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Permalink Reply by Jacob Coakley on December 15, 2010 at 5:20pm

Transcript!

JACOB COAKLEY: We're gonna start with an easy -- why theatre? How'd you get started in it?

CHRIS P. JAEHNIG: My mother wanted me out of the house in middle school and the city recreation department had a dramatics program so I was enrolled. Loved it. Did acting and everything through high school.

CHRIS P. JAEHNIG: Fell in love with lighting and set design working on musicals and planned for that to be my after work fun. Started college as a Chemical Engineer and HATED it.

JACOB COAKLEY: whoa.

CHRIS P. JAEHNIG: Gilbert Hemlsey Hemsley was my mentor at the Univ of Wisconsin and I switched over to production and design fulltime. /e

JACOB COAKLEY: Chem E? That's some serious science

JACOB COAKLEY: Should I know the name Gilbert Helmsey?

JACOB COAKLEY: (Sorry for the typo.)

CHRIS P. JAEHNIG: Yeah - I loved the lab aspect of it but the regurgitated equations didn't sit well.

CHRIS P. JAEHNIG: Gilbert was a Broadway lighting designer in the 1970's & early 80's Tony award for Sugar Babies. Sadly someone we lost to AIDS.

[Chris wrote in and wanted to clarify exactly what awards awards Hemsley had won. He wrote:

I was in such awe of the man, he did not receive a Tony, but did receive Drama Desk awards:
1978 Drama Desk Award Outstanding Lighting Design
The Mighty Gents [nominee]
1977 Drama Desk Award Outstanding Lighting Design
Porgy and Bess [nominee]

-ed. ]

JACOB COAKLEY: ah.

JACOB COAKLEY: we ready to move on?

CHRIS P. JAEHNIG: His legacy lives on with a fantastic internship at City Opera for young lighting designers.

CHRIS P. JAEHNIG: /e

[Chris wrote in to clarify that "The internship is not specifically with City Opera – but can occur there.
More information is available at: http://www.hemsleylightingprograms.com/ob/gvh/home/" --Jacob]

JACOB COAKLEY: thanks for that!

JACOB COAKLEY: OK, so your official title is "Associate Professor and Director of Production and the Design Studio "

JACOB COAKLEY: Director of production I get -- design studio is a little more nebulous.

JACOB COAKLEY: I'm assuming it basically means you head up the design program for NYU TSOA?

CHRIS P. JAEHNIG: The Drama Department at NYU-Tisch School of the Arts is setup as smaller studios - the majority are acting studios, but Production and Design is its own studio.

[Chris’ department is the undergraduate program at NYU –Tisch School of the Art. The graduate department is the Department of Design for Stage and Film, chaired by Susan Hilferty. --Jacob]

JACOB COAKLEY: AH!

CHRIS P. JAEHNIG: Yes- I head the training for designers, stage managers and techincians.

JACOB COAKLEY: Now it makes all the sense in the world.

JACOB COAKLEY: OK - so, now that we've got that cleared up, I think it's safe to move into one of the questions I put out there on the blog about htis:

JACOB COAKLEY: What is the bigger picture of studying theatre design and production? Theatre training is more than just a trade school -- what about it do you need to keep in focus while learning all these tools?

CHRIS P. JAEHNIG: Truth in advertising – I’ve thought about these answers a bit.One needs to understand what kind of program you are studying in – a liberal arts college (BA or BS) or a conservatory (BFA).

CHRIS P. JAEHNIG: In a BA program, generally a student has a wide range of requirements spread throughout the institution. Typically in a BFA, there are many more credits expected to be earned in the Theater Department.

CHRIS P. JAEHNIG: In a BFA program, like NYU-Tisch-Drama, it can be a little tricky because as theater people – and especially designers – we pull from so many sources beyond “theater”. Music, art, literature, history, sciences – physical, natural and social sciences

CHRIS P. JAEHNIG: are all source material for what we present on stage.

CHRIS P. JAEHNIG: It’s so important to get out of the theater department and take classes. Obviously for the visual artists – scenery, costumes, lighting – I can’t reinforce enough the need to study art history!

