Salutations!

[Hunter]

Hail and well met! I'm an 18 year old aspiring performer from Ohio. <img src="graemlins/haha.gif" border="0" alt="[ha ha]" /> Yeah, just get that out of your system. At any rate, I got my first real acting experience this summer at the Great Lakes Medieval Faire. My friend got me an audition and I made it by the skin of my teeth by means of Iago's 'fill thy purse with money' tirade. It's a volunteer position, but I recieved two months of dialect training along with a lot of help with street work and improv. I'm having a blast and I have it on good authority that I'm doing well.
Enough history, looking onward I was hoping to make some small bit of cash this year street performing as I attend Ohio University. Realistically I hope to get experience. I do juggle, but I am really lazy, so I haven't improved past 5 scarves, 3 balls, or 3 clubs.
Basically what I'm looking for is this: a severe chastisement, maychance a salty old seadog encouraging the swift removal of my head from my rectum, a bag full of money with a dollar sign clearly marked on it's side, or some advice on what to move onto next. I was wavering between: unicycle (cliched?), fire torches, 5 balls, hats, shaker cups, bouncing routine... other ________ ? Upon reconsidering the smile I inserted earlier, I will not remove it but I will apologize for it. Sorry. That was really uncalled for.

[worldwidese]

Welcome! Based on my observation of buskers, it's not what you do, but how you present it.If you establish a good rapport with the audience, they won't care if you didn't get past 5 balls, or even if you constantly drop. So work on your act, characterization and "stage" presence and you'll be fine.

[nick nickolas]

Hunter....
Go out and do it !
It will be hard, but you CANNOT FAIL !
If you make zero$ you have spent half an hour or so learning , dissect this 30 mins and you will have gained vital information about what and what not to do next time.
If you make a tenner you have been PAID TO LEARN !
What can be better.
See you in the world somewhere
Nick

[Greedybogle]

New guy myself. A few things one of those salty old sea whatevers have told me that I will always remember:

(as has been indicated) It doesn't matter what you do. The juggling/whatever else you do is only there as an excuse for the audience to get to know you.

The audience wants to see you struggle, but ultimately succeed. A solid three club cascade is worth more than lousy back crosses. That is, in performance at least.

And, one thing for when it comes to booking gigs I should have paid more attention to, ALWAYS get it in writing. Rob Torres once told me, "This is a business, and it should be treated as such." I would like to think it is also an art, but he did have a point.

Also, of course, do it. Wherever, whenever you can. Do it badly if you can't do it well. The money will come. Or not, but at least you'll be having fun if you really love it, and you have to love it if you're going to do it.

Listen to the old hands, read everything in the library, and a big one, see every show you possibly can - even if the performer does something you do not, watch the presentation and format. And by all means, give them a little something. After all, you will walk away with more than the average audience member.

Cheers.

[firegirl]

[quote]Originally posted by Hunter:
<strong>Hail and well met! I'm an 18 year old aspiring performer from Ohio. <img src="graemlins/haha.gif" border="0" alt="[ha ha]" /> Yeah, just get that out of your system. At any rate, I got my first real acting experience this summer at the Great Lakes Medieval Faire.

......I hope to get experience. I do juggle, but I am really lazy, so I haven't improved past 5 scarves, 3 balls, or 3 clubs.

Basically what I'm looking for is this: a severe chastisement, maychance a salty old seadog encouraging the swift removal of my head from my rectum, a bag full of money with a dollar sign clearly marked on it's side, or some advice on what to move onto next. I was wavering between: unicycle (cliched?), fire torches...</strong><hr></blockquote>

unless you can't do anything else don't do fire you young pup... get thee out thy clubs of juggle and FUCKING PRACTICE.

lazy performers never make $$.

we are the giants in this world and unless we are something extraordinary we will never even be looked at twice by those passing by with dollar bills in their pockets crying out to be put into our large and funny looking hats.

did brook hall teach you that along with a crappy 'country english' dialect?

