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So what does this mean for theatre? Well, like I just said, performances, audiences, and things can be at multiple locations, at the same time, sharing a connected experience. Performers and audience can get "connected" with the output systems of spaces and spaces become "sensitive." So that would mean that you're now controlling the theatre lights, or my slideshow, or you're interacting with my body if I'm rigged in whatever way. Performers, audiences, and spaces can influence and manipulate each other, and the input-output system. In the classic theatre-the technician over there is sitting in the dark and is not supposed to be seen. But they're there and they're everywhere. The interesting thing is the whole theatre space is rigged in a very hierarchical way. But the Internet of Things is modular, so the idea is that everybody in the room can potentially become the operator or performer of a given system.

"I am writing to address three main points: One, to add my voice to the discourse around this event as an artist who was critical of the experience and decided to walk away, a voice which I feel has been absent thus far in the LA Times and New York Times coverage; two, to clarify my identity as the informant about the conditions being asked of artists and make clear why I chose, up till now, to be anonymous in regards to my email to Yvonne Rainer; and three, to prompt a shift of thinking of cultural workers to consider, when either accepting or rejecting work of any kind, the short- and long-term impact of our personal choices on the entire field. Each point is to support my overriding interest in organizing and forming a union that secures labor standards and fair wages for fine and performing artists in Los Angeles and beyond."

As a person who has had a long stage career as a performer AND a producer/director, I could spend time advising you on all of the things one should do to further their career in theatre. I'm not going to do that. While it may seem like I'm focusing on the negative, it is this humble writers opinion that it's more important to know what NOT to do. A vast majority of actors, singers, dancers, comedians, variety artists, technicians, and stage managers make one or many of these 6 mistakes far too often during their careers, and sometimes unknowingly hurt their chances at booking work. Employers talk to one another, and sometimes one bad reference is all it takes for you to lose the job. And you'll never know why you didn't book it. By avoiding these critical mistakes, you can set yourself apart from all of your contemporaries. While talent and craft is important, the most gifted performer can make themselves completely un-hirable by committing these career sins:

" But why does mere revision make so many Shakespeare fans so uncomfortable? Some people don't like any alterations to Shakespeare's text nor even presenting them in anything other than their historical settings. To me, such an ultrapurist approach can lead to what I somewhat derisively call "museum piece Shakespeare"-though, I must say, I do enjoy visiting and spending hours in museums, and among my favorite stagings of Shakespeare are text-centric, historically costumed productions. But even these are cut for length. Furthermore, to varying degrees, each could be called an "adaptation" because any time an actor picks up a Shakespearean role, he or she is adapting it for that production, and sometimes adapting it from performance to performance, depending on the theater and audience."

Here are two videos that I've probably watched a couple dozen times each. They're both of the title song from the current Broadway production of Anything Goes.

Housch-ma-Housch is one of the funniest and most talented comedians in the world. His one man show is the result of many years of work. He delights the audience with a performance combining miming, clowing and magic. This comedian is an absolute multi-talent and palette of his roles is almost limitless.

"'Relaxed' performances, aimed at people with disabilities and their carers, are few and far between - but they have benefits for all of us. The whole point of theatre is that disruption should be possible"

As part of the Playworks Program here at the International Thespian festival, students have the opportunity to audition and rehearse one of the plays being workshopped. The audition day was very intense. We sat through auditions from 9:00 am straight through to 12:45 and then we have half an hour to cast the roles between five plays. Students were put in groups and performed in scenes from the individual plays with monologues, duets or trios. Over the course of the morning, we say 185 students and that doesn't count the students we saw twice who were called back. By 11 am we were starting to feel the time crunch. Call backs were discouraged, repeat reads had to be culled down, we had to see the groups and move on if we were ever going to make sure every students got their moment.

This lesson uses video segments from Great Performances: The Little Mermaid from San Francisco Ballet to help students explore the role of the author in relation to his/her work. In the Introductory Activity, students discuss the structure of the original The Little Mermaid tale as they remember it. Students then read the original story and compare their memories to the original text. In the Learning Activity, students examine John Neumeier's artistic interpretation of the classic fairy-tale by looking at two video segments that feature the main characters of the ballet. Finally, for the Culminating Activity, students craft their own contemporary interpretation of a classic fairy-tale (e.g., Snow White, Beauty and the Beast, Sleeping Beauty).

Even though a table saw is capable of performing various cuts, it's best at 2 cuts in particular: the cross cut and the rip cut.

Preparing a trendy audition song seems a logical choice to many. The piece may have universal appeal, and a sense of it being "safe" material. Many actors fail to see that though this may be "popular" to perform in front of their peers, directors might have a slightly different take. Directors are looking for unique & creative individuals, and having "fresh" audition songs can separate you out from all the others. As an actor, you also show the ability to stretch yourself and take a risk on something that no-one else is doing.

This is especially true when it comes to stage combat. And you may want to think twice before you claim it on a resume. This is true even if you took a workshop or two and/or performed fights onstage a handful of times.

"In this insightful and contextualizing Festival Portrait, actor Simon McBurney highlights the risks of the co-dependent relationship between the audience and performers - the capacity for success, but also the capacity for spectacular failure."

"This sketch was performed on stage for an AIDS benefit concert directed by Stephen Fry on September 18, 1989. Rowan Atkinson's character is unnamed, but from the look of him, it seems he's a member of the Blackadder family. The other character, whom you will know, was played by Hugh Laurie."

"One of Shakespeare's best-loved comedies, Twelfth Night was 'blissfully reborn' (Telegraph) for the 2012/13 season at London's Globe Theatre, under the direction of Tim Carroll. The hilarious tale of misdirection and deception is performed here by an all-male cast, among whom we find Mark Rylance as Olivia and Roger Lloyd-Pack as Sir Anthony Aguecheek. The production also marks Stephen Fry's triumphant return to the stage as the pompous Malvolio, ridiculous in his yellow stockings."

LEND ME A TENOR PERFORMED IN THE MARILYN MONROE THEATRE

A stage adaptation of Roal Dahl's 'The Twits' for my directing unit at university.