CHRIS P. JAEHNIG: For the sound designers it is the history of music. For the managers it is essential to understand psychology. For stage technicians, I would urge taking a physics class. For costume technicians, an introductory chemistry class.

CHRIS P. JAEHNIG: Ultimately learning how to learn – how to teach yourself a topic is the most essential thing anyone should learn during undergraduate school. e/

JACOB COAKLEY: "learning how to learn" -- how do attempt to impart that to your students in the studio?

CHRIS P. JAEHNIG: Hmmm. I think that changes with each student. You need to figure out what ignites someone to want to know more. That there is more than one right answer.

DAN MELLITZ: what if you are in teaching a class that half of the students are really interested and the other half are not at all. how do you make sure you cater to the ones who care but not ignore the other ones?

CHRIS P. JAEHNIG: High school is often about "I'm here to be taught - teach me." after college it should be "I want to learn." It is MY responsibility. e/

JACOB COAKLEY: Alright - we are about 15 after -- so yeah, let's go ahead and open the floor up for questions. Obv, let's tackle Dan's first. :-)

DAN MELLITZ: its high school by the way. Lol

DAN MELLITZ: thanks

CHRIS P. JAEHNIG: Dan, that's hard - but not unlike having a group of students who already know how to use the lighting console and a bunch of students who never touched one. Sometimes you need to let the students be part of the teaching process - let those who know

CHRIS P. JAEHNIG: work with those who don't.

DAN MELLITZ: what about the kids who just are taking it cause they need an art. any thoughts on how to motivate them. this is my first experience teaching tech theater in a high school level

CHRIS P. JAEHNIG: A lot of times you have to assess the situation at hand and solve for the group. Success is never assured, but if you keep trying you'll make some headway.

DAN MELLITZ: Thanks. I appreciate you answering my thrown in question.

JACOB COAKLEY: Anyone else?

CHRIS P. JAEHNIG: I've found that asking them what ELSE they are interested in can help. Maybe it is music or dance or video games. Find that and then find a way to connect that to what their doing in the tech theater class. /e

SUZI STEFFEN: As an arts writer/theater critic, I have a question about what you teach your students about dealing with the press and/or critics — anything?

BRIAN CATER: Is your program training tomorow's working professional, or preparing students for an MFA program?

DAN MELLITZ: yeah, I am trying to start intigrating more technology into our designs in order to get those kids. ok done talking

JACOB COAKLEY: let's take Suzi's first, then go with Brian's.

CHRIS P. JAEHNIG: Suzi, while we haven't actively addressed that particular question, there is a similarity to how anyone can react to your work. Every artist has to learn to accept that not everyone will like what they do and when it is accepted or honored - that's

CHRIS P. JAEHNIG: great. IN some ways it'sabout having a solid shell of "it's my work and not ME" that's being critiqued. /e

JACOB COAKLEY: still have trouble with that...

BRIAN CARTER: isn't my work an extenstion of me?

CHRIS P. JAEHNIG: Brian, I believe that our program, in four years, is preparing them to go and work. Of course that means entry level - they are not PSM'ing on Broadway right off the bat.

CHRIS P. JAEHNIG: Sure, but if you let the criticism cut too deeply it can be devastating.

JACOB COAKLEY: True.

JACOB COAKLEY: Does anyone else listen to This American Life, with Ira Glass?

JACOB COAKLEY: There was a gret moment a while back where Ira Glass broke into a story that was being pitched -- in the normal show -- and flat out said "This is boring."

JACOB COAKLEY: I was shocked -- but it wasn't mean. And the guy pitchign teh story didn't throw a tantrum.

SUZI STEFFEN: Thanks, Chris (and Jacob, and all of you). I couldn't see the chat for about 5 minutes in there, so sorry I didn't respond earlier. Slow loading or something!

JACOB COAKLEY: That's just an ability -- to know what your work is, accept criticism of it, then learn to make it better.

JACOB COAKLEY: Still.. tough.

JACOB COAKLEY: Anyone else with a ?? for Chris?