(says the girl with an mfa in movement who has been sticking fire in her face for six years BECAUSE of brook hall... blast him for ever giving me a stage show & access to brian "broon" howard... damn really fun parties and trailer hot-tub parties in the woods of buchannere camp grounds... damn comedy olympics and spencer humm... damn, damn, damn... i was ON MY WAY TO A CAREER AS A SHAKESPEARIAN ACTOR in nyc!!!! damn, damn, damn!)(just kidding... i love wot i do.)

not to be overly sardonic and mean -- but, dude... try the rola-bola or a straight jacket... don't go sticking fire in your face straight off...

leave that for the stoopid, albeit, seasoned pros like deane laceter or brian howard... or, hell even me.

cheers & pull your head outta ur bum - you asked for it!
firegirl

[ 08-20-2003: Message edited by: firegirl ]</p>

[firegirl]

...oh yeah...

three other things...

"hail and well met" has a place only within the faire grounds during show days... do NOT turn into one of those people who lives their lifes pretending that the ren faire is REAL... cause it's not - it's just a job and don't forget that. that is second hand advice given to me upon my initiation into the official "independant variety performers" club... bringing me to...

YOU AREN'T A RENNIE -- you're a paid stage act... act like it.

and, DON'T wear your costume to dennys... be a real person when you're not on stage...

more unsolicited advice... fire at random those who love to criticize...
smoochies from the bottom of my heart,
kate/firegirl

[Pele]

Actually Firegirl, he isn't a paid stage act. He is a volunteer street act, which is why he is asking. [img]smile.gif[/img]

Though...the whole "please don't act like a Playtron/Rennie" speech is a sound one. Truly. Character is character, you are you...make an effort to keep the two seperate....pleeease!

What type of fire torches are you speaking of? Eating? Juggling? Club Torches? Many to choose from, each a seperate beast which should only be taken on by someone who has either been taught or done tons of research and practice.

Where to head next? Why go cliche? Why go with something you feel everyone already does? Peruse through sites, books, resources and create your own niche. While a straight jacket on a unicycle would be very amusing, it would take time to get to...so again Firegirl's point of practice and time is very sound. Check the stage acts at faires, if that is the venue of your choice, and see what is missing, then set out to learn that.

As one director told me...fire people are a dime a dozen, jugglers are a nickle a dozen so to get noticed you need to have alot of something extra. Welcome to the world of object manipulators! [img]smile.gif[/img]

[firegirl]

well pele - i was recounting the advice which was given to me by brian "broon" howard the first time i ever performed at a ren faire...

and, i kind of thought that he WANTED TO BE a paid stage act instead of a volunteer... but, if he just wants to do his thing because it's fun and not aim to make $$ doing it - then he is kind of a playtron.

the two things which seperate us from the weirdo playtrons is a.) the paycheck at the end of the weekend and, b.) the hat full of THEIR money...

cause you gotta be kind of weird to start with to think it's actually a good idea to live in a tent/trailer... really... even if you DO have a portable hot-tub to go with the trailer... weird.

no offense, darling. [img]wink.gif[/img]

anyhoo... that aside... i find that there are no UNIQUE variety arts... every guy or gal who tells me that they are UNIQUE i tell them that i've seen five, ten, fifteen - possiably more - acts doing the same stunts/tricks/illusions whatever you want to call them at other faires, busker fests, variety stages... the only thing unique is your presentation of said over done variety stunts which makes you stand out...

which is why i encourage people to start with the easy stuff -- juggle three balls, do a straight jacket escape... don't go buying $200 illusions at your local magic store that you have no idea how to work... do the easy stuff first and develop your performance style -- your patter, your movement... that is what people pay to see... really... any hack can do the magic rings -- they PAY to see a performer who they percieve as funny/sexy/funny-rude... hell even my college chem. teacher could do a floating orb... i know TONS... yes, TONS of jugglers who cannot make squat doing anything... fire eaters too... because they have the onstage persona of wet dishrags...

so that's my main advice - start with the easy/no-fail crap ass tricks... then work your way to something more difficult and more impressive once you've developed a nice little show which makes you $$ even with the crap ass tricks... a show which you can plug other stunts into...

if you doubt that i am right -- look at any shows who you admire -- ask them what the stunt which started their show was... you'll see...

i find this formula works nicely.

hell - six years ago i had a singing show where we only played two ren faires a year and i had to split tips three ways...

now i have a full service fire SOLO show (paycheck and tips all for me) which travels 30 ren faires and comedy clubs all across the country...

how could i be wrong?

