zoetic artists project

DEIDRE: Freely Focused

2011-04-28T12:21:00.000-07:00

posted by ashleigh

"Know what you're selling," are words I have heard repeatedly since my move to the city. As aspiring creators, our hunger to try everything can so quickly dilute our effectiveness in actualizing one thing. In a world saturated with young artists, it is so important to embark upon the creative journey with clear and deliberate intention in order to stand behind one's product and stand out in the market. For songstress Deidre Muro, this focus boils down to three words: “Sassy, creepy, and fun" and, as long as she doesn't stray from this recipe, her music is interesting, original, and true to herself as an artist.

DEIDRE in her "Classic Girl" music video

“Working with focus,” she admits, “that’s something I had a problem with when I was younger. I can pick up a lot of styles and do them well, in terms of writing songs, but I had to find what it was that I felt was the most unique or the truest thing I can do, and that’s what I’m going to do.”  

This concentration, however, did not come without a great deal of creative restraint and effort, and years of putting it into practice. She recalls a vivid memory of her dad, also a musician, saying to her, “This is going to be the curse of your life: you have many talents and not one clear talent. You’re going to need to focus.” She took his words to heart and allowed them to guide her toward a clear definition of herself and the musician she would become. While a student at NYU, she made the choice: rather than trying to learn the styles that everyone else liked or listening to all of the music that was “really cool”, she would seek out the oldest, most ghostly blues recordings she could find. She realized that it was this music that excited her and this style that she wanted to adopt. “Gypsy music seriously moves me," she discovered. "This stuff gives me chills.” And she dove into it.

With the Ladies' Recreational Dance Auxiliary

Headfirst, in fact. When we met up to chat, Deidre was working on more projects than I could count. In addition to developing the first album of her solo persona, DEIDRE, she continues to write and play with her band Savoir Adore, sing in her fiancé David's band French Horn Rebellion, act as project manager for the post-production work she and David generate together, and function as creator, choreographer, and performer of the Ladies’ Recreational Dance Auxiliary, the group she formed to dance with her at her solo shows. (Oh, and did I mention she's planning a wedding?) Wearing so many hats could easily water down an artist's potency, but Deidre maintains her focus by always coming back to herself and what it is that makes her tick as a musician: "My favorite thing that I've done for every single [DEIDRE] song is I try to imagine all the different female archetypes that have appeared in our cultural past and embody them - the femme fatale is my favorite of all time. I love to write for the female villains.” Her direction is her passion partnered with her guiding words: sassy, creepy, and fun. "I want each song to be one of the three," she decided. "Better if it’s multiple. That’s my mission statement."

Deidre is proof of the power an artist can achieve by having a clear and concentrated "mission statement", as she takes the reins of her career into her own hands and decides for herself what kind of musician she wants to be. Being focused doesn’t mean an artist can’t still explore, and no one should feel discouraged from remaining playful and open to organic creation. Deidre actually finds that these “self-imposed limitations make creating really cool” and allow her to write songs more quickly than when she was creatively distracted, which “helps me to stay relevant to myself.” Now free of these distractions, she has found a love for the creative process so that, even in the exploration, she is satisfied more regularly. "It’s so over-the-top fun for me," she shares, "it’s a dream."

Loving 'Love Song' at 59E59

2011-04-11T08:55:00.000-07:00

I caught the 3pm matinee yesterday of this production, written and directed by John Kolvenbach and produced by my dear friend Jaimie Mayer Phinney, currently in previews at 59E59. I urge you all to go see it and not just because of my personal ties to the show.

I happened to pluck this play from the shelf at Drama Bookshop simply because I felt a response to the title, never having heard of the piece or the playwright. I devoured it and longed to see it produced. How serendipitous, then, that it is now playing in New York, so that we can all see the realization of the piece directly from the man who created it.

It is truly lovely and a pleasure to watch. For me, it struck just the right balance between playful whimsy and stark realism, though the actors seemed to take some time to sink into this theatrical mixing bowl. By Scene 7, however, I was absolutely in love with the chemistry of the cast and laughing along with the audience in pure delight. The writing is fast and smart and the characters challenge each other to keep up with the ever-changing definition of what is real and valid when it comes to love and the way in which we interact with one another.