KELLY JEAN CONRAD: Do you have an advice for designers looking to work in management of academic theatre?

CHRIS P. JAEHNIG: That is unltimately the trick - seeing the truth - tough truth sometimes and not taking it personally.

CHRIS P. JAEHNIG: Kelly - could you describe what you mean by management?

KELLY JEAN CONRAD: like production manager or advisor for a theatre department on campus

CHRIS P. JAEHNIG: I expect that you have a background in production management - If you're in an academic setting already then voluteering will get doors opened for you.

CHRIS P. JAEHNIG: Certainly be careful not to do everything for free - somehow you will want that to lead to paid employment.

CHRIS P. JAEHNIG: When the administration sees that you do those things well and that it serves the population, you could begin a conversation as to why that's important.

BRIAN CARTER: Chris- in freelance work, I often run ito the negotiating wall of how much are you going to charge us? When they find the price is too high, I ask what can you afford, then we hit the wall. Any tips on how to improve negotiations? Also on how to

CHRIS P. JAEHNIG: Then (if it all works out right) they offer you tons of cash. :-)

KELLY JEAN CONRAD: Here's hoping, thanks Chris. That was a great answer!

JACOB COAKLEY: We need to get some music playing while Chris frantically types away...

BRIAN CARTER: convince an organization to pay you (me) to LD or SM a show that has historically been staffed by an untrained volunteer. Without insulting, if you pay me, the event will be so much better!

CHRIS P. JAEHNIG: Brian, to be honest, that's another one of the situations that needs to be looked at individually.

CHRIS P. JAEHNIG: Perhaps you voluteer to do it for free the first time and then if they like your work...

JACOB COAKLEY: we ready to move on?

CHRIS P. JAEHNIG: So much of creating a reputation and being paid for it is based on reputation. /e

ANDY HELMS: I've found sometimes you throw in a bit of icing... LD for $, throw in other design work gratis... makes it look like you are trying to help...

BRIAN CARTER: tried that before... they now think they have a talented volunteer for next time. no thanks

JACOB COAKLEY: there's the /e -- gotta learn to deal with impatience... :-)

JACOB COAKLEY: We've still got some time here with Chris -- anyone else have a question, or are we back to my list? :-)

JENNIFER REISER: Hi Chris-- have you found that there are common misconceptions students have about theater that prevent them from being more successful, in either school or the industry?

CHRIS P. JAEHNIG: I think that we all started in theater because it was FUN! And , while it needs to stay fun, it is hard work. It's a business and you have to produce.

CHRIS P. JAEHNIG: Each time you move up a rung - High school to college, college to entry level, entry level to responsble position - you have to prove yourself. Nothing is simply given because you passed the previous rung. /e

JENNIFER REISER: Great, thank you

JACOB COAKLEY: that was something that took me years to learn -- I think it was all of my 20s...

JACOB COAKLEY: :-)

JACOB COAKLEY: OK< quickly before I have to let you go -- I really do wnat to ask one on my list:

CHRIS P. JAEHNIG: Okey dokey

JACOB COAKLEY: Having siad what you did about looking outside theatre to find inpsiration in it -- still, what are the essential skills designers need to learn?

CHRIS P. JAEHNIG: Assuming you’re talking about the visual design artists:

Drawing!!!!

Speaking and Listening

Drafting – both hand and CAD

CHRIS P. JAEHNIG: Script analysis

Directing

Collaboration – with directors, with other designers, with your support teams

CHRIS P. JAEHNIG: Organization Skills: lots of other computer skills – Office – Excel, Word; Acrobat; Photoshop

Learn about materials and sources of materials

CHRIS P. JAEHNIG: I'm not saying this is a skill, but when you're in school, work on a lot of different kinds of shows and of differing complexity – but don’t work all of the time. You need some down time to actually digest process and synthesize what you’ve learned.

CHRIS P. JAEHNIG: /e

JACOB COAKLEY: And boom! Right on time at 11:45! :-)

JACOB COAKLEY: Chris, THANK YOU for your time today!

JACOB COAKLEY: Is there any way people can get a hold of you if they have some follow-up questions?