[Steven Ragatz]

First, and foremost, decide to accept the label, or moniker if you will, of "performer". It is as much a state of mind as it is what you do. You can embrace it as a philosophy, religion, craft, vocation, or whatever, but however you accept the job, integrate the imagery into your being. When you walk down the street, strangers should be able to sense that there is something different about you. Allow yourself to be confident that you will find success because there is no other alternative - it is strictly a matter of time, after all once you've tasted the warm light of the stage, you can't ever be the same.

Sure, you will have a stage personality, and that character can live during the show, but your real-life personality changes as well. I agree that on stage, and off stage are different realities, which is one of the reasons that I sign posts with my given name rather than "juggler-guy". (If I write online, I want you to be in direct communication with Steven Ragatz, not some faux-persona cyber-mask.)

What should you do next? Continue on the journey, that's what! If you are looking to acquire literal skills that increase your vocabulary, then I would suggest first taking a close look at your own physique and then choose those techniques which are conducive to your body type. I'm pretty sure there's a reason you don't see too many obese unicyclists or stilt walkers, the same way that there is a reason that there aren't too many acrobats who are 6' 4". Make good choices now so that you empower yourself to excel later.

I disagree with "fire-girl" that you should do the easy standards and build a show from that. Yes, start at the beginning, for all technique is based upon a strong foundation, but don't be so quick to adopt that which has already been explored. Just because someone else thought it a good idea doesn't mean that you should too. Remember, you're a performer now. Performers have no need to follow the heard like sheep, and when you do, it is by choice, not necessity.

Additionally, explore other disciplines. Acting, dance, music, poetry, costuming, history, martial arts, even wood-working all come to mind as wonderful subjects of study that would enhance any ren fair act's performance. Become a student your entire life.

Take a good look at yourself in the mirror and see what your face has to give. In what roles could you be cast at the fair? The prankster? Royalty? The fool? The knight? The ugly-maiden? Try to see yourself how the audience might see you and choose acts that support this image. Use the gifts you've already been given, for those are things that no one else can copy no matter how they try.

Ditch that "lazy" attitude and jump in with both feet, because swimming is much more fun than just wading along the shoreline...

There is some truth to the statement "What you do may not be as important as how you do it. But, be wary of anyone who dismisses the importance of creating, developing, training and mastering a technique, whether it be juggling, acting, singing, whatever. What you bring to the stage has to be worthy of that honor, not just in your mind, but in the collective mind of the audience. If they don't think it worthy, they will simply leave. If you don't think it worthy, then get off the stage, go back to training and get your skills to the point where you are proud of your accomplishment. Good juggling can be a very powerful dramatic tool. Don't be too quick to ignore that.

As you can see, I like to use emotionally loaded imagery in hopes of finding some self motivation. Developing and playing a variety act is very difficult work. On one hand, anyone can do it, but on the other hand, there is a good reason so few do. Personally, I find it becomes easier to get excited about the prospects of performing if you develop some sort of spiritual connection with the work. Make it romantic and passionate. Get that underlying power behind you and you will know what to do next.

And at the very least, get out there and try to inspire the next generation of performers!

Steven Ragatz

[firegirl]

you know you just said the same thing that i did steven... to start with the easier stunts/manipulations to build skills and then go from there...

there was no need to put my name in quotation marks and be all snarky about it... really... and, i was just about to send you an email to complement you on the article i read by you in the p.net library... sheesh.

kate/firegirl

[ 08-21-2003: Message edited by: firegirl ]</p>

[Steven Ragatz]

Kate,

Ah, but you see, I can be snarky when I feel like it. You shouldn't take it personally, nor should you feel special because you've been snarked. I am far more inclined to take Kate's advice about leaving the persona at the stage door than I am "fire_girl". But that's just me and my semantically organized mind...

