Showing posts with label education. Show all posts
Showing posts with label education. Show all posts

Sunday, March 4, 2012

When Life Gives You Lemons

from Judson Jones, Artistic Director


When life gives you lemons, make saturated calcium hydroxide1 
We’ve all heard the old adage before. And while we know it to be true, that doesn’t mean it’s easy.
The year is 1990. I’m a junior at Whitehouse High School. And for some reason, in the infinite wisdom of a 17-year-old, I opted to sign up for Physics class. Why? I still don’t know. I could say that I truly wanted to ponder the mysteries of the universe. Most likely there was a cute girl in the class; at 17 you tend to follow certain parts of the body more than others. So there I was. I had already plastered my textbook cover with my favorite bands, I had my new Chuck Taylors on (which I think the cute girl noticed), I was ready for some Physics. Then Mr. Tom Young walked in. You know that look on your face when you smell something but you can’t figure out exactly what it is, and you kind of turn your head one direction and then another to see if you find the source? That was my face for the next 50 minutes. Who cares about Bon Jovi? Who cares about red canvas Hi-Tops with black laces? Who cares about the cute girl?! I’m going to fail Physics!!! After school that day I went and drowned my sorrows in a tall  suicide2 Slush from Sonic.
As I lay in bed that night two thoughts kept creeping into my mind. Over and over. Incessantly. No matter how hard I tried, my mind was plagued with fear and grief. One: Cop Rock. Really?! From the same mind that created Hill Street Blues?! It made no sense! That was the problem with the ’90s! Things were too good! We left the depressing, gritty, cocaine-filled, recession-induced dramas with the ’80s! We didn’t want to see a brooding cop with a dark past who nurses a bottle of Scotch each night just to blot out the nightmares of the streets arresting some arrogant drug lord that had the cop’s partner taken out in an undercover sting that went bad two weeks ago! We didn’t want to see that! Instead we wanted to see the same brooding cop and the same arrogant drug lord SINGING AND DANCING TOGETHER! Ugh! It was such a rough time. Oh, and the other thought that kept penetrating my mind was sitting in Mr. Young’s Physics class for the remainder of the school year.
But much to my surprise Physics class got better. There was something incredibly special that Mr. Young brought to class every single day: Passion. And it was contagious. He loved teaching. He loved his students. He didn’t try to make science cool, instead he simply showed us how cool it was. Listening to him talk about quantum behavior or how a Dunking Duck works was like listening to a master painter talking about a piece of art. He was the myth buster before MythBusters came along! Plus he always had assignments you could do for extra credit. This was the secret to me passing. (Oh, and after the 11th episode—“Bang the Potts Slowly”—Cop Rock was canceled.)
We were getting close to midterms and we were each directed to conduct an experiment and document the process FULLY. This would count for half our grade. The stakes were high. So I chose the old lemon-powers-the-digital clock experiment. I already had a head start: we’d bought my dad one of those setups years ago for Father’s Day and my dad keeps everything! I had my digital clock, my piece of copper, my galvanized nail, my wiring, and most importantly my lemon. It went off without a hitch! Then I had to write about it. What was the chemical process that made it work. Mind you, this was before one could just Google it or go to Wikipedia to find out that it’s just an electrochemical reaction caused when oxidation and reduction occur. (I’m still not certain what that means.) Anyway, I pored over texts and labored over my predicament for days. And the night before it was due I found myself staring at the blinking colon on my lemon-powered-digital clock. Then an idea struck me. Partially because I’m stubborn and partially because it’s rumored that I’m a smart ass…I would write a play. Which Way Did He Go George could be called an homage to Of Mice and Men with a Frankenstein twist. It centered around an ill-fated lemon named Lenny and the painful choice that George would have to make. I don’t want to spoil anything for you, but yes, George kills Lenny! Sorry. But then George decides to resurrect Lenny in spectacular fashion and thus documenting my experiment began. I finished my masterpiece, went to class the next day, and handed in my death sentence with a smile.
When we came back from the break Mr. Young promptly started handing out our graded term papers. All but mine. He simply asked me to stay after class. Great. I was going to get an F and a lecture. I could hear it already: “You don’t apply yourself.” “Was this supposed to be funny?” “You’ve learned nothing in my class.” After everyone left the class I slowly made my way to his desk and was prepared to lay prostrate and receive my lashings. Mr. Young handed me my paper. B. “I would have given it a higher grade but I felt like the plot sort of fell apart towards the end. And it seemed a bit contrived at times.” I just stared at him. Oh my God, I’ve fallen asleep again. That’s what’s happening. I’m asleep at my desk and at any moment something is going to wake me up and I’m going to spring back and let out something like, “Uhwoodowha?” That didn’t happen. I was indeed awake. Mr. Young broke the silence, “You probably think I'm teaching you Physics don't you? I’m not. I'm teaching you that when you're faced with something and you don't know what to do or how to move forward…you don't close the book. You don't give up. You DO something.”
...
In this business of theatre, we are told “No” so many times. Whether it’s seeking a role, funding for a production, a home for a play, presenting a design or a score, we will hear “No” many times before we will hear “Yes.” And all too often it makes us want to throw up our hands and simply close the book. Over the past couple of weeks Mr. Young has come to mind often. Every time I think I can’t send another email, I can’t reach out to another possible funder, I can’t chew another TUMS…I take a moment. Breathe. And think, “Don’t close the book.”
Thank you, Mr. Young for that gift. It has made all the difference. What you put in motion…has stayed in motion.

