ForTalent Blog Posts

My Experience at Met's Summer HD Festival

eugene — Sat, 04 Sep 2010 07:46:06 GMT

For those who don't know what Summer HD Festival is, it's a series of outdoor screenings of past productions shown at Lincoln Center. It's free to attend and it runs until Sept. 6.

I have recently moved into my new dorm at NYU, and one of the Welcome Week events was a trip to Lincoln Center to see the screening of Hensel and Gretel. I was a bit skeptical of watching a non-live show, but I am never the one to resist free stuff, especially art/music things.

I got to Lincoln Center at about 7:20 and I was surprised at what I saw. The plaza was filled with chairs (2,800 chairs to be exact), and there was a huge screen mounted onto the Met building. The front section was full, but the back 2/3 seemed to be not so occupied, especially on the sides. I sat on the right side of the fountain, facing the Met building, and I had a pretty nice view of the screen. After I stopped worrying about the visual aspect of the screening, I got worried about the sound quality, weather, crying babies, and everything else there is to worry about, but keep reading because I'll tell you everything.

Summer HD Festival is a great opportunity for the opera lovers as well newcomers, and it is good enough to make you come back. The sound is of course not the same outdoors via speakers as live inside the Met, but you still hear everything word and instrument loudly and clearly without much echo (I feel bad for the Juilliard students who were trying to sleep). There were also subtitles, which was nice even when the opera was in English.

The camera work was fantastic. The HD quality is surely effective and it was cool to see an opera like a movie. Seeing an opera from various angles instead of from a seat on third tier definitely brings a different perspective. I especially liked the close-ups where I could see the performers’ expressions without having to squint through opera glasses.

This event definitely brings a different crowd from the live shows. At regular shows, I am used to seeing an audience where the average age is at least 60 (if there are enough college kids like me), there are no children under the age of 17 (Why is that? It's not like the Met's checking IDs), and everyone dresses up; today, I saw more family groups, a younger crowd overall, and casually dressed audience. Fortunately, there were certainly no crying babies or ringing phones (my worst nightmare at movie theaters); people do talk (read: whisper) more frequently than live productions, but they are not noisy enough to disturb your screening experience.

Overall, I liked it. In fact, I’m planning on going again this Sunday to see Aida. Did I mention it’s free? Check out the website here.

Terry McMillan's advice to a writer on how to get published (and the link to the rest of the interview at TIME)

eugene — Sat, 04 Sep 2010 05:28:17 GMT

Terry McMillan's newest book Getting to Happy (sequel to Waiting to Exhale) will be released on Sept 7. The following is one of "10 Questions for Terry McMillan" from TIME Magazine.

What would be your advice to a writer on how to get published? —Lovell Gamble, MONTGOMERY, ALA.
One of the things you do first is find an agent. An agent knows editors at every publishing company, almost. They know who your work is best suited for. Having an agent is important. Most publishing companies now don't even read your work. And it's dangerous just to send it. I wouldn't.

Read more: http://www.time.com/time/magazine/article/0,9171,2015759,00.html#ixzz0yXF33L9f

To writers out there--what do you think about her claim that "most publishing companies now don't even read your work"? What's your advice on how to get published?

Machinal

TinaMavrikidis — Fri, 03 Sep 2010 13:13:51 GMT

Hi Everyone!

Well Opening Night for my play "Machinal" was exciting! We had a critic from Poland come! Anna Podolak our lead performer is from Poland! She is amazing and so is the rest of the cast! Anna plays my daughter and what a joy it has been working with her. If you are looking for something to do this Labor Day weekend come see "Machinal"! You will not be disappointed! Bring your friends!! AND if you come please stay after and introduce yourself to me! I love meeting people from ForTalent!!

Blessings Everyone!

Tina :)

Sat, Sept 11th Empire State Building (Empire Room) HF Fashion Week Runway

hillaryflowers — Fri, 03 Sep 2010 04:35:18 GMT

Saturday, Sept 11, 2010

Celebrate NYC Fashion Week in the World Famous

Empire State Building
EMPIRE ROOM
33rd Street Btwn 5-6 Aves
Ground Level

Hillary Flowers will be having her exclusive runway show @11:30pm

Doors Open to the Public at 10pm

You can say you are on Hillary Flowers Guest List ♥

Join us for this Special Celebration and Night to Remember!