I urge everyone to check it out - and soon, as it opens on Wednesday and only runs into the first week of May. You won't be disappointed.

Redefining "home" with Shimrit Shoshan

2011-03-14T18:08:00.000-07:00

posted by ashleigh

I always knew that I would end up in New York, ever since I performed my first solo piece at the age of three in my parent's living room. I knew, even then, that New York was where I needed to be. But after romanticizing my life in "the Big Apple" for years, the physical move to the city - with its high price tag, fast pace, and the huge amount of energy and optimism required - was a reality check smack in the face. And I was only relocating a mere three hours from home. For Israeli-born pianist and composer Shimrit Shoshan, this move not only required a plane ticket and a lot of goodbyes, but an international leap of faith.

“I moved to New York for jazz,” Shimrit says. And what better destination than New York, a place filled with jazz history and the target of numerous musicians gathering together to learn their craft and develop their artistry. For Shimrit, it was only a matter of time before events in her life and her passion for music would lead her overseas to this jazz history hotspot. Upon graduating from the prestigious high school of the arts, Thelma Yellin, Shimrit was drafted into the Israeli army as an “excellent musician”, a title given to only a select few each year. While in the army, she was sent to New York to represent Israel in a series of jazz workshops and, after spending two months in the city, vowed that she would one day return “and learn the language of jazz directly from the real legends.” One year later, despite the fears of her friends and family and their requests for her to stay in Israel, she hopped on a plane.

"Before coming to New York", Shimrit reflects, "home for me has always been a warm sunny place with a beach close by and home cooked food...I have a very warm family and it has been very hard to find a replacement over the years." Sacrificing the comfort of home and family "to move to a very far, somewhat lonely place", she shares, was only the beginning of the struggle. Like many young artists, she was faced with the task of supporting herself in addition to pursuing her career: "I also realized that I probably won't be financially comfortable for a while until things will start developing but I was convinced it is worth it and that kept me moving forward." This struggle to make a living led her down a number of different paths outside of her music, from selling diamonds and real estate to babysitting, modeling, waitressing, and more. It also connected her with a number of the people she today calls her "New York family."

"Coming here by myself forced me to adjust to a new mentality and way of living and, of course, to make new friends - which in New York can be a difficult thing with the demanding, sometimes neurotic nature of this city." But because it was a priority for this newly established New Yorker, Shimrit made a conscious effort to surround herself with "good friends, home cooking and good music" and this trifecta of positivity has certainly paid off. In December, Shimrit released her debut album, "Keep it Movin", a reflection of the different aspects of Shimrit's life and her influences as a musician and a human being and proof that she has created a place for herself in the city she now calls home. Her audience will enjoy a number of original songs and will hear the efforts and support of her friends and "family", among them musicians like drummer Eric McPherson, reed man Abraham Burton, and bassists Luques Curtis and John Hebert.

The title Shimrit selected for her first album stands out to me as the musician's personal mantra, a reminder to continue striving forward and remaining dedicated to the music that led her to this city in the first place. Without the music, she could not have relocated so successfully because, as she admits, "music is part of my coping tool with the world. I really feel that it is the only thing I want to do on this planet." Indeed, her music helps to transport her to a place of comfort and familiarity: "I find a little feeling of home every time I play the piano. Even if I am traveling, the piano is like my Dorothy shoes that take me to the place I want to be at any given time."

While interviewing Shimrit, I realized that I am so lucky to have an invaluable asset to assist me in my journey - my family and friends only a MetroNorth ride away. I can’t fathom leaving that support system overseas and continuing on my own, and this only reaffirms the fact that Shimrit is not only driven but, when it comes to her music, fearless. It also helps that she has created a tightly knit community of like-minded artists for herself here in the city. She shares, “I feel blessed to have people around me who constantly push me to keep writing and playing music" - a case in point that no one can do it alone. With our art, however, we are never alone, and through creating we can click our heels and be transported to that place of warmth and familiarity, that idea of home. As Shimrit discovered, "home is anywhere I feel comfortable to be myself and create". And lucky for those of us who reside on this island, for musical Ms. Shoshan, that place is now - truly - New York.
________________________________________________________________________________
Shimrit is currently working on a second album, in addition to a number of different R&B and Neo Soul projects and videos, and is planning to go on the road with her trio this month. Her hard work can also be seen in the most recent edition of JazzTimes magazine.

