fine arts at Boston University.

It was neighbors sitting next to neighbors, looking down and seeing each act play out on stage. It was not only a chance for people to see how these stories could reflect society. It was also their way of being part of the civic life of Athens or of other places across Greece.

The tradition of a community coming together to hear a new work and see themselves on stage has existed throughout the history of theater. It began in Ancient Greece, where Aristotle walked around lecturing and talking about the work of Homer as an epic poet, all the way through to the early 20th century.

Theater in Broader Geography

People will very quickly refer to the Greeks and the idea that Greek tradition is the beginning of theater. Ruben Polendo pushes back against that statement. “The Greek tradition, which is really remarkable, finds us in about kind of 400 BCE, give or take a few hundred years in that moment,” he says. Though Greek theater is clearly a very important moment in the history of theater, it isn’t the only moment in history where there was a spark on theater.

In fact, looking even further back into history, we see many different traces on theater and the performing arts all over the world. “Because over time and space there’s been this kind of focus on a kind of European inheritance – and Greek history has been attached to that – there’s been this kind of push to really align the beginning of theater with this kind of European narrative,” Polendo explains. He believes that alignment is not the case. Theater has existed in many different geographies and cultural frameworks through time.

Technology and Tradition

As theatrical traditions and techniques blend together in the modern day, there has been a great deal of experimentation with the way technology can be harnessed by storytellers. Technology may coexist alongside ancient theater forms such as the Noh theater in Japan.

Kabuki, Chinese opera, shadow puppets in Indonesia, and kathakali in India are other examples of these ancient forms. “Many of the cultures of the world have developed their own forms,” comments NYU Tisch professor Elizabeth Bradley. “And it would be a mistake to think that they haven’t influenced, in fact, what is felt to be mainstream Broadway theater. Because there would be no Lion King if director Julie Taymor had not been funded to go to Jakarta and learn about shadow puppets.”

Scott Illingsworth tells us that an actor will eventually understand the arc of the story and the world that a character inhabits. That’s the moment to begin zooming in a little tighter on their character’s experience of the script. That’s the time to begin exploring some of the things we often think of more as acting exercises.

He goes on to say, ” I think, especially because working on a role often starts with a piece of text — and sometimes, even the process of looking at the scripts can feel like an academic or analytical process — that it can be easy to forget, in those early stages, that acting is a physical art form. It’s a craft of constructing something over time the way any trade constructs things over time. And the way you construct it is with your body.” This is important to any performing arts education, including online performing arts education.

Working on a role often starts with a piece of text. Sometimes, even the process of looking at the scripts can feel like an academic or analytical one. It can be easy to forget, in those early stages, that acting is a physical art form. It’s a craft of constructing something over time. In the same way any trade constructs things over time, you construct with your body.

Scott thinks actors should develop a tool toolkit that includes using their bodies to explore the world from the beginning. He often discusses with his students how important it is to understand the way your mind works with the rest of your body. “For a long time, we talked about acting as either thinking or doing,” he explains. “We talked about this separation between the mind and the body or working from the outside in or the inside out.”

He feels that the more we understand human beings, the more we understand that this separation is false. Your thoughts influence the way your body exists in space and what you do. All the experiences and events that happen to your body change your thoughts. It’s a continuous integration cycle. It’s important that actors understand this as soon as possible. It should be before they get into a room with other actors or before they get on the set.

It means things like taking a script and traveling around a studio, or even your home, as you explore the world. Does this person change spaces? Do they move from room to room? Are they doing an activity during this scene? What does it mean for you to explore that same activity? What does it mean to say these words while you do some of the things this person does?

Even something as simple as that, acting out the things that the person does, puts your body in space doing things while you speak those words. “And it has a profound impact on people when they really begin to understand how physical an experience acting is for both the performer and the audience,” he concludes.

When determining how to approach a script in Performing Arts, one should take a play like “A Raisin in the Sun”—Lorraine Hansberry’s very, very famous play from the early ’60s. The play starts. You’re reading the pages. What you’ll see on the page first is a little epigram. You’ll see what is almost a little poem, and it’s written by Langston Hughes. It’s basically what happens to a dream deferred. Does it fester-does it “dah, dah, dah,” or does it dry up like a raisin in the sun?

That point is meant to set the mood of the play. It’s meant to make you think. It’s meant to hint at what will happen in the play. It is also there to make readers question who is Langston Hughes?

That’s the first place to start. Readers in online performing arts education should adopt the mindset: “Let me find out about who this Langston Hughes is and why would Lorraine Hansberry put that poem on page one before the play even starts?” Then you start with the play, and you look at the stage directions and see what that tells you.