CHRIS P. JAEHNIG: Jacob and All! It was my pleasure. When you're in New York Please stop by and say hello.

SARA FURMATO: Thanks Guys!! I learn so much from these chats! Thanks for doing it!

JACOB COAKLEY: It's been WAY too long since I've been to NYC, something I hope to rectify soon.

CHRIS P. JAEHNIG: Certainly - if anyone has other questions - email me: cpj1@nyu.edu

JACOB COAKLEY: Thanks again, Chris! Have a great day,and stay warm!

CHRIS P. JAEHNIG: Thanks!

JACOB COAKLEY: Everyone -- I'll have the transcript of this posted soon!

SUZI STEFFEN: Thanks, Chris! Thanks, JC.

SARA FURMATO: NYC is the one of the BEST places on earth BTW!!!

JACOB COAKLEY: (And don't forget to go check out the photo of the week, and vote for your fave!)

JACOB COAKLEY: v

JACOB COAKLEY: http://www.theatreface.com/forum/topics/photo-of-the-week-12122010

Permalink Reply by Jacob Coakley on December 15, 2010 at 5:22pm

And because I didn't get to this question, Chris sent along his reply, just for completion.

3 - You work in a large school, with a lot of different spaces, some of
which you have more control over than others. What are the challenges of
managing your smaller spaces along with large ancillary spaces like the
Skirball Center?

NYU is a huge place with lots of different schools and resources.
The Drama Department operates seven performance spaces:
. 40 seat Black Box - mainly for curricular production
. 40 seat White Box
. 50 seat Black Box - mainly for student generated work
. 50 seat Cabaret
. 60 seat Dance Studio Theater
. 72 seat, Fixed End-Stage
. 99 seat black box
Of course NYU has the 860 seat Skirball Center for the Performing Arts which
is programmed and operated by the University's Student Services. Recently
the Law School and the School of Education unveiled the renovated
Provincetown Playhouse - historically significant as the original home to
Eugene O'Neill and Robert Edmund Jones. The renovation is controversial
because of the history and the recent work was not a refurbishment but a
complete renovation.

Over the past year we have produced in our own spaces as well as Joe's Pub -
a cabaret space that is part of The Public Theater; La MaMa - a real anchor
of the American Avant Guarde in downtown NY; The Great Hall at Cooper Union
- a great historical location, the Lincoln Douglas debates happened there
150 years ago; And the Abrons Art Center - a beautiful 300 seat proscenium
theater in the lower east side.

Producing shows outside of our own venues of course adds a level of
complexity but it also raises the stakes for the students and creates
another level of professional reality. It's harder, but generally the
pay-off is higher.

Thanks everyone for making this such a great chat!

-=jacob

Permalink Reply by Jacob Coakley on December 16, 2010 at 12:37pm

Chris wrote me today, and had a couple things he wanted changed in the transcript, so that it would be more accurate. I'm including his e-mail here, and updating the transcript accordingly.

Text of e-mail follows:

With the transcript now up, can we make a few corrections?:

1. TYPO: Gilbert HEMSLEY

2. My mistake – I was in such awe of the man, he did not receive a Tony, but did receive Drama Desk awards:
1978 Drama Desk Award Outstanding Lighting Design



The Mighty Gents [nominee]

1977 Drama Desk Award Outstanding Lighting Design

Porgy and Bess [nominee]

3. The internship is not specifically with City Opera – but can occur there.
More information is available at: http://www.hemsleylightingprograms.com/ob/gvh/home/


4. Can we add something that clearly differentiates my Department (NYU-TSOA-Undergraduate Drama) from the graduate, Department of Design for Stage and Film, Chaired by Susan Hilferty?
Maybe after
“CHRIS P. JAEHNIG: The Drama Department at NYU-Tisch School of the Arts is setup as smaller studios - the majority are acting studios, but Production and Design is its own studio. (Chris’ department is the undergraduate program at NYU –Tisch School of the Art. The graduate department is the Department of Design for Stage and Film, chaired by Susan Hilferty.)