Life After NYU: Lucky Disaster

Last year, the blog featured a number of posts from alumni writing about their experiences after graduating from the Program in Educational Theatre. The series continues this year with a post from Megan Minutillo:

Megan Minutillo is an alumni of the Educational Theater program – (ETED M.A. 2009). In October, she will be producing and directing the fourth volume of Lucky Disaster, a concert series that she created.

Lucky Disaster Volume 4 features the music and lyrics of Ryan Scott Oliver, with original monologues inspired by the selected songs written by Anna Ty Bergman, Megan Minutillo, and The Write Teacher(s).

The concert features a cast of recent graduates and current musical theater/acting students – Kerri George, Kasie Gasparini, Melissa Rose Hirsch, Blake Joseph, Angelo McDonough, T.J. Newton, Olivia Polci, Taylor Sorice, and Stephanie Turci, with special guests Gabe Violett and Jessica Vosk!

The Lucky Disaster Concert Series is conceived, produced, and directed by Megan Minutillo, and Lucky Disaster Volume 4 will feature musical direction by Nat Zegree.

Stephanie Turci and Jacob Samuels singing \”Collide\” by Drew Overcash

Additional information about the concert can be obtained by visiting: http://tickets.thecuttingroomnyc.com/event/675061-lucky-disaster-volume-4-new-york/.

Keys to Post-graduation Success

By Jennifer Socas, PhD

I was apprehensive when I was first asked to write about how I was able to obtain my current job, however Dr. Taylor felt this would be helpful to students and give them hope in this grueling job market. If my story is helpful and gives people hope, I am overjoyed.  I feel truly fortunate to have recently secured a full-time position in the Theatre and Speech Department at City College (CUNY) and realize I am one of the lucky ones. Each year, doctoral graduates across the nation embark on their journey to find a job within academia. Many of my talented colleagues are still searching, a few have chosen non-academic jobs, and some have also been very lucky to receive fantastic full-time positions within the academy.

Over the years, I have always focused on cultivating the skills and knowledge I needed to create my own niche. During my job search, I thought about what made me unique and valuable and how my particular expertise would fit into a department. I already knew I wanted to focus on international applied theatre work, and I concentrated my practical work and research on that area. I published on applied theatre work, presented at conferences, and built an international applied theatre organization from the ground up, securing an impressive core team and working with them to expand our programming to East Africa and India. I also knew I wanted to be in a theatre department at a university, so I sought out opportunities to teach theatre, teaching theatre history and acting courses, as well as directing for Pace University. While honing my curriculum vitae and interviewing for positions, I highlighted the depth and breadth of my teaching experience with students from a variety of backgrounds, both nationally and internationally.

Another key to my success was taking advantage of all of the opportunities offered at NYU and using them to enhance my skills in theatre, advising, and administrative work. While at NYU, I took advantage of many of the study abroad options, including studying with legendary theatre practitioner, Augusto Boal in Rio De Janeiro, Brazil. I also studied mask and physical theatre in Puerto Rico and Applied Theatre in Dublin, Ireland. I assistant taught numerous courses with our distinguished faculty – Advanced Directing and New Student Seminar with Dr. Nan Smithner, and Dissertation Proposal Seminar with Dr. Philip Taylor. When Dr. Pedro Noguera in Teaching and Learning asked if I would be willing to teach Inquiries III with him, I eagerly agreed.  I made sure that I took copious notes and reflected on each experience so it would enhance my practice and inform my work as an educator and theatre artist. When writing from my classes seemed like it could be published, I sought opportunities to have that work published. Finally, I volunteered for as much administrative work as I could make time for – assisting on programs and prospective student advisement as a Graduate Assistant in the Program in Educational Theatre, mentoring and observing students in Theatre Education at Manhattanville College, and working as the Coordinator for Doctoral Studies in Music and Performing Arts.