My goal is (hopefully) to inspire the joy of creation and get "Hunter" to consider an approach that doesn't have a mechanical formula associated with it. "What do I do next?" is an indication of someone who, in my opinion, risks sabotaging their efforts because they are working for the wrong reasons. Yes, it's a job. Yes, you can just treat it like one. If you want to work for the long run, it's not in your best interest to do so. For there to be anything unique - and I do think that there are unique acts out there - simply requires that you put yourself into the act. Not just through character, but through costuming, structure, and technique.

I find if you start from somewhere different, you will probably end up somewhere different.

Steven Ragatz

[firegirl]

...i do take random acts of snarkiness personally... this is true... i say much of what i do with tongue firmly implanted in my cheek -- and, i try to clarify it as such...

as far as "living as a character" -- i assume because you're using me as an example that you're thinking that i do... that is far from the truth... i am not FIREGIRL (no hyphen, please) it is merely a character that i play... just as i have played many characters in many different types of productions throughout my 19 year performance career... i learned at quite a young age the detriment of those who internalize their characters too much -- through watching those around me -- and, i prefer to be my own sweet, sardonic and flawed self when i am not upon some stage or screen portraying some other persona... tho' i happen to use my character name as my screen name on the p.net - one should not confuse that with me "living as" my character... it's a semblance of anominity -- those who actually know me (in person) know who the screen name belongs to -- those who don't and have encountered my show can recognize me from it -- and, those who don't have any contact with me cannot delve personal information from searching the net for my given name... that's all.

as far as the is there unique or isn't there unique... i'm sorry steven - i'm going to have to disagree with you... i cannot remember who said it - however there is a famous quote: "there is no new art." i feel this applies to ALL forms of art... including that of variety arts...

there was a brief moment about two years ago when i debated that -- when two of my friends developed a straight jacket escape routine (which i've seen numerous versions of) which i thought i had really never seen before... two people in one straight jacket at the same time... however - lo and behold i tell harry anderson about it (while sitting in a bar having cocktails) and the next time i was walking past his shop in new orleans he called me inside to show me a picture from the 1920's of two magicians inside a straight jacket trying to escape together...

well - that was obscure enough to convince me that no matter how hard you attempt to that someone, somewhere has always done it prior... and, that my former opinion was correct.

and - i have studied performance extensively - i have a bfa in musical theater/mfa in movement performance... i have taken countless acting, dance, voice, movement, style classes -- i have worked over the course of my lifetime (since i was 11 i've been a pro... thanks stage momma) i have performed with/at countless ren faires, improv groups, shakesperian theaters, dance companies, summer stock theaters, college theaters, film, tv -- you name it i've done it... i feel that my opinion that the UNIQUENESS (is that a word?) of an act comes from the stage persona and energy put into by the performer...

any fool can stand on stage and go stunt to stunt to stunt (take fire eating, for example.) however, the sucessful performers are the one who can engage the audiance not with WHAT they are doing... but, with HOW they do it - WHO they are and what they say... that is where the real skill lies.

i stand by that opinion... as further proof i offer up examples of variety performers who posess little to no technical skill -- yet they manage to get bookings, hold crowds... it is because of that PERSON... not because the audiance really cares to see one more juggler/escape artist/magician/fire manipulator what have you...

there have been times when i've performed at ren faires when i have had other performers on stage with me and we decide to throw our shows out the window and just screw around... we STILL have audiances... because we're funny... because we're energetic... because we have that personality which people will pay to see over and over again... not because we can juggle twenty chainsaws at once while riding a uni and balancing a weber grill on our chins... (tho' that WOULD be impressive...) hell - i remember being on stage with brett copes (who i think is one of the best stage acts i've ever had the pleasure to share a stage with) - i'm singing... he's cracking his whip... my partner (at the time) is bouncing on a loose board on our stage like a mini-tramp... and, brett hands me the whip... which i cannot crack -- and, THREE hours of comedy ensued surrounding the idea that i wasn't a *real* variety performer because i posessed no *real* skills... me flinging the whip around like a moron... brett mocking me... my partner cj jumping on the loose board trying to avoid being hit by the whip... people who saw that show still come up to me and ask me if it was rehearsed... if we had scripted it...

they liked it why? because of the personas... because of the energy of the performers.

