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Theater is one of our earliest art forms, dating all the way back to Ancient Greece. While fabulous new plays are still being written today, audiences are also eager to enjoy new takes on older works.  

Classic plays from different eras continue to inspire and shape modern theater productions. Adaptations and new interpretations of classic works can provide a fresh look at a frequently revisited tale, and timeless stories have proven their enduring appeal.  

Travis Preston of CalArts explores the influence of classic plays on contemporary theater, from Shakespeare to modern classics. 

Early Theatrical Trends that Endure 

Theater itself has existed since near the dawn of humanity, starting as oral storytelling around the campfire. The stories would be passed from generation to generation, much as we do with classic tales today, but by word-of-mouth because written language did not yet exist. 

Each tale would change slightly as it was subjected to every performer’s personal interpretation. In a way, this is comparable to today’s process of re-interpretation as various artists tackle classic plays, bringing their own personalities, biases, culture, history, and politics to their version of putting the same story under a new light.  

Ancient Greek Theater’s Lasting Impact

The theater of Ancient Greece became far more organized than that of the original storytellers. They began to write their plays down, therefore the text did not change (quite as much) from production to production. Many tenets of modern entertainment were developed in Ancient Greece, including special effects, the use of satire, costumed actors, and the shape of the theater itself, such as the use of a stage and the placement of the audience.  

Shakespeare’s Popularity: From Romeo & Juliet to West Side Story 

William Shakespeare remains the be-all and end-all of theatrical and literary giants, having created many classic stories and coined English language phrases that are commonplace today (including “be-all and end-all” itself, which is from Macbeth). He was one of the first playwrights to appeal to the masses and royalty alike, democratizing theater in a way that could be enjoyed by all without pandering to either social class. Like the storytellers of old, Shakespeare also relied on reinterpreting classic tales and moments from history, morphing them into brilliant new works of fiction that spoke to the ideas and challenges of his time.  

Theaters worldwide continue to produce Shakespeare’s works verbatim, often re-setting the stories into new time periods and societies in order to emphasize how the bard’s themes and characters transcend the specifics of time and culture. 

Some of Shakespeare’s stories have even been re-written into new and modern language. A perfect example is the classic 1950s-set musical West Side Story, which is a reimagining of Shakespeare’s Romeo & Juliet, a universal story of young star-crossed love. Now even West Side Story itself has become a contemporary classic, subject to its own reinterpretations and reboots on both stage and screen.  

Contemporary Classics for Modern Audiences 

Contemporary classics with universal themes continue to be reinterpreted and reimagined for modern audiences, including those that use new settings and time periods or add a new layer of meaning. Examples include Tennessee Williams’ Cat on a Hot Tin Roof, and Lorraine Hansberry’s A Raisin in the Sun. These stories each focus on a themes that remains relevant to modern audiences.

In Conclusion 

From ancient storytellers to the Elizabeth era to today, theater has endured as a timeless form of expression that can allow any artist and audience to explore universally relevant themes. 

Theater performances have been around since the ancient Greeks, and the stars of the show are arguably the best part; however, Travis Preston of CalArts says that the importance of the costumes and set design is not to be disregarded. As they always have, they continue to play a vital role in modern theater. 

The History Behind Costumes and Set Design

·         Why Costumes

As explained on the Oscars website, costumes play an important role in character building and creating a more well-rounded personality profile. In the case of aforementioned ancient Greeks, costumes showed the audience whether a character was rich, poor, or a servant. Often, they wore masks that would show emotion. 

Some actors and actresses have stated that putting on a costume helps them get into the mindset of their character. For example, if an actor is to portray someone of power and stature, they are likely to wear platform shoes to provide a sense of height, towering over the other performers. Imagine the difference not having the shoes would make – having the visual makes all the difference.

·         Background of Set Design

The set design is a designed physical space in which the action of a performed event takes place. It can include a backdrop, props to be used, and even the design of the stage itself. The first set designs were thought to have appeared in the 17th century, during the Italian Renaissance. 

The first few set designs were very simple: a painted backdrop that could be hung on the rear wall of the stage. Nowadays though, set design has been elevated far beyond simple paintings. Frequently, they can be technologically advanced, such as with robotic props – parts of a stage that can be moved electronically. 

Set designs also add to the overall feeling of a performance. If it’s a more comedic play, the set design can reflect that with bright colors or certain shapes. A tragedy or drama, on the other hand, may use darker colors or make use of low lighting. 