The stage directions tell those in performing arts education that you’re in a sort of a cramped, crowded, tenement apartment in Chicago in the late ’50s or early ’60s. Readers know that it’s cramped because you see a little boy asleep on the couch, and that’s where he sleeps every night. You see another room on the stage. You see a woman who wakes the little boy up.

The reader now understands what’s going on in the story. By the description of the apartment and the stage directions, one understands the family doesn’t have money. Knowing these facts is important things to understanding the characters in the story and the basis for the play. Readers see a black family that doesn’t have money, living in a very crowded situation. You see the wife waking up the son and then waking up her husband.

As the play moves along, readers understand the grandmother — the father’s mother, the little boy’s grandmother — also lives in this cramped apartment, and the family defers to her in a certain way. Very early on, the reader understands that the day portrayed in the play is a very big day. This is a day the family has been waiting on; the grandmother is supposed to finally get the insurance check she’s been waiting on since her husband passed away. The check is supposed to be substantial, and getting this money is going to change the lives of the entire family.

Understanding the family’s misery is due to poverty, what day it is, and why getting this long-awaited check is so important to the family helps readers to analyze the show. Readers will understand that Walter — the father — is a character who is unhappy with his life. However, Walter doesn’t seem to understand how to get the thing that is going to make life better (namely money). He feels constrained by the role society has put on him in his work as a chauffeur. Walter is not the type of person who can simply walk into a bank and secure a loan. The family is growing but unable to get another, larger apartment.

The family doesn’t have money. The expected check could be the ticket to any number of things. For the grandmother, it may be the ticket for a better life for her herself and for her family. For her son Walter, the check is likely to be the ticket for him to make a better life for the family.

A tremendous collaborative bond between design team members is essential for a successful production. The team can consist of a designer to do the mise en scene, scenic surround and setting; a sound designer, since soundscapes are becoming ever more important; a costume designer; a lighting designer and a projection designer. These are all people who can conceptualize where the writer and the director want to go and the kind of imagery and atmosphere that are necessary.

In some kinds of creative processes, the director may meet for many weeks with the design team before they ever meet a company of actors, and all that work may be done beforehand and just presented to the actors on the first day. With other kinds of processes, the designers are in the room from the very beginning and assisting while the piece is being invented and coming together. The later scenario is often called “devised theater,” which is a form of collective creation in experimental theater.

Traits of a Unified Design Team

We must think about the quality of the design team: Is the design team complementary to the actors who go out there on stage with the weight of the storytelling mostly on their shoulders? Are they happy to be working together? Are they all committed to the work in the same way and for the same reasons? Is there both a selflessness and an assertiveness about what they’re bringing to the process?

These questions help us to determine if we will see, as every day this magical alchemy knits together in the rehearsal room, the sum of the parts becoming something actually transcendent for an audience.

Unfortunately, you can have what I call “dream teams” that go nowhere. You can have the best producers and the most in-demand director. You can have justifiably venerated senior members of the acting profession. You can have the hottest new talent making their debut. You can put it all together, and you just come up with complete goop, because there are no guarantees. Yet, if you have a unified quality design team framework in mind, the likelihood that something will knit together is probably greater than not.

Performing Arts Education

Your online performing arts education provides you with knowledge and tools that can someday help you to form and manage or be a part of a unified design team. It can also help you to recognize early warning signs of trouble when members of a team aren’t meshing well with each other, actors or anyone else involved in a production.

With the right education, you can learn how to sell a theatrical production to the largest audience and increase your profit margins.

As a performing arts producer, it’s not just about producing a good story to release to the public; it’s about finding the best team to promote the play and sell it to the public. That’s what people are interested in, the next part that their favorite action star or romance debutant is doing. A performing arts education can teach you how to pick the right team to handle each particular job. With the right people in the right places, you can have more exposure and build up a bigger audience.

To support the author and creative team in performing arts, you need to have your advertising reach your audience through all your marketing channels. Most people have a smartphone and other smart devices, so they often check in on Facebook and Instagram to see what is happening in entertainment and their friends’ and family members’ lives. The advertising team, marketing team, social media/digital media team, and the management team are the ones to sell the show to the public by presenting the starring actors and actresses to their audience.

Advertising and marketing the stars to the audience has nothing to do with the creative elements but more so the artistic ones. After the audience is brought together, the artistic element is passed over to those stars to practice their artistry. As the producer and sometimes the press representative, I have weekly meetings with my teams to follow their direction in the promotion strategy. With technology evolving, social and digital media has played a large part in the promotion efforts. Online performing arts education will help you find success in the entertainment industry.

What is an Actors’ Union? Just like with any other union, these organizations can help performing arts students and actors network and find like-minded people to spend their time with.