another example -- i once shared a stage with a juggler (who shall remain nameless) who i thought posessed AMAZING skill... he could juggle more clubs than i've seen anyone do before... he could rotate a crystal ball in one hand while juggling three bean bag balls with the other... he could do amazing fire and whip shit too -- but, he couldn't hold a crowd... why? cause this dude had the personality of a wet dishrag... (note: he has since improved... a bit.)

where another act - who were the crappiest stage combat show i've ever seen... they're sloppy, they steal material from other shows - and, one of the guys is a real dick (and, not in a funny way) had packed stages... because one of these guys was a fireball of energy, quick on his feet and funny as hell...

where i agree that one has to be dilligent in their craft - lazy performers are boring to watch - i really think that those beginning should pick one or two things that they can do sucessfully (juggle five balls, ride a uni while juggling three clubs... do the magic rings... escape from a straight jacket) and build a show around them... build material around them which they can place around ANY stunt/manipulation as they gain skill... build a solid character and develop your audiance interaction skills... heck - craft the perfect hat line (that one took me years of trials and errors) ...this will give you a jumping off point to develop more complex stunts/manipulations later down the road...

i find that a common mistake (and, one i made, myself) of beginning variety performers is that they try to squish too much into a 30 minute show... they confuse their audiances... they don't learn how to interact with them - as opposed to perform AT THEM... in this situation -- less is more... take your time... i only do two - possiably three big stunts per show... i allow my audiance to guide me in the pace of the show... the tone... i feel no qualms about taking on hecklers or laughing when a heckler betters me (which happens with more frequancy than i'd care to admit) -- keeping a postitive spirit - one which is engaging, while sarcastic and a touch acerbic (it's all part of the character) -- having fun doing what i do... i also keep in mind that the show isn't FOR ME... it's for the audiance... and, if they're happy i'm happy...

this isn't to say i don't have crappy shows... i do... quite a few... where things or people conspire against me doing my best...

but, even when we're playing a character -- we're still human... [img]wink.gif[/img]

firegirl/kate

[Steven Ragatz]

[quote]as far as the is there unique or isn't there unique... i'm sorry steven - i'm going to have to disagree with you... i cannot remember who said it - however there is a famous quote: "there is no new art." i feel this applies to ALL forms of art... including that of variety arts...
<hr></blockquote>

How sad that you think that, for if that were true, then there's little point, eh? I guess we should just get in line with the other "artists" and punch in for our shift.

[quote]i stand by that opinion... as further proof i offer up examples of variety performers who posess little to no technical skill -- yet they manage to get bookings, hold crowds... it is because of that PERSON... not because the audiance really cares to see one more juggler/escape artist/magician/fire manipulator what have you...<hr></blockquote>

Sure, I have seen performers as well who have an inherently gifted stage presence, and can easily get the audience on their feet cheering. I have also seen acts that were so technically pure that the audience was stunned into silence, unable to even applaud at the end.

[quote]and - i have studied performance extensively - i have a bfa in musical theater/mfa in movement performance... i have taken countless acting, dance, voice, movement, style classes -- i have worked over the course of my lifetime (since i was 11 i've been a pro... thanks stage momma) i have performed with/at countless ren faires, improv groups, shakesperian theaters, dance companies, summer stock theaters, college theaters, film, tv -- you name it i've done it... i feel that my opinion that the UNIQUENESS (is that a word?) of an act comes from the stage persona and energy put into by the performer...<hr></blockquote>

Relax, and take a deep breath. Your credentials are not in question, nor are your performing experiences. You needn't feel you have to prove anything to me or anyone here.

Character is important, to be sure. But at the center of any skill based act is the skill itself, and to ignore that, or to put it second, can undermine the act itself. Impeccable technique does not guarantee a great theatrical experience, but there are many technical acts that utilize skills in ways that create absolute magic - stuff that becomes super-human, exceeding the audience's expectations, or even their understanding of what physically possible.

We all find a balance between the writing, performance, and technical skills we center our routines around. I think it is important not to dismiss any of those components as being less important than others. Design your act around yourself, your body, your mind and your spirit, and in the end you may find that you are unique after all.

