There are four scenes in the two act play in which an ensemble consisting of, at most at this point ,13 people, appears have already cut three They are not a chorus.. I have named the people in the ensemble and given them individual characteristics , although they are really townspeople and such. They create a tone for the scenes and the background of the pace and situation.
I have been told by a playwright of straight dramas that this is far too many people unless I am aiming for Broadway Is this true? And should I take it into consideration? To lessen the number of people and their individualities would take away from the atmosphere and function of the scenes. Do I keep on track or lessen the impact and depth of the scenes by eliminating part of the ensemble? It's a straight question of economics. Thirteen actors plus musicians you don't say what sort of music is expensive.
Schools love huge casts, but that's because they don't pay them and they want many people involved. It may be different in other countries, but in Britain regional theatres don't do many musicals other than pantomimes. Amateur groups put them on regularly. Otherwise, you usually have to go to a large city to see one because you need a large theatre to seat enough people to make it pay. Thank you so much for your commentsThis is very helpful.
To clarify - The 13 people are the participants of a crowd scene I know this sounds confusing. The opening crowd scene introduces the audience to the environment in which the main characters live..
I would like the audience to be familiar with them. Two other crowd scenes have different characters but , again, the same actors can be used in them. I really do appreciate your comments-I want to make sure that what we are doing is viable Sign up to join this community. The best answers are voted up and rise to the top. Stack Overflow for Teams — Collaborate and share knowledge with a private group.
Finding work as an ensemble member is all about mastering the art of the audition, wherein ensemblists must demonstrate their abilities to quickly learn and beautifully execute choreography, to sing and harmonize effectively across a range of genres, to embody different characters with their voice and movement, and to take direction.
Ensemble members who can do all of that won't struggle to find work. While building audition skills, there are a number of things aspiring ensemble members can do to improve their chances of getting gigs—paying close attention to audition postings across a wide range of platforms, for one. As anywhere in the theater industry, networking is absolutely vital; s ome Broadway ensemblists even recommend finding a dance teacher who works as a Broadway choreographer in order to make an additional connection.
The best ensemble members live for the stage, and love nothing more than to embody characters, tell stories, and create worlds. Excellent dance and singing technique are just prerequisites—it's the ceaseless passion for all facets of theatrical performance that makes a true ensemblist. Additionally, ensemble members should strive to be exceptional collaborators, humble and good at taking direction from music directors and dance captains, with whom they work closely.
Ensemble members work an intense schedule, including daily rehearsals from afternoon to evening while the show is in production, and up to 8 shows per week once it's running. The two two-show days each week are particularly exhausting, while Monday is the hallowed day off when most theaters go dark. Outside of work, ensemble dancers must work out to stay in excellent shape, take classes to learn new techniques and improve the old, and monitor their health and diet.
There's also the option to go on the road with a touring production. While the schedule is exhausting, as a steady and secure gig in the largely freelance field of theater, being an ensemble member on a Broadway production can't be beat.
In addition, many ensemblists praise the career for the variety and diversity of opportunities it provides—in other words, the job is rarely boring. Don't see what you're looking for? Main Site Berklee. Career Communities. Also Called. If space is available we also accept Columbia graduate students and local community members who are invaluable to attaining the proper instrumentation and reaching a high level of musicality.
Community members should also consider joining the Columbia Summer Winds, the Wind Ensemble's summer outdoor counterpart. Columbia Summer Winds rehearses Monday nights and performs in parks throughout Manhattan during the summer.
If interested, contact and check out the website. Membership is by audition. The Wind Ensemble holds scheduled auditions at the beginning of each semester. If at any time you are interested in auditioning, please email the. For your audition, please prepare a short section of music that best reflects your playing ability. Players will also be asked to sight-read a brief expressive passage and technical passage. The primary focus of the audition is to gauge the player's grasp of the fundamentals of ensemble playing, such as tone quality, rhythmic accuracy, intonation, musicality, and technical facility.
There is a wide variety of talent and experience level in the group ranging from serious amateurs to professional players. You don't have to be a conservatory level player to be a member, but we expect all players to have the playing ability to handle the music competently. The players who are most successful in the ensemble are those that have studied advanced ensemble and solo literature and have done at least some playing outside of a high school band such as in honors ensembles or University ensembles.
The competition and acceptance rates vary from semester to semester based on the number of people who audition and our current personnel needs. Seating may rotate from concert to concert, or semester to semester in order to provide the best instrumentation for the ensemble. The Wind Ensemble performs approximately four to five concerts every school year on average, two per semester. Students do not receive academic credit for participating in the ensemble.
The Wind Ensemble is run entirely by an executive board of students consisting of a president, treasurer, secretary, personnel manager, music librarian, publicity manager, webmaster, and social chair.
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