Mentorship is an extremely important part of the doctoral process. I feel very lucky to have had great mentors during my time at NYU. As my mentor and Chair of my dissertation, Dr. Philip Taylor was a constant source of support and encouragement. He often found opportunities for me to enhance my understanding of applied theatre, such as suggesting I join the program in Brazil with Augusto Boal. He always gave meticulous feedback on my work and research as a scholar in applied theatre, and even serves on the board of my organization, Global Empowerment Theatre. He encouraged my publication efforts, and he is including a chapter from my dissertation in his upcoming book. Dr. Taylor always believed in my success and that I would find the perfect job for my skills and passions. His unwavering belief in me made the process less daunting and gave me the confidence I needed when I went in for my interviews. I was lucky to have wonderful faculty members supporting my work throughout NYU. Dr. Nan Smithner’s expertise in physical theatre and directing, her deep knowledge of feminist theory, and her detailed feedback on my work helped shape my teaching practice and my dissertation. Dr. Pedro Noguera’s insights into public education and education in East Africa were invaluable, as were his recommendations for next steps in publishing and support of my teaching practice both at NYU and elsewhere.

I know I have been very lucky to receive so many wonderful opportunities, but I also was persistent in seeking out those people and experiences that would enrich my practice and studies. Once again, I hope in some small way this may help one of you to better navigate your way through this fantastic, challenging, and exciting journey to a career you love!

Reflections on the Program in Educational Theatre and Beyond

Hello Educational Theatre Blog Readers! My name is Naomi Avadanei, and I graduated from the Undergraduate Program in Educational Theatre this past May (2013). I consider myself very lucky to have found and been a part of the Educational Theatre community for 4 years–those 4 years were filled with so many incredible opportunities, inspiring moments, and (of course) invigorating classes. Upon entering senior year I had to make the ever-so important decision: to go to grad school right away or to take a few years off and apply what I’ve learned in the workforce. Clearly, I decided on the latter.

I started applying to jobs pretty early during my senior year around October/November and didn’t really stop until I got my first teaching job in mid-August. Currently I’m what many would call a “freelance teaching artist.” I work as the Theatre and Movement teacher at Hunter College Elementary School (3 days a week), the Education Associate at TADA! Youth Theatre (4 days a week) and a Teaching Artist with TADA! (several times a month), Brooklyn Children’s Theatre (1 day a week), Salk Middle School (1 day a week) and The Paperbag Players (several times a month). Throughout my application process I would estimate that I applied to over 100 different positions in total. It was a long, arduous, and VERY stressful process, but I’m really happy with the companies I’m working for, the people I’m working with, and the work that I’m doing. It all paid off. When I was applying to jobs I was pretty stubborn about only applying to and accepting positions teaching theatre. In my case this was the most important non-negotiable. I realized I wouldn’t be happy in my chosen career path unless I was working in some respects teaching theatre to kids. As I was applying to positions (and it got closer and closer to the beginning of the school year) I started to have doubts about my non-negotiable. Was I being unrealistic? It turns out that just as I was starting to give up hope, a posting for a Theatre Teacher at Hunter College Elementary School came up on the List Serv (the List Serv is a gold mine–read those emails, they could lead to something!), and I applied. I was offered the position on August 19th, just 23 days before the first day of school. After that I kept getting various Teaching Artist positions from previous connections and interviews and everything sort of just came together. So while my story is unique to my experience, I’d like to share with you some of the things that helped me get where I am now and what I wish I knew/know as I was looking for a job and as I start my first year of teaching Theatre and Movement with students ages 3-12.

Classes (required and not) that you should take (and pay really, really close attention in):

First and foremost, I think this needs to be said because I didn’t figure it out until late in my Junior year/early Senior year. There’s a point in your college career where you have to stop thinking about classes and class work in terms of being a student and getting good grades and start looking at it as preparation for your future career. This may sound really silly but let me explain; I always prided myself on good grades and completing assignments well but often once the assignment was handed in that was it. I forgot about the bulk of the work necessary to complete the assignment (these are the details are really valuable and helpful later on) and moved on. My advice to you is to take those good ideas, great activities, and awesome tools and create a running list (preferredly an organized one). You’ll thank yourself later on. Ask questions in class and complete assignments through the lens of a teacher and an artist, not just a student–you will inevitably get good grades and you’ll make your transition into teaching much easier.