Positively Trevor Zhou

2011-01-15T08:54:00.000-08:00

posted by ashleigh

As 2011 sets off at a gallop, the city’s majority has undoubtedly set about making resolutions for the new year. Artists are no different, raising the stakes with the fresh first of the month in the hopes that “this year will be the year”, the year to book the high-profile gig, the year to quit that secondary catering job, the year that luck will change. For actor/artist Trevor Zhou, there’s no doubt that this year will be lucky. But then again, so was 2010, and – at the rate he’s going – so will be 2012 and beyond.

It all started when Trevor attended an audition to support a friend and ended up with an “accidental” national IBM commercial in his pocket. Then comes an episode of Law & Order: SVU, a commercial agent, and his first play (ever), quickly followed by a role in the 20th Century Fox movie “The Sitter” with Jonah Hill and Sam Rockwell. Now a member of SAG and with several more commercials and small films under his belt, the whirlwind of the last year and a half has left Trevor seeming like the luckiest actor in this city. But is it just luck?

There’s no denying the importance of believing in one’s product which, for an actor, is one’s self. So often, this necessary confidence can seem insincere or off-putting, but with Trevor, it was nothing but natural. In fact, he spoke of himself and his career so genuinely and openly that we lost track of time, forcing us to reschedule to continue with Part II of the interview. It says a lot about a person that he can talk about himself for over an hour and leave us wanting more.

His faith in his work is inspiring, as is his steadfast belief that “things will work out.” Sure, there are actors everywhere that wake up to this same credo. The difference with Trevor is that he doesn’t simply sit by and wait for things to happen, but actively seeks out opportunities for himself, all the while working on his own creations. When we sat down with Trevor, he was not only beginning to write his own material but working on an idea for a web series and continuing his ongoing search for positive and passionate people with which to create. “So many people talk about making things happen but it’s about doing it and not waiting around,” he said. These are the people that Trevor seeks.

It seems to me that these people are at the same time seeking Trevor. His fun personality and contagious positive outlook in life make him an ideal work partner, while his natural approach to humor opens the door for him in this business. He shared, “I find that humor is a shortcut to connecting with someone and especially if it’s an audition, I want to connect”. This desire to connect shines through even in our coffee shop talk, as does his deep interest in the collaborative effort. Both in the material he works on with the other actors and artists he meets, and in the casting/agent side of the business, it always comes down to building that human connection.

I asked Trevor how much he views his success as a result of his relentlessly positive attitude, perhaps even more so than talent, and he was in complete agreement that it has played a large role in carrying him this far. Of course, one might argue that he is able to remain positive because of his success but, rather than getting into a circular “chicken versus egg” debate, I will say that positivity must come first. Though success may help to reaffirm ones positive outlook in life, it is the choice to remain positive and always view the half-full glass that makes a person a target employee, creative partner, and cast mate. It is his positivity that makes people want to work with Trevor and his positivity, rather than mere luck, which keeps him buoyant in this industry.

As we hit the halfway point of the first month of this new decade, I wonder how many of this city’s resolutions are still in tact. For Trevor, it’s not a matter of a new year’s resolution, but a lifelong personal resolution. He laughingly told me that his resolution this year will be to fail his new year’s resolution. His opinion is that goals set just for the beginning of the year are not part of one’s ongoing process and will ultimately fail. He shared, “I always have goals that I want to achieve and I’m always trying to do better and improve. Because I know there’s always someone else working harder and smarter than me. But if I keep pushing and creating and persisting, I’ll get there.”

Can every year be the year? According to Trevor, it has to be.
________________________________________________________________________
Trevor Zhou lives and creates in New York City. Find out more about this artist/actor/positive person on his website.