SPONSORS:
Prive, Hampton Daze, For Talent, Capture & Create, Talent In Motion

FASHION WEEK 2010- HF Featuring Madison Ave Brand "Sarar" @ Hudson Terrace

hillaryflowers — Fri, 03 Sep 2010 04:16:42 GMT

Opening Night of Mercedes Benz Fashion Week

Join us for the Celebration and

Runway Show for Madison Avenue Brand

"SARAR"

Exclusive Event at

Hudson Terrace
621 West 46th Street
New York, NY 10036
Between 11-12 Aves

Doors Open to the public at 9pm

Runway Show @ 10:30pm

Tell the doorman you are on Hillary Flowers Guest List

SPONSORS:
Jeff Wallner, ForTalent, V & V Energy

A New York Writer's Chronicles of Broadway, Hollywood, Politics and the Middle East

Niki — Wed, 01 Sep 2010 21:09:13 GMT

No one in his or her right mind would have opted for the stifling, roasting summer of 2010 here. If the French had a word for it, it was yuch. On this day after the Dog Days, I recall sweltering in better New York circumstances….more.

to eat or not to eat!

dorY — Wed, 01 Sep 2010 13:30:38 GMT

PFFFFFFFF have you ever had the feeling you want to eat but dont know what (if you dont well, i have it almost every single daY)

today was a daY i will never forget i tried to make myself cheerfull enough to

go and fix myself a nice treat a sandwich or something good in and from the kitchen

its not ifen that long of walk..but still im tooo lazzzzzzy to get UP

my but from this comfffy bedddddddddd

i couldnt make up my mind so at the end (almost 4 hours later cant say im starving cause we dont really know what starvation is right?ifentough to me i feel like im starving anywayyyyyyy anyhowwwww lets get back)

i decided to heat up the soup i made last night....(krotobana its suriname ask me if you want the recipe its gooooood and spiceY well only if you like but it is suppose to be spiceY)

still not really in the right mood so let s hoppp to the kitchen like winnie doessssss

(Winnie is my cute white and gray dotted bunny i bet if she could laugh she would! Would she?No she didnt she jumped just as high as me..and then looking at me with her big brown eyes i wish she could speek it would deff be something like ow shit mama whats going on what ya doing and then she would laugh we both would have laughed lOL)

while singing a song oe la la la is the way that i hopp when im doing my thing

(dropped a strange freestyle while i was at it..)

the next thing reality hit me with the floor

i fell both feet in the air on my Hip auchhhhhhhhhhhhhhhhhhhh...

seems the Washing machine had some kind of lekage i dont know something with the hose....

but that sucker was going to be trown out its leaking.......water underneath my linolium (dont know how to spell this correct me if u want thanks in advance)

under my floor i didnt see the water...till i lifted the linolium and say all the water

i lifted the linolium and left it there grabbed my cocacola....

and know 2 hours later my knee hurt my arm my ribs...MY HIP

2 eat or not 2 eat well now im not hungry anymore :(

Lesson learned: dont make yourself eat when u dont feel like it.........make up your mind first...and then go and make something you please..

Forcing your self to do things you dont want to ends up in regret!Anyway anyhowwwwwwwww

peace out im on the sofa with my leggs up aggain but this time by choice

More Contest Help!

funmert442 — Wed, 01 Sep 2010 03:43:05 GMT

Hey Guys! I'm in a contest for Yobi TV....the winner gets 10,000 dollars. If you have the time, please give me some votes! I'm one of the youngest contestants and I need all the help I can get :). I'd really appreciate it!

Just go this link and vote: http://yobi.tv/yobilaugh/contestant/8596/funmert442/2010-and-clown-college

Thanks :)

The Importance of Barre-a-Terre: An Interview with Anabella Lenzu

PeridancePerspective — Tue, 31 Aug 2010 22:11:25 GMT

Anabella Lenzu teaches Barre-a-Terre at Peridance on Wednesday at 1:00 and Sunday at 4:30. To class Ms. Lenzu brings her strong, diverse background of performing,choreographing, and teaching. Ms. Lenzu is also the artistic director of Anabella Lenzu/DanceDrama and the founder of L’Atelier Centro Creativo de Danza, a dance school in Argentina .

Read on to discover the powerful meaning behind her class and company!

What prompted you to begin studying dance? Did you know you always wanted to become a professional, or did this emerge?
I always knew that dance is what I wanted to do for a living. Ever since the age of four, I wanted to dance. My mom put me into a school that only taught Flamenco, in my hometown, Bahia Blanca, Argentina. Soon after, I began studying ballet and continued until the age of 18, when I became a certified ballet teacher. My dream became a realization when I opened my dance school in Argentina in 1994. Previously, I had danced with other Ballet and Flamenco companies, but from this point on I directed my own company which started touring and performing. I haven’t stopped dancing, choreographing and teaching since.