Why Costumes and Set Designs are Important

·         Bringing the Costumes Together

The costume designer is in charge of bringing the performance outfits to life. Their goal is to take the main idea of a performance and turn it into wearable messages.

Costume designers will talk to the writers and directors to get a sense of what they’re trying to convey, so it’s vital that the characters’ outfits reflect this. This can be anything from materials to colors to tattered linens that reflect the individual character.

·         Bringing the Set Design Together

Similar to the costume designer, a set designer must understand and be able to portray what the overall vibe of a performance must be. For example, they wouldn’t have a vibrant, colorful stage design if the play has a moody, emotional depiction.

Besides the writer and director, they’ll also need to keep the costumes in mind so that the set design matches and reflects the overall setting. The theater performance will not make sense if the backdrop of the story does not reflect the scene.

As far back as 2009, it became clear that the United States was going through a period of cultural and artistic stagnation. Across the country, school districts were forced to cut funding for the arts, symphonies and operas lost grants, and museums were pushed to reduce their staff. Today, Travis Preston of CalArts explains how the effects of this linger as the nation wrestles with an ongoing creativity crisis.

Rather than encouraging artistic and musical expression, draconian state curriculums have regulated educators to instead focus on purely utilitarian subjects. The unfortunate result of this, though, is that students fail to develop creative problem-solving skills, critical thinking, and a sense of collaboration. This will likely have long-term effects on the nation and its ability to innovate as a whole.

Budget Cuts Killed the Arts

The last decade wasn’t exactly friendly to the American education system. Between 2008 and 2015, total federal spending on primary and secondary education dropped by more than $28 billion, representing roughly a 30% budget cut compared to the previous decade. While it’s difficult to parse out whether this was a result of the economy of educational reforms, what is certain is the effect it’s had on school curriculums and students.

When faced with startling funding cuts, many school boards were forced to assess where they could cut costs. Rather than reducing math, science, and English courses, they instead took funding from music programs and art classes. In many schools, this meant firing the teachers and removing the courses entirely.

Today, 12% of American secondary schools do not provide any art classes, while another 12% only offer 1 of the 4 artistic disciplines (visual arts, music, theater, dance). In terms of real numbers, that means that almost 4 million high schoolers will graduate every year without sufficient exposure to the arts or a means of creative expression.

Effects of the Creativity Crisis

A lack of art and music in school isn’t a problem simply for the sake of aesthetics, it’s having a direct impact on the future of the nation. Creativity isn’t just an outlet for expression—it’s an indicator of future innovation, curiosity, risk-taking, collaboration, and open-mindedness. All of these factors are essential to successful business and politics.

By robbing students of the skills and knowledge needed to become open-minded, collaborative, and innovative people, school boards have created a hoard of myopic and overly analytical workers rather than creative souls capable of shaping and building a better future. And this isn’t meant to be hyperbolic.

Over the past 60 years, researchers have tracked creative IQ scores, and global creativity has continually dropped since the 1990s on a consistent statistical trend. At the same time, Hollywood has become dominated by sequels and remakes, while our politics have returned to the same arguments fought decades before.  

The Bottom Line

The creativity crisis isn’t just an appeal to the arts—it’s an appeal to restore creativity to a world facing ever-more-complicated challenges. If we are to overcome the mounting obstacles of the 21st century, we must educate students to become creative, innovative, open-minded, and collaborative members of society.

Even the most basic reading, writing, and arithmetic lessons clearly relate to life in the adult world. But textbooks alone can’t teach kids everything they need to know about acting as adults. Could acting itself and exposure to the performing arts play a role in setting kids up for success? 

In addition to providing interactive entertainment, exposure to performing arts during childhood can teach children critical life skills about discipline, teamwork, flexibility, and commitment. Engaging in performing arts can also benefit a child’s cognition, creativity, memory, communication skills, as well as their ability to develop relationships. 

No math book or spelling packet can teach such a wide range of skills, and certainly not while encouraging kids to dress up, sing, and dance with their friends. Travis Preston of CalArts takes a peek backstage at the hidden benefits of early exposure to performing arts.

Performing Arts Can Build a Child’s Work Ethic

If a spoonful of sugar helps the medicine go down and hiding sweet potatoes in brownies is an acceptable way to sneak vegetables into a toddler, then perhaps the key to teaching kids the value of hard work is to make the process enjoyable. While acting, dancing, and creating music can all be fun activities, each require dedication on behalf of the performer.

