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How to Write a Bio for a Playbill

5/30/2013

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PictureAn old headshot. Mock away.
I've noticed what appears to me to be a disproportionate amount of anxiety from people at several levels of the field about writing bios for programs and such. 

What I intend to present here is a series of templates and principles that should make the task take under five minutes and be a relatively low stress endeavor.

The purpose of the bio is to let the audience (including other industry professionals) know a bit of additional relevant information about you.  While to some degree it can serve to establish the credibility of the artistic team, if you are early in your career (or even doing your first show) that is also an interesting bit of information to an audience.  (With that in mind please realize that no one worth knowing is going to judge you harshly for being new to the field, so don't worry about having a short bio.) 

This post is particularly aimed at people early in their careers.  Remember that you'll be getting more credits as you go, which means that your bio can change constantly throughout a season.

These are all fairly flexible and geared for short bios.  Long-form bios are basically expansions on the template.  (I have bios for several of the disciplines I work in throughout my site). 




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Some Thoughts on Theatre, Business, and the Internet

1/15/2012

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I've been thinking a lot lately about the relationships between social media, online marketing, and live performance.  I use the plural because the internet is now a broad enough topic that the relationship between say, twitter and audience development is very different than the phenomenon of critics with blogs, which again is very different from online ticket sales, which is again not in the same universe as online script sales and licensing.  On top of this, we now have the phenomenon of active audience participation through smartphones in some performances, as well as some theatres now having a "twitter section" where audiences are welcome to use smartphones to tweet their experiences as they're happening.  (There has recently been a whole lot of discussion on this phenomenon, my feelings on it are mixed and I am waiting to see what comes of putting this policy into effect.)

Now, some of you who know me as a scholar know that one of my major research interests is the entrepreneurial imperative of the American artist, or, in more plain English: the business of being an artist.  A great deal of the business end of things is now happening online.

What follows are some (very) loosely organized thoughts on the relationships between the theatre community and the internet.  (I may expand on specific segments of this post at a later date.)

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On 9/11 Plays

8/23/2011

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I was at lunch today with my friend Hannah talking about a potential project (which I hope to have far more to say about a few months from now) when the subject of my 9/11 play came up.


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    Taking Note & Taking Notes

    Meron Langsner, PhD

    Playwright, Theatre & Performance Scholar, Fight Director/Movement Specialist, Director, Educator

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