GYPSY ARTISTS: the lineage of the theater

2010-11-17T11:47:00.000-08:00

posted by giada

I learned about Laura Caparrotti during my late-night, on-line researches. My recent obsession is traveling theater, which immediately brings to mind Shakespearean times with small troupes traveling from town to town, or Roman-style colossal theaters where audience members interacted with the performers. That just may be my romanticized version of it when, in truth, repertory theaters have been and still are the cornerstone of theater, though they are dwindling in numbers. They are the training ground for the actor, who learns the craft and most importantly, the application of it through practice and osmosis watching their senior company members play night after night. As I researched these types of theatrical companies, suddenly a myriad of companies and languages emerged on my search engine: Israeli Theater Company, Russian Chekovian and Italian. As an Italian myself, I took interest. Enter Laura, the artistic director of KIT Theater in New York City. She is steeped both in Italian and American culture and often serves as a liaison for the two, acting as a US correspondent for numerous Italian Film Festivals and television shows. As an artist, she directs (most recently at Lincoln Center), acts and created her own brand of theater called Theater & Italian, with the goal of sharing Italian culture with the US. She seemed like the perfect candidate for my exploration of a more global perspective of theater. Here is our interview:

Laura Caparrotti and Marta Mondelli

Can you tell me a little bit of your artistic background?

I was born and raised in Rome where I was exposed since my childhood to art, cinema and theater. I always acted. When I was 6 or 7 years old I started producing, directing and acted in plays presented in my own home, I even did the box office. When I was older I did classical studies at school focusing on Italian Literature. When it was time to apply to the University of Rome I discovered the Theater Department and immersed myself in acting both at the university and privately. I had the opportunity of studying and working with Dario Fo (Nobel Prize for Literature in 1997) and the great Italian actor Mario Carotenuto, chose me to be part of his company.

Can you talk about the experience of working with these great artists and what you learned as an artist and performer?

What did I learn…. The art of synthesis… Doing less to do more… Dario Fo and Mario Carotenuto were my masters. I have developed with them the sense of the stage. A rapidity in understanding a character. Actually not understanding, more feeling a character… I’ve developed (I had to) an animal instinct on stage. Dario taught me how to look at theater, at any kind of theater. How to see the core of a play, the key of the story and how to tell that story. Mario Carotenuto taught me how to be on stage and how to feel the audience. How to master the stage from acting to technical aspects while you are on stage. I guess each of the people I have ever worked with gave me something, and its difficult to define what they gave me in details. But I am grateful that they did.

You mentioned Dario Fo taught you how to look at theater. Can you elaborate on that?

He taught me to first look for the key of a story in a play and to understand where the ‘ribaltone’ is (the moment when a story takes the necessary change of direction). He terms KEY the story line that you should be able to tell in few words, ten or less. This is what I do every time I face a script; I force myself to tell the story in just 10 words. I succeed only if the play has a clear Key. Otherwise, it means that the play is not going to work. At least, it’s not going to work for me. Once I have clear what the key is – for instance in Romeo and Juliet is about two people in love but with families hating each other -, I look for the ‘ribaltone’, the moment where the story takes a dramatic turn, in the case of Romeo and Juliet is when the monk gives the false news of Juliet’s death. Once I have these two points clear in my mind (the Key and the Ribaltone) I am ready to face the play. Then I can adapt the play to my ideas, always keeping in mind the core of the play, meaning, again, the key and the Ribaltone.

What did you learn from your experience working with Mario Carotenuto?

I worked with him as an actress – my first official job on stage. He was the leading actor, and the artistic director, that is to say he was also the director. He directed us and directed the audience changing the performance every night, but never betraying – again – the play. He tried new lines, new jokes, new scenes in front of the audience, without telling us first. He was re-writing the script and directing all long the tour. He was exactly what Dario Fo described as old tradition of Italian theatre: a person able to see theater as a whole, from writing, to directing and acting. In five months of performing Il Burbero Benefico by Goldoni, the show stretched from only 90 minutes to 3 hours. We never rehearsed additional scenes, yet all of us followed the “driver”, Mr. Carotenuto, in an unknown path. I have never had such an experience again, as the old theatre disappeared, but it is one I will surely never forget.

In starting KIT Theater and specifically Theater & Italy you yourself are creating your own lineage, sharing Italian culture and art in the U.S. and worldwide. Can you talk about that?