While young actors must memorize and practice their lines aloud before taking the stage, young musicians often spend several hours a day singing or playing an instrument in the hopes of sounding melodious, and young dancers of every genre from ballet to hip-hop condition their bodies to move with a rhythm that makes choreographed steps seem natural.

As with every learning experience, the art of performing has its share of trials and frustrations, but these creative and enjoyable activities can help encourage children to remain steadfast in their commitments while also teaching them time management skills and the virtues of patience and diligence.

Performing Arts Can Help a Child Think Outside the Box

Performing arts encourages a similar creativity for all participants. Whether they’re coming up with suggestions for new dance moves, adding a stylish flare to stage decorations, enhancing a character’s lines with their own personal touch, or re-creating the chords of a popular song by ear, artists exercise creativity on a daily basis. 

The hands-on nature of performing arts also provides a space for children to learn the inevitability and importance of making mistakes. One of the first things that many performing arts teachers explain is that it’s okay to make mistakes, and that the best thing to do after a slip-up, be it a missed line, a skipped step, or an off note, is to keep calm and keep going.

While it’s natural to feel ashamed or frustrated after making a mistake, performance teachers often encourage students to shift their perspective of the situation by emphasizing that the audience may not even have noticed a mistake and that unless a performer draws attention to it by saying “oops” or halting the performance, even those who caught the error will soon forget. 

In these situations, solo performers must learn to think quickly about how to get back on track without losing their temper or composure, which builds an admirable resilience. Group performers likewise have to work together to resolve any performance mishaps by being flexible and forgiving to keep the performance alive.

Performing Arts Can Strengthen a Child’s Socialization Skills

Performing on stage can be intimidating for even the most experienced and outgoing performers. Standing before an audience to showcase their talents and hard work at a young age can make children more comfortable with public speaking, a skill of pivotal importance in many professional careers. 

In the process of helping children to overcome stage fright, teachers of the arts often give young performers the social tools they need to face other anxiety-spiking situations by coaching them on how to navigate stress and anxiety, both on stage and off. One of the most important benefits that many children gain in the process of performing is the empowerment of self-confidence. 

Yet beyond these character-building traits, performing can also boost children’s peer interactions, encourage respect of instructors in a non-classroom setting, and strengthen their collaboration capacities. Performing arts involving multi-person dance teams, choirs, and cast lists also provide children the opportunity to build lasting friendships with like-minded peers. 

Conclusion 

Introducing children to the performing arts at a young age not only provides them a source of immediate entertainment and direct social interactions but can also help them develop a well-rounded character and a skill set, including patience, dedication, communication, collaboration, flexibility, and creativity, that will serve them in years to come.

Acting requires voice, performative energy, and movement. All skills must be up to the challenge of painting a realistic picture for the audience. But is acting the same on stage as in front of the all-seeing lens? Travis Preston of CalArts says the short answer is no.

Projected voices, uplifted demeanors, and exaggerated movements signal talented thespians, but they couldn’t perform similarly behind a lens. There must be a technique shift from the actor when changing the medium.

Interestingly, those well-versed in theatre typically find transitioning to on-screen acting easy. However, film actors must do a lot of work to shift to stage performing. 

The main difference is the audience size. At the theatre, the audience is vast. However, On-screen, it’s an audience of one (i.e., the camera). Thus, actors must adjust their performance accordingly to be successful.

The Vocal Switch

Thespians would surely turn their nose up at untrained voices on stage, just as experienced screen actors would cringe at overworked voices on set. Hence the need for a technique shift. 

The vocal skills required to project across a sea of eyes and ears (i.e., resonance, articulation, malleability, and dexterity) still come into play during screen acting. However, they should be modified to suit the one-member audience — the abovementioned camera. 

In other words, actors should look to use their non-performative voice when working on films to ensure the final performance feels more natural. After all, there would be nothing worse than Ryan Gosling stage-whispering sweet nothings into Rachel McAdams’s ear in The Notebook.

The Movement Switch

Performing on stage (i.e., for numerous people) requires profoundly expressive gestures and facial expressions to ensure audience members experience the same message, regardless of where they’re sitting. 

But on screen, it’s different. Like with the vocal switch, thespians must calibrate their movements and facial expressions to increase the performance’s authenticity. That way, the all-seeing lens will translate an emotional story to the at-home watchers rather than an exaggerated one.

The Image Work Switch

Lastly, image work is vital — both on stage and on screen. But again, there are differences. 

When performing for a packed auditorium, actors must use all the available tools to paint images in their audiences’ minds. Language utilization is especially important, though, as thespians can’t lock eyes with everybody watching (the most impactful way to translate meaning and emotions). 

