What Now: Preparing for Life after Graduation

As my time in college comes to an end I look back on the theatre training I’ve received, and notice that certain critical tools needed to survive as an actor are missing from USC’s theatre curriculum. Even basic knowledge related to the business end of becoming an entertainer is barely ever mentioned let alone material for a course. For instance, whenever an actor goes on a professional audition they must take with them a headshot and a resume, this much may be common knowledge, but there are a variety of headshot layouts and formats to choose from. A headshot that is appropriate for a commercial audition does not look nor cost the same as a headshot for film, stage, or modeling. And in a line of work as competitive and difficult to enter into as acting, one simply can’t afford to make such errors. Thus, I have decided to use this blog entry to propose my plan for the use of the funds awarded through the 2007 College Dean’s Prize.

For those who haven’t heard of the Dean’s Prize, it is a monetary award given to three students with the most feasible and useful proposals for bettering the education received at USC. The award was created in accordance with USC’s role and mission, to create an environment that will produce intelligent and fruitful thinkers, capable of contributing to society. Thus, the universities strategic plan lays out guidelines for achieving this goal. The guidelines, though roughly condensed are researching areas of importance in fields of study, learning the global concerns of these needs and teaching how these two aspects are necessary to success in the workforce.

Keeping these concepts in mind, there are many changes that could be made to the school of theatre that would greatly improve the program. The most important area of change is that of practical business knowledge. None of the courses cover aspects such as finding agents, mailing headshots to casting agents, what an appropriate audition piece is and perhaps most important the types of roles you as an individual should pursue. Considering that the majority of working actors, actors who have no other form of employment to supplement their income, earn between thirty-eight thousand and fifty-six thousand dollars a year according to Vault.com. After subtracting the necessary living expenses everyone must pay along with non-fixed monthly bills. Then deduct from that number basic acting expenses such as photographer fees, head shot and resume printing, envelopes and stamps for mailings, acting workshops and finally gas expenses for driving to and from auditions and one will note that most working actors are living close to the poverty line in America. People such as Brad Pitt or Angelina Jolie, who become superstars and are able to get millions of dollars per project, are the exception to the majority of working actors, Therefore, I think a course focused on the practicality of entering into the film, television and stage industry would be greatly beneficial for young aspiring artists, many of whom only learn of the difficulty of making ends meet after it’s too late to consider choosing a different major. Currently, no other undergraduate theatre program not part of a performing arts college, teaches such important, practical lessons which may account for the remarkably high number of hopefuls who quit the industry.

While the professors in school of performance are talented actors none of the performance based courses are taught by directors. While the lessons taught by a more seasoned performer are useful, nearly every professional acting job comes with a director shaping an actors performance. Some of the best theatre programs in America, like Julliard or the New Actor’s Studio, have directors as well as actors instructing theatre students. Even long time rival UCLA, hired Peter Sellars pictured on the right famous for his innovative work as a director, to teach young actors entering their theatre program. Having professional directors on staff to teach acting classes is crucial because it gives the actor the opportunity to learn what a director expects from them, and how to work in conjunction with them, lessons that become necessary after graduation when one begins seriously auditioning.

In order for USC’s theatre program to grow, more focus must be placed on the business side of acting. Hiring successful directors to teach acting is only one way in which to improve the department. Currently there are no resources for graduating students to go, in order to find an agent or audition for television or film parts. Granted this is an industry where ones success really depends on ones own determination, but considering that USC is located literally minutes from the largest film studios in the world, it would be simple to publish directories for students listing locations, names and numbers of genuine agents, photographers and performance workshops.

In utilizing the Dean’s prize to create contact lists and entertainment industry business classes, USC’s theatre school would be offering its students information that no other performing arts program in America offers, which would help to enhance the reputation of the theatre program. Additionally by hiring working directors as acting professors, SC will be advancing the theatre school to the level of more prestigious performance programs. More importantly they will be better preparing students for what awaits them in the professional world, thereby improving their chances for employment and in turn improving the reputation of the school of theatre.