You currently teach Barre A Terre at Peridance. What led you to train in body conditioning as well as dancing?
Body conditioning and dance were never two separate things for me, they were always integrated and this is the way I teach my barre a terre. During my training as a young dancer, I had to study and learn a vocabulary of movement with precision. I see barre a terre as an opportunity to explore the anatomy of movement further; to find out what muscles you’re working and what is the job of each particular muscle or muscle group. You have to know your body. You can’t play the piano without knowing what the notes are. When I moved to New York in 2005, I felt that my students needed a special class where they could not only work their muscles and bones, but find a place to channel their energy as artists. I feel that sometimes dancers in regular class don’t have time to think about the fundamentals because they are thinking about the result, and not about the process. I’m teaching where and how the energy is flowing through the different parts of the body, the integration of mind-body, the emotional interconnection and the exploration of their personal Kinesphere. These are the basics for any kind of dance style or technique the human body is One. My barre a terre class is a time and a space where students can really focus and appreciate the integration of all these.
ideas.

In addition to being on faculty at Peridance, you founded L’Atelier Centro Creativo de Danza in 1994, a dance school in Argentina. Currently, you serve as Artistic Director of Anabella Lenzu / DanceDrama, a dance theater company based in New York. Both promote dance where expression melds with the mind. What led you to focus on this socially and politically conscious art? Where do you gather many of your inspirations?
Through working with a variety of artists and living in Argentina, Italy and the US, I began to understand dance as an integral part of our society. I became interested in using dance to improve our human condition by making the audience feel, think and emote. I developed a mission to introduce people to dance-theatre and engage in a cultural, educational and artistic exchange, especially between the New York community and other cultures, specifically Argentina, Italy and Chile. Francoise Delsarte, Isadora Duncan, Mary Wigman, Doris Humphrey, Jose Limon, Martha Graham, Anna Sokolow, Maurice Bejart and my husband Todd Carroll are sources for my continual inspiration. I like character driven drama, and break apart quotidian social gesture, so I strive to create a vocabulary of movement utilizing each.
As far as “socially and politically conscious art” this stems from what I’ve seen and experience in my life. Themes range from 1) The relationship between the individual and society: communication, identity, memory and spirituality. 2) The relationship between people and environment. 3) Women’s concerns and beliefs. 4) The struggle for a woman’s identity and role in society. 5) The nobility of the body as a temple for our mind, soul and heart.

Your company has a repertory encompassing several different styles ranging from ethnographic folk traditions, to theatre, to ballet to modern. How do you bring such different forms together? How does your diverse performing background influence your own repertory?
The different cultures I have lived in are the fire that purifies my choreographic ideas. My current work is not a patchwork quilt of easily discernable styles. Rather, it is a new movement vocabulary that integrates the entirety of my dance background (ballet, modern, folk dance, theater) with current ideas dealing with people and how they relate to their environment/society

Since training in and teaching Barre-a-Terre how has this changed your own dancing and choreographing?
It has made me much more aware, detailed and specific when I am teaching choreography to my company dancers.

With dancers constantly expected to push physical limits, how does this affect approach to cross-training? Do you find that the current exercises will remain essentials, or will the technique have to alter to accommodate the new physical demands? Since starting, have you seen any changes, in the format of class?
Teaching in New York is a unique experience because students come and go and there isn’t often a group of dancers consistently taking class over a long period of time. The students come from a wide variety of dance backgrounds and are training in many different techniques. The exercises I use in my class are designed to acquaint the dancer with his or her musculature and how they’re using that for expression. I constantly find myself repeating “It doesn’t matter what technique you are dancing….Vagonova, Cecchetti, Horton, Graham, Cunningham … (demonstrating arms in second position)…this is your second…maybe it shifts stylistically from one technique to the next ….higher…lower… but your arms are always connected with the scapula, and the back is always supported by the latissimus dorsi. There is only one human body.

The diversity of New York is fascinating because there is an opportunity to teach and communicate with people from all over the world, coming from different cultures and artistic backgrounds. I am constantly learning from my students, even after 20 years of teaching! The relationship with my dancers and students is by nature profound.  I search for each dancer’s individual voice, bringing out their potential & creativity. I love to work in an atmosphere of creativity, respect, responsibility, honesty, independence and freedom. In my classes, I feel lucky to work with people that have a deep necessity to express themselves and explore the language of dance as an instrument- and, in teaching barre a terre and ballet it’s my job to give them the tools so that they can fully explore the possibilities of their instrument.