When acting for the camera, eye contact is the most essential tool, alongside physicality.

Simply put, if the actor sees it, the audience sees it. Whenever they reference something or reminisce, those watching must see what they are saying. Similarly, film actors’ image work must be sophisticated enough to permeate the lens.

Transitioning Acting from the Stage to the Screen

For a successful transition from the stage to the screen, actors need to adapt to the change in audience size — from multiple pairs of eyes to one. Understanding how the camera operates allows them to tailor their performance appropriately, putting on an extraordinary performance whether there are hands there to clap or not.

Travis Preston of CalArts’ rise to becoming one of the leading voices in American theater wasn’t exactly typical. About halfway through his Ph.D. in psychology, the celebrated director decided to shift gears and apply to the Yale School of Drama. This decision would culminate in a career spanning several decades, marked by over a dozen landmark works, an artistic directorship/deanship at CalArts, and a list of international awards.

Today, Travis Preston of CalArts is considered a master of both contemporary and classical theater and has made a name for himself by combining these two approaches. To better understand the artist’s vision, his career, most prominent works, and how he has risen to become one of the most respected thinkers in American theater is discussed below.

Psychology No More, Theater Instead

Travis Preston of CalArts was born in East Chicago, Indiana, and spent the majority of his early adulthood thinking he’d become a psychologist. Yet, midway through a Ph.D. at the Indiana University, Preston discovered an untapped passion for the theater. In a surprising twist of events, he dropped out of the University of Indiana and enrolled in the Yale School of Drama.

This decision would change the course of his entire life. While studying at Yale, Travis Preston of CalArts worked alongside Andrzej Wajda, a celebrated Polish director, and was selected to become the first student to direct at the Yale Repertory Theatre. After graduating, he followed in his mentor’s footsteps and moved to Wroclaw, Poland to further study Polish theater.

By studying the techniques and directorial vision of Polish artists, a powerful appreciation for modern theater grew within Preston, which has continued to influence his work today. The avant-garde nature of Travis Preston of CalArts’ more contemporary interpretations of classic theater draws a direct link to the works of Jersey Grotowski.

Preston’s Most Notable Contributions to the Arts

Throughout Travis Preston of CalArts nearly 40-year career, he has produced and directed some of the most compelling interpretations of classic opera and theater in the modern age. Notable works include:

• Lulu (1996): An opera in three parts, on which Preston worked with the Royal Family of Denmark and the Danish National Symphony
• King Lear (2002) – A modern take on Shakespeare’s seminal tale of justice, loyalty, and reconciliation set against the backdrop of Los Angeles’s sprawling and industrial Brewery Arts Complex
• Macbeth (A Modern Ecstasy) (2005) – Another modern take on a Shakespeare classic performed and embodied by a single actor as they channel each character in an almost shamanistic manner.
• Prometheus Bound (2013) – An industrial and brutalist take on the Ancient Greek myth of Prometheus, who steals fire from the gods.

Along with his interpretations of classical theater, Travis Preston of CalArts has also created a modern retelling of Dostoevsky’s Crime and Punishment for the silver screen in the form of his 1993 film, Astonished.

Travis Preston of CalArts as an Educator and Arts Director

Along with his personal productions, Preston has also worked throughout his career as an educator and arts director at some of the most prestigious institutions around the world, including:

• Columbia University
• Yale University
• Indiana University
• Harvard University
• New York University
• The National Theater School of Denmark
• Hong Kong Academy for the Performing Arts

In 2002, Preston was welcomed to become the Artistic Director of the CalArts Center for New Performance, where he was worked ever since. As an educator, Preston is known for his focus on teaching the technical aspects of directing as well as the importance of research and analysis.

He frequently uses his own work as teaching examples in order to help his students better understand the creative process. In this way, Travis Preston of CalArts has helped to foster the talent of the next generation of American theater directors.

Awards and Recognition

Throughout his career, Travis Preston of CalArts has received a litany of awards and recognitions. In 1996, he received the Best Opera Production Citation for his production of Lulu, and again in 1999 for his production of Al Gran Sole Carico d’Amore. He has also been inducted into the Ordre des Arts et des Lettres by the French Ministry of Arts as a Chevalier, making him officially a knight.

Despite his many recognitions, Preston shows no signs of slowing down and has recently worked with the Conservatoire National Supérieur d’Art Dramatique, Paris to produce a stunning performance of Augustine Machine ou Encore Une Nuit d’Insomnie.

