Duke’s Trinity School of Arts and Science produced a lovely video to introduce my teaching philosophy to the university. In Part I, I speak about my journey into acting and teaching as well as my challenges along the way.
Part II of Duke’s video sharing my pedagogy and work. I speak about community and the realistic pursuit of the artist’s life.
Casting director Xavier Rubiano shares his journey from being a young actor in LA to becoming a top casting director in New York City. We discuss what happens beyond the table and the many aspects of casting that are often not seen by actors. Later in the discussion, we delve into Xavier’s transition to casting as a Latino man who was often one of the only BIPOC casting directors in the room, the shifts in casting, and what casting mean to the changes in culture.
In Part II of our discussion, Xavier discusses his work with the Casting Society of America Alliance which was formed to aid the BIPOC community in gaining access to the casting profession. Xavier shares amazing training and resources for diverse and inclusive programs young people who are curious about beginning careers in casting. We also address questions from young actors about what to do in a room, self tapes, and how to prepare for the unknown in the current climate. Resources for casting mentorship and education programs can be found at the Casting Society of America Alliance https://www.castingsociety.com/committees/csa-alliance-public and Broadway for Racial Justice https://www.castingsociety.com/committees/csa-alliance-public
King Richard actress, special Tony Award winner and former student, Mikayla Bartholomew, recently stopped by The Simple Actor to discuss her personal journey, activism, and her fight to be seen for all that she is as a black woman and actress in today’s industry. In Part I, we talk about her early college years, major decisions in her creative path, and her newfound role with the Broadway Advocacy Coalition.
In Part II of my talk with Mikayla Bartholomew, we discuss about her exciting experience of being cast alongside Will Smith and Aunjanue Ellis in the recent feature film, King Richard. The talk finishes with a Q&A.
Natalie Wachen is an LA based actress and producer who has a wide variety of experiences and wisdom to share about her personal journey surrounding industry beauty standards as a black actress. Enjoy the many laughs and nuggets of truth that emerge.
Why is the business more expensive for black actresses and what can young actors do to honor their unique qualities while understanding the demands of the business? More laughs, stories, and mic drops with Natalie Wachen. To catch a performance of the Noelles or book the group for events, please find them on Instagram @the_Noelles or on their website https://www.heatwave-entertainment.com/the-noelles.
Los Angeles based makeup artist, Andie Sleeman, took the time to talk changing makeup trends, helping to heal post traumatic stress for BIPOC actors from bad makeup and hair experiences, and smart tips while on set. You can find Andie on Instagram @andiesleeman and on her website https://andiethemakeupartist.com.
Part II of the makeup talk with Los Angeles based makeup artist, Andie Sleeman. In Part II, Andie answers student questions and how to really create the “no makeup” look that agents and the industry so often request. You can find Andie on Instagram @andiesleeman and on her website https://andiethemakeupartist.com.
A quick video about a little tip I learned from casting director, Anne Chapman, that helped me in a recent audition.
Decolonization is not a metaphor and is eloquently explained in an article of the same title, "Decolonization is not a metaphor" by Eve Tuck and K. Wayne Yang. Yet, the term decolonization, literally defined as the action or process of a state withdrawing from a former colony leaving it independent, is commonly used to describe the reengineering of academic systems to reflect more socially just practices. In the video I propose more accurate language around equity, inclusion, and diversity work in the academic acting setting.
Are you still using decolonization to describe finding equitable, inclusive, and diverse pedagogies for your acting classroom? In the video, I begin to discuss how the term does not fully serve the paradigm shift necessary to transform the academic acting classroom.
In the video, I detail the “new” concept for The Simple Actor page. I discuss how bridging practice and decolonized pedagogy is now the main goal of the work in and around The Simple Actor.
After a long hiatus, I discuss changes to the direction of The Simple Actor, my wild and crazy pilot season, and my hopes for the future of the site. Feel free to leave your comments below.
In Part 2 of my conversation with Nidra Sous La Terre (@ProfessorNidra), a long time colleague and friend, we discuss the gift of pursuing your passion during this season, deschooling/rethinking with regards to actor training, and how to choose the revolution you want to be a part of. We end the session with an actor Q&A with questions we have received from young actors during the pandemic.
Time signatures are below for specific sections:
Creating Your Own Space/Gift of Time (:08)
Deschooling/Rethinking Actor Training (3:08)
Where Do We Go Today? (10:16)
Choosing Your Revolution (13:45)
Actor Q&A (17:25)
In Part I of my conversation with Nidra Sous La Terre (@ProfessorNidra), a long time colleague and friend, we discuss our personal journeys in acting, how we are dealing with the new landscape for BIPOC actors, and ways to look towards and continue moving change forward in our academic and professional spheres.
Time signatures are below for specific sections:
Nidra/Chauntee’ Personal Journeys (2:10/6:43)
Where Do We Go from Here/New Empowerment (11:29)
Systems at Play (15:39)
Patience During Change (21:39)
Being “The Only”/Token Journey and Solutions (26:00)
Part four of four of my response to the Dear White American Theatre letter written by BIPOC members of the Broadway and theatre community. The last video covers my experiences and concern for BIPOC students with regards to higher education pedagogy.
Part Three of my response to the Dear White American Theatre letter written by BIPOC members of the Broadway and theatre community discusses my experiences and frustration with the lack of diversity and inclusion of material choice in theatre classrooms and how I have tried to tackle the issue in my own acting classroom.
Part 2 of my four part series on the Dear White American Theatre letter and #weseeyou movement focuses on my beginnings in the theatre classroom and the racism I encountered as a new actor. Barriers to entry for students of color run rampant in the theatre/acting community despite claims of diversity and color blind casting. I speak on the topic in regards to my personal experience and how such racial barriers and the inherent insensitivites that many BIPOC students confront can keep young actors with a curiosity in the art form away from the theatre community completely.
Please read and watch Part I of the series for more on how and why I wanted and needed to respond to the theatre’s public letter on racism and our industry. Please leave comments below.