Any updates you would like the Peridance community to know?
I’m working on a full evening length show with my company Anabella Lenzu/DanceDrama entitled, “The Grass is Always Greener…”, which is a piece that explores themes of immigration, roots, and memory that will be premiered in October, 2010 at the Merce Cunningham Studios. Also, I am organizing a Tango Tour to Buenos Aires, Argentina December 28^th and January 3^rd of this year. It’s a chance to experience the birthplace of Tango, dance in exotic Milongas, and see the sights in Buenos Aires, the “Paris of South America”.

Experience Barre-A-Terre and discover the difference!

For more information visit: www.AnabellaLenzu.com
Photos courtesy of Todd Carroll: www.toddcarroll.me

Peridance Perspectives Introduction

PeridancePerspective — Tue, 31 Aug 2010 21:53:55 GMT

Hi, we are Peridance Capezio Center on this profile we will post interviews with teachers and choreographers to give you exclusive insight into the dance world. Stay tuned to hear what the pros have to say!

~Peridance Perspectives

St. John The Divine Press

JamesBarbour — Tue, 31 Aug 2010 20:29:15 GMT

So here are some links to press coverage on the event at St. John the Divine on Monday September 13th. It's free so you have no excuse not to come!
See you all there.

Story on NBC

Story on NY1

The 20 Most Anticipated Shows this Fall (according to NYMagazine)

eugene — Tue, 31 Aug 2010 05:52:32 GMT

For the Shakespeare fans, The Merchant of Venice is at number 7.

For the Marvel fans, Spider-Man: Turn Off the Dark is at number 11.

To check out the other eighteen, click here.

I find number 15 pretty interesting--maybe because I'm a fan of the book.

What about you guys? Share your thoughts in the comments section.

Representation

James Lim — Mon, 30 Aug 2010 21:31:58 GMT

Finally found representation!!! (Agency- Brass Artists & Associates/ Management- Maier Management)

Another 1 Down... & 999,979 more to go....

FreshOutDaBox — Mon, 30 Aug 2010 04:43:10 GMT

Ahhhhh Man.... I'm working on my project (The Fire House) and I just finish up the HOT! joint. My brother "Early" came threw this week to help me out with the song. My brother makes me push myself more because his time is valuable. That means if I waste his time he's not going to fuck with me on the music tip , and I need him around. So he came threw and right away I kick the first verse. "Un! Hell Yea" He said. Then I start the 2nd verse... I drop like 8 bars and shut down. He's like "What Up?". I tell'em that's all I got..... Right away he jumps on it. "Try this. Try that" he said. So were both going at it. Idea after idea. We put all our thoughts together and made the 2nd verse twice as HOT! as the 1st verse. I'm like "Damn Earl , we need to do this shit more often". He looks at me like "Pssss... you telling me." So to make a long story short , "We got another BANGRR!" and this 1 is going up in flames. It's (The Fire House) , I'm Jayson Nut and I'm out of here. Peace. Another 1 Down...& 999,979 more to go.....

Also come check out "Rap4Ever" Radio every Tuesday for "Official" music with "Live" Dj... "Dj. BoogNasty". Host by "Mr.Rap4Ever" and Co-Host "Tug McRaw". It's 2 hours of musical enjoyment. Watch the whole thing go down on UStream TV. and chat live with the host,co-host, and Dj BoogNasty. "And they say it wouldn't last...."
at: www.rapforever.com (Also join for free and ADD ME!)

Poet R U

Danzr_Von_Thai — Sat, 28 Aug 2010 11:02:33 GMT

@mcusiman "A man with property married well whereas a woman with property divorced well...http://bit.ly/btGdI0 www.poetru.org #Ganja #Norml

Contest: The Big Show Reel

Niki — Fri, 27 Aug 2010 19:41:57 GMT

Submit a show reel or trailer to be voted on for your chance to win! Grand Prize: The winner’s show reel will be screened at NYFEN’s Lights…Camera…Exposure, a film industry charity event with over 200 – 300 film industry attendees, on October 22, 2010 as well as on NYFEN.com and ForTalent.com. The winner will also receive an interview or write-up in the NY Press.

Submission Deadline: September 30, 2010 11:59pm EST
Voting Deadline: October 7, 2010 11:59pm EST

Must be at least 18 years old to enter. All entries must be in English and between 2 and 5.5 minutes. Submitted videos must be original content, and the sole property of the applicant(s). Previous contestants or talents featured at NYFEN events are not eligible.

