nyu tisch experimental theatre wing

Tisch Drama Experimental Theatre Wing Share Day

Each semester, students, staff, and faculty of Tisch Drama's Experimental Theatre Wing (ETW) come together for "Share Day"—a celebratory full day of presentations in movement, voice, acting, and more!

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Various Tisch studios?

<p>I’ve heard some pretty mixed reviews about NYU Tisch theatre, some of which warn that the experience depends on the studio you’re in. What have you heard about this, and, in your opinion, which studios are “reputable”? Thanks!</p>

<p>Hey Peggysue, thought I might be able to share some information about the studios with you as I just finished my essay for class tomorrow. I’m a freshman at the Playwrights Horizons Theatre School, but I have friends in all of the studios. Yes, some people will tell you that some studios are better than others. Of course, the fact of the matter is that the adler studio, the atlantic studio, and the strasberg studio (now to be replaced by the New Studio) are all world renowned acting studios that people from all over the world go to. However, this does NOT mean that the other studios are in any way inferior. Quite honestly, because it is Tisch and because all of your teachers are among the best people on the face of the Earth, you can’t go wrong by attending the school.</p>

<p>Quick breakdown of studios: Atlantic- David Mamet’s “practical aesthetics.” If you don’t know about practical aesthetics buy A Practical Handbook for the Actor. Basically that is what you’ll be doing in class. Classes include: repetition, games, technique, movement, voice and speech, some sort of dance (can’t think of what). My friends that go there love it, although it is definitely a break you down, so we can build you back up type of mentality. Personal opinion: if you’re looking for love or want to really understand theatre it’s probably not the place for you.</p>

<p>Adler- My favorite description of Adler I’ve heard is: It’s a spa where they tell you to relax and yell at you a lot. You have movement (with alexander technique and MASSAGE!!O.O), ballet, Adler technique, voice and speech, improv, and I think there’s some sort of singing class, but don’t quote me on that. For some reason everyone thinks all the adler kids are gorgeous, I don’t know what they’re talking about. Oh, and because you can only wear black to studio you always look like a ninja.</p>

<p>Experimental Theatre Wing- By far the most mysterious group to me considering I’ve only seen 2 ETW kids since I’ve been here. One of them eats lunch with us sometimes so I can tell you what he tells us. Basically if you don’t want to take your drama home with you this is the place to be. Founded in the 70’s by a group of artists whose work is anti-textual, you’ll be doing a LOT of physical acting. Everything in the studio is about getting you out of your head and into your body. Many impressive faculty, and the two people I know who go there absolutely love it. Highly respected studio as well.</p>

<p>Meisner Studio- It’s meisner. You’ll be repeating and then you’ll be doing independent activities, etc, etc… My directing teacher also teaches at the meisner studio, so I’m sure it’s good. It’s the smallest studio (this year they only have 15 so it must’ve been painful for one group of three to meet and repeat) and that group is probably the most tightknit as a whole studio. Can’t tell you too much as I’ve only ever run into one meisner. But considering this is Tisch, it’s got to be amazing.</p>

<p>Playwrights Horizons- Our teachers tell us to have sex with all kinds of objects, moving or non. We get naked. We make sounds and then physicalize them with our bodies in voice and speech. We have african dance on thursday. We draw stuff for Michael Krass. Everyone’s either going insane or already there. You’ll be the person in your group of friends who can’t go out tonight because tomorrow you have to memorize your personal movement for Peter Bass. And then after that you’ll start rolling around on the ground making strange sounds with Elizabeth Hess as she talks out of her ass. Then you’ll go and see Maggie and you’ll do meisner repetition. And did I mention directing? Well you’ll do that too. It’s basically the most insane experience I’ve ever had. All of the teachers are happy to be there, they love us, and they love working with us more than anything else as far as we know. Except for sex. And being naked. My RA/suitemate likes to define the Playwrights kids as the really smart philosophizing theatre students who can get you psyched up about anything and are really fun to have a conversation about theatre with. And I almost forgot to mention Salty Brine. Yes, that’s his name. </p>

<p>As you can kind of tell I biased that a bit at the end for Playwrights… because I really love the studio. However, I do have friends there that are trying to transfer out because they really want to JUST act. That’s where I was, and where I still am (wanting to only be an actor), however I absolutely love having directing and design (I can finally draw!) and I’m learning a **** ton more about theatre than anyone in any of the other studios is, that’s for sure. Now that I got that out of the way… If you want in depth info on any of the particular studios I’d be more than willing to ask my friends. Honestly though, if you’re worried about whether the experience will be good or bad you’re worrying about the wrong things. It’s New York City, there are so many amzing theatre opportunities, you’ll meet the most amazing people in the world, AND you’re going to tisch so you’ll get a great liberal arts education to boot. Best deal in the world. </p>

<p>For better articulated information on each of the studios purchase and read “Training of the American Actor” by Arthur Bartow. The book contains essays from teachers at each of the studios. But trust me, they’re all amazing.</p>

<p>@ nabende: thanks so much! i’ve attempted research of the studios, but i always feel overwhelmed at the amount of info available. your quick, insider’s guide is a great start.</p>

<p>thank you!!</p>

<p>^ You left out Strasberg! And CAP21, though it’s undertsandable because they won’t be open to Freshman next year, but there is the New Studio on Broadway, which no one really knows about yet.</p>