[quote]i really think that those beginning should pick one or two things that they can do sucessfully (juggle five balls, ride a uni while juggling three clubs... do the magic rings... escape from a straight jacket) and build a show around them... build material around them which they can place around ANY stunt/manipulation as they gain skill... build a solid character and develop your audiance interaction skills... heck - craft the perfect hat line (that one took me years of trials and errors) ...this will give you a jumping off point to develop more complex stunts/manipulations later down the road...<hr></blockquote>

And when you see them further down the road, don't be surprised to see them juggling clubs, doing magic rings and escaping from yet another straight jacket with nothing more to bring to the stage than that which has already been there before.

My advice to Hunter is this: Yes, develop character. Study acting. Learn anything and everything that you can dream up might help you on your way. But don't be satisfied with your personal mediocrity, whether that be with juggling, unicycling or anything.

I believe in a simple formula. Don't worry about being successful, worry about being good.

Steven Ragatz

[firegirl]

...no it's not sad steven... it just is.

just because i am probably the ten-zillionth person to play beatrice in "much ado about nothing" makes it no less a creation on my part... no less profound to my audiance... no more a contribution to the world...

just because there are a million people out there or more who have done something prior doesn't make it ugly or mundane... it's still art... it still expresses the mind and soul...

and, btw - i didn't list my "credentials" (as you put it) to do anything other than illuminate the fact that i have been there, done that, got the t-shirt and might have experiance to back up my opinions.

which are what my posts are - opinions.

furthermore - of course if a performer is lazy and has no desire to grow within their craft they are going to stay with what is easy, what is familiar... however, my point was that for a beginner (who has no real performance experiance or any solid technical skill) that an important place to begin is within one's self -- with their natural ability to entertain... one shouldn't mistake base technical skill with talent sufficant to make a living within a very competitive industry...

and, yes - there are people who are so astoundingly technically brilliant that audiances are mezmerized... this is very true... however, i would liken performances like that to a dance... so choreographed and perfect that it remains constant... and, one doesn't get there by either being lazy or starting (when one has no technical skill) with the most complex thing possiable... it involves years of training and practice.

it would be like me picking up five fire clubs and expecting that the first time i took them on stage to be able to wow the audiance into shocked silence... it just isn't going to happen...

and - really - that's a form of stage persona, isn't it? the quiet master...

anyhow - steven it seems like you're spliting hairs in what i'm saying... i think that we're saying much of the same things... and, that this debate is merely semantics...

i leave you with the only thing that brook hall (glmf) ever said to me that was profound:

"we are the giants in this world."

respectfully,
kate

[Stephon]

If I could just drop my two cents in. . .

. . .statistically speaking, I think it is illogical to assume that no new art exists (e.g., no new art will ever exist--unless we live in a unique period of history). The fact that someone once made this statement does not make it unassailable; I have been known to say things with great conviction that were patently untrue, usually while sitting on a barstool next to a pretty co-ed (but not since college).

And speaking of patents, ever seen this quote:

"Everything that can be invented has been invented."
--Charles H. Duell, Commissioner, U.S. Office of Patents, 1899.

There is mounting evidence that Mr. Duell was wrong...and he was an expert.

Again, statistically speaking, given the number of performers/artists out there, the occurrance of completely new ideas is going to be very low. The fact that we don't see new things doesn't mean they don't exist, it just means most of us can't come up with them. Frankly, how often do you see anything in any field that is truly new. Most every innovation is a modification of something extant.

For example, take those jumpy/runny stilt things that I obviously don't know the name of. Before those came out, was there anybody playing basketball or doing flips on stilts? But they're still stilts. What about computer generated imagery and artwork? You won't find any of that from the 1920s. How about Michael Motion's triangle juggling? Steven would know better than I, but I'm pretty sure that was an innovation.

I feel confident that as technology progresses, creative people will find unique ways of using that technology to express art and to entertain.

And maybe, just maybe, someone who's creative enough, and clever enough, and driven enough, and wealthy enough, and talented enough, and crazy enough, and who just happens to want to apply all of this to the entertainment field, maybe this person will come up with something new right now.