  • Any of the artistry/practical classes (Playwriting, Directing, Physical Theatre, Stagecraft, any Shakespeare Class). Even if you’re not interested in a career in Shakespeare or don’t want to become a playwright it’s important you LEARN about these things so that you’re prepared to TEACH them later on.

  • Dramatic Activities in the Elementary and Secondary Classroom–that running list I was talking about, these classes will be the equivalent of gold for that list.

  • Theory of Creative Drama

  • Some sort of Movement Class–I took Intro to Teaching Creative Movement through the Dance Ed. department. This class will help make you a more dynamic theatre teacher and a more attractive candidate.

Things I wish I had known:

  • Teaching Portfolio

    • Spend a lot of time on it, it’s worth investing the time.

    • Be organized when creating it, you will inevitably print and reprint the material in your portfolio. You will add, you will subtract, you will create new material. Create separate folders and documents for everything.

    • Be pushy about showing your portfolio to your interviewer. I wasn’t always so assertive in presenting my portfolio. For my first few interviews I waited for the interviewer to ask me for it. They didn’t. Assert yourself. Bring your portfolio and gently suggest (read: force) them to look at it. Show them all of the time and effort you put into it. Pick a few highlights to show them–no one will have time to look at the whole thing. Show what’s most relevant to the position.

  • Letters of Recommendation

    • Ask for them even before you need them. Don’t expect people to have a fast turn over. You want the person who is recommending you to take their time and do a good job on your letter so give them the opportunity to do just that. Ask them for the letter 1-2 months before you anticipate needing it.

    • Get a variety of letters: people who have seen you teach (both in the elementary and secondary classroom–if you’re interested in teaching both–you want those letters to be separate so that you can have them ready should you be applying for a position in that area), people who have supervised you in an administrative position, people who have worked with you in an artistic setting etc. You want a variety so you have at least one letter for every type of job you might apply to.

    • This point is similar to the Teaching Portfolio point. Most employers won’t ask you for a letter of recommendation. Give one to them even if they don’t ask for one either in a hard copy at the end of an interview or as an attachment to your follow up email.

  • Get all of your certification paperwork and exams out of the way and submitted as early as possible. You don’t want to be thinking about them when you’re applying to jobs–you’ll have enough stress without worrying about whether or not you’re teaching certification went through.

  • Get in touch with past employers and internship coordinators, let them know you’ve graduated and are looking for work. You never know, sometimes the stars align and they’re looking for someone just like you.

  • Have a backup curriculum prepared for all age groups you’re interested in teaching–even if it’s just an overview

    • Some employers might ask you to create a curriculum on the spot (mine did).

    • In case you get hired last minute (I did) you won’t have to start from scratch, but you’ll have somewhere to pull from and creating a year long curriculum in 2 weeks (or 2 days) won’t seem as daunting as it could be. Remember that list I talked about? This is when that comes in handy.

    • Speaking of creating a curriculum I don’t think we really talk so much about the logistics of creating a curriculum. It’s an area the program could work on. This is not to say you don’t get a lot of tools during your time at NYU, but not exactly: How do I create a curriculum? What should YOU do? Take initiative. I recommend you ask your Cooperating Teachers, they’ve been there and they’ve done it. So while their teaching styles might be very different from your own, take the time to ask them and talk through the process. It’ll help you when you have to create a curriculum of your own.

I really hoped this post helped you. If you have any more questions please feel free to contact me at Nja235@nyu.edu

Lincoln Center Education

Dear Ed Theatre Community,

It is with great pride and excitement that we share with you the announcement of Lincoln Center’s first rebranding in history for its education division – rebranded as Lincoln Center Education.  With the completion of a $1.2 billion redevelopment of the Lincoln Center campus, this rebrand reflects an unprecedented expansion in the field of arts education by the world’s leading performing arts center.