The New York Film Exposure Network was founded in 2008 and is based in NYC. NYFEN is a platform and resource of empowerment for independent filmmakers and entertainment professionals. Its purpose is to spark collaborations and inspire the Indie film community, to produce original and entertaining content. Through a series of generously hosted and well-attended events, members of NYFEN are given the opportunity to connect and showcase their films in front of live audiences. Membership has grown to over 2717 film enthusiasts in just 2 years. website

James at St. John The Divine

JamesBarbour — Thu, 26 Aug 2010 22:46:22 GMT

Well it's been quite a while since the last update and that's because so very much has been happening. Where to begin:

Let's begin with the most pressing.
ST. JOHN THE DIVINE
I'll be taking part in the Broadway Blessing at St. John The Divine in NYC on Monday, September 13th at 7pm. The evening is dedicated to Lynn Redgrave and is free to anyone who would like to attend.
See the link below:
St John the Divine

SERRANO
I've been working on a new musical parody of Cyrano called SERRANO.Directed by Joel Zwick. Written by Madeline Sunshine with music by Robert Tepper. It's pretty funny and you all know how I like funny. In fact I'm known for funny!
Seriously though it's a blast to get to do more comedy. Something that I love to do and for some reason really only get to do on TV (aside from Urinetown and my concerts). At any rate there are some incredible people involved with this. We're looking at a NY workshop sometime in the fall.

HOLIDAY 2010
I am planning more Holiday Concerts this year, in fact they've become so successful that we have a multi city tour. All the details will be rolled out as we get closer but the cities planned are: New York, Sarasota, San Francisco, Los Angeles and we are looking at dates in Missouri and Michigan as well. Keep your eyes peeled for the details.

SURPRISE
Other news is that we have an amazing new project on the horizon. One that I'm incredibly excited about. (Actually it has three parts). I've been working on phase one for over a year now. It's still in it's "hush hush" stage but I will tell you that the music is incredible. Jeremy Roberts and I have spent the better part of the last two months recording the CD.
YES! A new CD is on the horizon. The rough vocals are almost complete and we're in the orchestration stage.
I will say this...it's a "Giant" of a project (and I'm not talking James Dean or even a Peach).
www.jamesbarbour.com

My blog!

LivviRenee — Wed, 25 Aug 2010 22:33:19 GMT

http://theatremusa.blogspot.com/

The Writer's Block: Now What?

garyapple — Mon, 23 Aug 2010 17:00:50 GMT

Writing something can be easy or difficult. (usually the latter) But once you finish something, you are faced with a challenge that is often even greater.

I just completed the first draft of a full-length musical comedy I've been working on for years. I am very proud of it, and it is simply brimming with potential. But as I sit here with the hefty script in front of me, I ask myself a question that puts fear in my heart...

"Now what?"

As long as I was writing something, I was active. In play. Happening. I was self-contained. But now that it is finished, I have to step into the real world and try to get it produced. For starters, I have to organize readings. (followed by rewites based on the feedback) Then more readings. Submitting to agents and producers. More readings. Backer's readings. And so on...

If I'm lucky enough to have a producer interested, then an entire new world of challenges and tasks opens up.

Of course, while all this is going on, I'll be writing something new and (hopefully) wonderful. And once that's done, I will again be faced with the question, "Now what?"

Gary Apple

The Writer's Block

Barrefly: thoughts and considerations...summer in the city

Sonja Kostich — Mon, 23 Aug 2010 15:16:54 GMT

What I've been up to this summer...

In addition to preparing for some exciting new projects (one coming up at the end of September and one beginning in November!) with my dance company, OtherShore, I spent some time workshop-ing/rehearsing the MacArthur award winning playwright, Sarah Ruhl's stage adaptation of Virgina Woolf's Orlando at New Dramatists. The talented group of people who assembled to sketch out and create ideas included playwright Sarah Ruhl, director Rebecca Taichman, choreographer Annie-B Parson (with assistance from David Neumann), actress Cynthia Nixon in the title role, actor David Greenspan and other wonderful artists. I had a great time working with all of them! As a dancer who works primarily within the dance world, it was a great experience to see how "theater people" brew their ideas and create something that has yet to be discovered. Of course it was fascinating to watch Ms. Nixon work as we all know her intimately as Miranda from Sex and the CIty. She is quite vibrant and real in person...one can see clearly why she is a star! Playwright Sarah Ruhl and director Rebecca Taichman arrived every day with thought provoking analysis from Virgina Woolf's classic and from her life—one of the many gifts one receives when working on such projects...learning new things from new angles! And of course, working with choreographer Annie-B (and David Neumann!) is one of my favorites! Annie-B has created two dances for my own dance company :)

This production of Orlando will be performed at Classic Stage Company in New York from September 8–October 17, 2010 with another talented group of actors. Last week I stopped by to do a little assisting in the choreography department and things were taking shape nicely :) Here is a link to the show: http://www.classicstage.org/2011_orlando.shtml

My next blog will have info about OtherShore's upcoming performances! Check back!