When I had started, I just presented the authors I liked more… then year after year I can say that yes, I do follow a path: I go for satyrical or political themes and authors… sometime, though, I read plays or monologues by great authors and I love them so much, that I cannot avoid to work on it… I have presented Ennio Flaiano, Eduardo de Filippo (a never seen play), Franca Valeri, Pasolini, the theatrical adaptation of the very famous book ‘Gomorrah’, (we are going to bring on stage “Gomorrah”), a play on the death of Pier Paolo Pasolini, and then monologues by Dino Buzzati… all US premiere, also very important to me… you see, our theatre is full of treasures, and my job is to present them all, one by one… it will take sometime, but I guess it’s worth it!

Please talk about your experience as an Italian artist living in the U.S. and sharing Italian culture through art.

My main goal is to have been and always will be myself, always Italian, without falling into a stereotype that it didn’t represent me, and without trying to imitate other styles that weren’t mine. I had to fight against the stereotype: if I had presented the usual Pirandello, the usual Goldoni (done in the usual, comfortable way it’s been done in the US), or some other authors known in the US, it could have been maybe easier. Yet, I stayed with the many authors completely unknown in the US, I wanted to show the audience and other artists the so much we have, the so much that doesn’t arrive to this part of the ocean, and the so much even my American colleagues miss. One of my dreams is to see other companies do again, in different ways, on various stages, in many cities, the plays we are presenting for the first time in the US, and ultimately to see these plays published… to stay finally here!

As I looked over my interview with Laura, I felt a little nostalgic towards her memories of the old theatre disappearing. I could see how these great cultural icons colored her world and guided her towards the fulfillment of her craft and development as an artist. Yet, I am encouraged by the future and how artists like Laura continue to nourish a broader, more global communication through art. It is our hope with zoetic artists project that we can play a role in this process and we encourage you to participate as well. Please post any response/feedback from wherever you are in the world.

________________________________________________________________________
Nowadays Ms. Caparrotti continues working and touring as representative of the de Curtis Family as an actress, voice-over talent, director, Theater&Italian teacher, lecturer, and consultant. She does this all while serving as President and Artistic Director of KIT, the Kairos Italy Theater Inc., whose ultimate goal is to spread the Italian Culture and to create an Italian Culture Network in order to maintain and grow the knowledge of Italy in the States, and vice versa. In 2008, Ms. Caparrotti started KIT in the city, a bi-lingual online news-magazine dedicated to cultural and every-day events in New York and Rome.

zoetic's five

2010-11-08T14:43:00.000-08:00

here is this month’s list of exciting ways to get you in touch with your inner zoetic artist. of course, with so many incredible places and experiences that this city has to offer, there are always more to seek out. check back next month for new ideas, and please e-mail us your faves so that we can give them a shout-out.

1. FLY @ España/Streb Trapeze Academy
If you’re a thrill-seeker or if you just want to overcome your fear of heights, this recreational flying trapeze class is for you! Located in Williamsburg and with offerings for both private and group classes, this is a great first step toward flight. Email trapeze@streb.org to register or request additional information.

2. SHARE @ The Moth
An acclaimed not-for-profit organization dedicated to the art and craft of storytelling, The Moth satisfies both the listener and the storyteller in us all. Held weekly at locations throughout the city, the Moth StorySLAM provides a stage and a microphone, a theme as a prompt, and the opportunity to stand before fellow creators and speak honestly and openly. SLAM stories are limited to five minutes and ten stories are heard at each gathering. Find out more at www.themoth.com.

3. FLOAT @ Om Factory
Combining traditional yoga principles with elements from aerial acrobatics, dance, pilates and calisthenics, this AntiGravity Yoga class allows you to deepen your practice while floating mid-air. Check out the schedule at www.omfactorynyc.com.

4. RELEASE @ Black Nexxus
A drop-in exercise class for actors, Ex-er Actor is held daily and open to actors of all levels. The target of the class is to help diffuse tension and release the self from the emotional, vocal, and physical stresses that so often accompany the life of an actor.
Read more about this approach at www.blacknexxusinc.com.

5. UNLEASH @ S Factor
A wild workout combination of ballet, yoga and striptease, S Factor classes are designed specifically for women to nurture their natural S shape and promote health, confidence and empowerment for all ages and body types, all while pole dancing. With two studios located in Chelsea and a full schedule of level options and , this is just the place to discover your inner sexy power. For more information and a complete schedule, visit www.sfactor.com.