Monday, December 12, 2011

Todd Eric Hawkins Elected to Americans for the Arts’ Emerging Leaders Council!


As Theatre East-ers who read this blog and/or follow our Facebook page know, Managing Director Todd Eric Hawkins was placed on the ballot for the Emerging Leaders Council at Americans for the Arts about a month and a half ago. Well, the results are in and we are excited to announce that Todd was elected to the Council! Read all about it in the press release below:

For Immediate Release
Monday, December 12, 2011



Todd Eric Hawkins Elected to Americans for the Arts’ Emerging Leaders Council

New York, New York — Theatre East today announced that Managing Director Todd Eric Hawkins has been elected to the Emerging Leaders Council of Americans for the Arts, the nation’s nonprofit organization for advancing the arts and arts education.

Todd brings more than 10 years of leadership and experience to the Council, which assists with developing programs and resources for emerging arts professionals nationwide.  In addition to his duties as Managing Director of Theatre East, Todd has been a project manager for Public Art for Public Schools since 2008. In this role, he has managed over 35 projects, taking an active role in the commissioning of artists, the development of designs, and the coordination of installations at public schools throughout all five boroughs. Todd received his Masters of Arts in Arts Administration from Goucher College in 2010.

The Americans for the Arts Emerging Leaders program works to identify and cultivate the next generation of arts leaders in America. It provides an ideal way for new leaders to share their interests with others as they continue to develop their skills and their commitment to the arts. New professionals are valuable to the arts community, and the 15 members of the Emerging Leaders Council are dedicated to ensuring that a bright and democratic future for the arts in America continues for generations to come.

“The Emerging Leaders Council serves an important role in helping Americans for the Arts carry out one of its primary goals of strengthening an informed leadership,” says Robert L. Lynch, president and CEO of Americans for the Arts. “Todd has been an exceptional leader within his own community, and we are thrilled to welcome him to the national council.”

Theatre East is a New York-based nonprofit theatre company that advances the dialogue of the shared human experience through works that utilize simple storytelling, providing our community with a platform to deepen its understanding of themselves, each other and the world we share. In October 2009 the company produced the New York premiere of Tim Blake Nelson’s EYE OF GOD and in March 2011 the New York premiere of GLAAD and Obie Award-winning playwright Daniel MacIvor’s THE SOLDIER DREAMS, both at Theatre Row on 42nd Street. Additional information is available at http://www.theatreeast.org.

Americans for the Arts is the leading nonprofit organization for advancing the arts and arts education in America. With offices in Washington, D.C. and New York City, it has a record of 50 years of service. Americans for the Arts is dedicated to representing and serving local communities and creating opportunities for every American to participate in and appreciate all forms of the arts. Additional information is available at www.AmericansForTheArts.org.
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Sunday, November 13, 2011

What Do You Want to Be When You Grow Up?

from William Franke, Director of Development & Communications

Yesterday I went to see a wonderful production of Shakespeare's Measure for Measure at NYU's Gallatin School. I'm friends with the director and also know one of the performers from working with her in a Gallatin production of 1001 last fall (I was there as a guest artist).