Final Thoughts

Travis Preston of CalArts unique career has taken him all over the world and seen him produce some of the most memorable theater of the past few decades. His work has been celebrated by critics and loved by audiences, solidifying his place as one of the most respected voices in the American theater scene.

Founded by Walt Disney, the California Institute of The Arts is an internationally renowned program, beloved for their unparalleled focus on cultivating a new generation of artists. Located in Santa Clarita, California, the school was the first to offer a degree program for students interested in growing in an array of arts.

Travis Preston of CalArts says one of the institution’s most sought-after programs is the School of Theater’s Acting program, piquing the interest of prospective students from all around the world. With a 27.4% acceptance rate, those interested in joining the program are asking the question: what does it take to get into the CalArts Acting Program?

What Should Students Expect When Auditioning

During the pandemic, the school accepted virtual auditions after students applied using the online application. If interested, the school would then do a callback session. Callbacks were also conducted virtually, with faculty members present to comment. 

Though auditions for the institution were once entirely in-person, the program has since adopted a hybrid audition process for post-pandemic conditions. Currently, initial auditions will be held virtually once the prospective student has submitted their written application.

The audition videos submitted consist of performing one monologue from Shakespeare, and another from a contemporary play. These will be uploaded as separate files and named accordingly, with the student’s name clearly stated on the file name. Each monologue is limited to a 2-minute cutoff. 

To showcase range, one monologue should be performed close-up or mid-closeup, and the other with a full range of motion- space being purposefully utilized. Which monologue is performed in which way is entirely up to the auditioner.

If interested, the school will call the student in for in-person callbacks, which are held in a handful of cities and locations for accessibility. Here, the faculty will be able to personally work the monologues with the auditioners and may even ask them to perform a third piece from any genre or time period (also limited to 2 minutes).

Catching The Eyes of CalArts’ World Class Faculty

With countless auditions being looked through come admissions season, it’s vital that students serious about joining the institution find ways to stand out amongst the masses. Thankfully, CalArts is transparent about the ways auditioners can make their tapes extra striking. 

Tasteful originality is welcome and encouraged, though there are specific guidelines that should be followed while monologues are being filmed. There is room for students to showcase their personality and unique flair during their introductions, or slates, prior to each piece.

CalArts mentions that students shouldn’t rely on technical proficiency when it comes to choosing and approaching their pieces. Though it does showcase personal strengths, auditioners should focus on finding works that they resonate with, and that they want to further explore through joining the program.

Most of all, the institution places a willingness to grow on a pedestal. They are looking to admit a class of students that wish to blossom in a realm of artistic mediums and genres, cultivating a citizen artist from each student post-graduation. If one holds that in importance when they apply to CalArts, their passions won’t go unnoticed.

Each year, the California Institute of the Arts or “CalArts” receives thousands of applications to their admissions office. Known predominantly for visual and performing arts programs, CalArts possesses one of the most competitive admissions processes of any arts college within the United States. Of the roughly two thousand applicants who apply to the college each year, only 25% are admitted. Travis Preston, dean of CalArts School of Theater and artistic director for the CalArts Center for New Performance, has taught at CalArts for over 15 years and is an active member of the CalArts School of Theater audition process. Below, Travis Preston, CalArts’ dean and staff member, will discuss in detail the admission process of the California Institute of the Arts School of Theater and how students can best prepare. 

 Artist Statement 

Similar to a college essay, an artist statement should help the admissions team develop a better sense of the applicant, their aesthetic, and performance interests. This is often the first impression of an applicant and must be well-developed with an accurate representation of the actor and their background. Some of the topics CalArts recommend applicants discuss include: 

– What concerns or issues inform your acting? 

– What are your goals as a performer? 

– Why are you applying to the Acting program at CalArts? 

– Do you find any current moment in history inspires you artistically? 

Audition Stage 

In most years, applicants are required to register for an in-person audition with faculty members once their online application has been completed. Most auditions consist of two monologues, one monologue from a contemporary piece of work and another from a classical play of the actor’s choosing. For the contemporary monologue, CalArts recommends students choose a monologue that reflects their acting style or the type of work they would like to pursue while in training. Each monologue must be under two minutes in length. However, in light of the COVID-19 pandemic, CalArts now asks that all auditions be taped and submitted online.  

Letters of Recommendation 

CalArts requires three letters of recommendation to be submitted by all applicants. These letters of recommendation do not have to be solely from high school theater teachers, but at least one letter should be written by a person who understands your artistic background. Letters of recommendation can be written by art teachers, college counselors, artistic mentors, employers, collaborators, voice coaches, or academic teachers. 