"Do for Self": a conversation with Bobby Hill

2010-10-15T17:07:00.000-07:00

posted by ashleigh

As artists, we are always looking to be inspired, to inspire others, and to find exactly what it is about our art that makes us unique. We are forever on the lookout for those around us who seem to embody the creative self-assuredness necessary to stand out from the busy backdrop of this city. Over the summer, Giada and I were lucky enough to cross paths with just such an individual: Bobby Hill, a New York-based visual artist and leader in the self-dubbed Post Street Art movement.

We caught up with Hill one morning in his Ridgewood studio as he prepared for his upcoming show, “BHILLBOARDS”. Walking into his workspace was like walking into an artist’s playground; bright and busy, creativity at its most interesting midpoint, with a splash of chaos thrown in. Here is an artist who creates to the beat of his own drum, making art without any care about whether or not people will like it, buy it, or put it in a gallery. His current goal? Quantity. The “BHILLBOARDS ARTSHOW” would be his biggest feat yet, showcasing over 200 original pieces, as well as one 36-foot long painting composed of eight connecting canvases. He didn’t seem the least bit concerned about the approaching deadline. Rather, he was embracing the challenge and the freedom that it provided to simply create. He explained, “I want to make as much art as possible, so that when I’m not here anymore, people are like, ‘Alright, Bobby, he just got busy, he did his thing, and this is what he has to show for his time being here.’”

I found myself wishing that I could do the same with my acting, and I suppose it is my ultimate goal in my work: to just put myself out there in my creative exploration over and over again and be excited by the process and the actual creation, rather than getting so caught up in the “Will they like me?” Unfortunately, it is far too easy to fall victim to this crippling question and, as I’m sure most artists are aware, it is a hard habit to break. Bobby admitted that he often doesn’t have a clear direction in which to travel with his next piece but this never stops him from moving forward. “I don’t know what it’s going to be exactly, but I know it’s going to be something.” It was this unrelenting faith in his work that struck me the most about our conversation because I know from experience how difficult it is to master and it seems to be this immense trust that led to his current state of success. Indeed, he became very passionate as he talked about the importance of having faith in one’s own work and unique ability, asserting that we all need to “create your own lane, so you don’t have to wait for nobody. Create your own stuff and put it out there and whoever is going to see it will see it, and then the doors open up.” Bobby exemplifies the necessary forward motion that we, as artists – regardless of our medium – require. We are our own propelling force, as it is with our own first step that creation begins, and it is by repeatedly trying and failing and trying again that we learn what our “lane” is, the mysterious thing that sets up apart.

What is Bobby’s lane? When talking about his process, one of the specifications was that his pieces couldn’t be too polished or neat. Often, he will even throw paint on his work to “bring it back”, to essentially mess it up just enough to keep it real. Whether our art is acting, painting, or music, we all need to be emboldened to throw paint on our own work, to not be afraid to be messy, because it is the “mess” that makes us interesting.

“Do for self,” Bobby concluded, again highlighting the importance of creating from the heart and making art that you, the artist, believe in. This ties in very nicely to some advice I just revisited from John Patrick Shanley. In the Author’s Note preceding his play The Big Funk, he writes: “Act from the depth of your feeling imagination. Act for celebration, for search, for grieving, for worship, to express that desolate sensation of wandering through the howling wilderness. Don’t worry about Art. Do these things and it will be Art.” As Bobby reiterated and demonstrated, “You should be an artist just to create art, to put it out. Whatever happens after that, happens.”
__________________________________________________________________________
Bobby Hill is a New York-based visual artist who has been behind the scenes for years and is now emerging in the mainstream with his current body of work, dubbed Post Street Art. His recent work combines a blend of pop imagery, aspects of street art/ graffiti and abstract expressionist elements that has the pulsating feel of NYC. His “BHILLBOARDS” show debuted for one night only in SOHO on September 11th to great reception and he is now preparing for “The Euro Tour”, the show’s international adventure beginning next June in Milan and concluding mid-August in Russia. You can find out more about this exceptional artist at http://www.resetuniverse.com/.