contacting professors in the humanities

[roguesenna]

Do people really do this in the arts/humanities? It seems like science people are very strongly encouraged to identify with a professor who's lab they want to work in, but since my department (theatre/performance studies) obviously doesn't work quite that way I'm wondering if I should still contact profs and if so what I should say in my letter.

 

I contacted the administrator at Columbia and she said "It is not standard to meet with faculty, but you can email individual Theatre professors to request an appointment." then added "They’ll be glad to correspond with you and, sometimes, they do meet with prospective applicants." and "It’s more important to communicate with the Theatre faculty than with me, after all." so I sense that is a "go for it," but I'm not sure how to approach without being annoying. What do you think?

[Loric]

I've done the whole theater MFA process (design).. they are, for all intents and purposes.. looking to a hire a faculty member. You will probably teach intro acting classes and script analysis and such. You get better, you get to go into directing, etc.. and if you're performance it's a matter of if you're suitable for their upcoming shows. Sorry, a white girl doesn't get to do "For Colored Girls Who Have Considered Suicide When the Rainbow is Not Enough."

 

Theater is going to place a big emphasis on you as a persona and personality over your application.

 

It is very important you talk to faculty in the program as you're going to have a direct supervisor/mentor who is going to essentially approve everything you choose to do. If you don't physically meet them or at least have a telephone interview you don't stand much of a chance. Every person i know in a theater MFA had to go through dinner/drinks with the faculty before they were accepted.

 

They are looking for someone they want to have in their faculty lounge. I've said it in other responses to people on this forum as a "heads up" that may apply to other majors, but I can tell you without a doubt it applies to what you're going for. With my peer group the usual routine was to approach.. discuss via email breifly.. schedule site visit.. interview, tour.. show basic info in a packet you've prepared (test scores, a photocopy of transcript, people who will be your references, resume/cv, etc..) and then be asked to apply.

 

Once asked, as long as you meet the school's basic standards the department itself is going to accept you. Theater departments are generally very small and the faculty chooses who they want.. much of the "applicant" pool doesn't even get looked at. Funding is also sparse, hence the graduate assistantship and faculty-type position. And a program may not be accepting a person/people for each area during any given year. They may alternate - directing versus technical direction on opposing years.. or they may need more costume designers.. or they may need 2 boys and 2 girls in performance with strong movement background to cement their productions. They may need an asian woman, they may need a black man. They will choose people based on production needs.

 

If you can find out what their production schedule looks like in the future, you can swing your resume/cv/credentials to show how you'd be an asset.

 

Find the person in the program who looks like the best fit for what you want to do and start there. They'll have no qualms about pointing you to someone else if it's not their position to recruit/hire.

 

The schools you're looking at don't do U/RTA but looking at their mass audition/interview guidelines will give you an idea of what other schools are looking to see.

 

http://www.urta.com/NUAI/candinfo.html

[Loric]

I see you're doing a PhD..

 

Do you have a theater MFA...?

 

My track was terminal at MFA level.. but all the profs I know with PhD's (including my primary rec letter writer for my attempt at design outside theater - he's history) got an MFA first.

[roguesenna]

I have an MFA in dramatic writing and I'm going for a PhD in Theatre and/or Performance Studies, so while I'm sure I'll be doing some practical theatre work I think the bulk of the program will be study/research and teaching. More like a lit degree but with a focus on dramatic lit instead of prose. That said, your bit about choosing someone they want to have in the faculty lounge with them makes sense, I can see how that would be a big influence on the decision. I have an idea for which professors I'd contact directly. Do you have any advice about what to say an a first contact email?

[Loric]

I have an MFA in dramatic writing and I'm going for a PhD in Theatre and/or Performance Studies, so while I'm sure I'll be doing some practical theatre work I think the bulk of the program will be study/research and teaching. More like a lit degree but with a focus on dramatic lit instead of prose. That said, your bit about choosing someone they want to have in the faculty lounge with them makes sense, I can see how that would be a big influence on the decision. I have an idea for which professors I'd contact directly. Do you have any advice about what to say an a first contact email?

 

"Hello."

 

And I suspect you'll be an "office person" when it comes to the nitty gritty. Many schools are still going to see you as a "worker bee" but you wont be expected to be on every show, at production meetings, etc.. the way the other areas are expected to be. With the other skills it's a large part about bulking up the resume with as many shows as possible. From what I remember they'll be looking at your plays and/or development and looking to produce one of your works - probably in their "small" space (blackbox, experimental, etc..) as early as your second semester, but if you can wow them with a major drama don't be surprised if you can get a full proscenium show in year two. 

 

Their productions are mapped out in advance by a committee who fields various scripts along with professor/designer/director interests. Students, faculty, etc.. throw names of shows in as recommendations and a glorified bookclub reads them and meets and votes yes/no/etc.. and then allocates budget. If they know you're coming and want to produce something you've written they'll work it in an easier slot (the flex space.. etc..) but a main stage production is going to take scheduling and allocation semesters prior. 

 

Back to the email...

 

"Hello."

 

"I'm interested in..."

 

"I see you've done... and .. and.." 

 

"If you can offer any guidance I'd appreciate it, and if this is directed at the wrong person in the department could you please direct me to correct person." 

 

Keep it short and straight to the point. Most of the folks in the departments are dealing with production deadlines and rabidly respond TLDR to any and all things. Even those in analysis, scripts, dramaturgy, etc.. are reading student papers, working on books, etc.. and don't want to read anything that's superfluous.  Keep is direct and mention a few reasons why you're interested from their recent work. 

 

Mention you'd like to come out and see the school/program. The earlier you're there the earlier you can be "in." Beat someone else to the punch. I've been "last one in, first one out" when a department made cuts due to budgeting (and in the end, in, because i gave really big puppy dog eyes.. not really, but they still got me in with funding after all that drama.. and then i didn't go there.. jeeze i'm way off topic.. "I digress.") 

 

Speed is your friend. They recruit over winter and early spring. U/RTA is in the dead of winter. Like 2-3 weeks from now they'll be having the first people show up to poke around. Be one of he first and put on a good show and keep following up so they wont forget you.

 

Build a rapport and they'll feel guilty saying "no" - i'd feel stupid saying that to someone outside the arts, but in the arts it's true. Someone who thinks they're destroying your chance at striking it out as an artist  by denying you will likely accept you, no matter the credentials. Potential is always worth more than experience in the arts. I've seen them look at gorgeous portfolios and say "Yes.. but is that the best she could do and it's all downhill from there..?" Show forward motion and progression... and of course potential. 

[Loric]

Also..

 

Look at "who" they teach as a starting point for what they're looking for. Look at the assigned booklist for script analysis, performance theory, etc... A program that goes for Gratowski and Stanislovski will be actor-centric, looking for meaty roles for their little snowflakes. You can parse out which program is willing to paint their naked students pink and have them making barking sounds for two hours and which is wanting to do a costume drama. 

[Loric]

I had a friend who went into one program and we all realized by the second semester they'd always have Shakespeare but interpreted via absurdism, every semester. "So I see you like to get a little freaky with the classics" would be a good convo starter with that department for example.