Announced only recently, and in addition to a new name and a new visual identity (created by Ogilvy & Mather and The Brand Union), Lincoln Center Education (LCE) received $4 Million from the Sherman Fairchild Foundation to add innovative programs to its core work – the largest education grant ever awarded to Lincoln Center for the Performing Arts.

Lincoln Center Education’s rebranding arrives after a year-long examination of its existing programs and initiatives. New programs will join established efforts in schools and in the community, reflecting the organization’s updated vision and objectives. Harnessing the resources of Lincoln Center, LCE has realigned itself to most effectively develop arts education programs in five distinct areas:

  • K-12 education: programs for more than 25,000 students in over 200 schools in the New York metro area.
  • Higher education: partnerships with local colleges and universities to train teaching candidates in arts education and help recent graduates find employment with school partners.
  • Community outreach: programs include Poet-Linc, Lincoln Center Local, and other free events such as the monthly Meet the Artist series in the David Rubenstein Atrium, designed to engage the community in the arts and events at and beyond the Lincoln Center campus.
  • Lincoln Center Institute: LCI is refocused as a dedicated institute within LCE for research in arts education, and training for educators using an arts-based teaching model.
  • Consultancies: LCE’s special consultancy practice shares its expertise in arts education and creative learning.

In addition to the work we’ve been doing for over 35 years, we are thrilled to share the following new programs and initiatives:

  • “Arts in the Middle” – this new pilot program, created in partnership with the New York City Department of Education, is a three- to five-year initiative beginning in the 2013-14 school year to provide arts programming and teacher training at public middle schools which are underserved in the arts, so as to make the arts a lasting part of these schools and their community.
  • Lincoln Center Education is commissioning a work designed for an audience of children on the autism spectrum.
  • Lincoln Center Education is expanding the existing Lincoln Center Local program, which brings free Lincoln Center programs to neighborhood libraries in the outer boroughs, and alternative locations such as shelters, senior centers and facilities with incarcerated youths.
  • Two additional charter schools partnering with the New York City Department of Education and New Visions for Public Schools have opened this fall, making a total of six that are operating to date. LCE expects to ultimately partner on 18 charter schools.
  • “Next Stage” – Lincoln Center Education is launching a new series of panel discussions, lectures and other programs in the coming months, seeking to generate high-profile discussions on important topics in arts education. This public forum will allow established artists to demonstrate how education has played a role in their work. The initial forums will each be focused on particular arts genres, including dance, music, theater and visual art.

Lincoln Center Education is a global leader in arts education and advocacy and the education cornerstone of Lincoln Center, the world’s largest performing arts complex.  As such, LCE is committed to enriching the lives of students, educators, and lifelong learners by providing opportunities for engagement with the highest-quality arts on the stage, in the classroom, digitally, and within the community. Founded in 1975 as the Lincoln Center Institute, LCE has nearly four decades of unparalleled school and community partnerships, professional development workshops, consulting services, and its very own repertory. LCE has reached more than 20 million students, teachers, school administrators, parents, community members, teaching artists, pre-service teachers, university professors, and artists in New York City, across the nation and around the world.

If you visit our ‘splash page’ (our new website will go live in early spring!) by going to www.LincolnCenterEducation.org you’ll notice our new value proposition, which is at the core of everything we do:

The arts cultivate a unique skill set that is indispensable for the 21st century: problem solving, collaboration, communication, imagination, and creativity. Lincoln Center, the world’s premier performing arts center, translates those skills from the stage to the lives of children, equipping them for success in their careers and to serve as active participants in their communities. We offer a distinctive approach to education that helps young minds perform in a dynamic world.

We invite you to learn more about our work and the many ways in which you can be a part of it.  The Educational Theatre community has given us so much – we look forward to increasing our engagement with the program, its staff, its students and its alumni.

With much love and appreciation,

Russell Granet (MA ‘95) – Executive Director

Alex Sarian (MA ’07) – Director, Finance & New Business

Melissa Gawlowski Pratt (current PhD) – Program Manager