Amy Tofte of the LA Stage Times recently profiled a number of theater artists whose careers have taken some surprising turns. She recounts how creative artists slipped into management roles and how administrative staff used the skills they acquired in the theater to pursue alternative careers. Excerpts from these articles are reprinted here with kind permission from the LA Stage Times.
Amy Tofte of the LA Stage Times recently profiled a number of theater artists
whose careers have taken some surprising turns. She describes how
creative artists slipped into management roles and how administrative
staff used the skills they acquired in the theater to pursue alternative
careers. Excerpts from these articles are reprinted here with kind
permission from the LA Stage Times.
Your board is critical to the sustainability of your organization. How do you decide who to approach, how to approach them and why? This workshop shares some of the best practices when deciding to build a board that works best for your goals.
How can you maximize publicity and marketing with limited resources? Dynamic industry leaders explore how collaborative marketing efforts and yield bigger audiences with no increase to the budget.
3: Understanding Credit
What is credit, exactly? How do you get it? And what does it mean to you?
On Friday, April 24, 2012, an open convening of Chicago's “individual artists” was hosted by the Co-Prosperity Sphere. Participants were assembled through the efforts of several members of the City’s Cultural Affairs Advisory Council – Juan Chavez, Theaster Gates, Roell Schmidt and Jane Saks -- and Ed Marszewski.
An actor turned software designer, Christopher Ashworth developed the highly acclaimed program QLab,
an integrated platform for controlling lights, audio, and video tech in live
performance. In a 2010 blog post he reflects on the advantages of hiring
artists as employees.
This guide is intended to give a brief overview of Illinois law on the subjects of the rights of privacy and publicity and how those rights impact the work of artists in this State. This guide is not designed to be a comprehensive statement of the law or how it may be applied in any particular case and should not be relied upon as legal advice. Every situation has its own particular elements. If legal advice is required, consult with a competent attorney.
Kerry Reid (freelance critic for the Chicago Tribune and the Chicago Reader) and Kris Vire (Theater Editor, Time Out Chicago) share the dos and don’ts of press kits for theater artists.
What is an L3C?
The low-profit, limited liability company, or L3C, is a hybrid of a nonprofit and for-profit organization.
In recent years, dynamic pricing has become an increasingly common practice at large performing arts organizations such as the Chicago Symphony Orchestra, and in those contexts it has proven to be very successful. As the example of Theatre Wit shows, this practice is now also making its way into smaller storefront theaters around Chicago.
Fire, flood, earthquake, tornado, snow, ice—every area has its
vulnerabilities. Knowing which hazards could affect your community
enables you to prepare in specific ways to lessen and manage the risks
to yourself and your family, your assistants or co-workers, your art and
your workplace. Here's a preparedness checklist.
There has been a recent flurry of tweets and blog posts about L3Cs—Low-Profit Limited Liability Companies—as alternatives to incorporating as traditional 501(c) nonprofits. For those who are just joining the conversation now, it may be useful to go over some of the basics of the L3C form. Emily Chan of the NEO Law Group explains:
Dawn Gray (President, Gray Talent Group) and Matthew Miller (Associate Casting Director, Paskal Rudnicke) weigh in on headshots, agents, and leaving Chicago for the coasts.
While a lot of your promotional efforts can be concentrated online these days, it’s a good idea to take a look at offline methods and see which ones are still effective for marketing your music. Here are a few simple ideas to help market your music offline. But don’t rely on only these, be sure to have regular brainstorming sessions and see what other ideas you can come up with.
Tips on Raising Money to Launch, Support, or Promote Your Latest Work
So you need money to launch your next literary venture? Then it’s time to reach out to your community (and not just your friends and family) to raise money. Whether you’re publishing a magazine or promoting a book, one of the first things you need to do is determine the scope of your project.
Hi, I’m Rob and I’m in a Facebook writing group. Like most group therapy, it’s helping. There are about 200 of us—colleagues, students, and friends of ideaman and Ray Bradbury biographer Sam Weller—and only about 10 percent of us are posting updates.
For many writers, freelancing poses some obvious benefits, but how to get started—and how to sustain a career—might not be so obvious.
The tired maxim “write what you know” applies more broadly to freelancing: Write what you know or what you want to know. There are tons of specialized websites seeking reviews of places and things in specific geographic areas, such as citizen-journalist blogs like Examiner.com, or digital media sites that are owned and run by reputable news sources (Metromix, for instance, is owned by the Tribune; Centerstage Chicago is owned by the Sun-Times Media Group).
If you’ve attended readings, signings, book release parties, and the like, you know that not all literary events are created equal. Some, truth be told, can be a real bummer. When I worked as a media escort (a job that involved transporting touring authors around Chicagoland: hotel to bookstore, bookstore to public radio station, radio station to library, and onward), I witnessed a few such readings. The participants weren’t the bummer, nor the material being read; rather, it was a lack of planning and organization.
At one particularly disastrous reading, the author and I arrived at the bookstore at the scheduled time and spent 20 minutes trying to hunt down the person in charge.