“There’s a Screen Actors Guild for media,” says Jeff Kaplan. “There’s also a union for stage called Actors’ Equity.” The majority of Equity actors are not working, so the Equity card that comes with the Actors’ Equity union doesn’t guarantee actors work, but it does help get them access to higher-level productions and jobs.

“They set pay scales. That’s probably the one that performers are most interested in, but they do other things. They provide basic minimums for workplace safety, the number of hours you can work, what time you have to be done, how you resolve conflicts during productions. They have health insurance.”

Joining an Actors’ Union

Getting into one of these unions can be tricky. In order to join a union, you have to perform in plays that are union-only, which results in a chicken-and-egg situation: how do you get into a union-only play if you’re not yet a union member? These unions have apprenticeship programs set up that allow a handful of non-union actors to perform, but the number of actors is kept at that handful in order to keep the union’s roster exclusive.

Is there a downside to joining an actors’ union? The union will provide actors with a lot of opportunities, but it does limit their actors as well. For instance, if you are a part of an actors’ union, you have to get written permission to perform in a non-union play, which is why not everyone chooses to join a union. They like to keep their options fully open, but on the flip side, they are limited to only working non-union plays.

When seeking a performing arts education, whether it’s an online performing arts education or an in-person one, students usually have a lot of questions about unions, like how to join one or whether or not you should. It’s made more complicated by the number of unions out there. “In brief,” says Shanga Parker, “there’s AEA. That is the union for theater actors and stage managers. And then there’s SAG-AFTRA. They’re combined now. Screen Actors Guild, American Federation of Television and Radio Artists-they used to be separate, now they are one. And that is for film and TV.

Each union has a different way of becoming a member. AEA, or the Actors’ Equity Association, allows actors to submit paperwork after being cast in one of their specified shows. Once an actor joins a show that counts for the union and submits the paperwork, they’re considered an Equity Membership Candidate, or EMC. As an actor works on an Equity production, they accrue points week by week. Once they’ve built up enough points, they can join AEA.

However, AEA requires an initiation fee alongside the point requirement. That initiation fee has varied over the years, but it’s usually to the sum of a couple thousand dollars.

SAG-AFTRA works similarly in that you can get cast in a union role and choose to take it or not. The difference with SAG-AFTRA is that membership is affected by something called the Taft Hartley Act, which was written for a different reason but applies to the union. Essentially, the Taft Hartley Act gives you the choice of joining the union upon taking your first union role, but declining is also an option. That said, if you take a second union role, you’re required to join the union at that point, and there’s an initiation fee of a couple thousand dollars as well. Actors need to weigh the benefits of union membership with the initiation fee and plan accordingly.

The first thing you want to think about after you figure out for whom you are making a performing arts production is the quality of articulation of the story that’s being told. If you’re dealing with a script, and it’s written in vernacular, everyday language, is it as strong as it could be? Do you believe that the writer has a singular voice and talent that is ready for and deserves to be nurtured by full production?

Sometimes producer Elizabeth Bradley thinks that some of the most promising early playwrights are lost because they’re simply produced as needed and not produced as ready. Another problem that can occur is that they’d be much better writers if they were produced more frequently, earlier on, because, like everything else, it’s a craft. You get better at it, but where a particular writer will fall on that spectrum comes down to the play, the writer, and the piece.

In performing arts education or online performing arts education, you’ll learn to explore all of these essential questions. Do you have the right match of director? Does the director actually have a sense of conviction of what the sensibility of the piece needs? Can they partner with the writer? If they’re doing a revival of a classic play and they’re completely reinventing something, is the reinventing trenchant? Is it necessary?

When Malini Singh McDonald did Black Henna, for the first show they did a reading, and then they knew they were going to do a full production. They knew the first step would be to think about how much money this was going to cost. That’s always the first step in performing arts. How much money is this going to cost?

It’s so important to think it through, and luckily there are budgets that you can find in online performing arts education to give you an idea of how much each area is going to cost, more or less. Areas to consider are your space, your rehearsal space, because those are two separate things unless you can get a package, PR, music, and licensing.

In McDonald’s experience, they kind of had a budget but then forgot some line items like insurance. They begged, borrowed, and stole before coming up with their current style of finding investors. They just reached out to people and said, “Hey, we need X amount of dollars to get us to this point.” Thankfully, people loved them, and they loved people, so a lot of people were able to just give them the money.

Having learned from this experience though, they ended up in future productions really getting clear about the budget and then thinking about how they’re going to actually fund it. Not to say they don’t beg and borrow anymore. There are times they need to ask for more money because something comes up. One thing to learn in performing arts education is to always expect the unexpected.

For example, let’s say you budgeted $2,500 for this line item, and then it turns out to be $4,000 just because stuff happens. Plan ahead, stick to your budget, but budget for the unexpected.