Now, Shakespeare is wonderful and there have been all kinds of articles and musings about how applicable he is to all disciplines & walks of life. But what struck me was my conversation with the young woman I worked with before. She's now a sophomore and when I asked how things were going, she was busy, of course, but she said she was also "figuring out what I want to be when I grow up." While she had a realistic view of this task, she felt a sense of urgency; even though she agreed when I told her she had time yet to figure it out, I could tell she was anxious (as many students are) to get it settled. (She had at least determined that she no longer desired to be a lawyer, so that helped narrow it down.)

I like to think that her experience in the theatre will only serve her well later in life, no matter what course she chooses. The time management skills she's developing when rehearsing a play are invaluable, because she's working both individually and collaboratively with a larger group. There are those times spent exploring the text in rehearsal, but that follows grappling with its mysteries alone, on her own time, so that she has something to bring to the table in those group sessions (not to mention learning her lines on her own time, so her nose isn't always stuck in the script).

The group dynamic should also prove beneficial. Regardless of the laurels bestowed on any one person for any one achievement, the fact is that no one truly accomplishes anything alone, whether it's landing on the moon, winning an election or a championship, creating the next iPhone, or discovering the next great medical breakthrough.

But really the most important way this student's theatre experiences will have an impact on her later life is something we can't pinpoint now. Something intangible now will come as an epiphany years down the road. I recently read a story about the late Steve Jobs and his similar experience while at Reed College, where he took a calligraphy course:
I learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, about what makes great typography great. It was beautiful, historical, artistically subtle in a way that science can’t capture, and I found it fascinating.
None of this had even a hope of any practical application in my life. But ten years later, when we were designing the first Macintosh computer, it all came back to me. And we designed it all into the Mac. It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And since Windows just copied the Mac, it’s likely that no personal computer would have them....

[emphasis added]
And it's this subtle, unquantifiable effect that both theatre & the arts has that is perhaps the most profound. This ability to permeate our consciousness, only to bubble up in unexpected ways—whether we're students (lucky enough to be) studying the arts in (the ever-dwindling) arts programs in schools, or a member of the audience at a play. I firmly believe that there will be someone out there, maybe even at our next reading (on November 21st), who at some point will have a chord struck deep within them and realize how that piece of art relates to a challenge they're facing in their own life, and that realization, that connection will help them overcome that challenge, triumph & endure. Or maybe even help them realize what they want to be when they grow up.
 
Hey, Theatre East-ers, we want to know:  
What is the most profound effect—immediate or delayed—that theatre (whether as theatre-maker or audience) has had on your life? Let us know in the comments.


Wednesday, September 15, 2010

Judson Jones Speaks with Students at NYU—Gallatin

At Theatre East, we welcome any opportunity to connect with the educational community. So when he was invited to speak with students at NYU's Gallatin School of Individualized Study following his curtain speech at the workshop presentation of THE SOLDIER DREAMS, artistic director Judson Jones jumped at the chance.

The students are enrolled in the course PHILOSOPHES AND FOLLIES: THEATER IN THE AGE OF ENLIGHTENMENT, taught by playwright Christopher Cartmill. As per Professor Cartmill:

"The class is about the 18th century theater and the connections to Art, Politics, Philosophy, etc. We are looking at the works of Voltaire, Lessing, Lillo, Goldsmith, Gozzi, Diderot, Gottsched and the like. The class is structured like a salon and guests are always welcomed. For our first class I invited Judson, director Nicole A. Watson and actress Kathleen Chalfant—she was nominated for Broadway’s 1993 Tony Award as Best Actress (Featured Role - Play) for her role in the original production of Tony Kushner's ANGELS IN AMERICA: MILLENNIUM APPROACHES—to discuss the responsibility of the artist for the works they create and put out into the world. The question of the power and responsibility of the theater was a big issue in philosophic circles in the 18th century and I wanted to drive home that many of those questions remain unanswered today."
We look forward to any opportunities to interact with educators and will keep you posted about it here. If you are an educator who would like to work with us, contact us here.