Whether the medium is film, television or stage performances, the vision of the director should shine through. This individual is at the helm of the production and will set the tone and spot opportunities to enhance the visual presentation. As an award-winning director, Travis Preston of CalArts has put his unique touch on dozens of stage adaptations. These plays have achieved global premiers and his progressive work has earned plenty of recognition for the CalArts Center for New Performance. This is the production house of California Institute of the Arts and was “established to provide a unique artist- and project-driven framework for the development and realization of original theater, music, dance, media, and interdisciplinary projects.” Travis Preston of CalArts is proud to have had the opportunity to work with such a prestigious outlet as artistic director. As he such, he’s able to share insight from his own personal experiences with aspiring directors.

Global reach: Buried Child is a Pulitzer-prize winning play by Sam Shepard and is set in rural Illinois. The dark themes within offered Travis Preston of CalArts an opportunity to share his own take with the audience. This is exactly what he did in 2017 when he directed Buried Child at the Hong Kong Repertory Theater. What came as a surprise – and what aspiring directors should note – is that an “Americana” play resonated with these audiences. Thanks to translation efforts from the artistic director and a performance in Cantonese with subtitles in English and Chinese, this was a truly special experience for all involved. Travis Preston of CalArts notes that it’s possible to touch many more lives than expected through something as simple as translation. What’s more, this was hardly Mr. Preston’s only overseas accomplishment. Fantômas: Revenge of the Image, which he directed, earned a world debut in 2017 at the Wuzhen Theatre Festival in China. Indeed, he has had numerous directing projects throughout the world.

Personal satisfaction: There’s no question that director roles offer a sense of satisfaction and personal fulfillment. This was the case for Macbeth (A Modern Ecstasy) when Travis Preston of CalArts took a crack at it and achieved a career highlight in the process. Mr. Preston has previously said this production provided the opportunity to “explore the inner landscape of Macbeth’s tortured soul.” This long-standing career goal was aided by efforts from actors, set designers, lighting experts and musicians to deliver a minimalist production at REDCAT. Up-and-coming directors should pour their heart and soul into every opportunity that comes their way; the personal career goals will come along eventually as a result of hard work and a well-earned reputation.

California Institute of the Arts (CalArts) is thrilled to announce the release of “Blue,” the first single from CalArts School of Theater alumna Condola “Dola” Rashad. The single — which Travis Preston of CalArts says will “serve as an introduction” to Rashad’s forthcoming E.P. “Space Daughter” — was produced in association with CalArts Center for New Performance (CNP) and filmed last summer on the CalArts campus.

“Dola,” who graduated from the CalArts in 2008, has pledged to donate 100 percent of her personal profits raised by the single to the Food Bank for New York City. What’s more, there is no time limitation on her donations and she’ll continue to make these contributions indefinitely. Travis Preston CalArts says this type of generosity is emblematic of graduates and he’s proud to see the tradition continue.

“I wanted to share my artwork at this time and also use it as a vehicle to facilitate funds back into the community, and I was looking for an organization that was going to be supporting those who would be hit first and hardest,” said Dola. The full “Space Daughter” E.P. from the four-time Tony Award nominee and “Billions” star on Showtime is slated for a late 2020 release. According to Playbill.com, Dola has described the album as a “vivacious ode to the Divine Feminine” and she is “grateful to be able to offer support to my NYC community and to our global community during this pandemic, and beyond.”

Travis Preston of CalArts asks those who have been inspired by Dola’s generosity to contribute to the school’s Emergency Fund and Emergency Scholarship Fund. These two programs, which have been designed to help CalArts students and families in need, provide direct assistance. In these uncertain times, Travis Preston of CalArts hopes that readers who are in a position to give will do so.

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About Travis Preston, CalArts and the Center for New Performance (CNP): Travis Preston of CalArts is an award-winning director and has overseen the stage adaptations of dozens of plays, including the world-premier of Fantômas: Revenge of the Image at the Wuzhen Theatre Festival in China. CNP is the professional producing arm of CalArts and was established to provide a unique artist- and project-driven framework for the development and realization of original theater, music, dance, and interdisciplinary projects. Extending the progressive work carried out at CalArts into a direct dialogue with professional communities at the local, national and international levels, CNP offers an alternative model to support emerging directions in the performing arts. It also enables CalArts students to work shoulder-to-shoulder with celebrated artists and acquire a level of experience that goes beyond their curriculum.