Camille Schenkkan reflects on routes into the arts workforce and asks how we can better prepare aspiring artists from all backgrounds.
Within six months of graduating with a bachelor’s degree in theatre, I
Took an inflexible, full-time “day job” that prevented me from going to any auditions;
Spent $1,500 (in 2006!) for casting workshops that didn’t have actual casting directors in the room;
Almost fell for a shady “pay for representation” agency scam;
Overspent by about $500 on new headshots;
Gave up on acting.
I knew how to act. I didn’t know how to be an actor.
The post-graduation years are considered a rite of passage, where emerging artists navigate crushing poverty, unpaid internships, uninformed financial decisions, and rejection in order to emerge as bona fide artists. People use words like sacrifice and bootstraps. You’re expected to work for free in order to demonstrate your work ethic and “make connections” with important people. These connections, we’re told over and over, lead to paid jobs. Just not yet... Keep reading on ArtsBlog
I knew how to act. I didn’t know how to be an actor.
The post-graduation years are considered a rite of passage, where emerging artists navigate crushing poverty, unpaid internships, uninformed financial decisions, and rejection in order to emerge as bona fide artists. People use words like sacrifice and bootstraps. You’re expected to work for free in order to demonstrate your work ethic and “make connections” with important people. These connections, we’re told over and over, lead to paid jobs. Just not yet... Keep reading on ArtsBlog