<p>I’m a freshman at NYU. I was originally in ETW, but I transferred studios, and now I’m in Strasberg (yes, it’s possible!) The admissions people are usually great at placing people, but ETW was really not a fit for me. Like nabende said, ETW is really physically based. There’s a separate movement class, but even in the designated acting class you’d be doing a lot of movement exercises. It’s really great for some people, but it didn’t click with me- and that’s ok. ETW is the 2nd smallest studio and is in 721 Broadway-the main Tisch building) so that’s probably the reason theyre so mysterious and not always around.</p>

<p>I can also PM you the Tisch studio lightbulb jokes- they’re really funny and give a pretty good idea of the studios. If you have any specific questions about ETW (or Strasberg!) et me know! :)</p>

<p>If you have more specific questions</p>

<p>Enjoy! </p>

<p>How many Strasberg students does it take to screw in a light bulb?

• I touched a light bulb once and it felt warm.</p>

<p>How many Adler students does it take to screw in a light bulb?

• I am the light bulb.</p>

<p>How many Meisner students does it take to screw in a light bulb?

• How many Meisner students does it take to screw in a light bulb? How many Meisner students does it take to screw in a light bulb? How many Meisner students does it take to screw in a light bulb?</p>

<p>How many Atlantic students does it take to screw in a light bulb?

• ***** you and your *****ing light bulb.</p>

<p>How many CAP21 students does it take to screw in a light bulb?

• I don’t do tech.</p>

<p>How many Stonestreet students does it take to screw in a light bulb?

• It’s not about the light bulb.</p>

<p>How many Experimental Theater Wing students does it take to screw in a light bulb?

• Purple.</p>

<p>Thanks to all for their answers, and especially to Nabende (thank you thank you!) and alwaysamom (:D)</p>

<p>Ok but what is the joke about the Playwrights kids!!</p>

<p>Tim,</p>

<p>Sorry I missed the one for Playwrights!</p>

<p>How many Playwrights Horizons kids does it take to screw in a lightbulb? Five. 1 to design a lightbulb, 1 to write a script about a lightbulb, 1 to direct the screwing in of the lightbulb, 1 to actually screw in the lightbulb, and 1 to run around naked saying that they’re better than ETW.</p>

<p>Thanks so much, how true!</p>

<p>Here’s another version to the last one:</p>

<p>How many Playwrights Horizons Theatre School kids does it take to screw in a light bulb? God. I designed the show. I directed the show. I’m IN the show. And now you want me to do tech? Well okay… does it have to be a light bulb?"</p>

<p>This one is hilarious, I cannot wait to share it!</p>

<p>Ha! So true about the playwrights people. Have to say I love NYU and the community here, totally worth every penny. </p>

<p>And I didn’t include Strasberg and Cap21 because of the New Studio thing. Is it true that they’re now letting the cap and strasberg students already there stay there for the full four years (3 and a half for CAP)?</p>

<p>The kids who are currently sophomores in CAP21 will be able to continue in CAP21 (at that studio … not in the New Studio on Broadway) through to the industry practicum and showcase in their senior year.</p>

<p>There was a discussion at Parents weekend and a very negative vibe about Senior Showcases from the Drama department… does anyone know more about this topic as regards the Tisch studios? I know that there are Freshmen at Cap21 that are limboed by the changes… any word on what will happen to them? The last I heard they could transfer to another program at Tisch, but will they go to the New Studio?</p>

<p>Averagetim, you might find more people who could address your questions in the NYU/Tisch MT subforum, the link for which is at the top of the Musical Theatre forum webpage. </p>

<p>There are a lot of people who read posts both here in the Theatre/Drama Majors forum and in the MT forum, but not everybody does.</p>

<p>Just wanted to say that I heard from the group of freshmen cap21 girls in my academic classes that they would be able to say for the full program there and that apparently the same thing was true with Strasberg. Could be wrong, but that was what they told me.</p>

<p>^ I’m in Strasberg and my roomie is in Cap21 and we were both told that should we choose to, we can stay all four years in our current program.,</p>

<p>hello, I was recently accepted into the ETW studio at tisch. I am really hesitant about it mainly because of the “experimental” part of the studio. I am not sure what to expect and I never really classified myself as an actor who would perform in experimental theater. Do people generally like this studio? I also never felt during my audition that my auditioner asked me what I wanted, which sort of bothers me. I am so happy to accepted into Tisch but I am worried that this is not the studio for me.</p>

<p>Grindon22, if at all possible, you should physically visit the ETW studio. You may or may not be able to observe classes, but you should definitely find more than one current ETW student to have a personal conversation with…either through facebook, through CC contacts, through the school, or whatever.</p>

<p>My son is not a student at Tisch, but he was accepted there last year (Adler), and I have done a fair amount of reading/research about the various studios.</p>

<p>Here are some items of information about ETW:</p>

<ol> <li><p>It is a popular studio among Tisch students. Many people audition to get into ETW after their first two years in a different primary studio.</p></li> <li><p>ETW’s focus of instruction is primarily movement-based rather than text-based. (One comment on this is that I think when students get into conservatory training they often discover how extremely vital movement training is to their development as an actor. My son had this experience in a program at another school.)</p></li> <li><p>For whatever it’s worth, the actor Hailey Joel Osment (who either is presently or was very recently a student at Tisch) was placed in ETW.</p></li> </ol>

<p>Good luck to you in your research!</p>

<p>grindon, I replied to your inquiry about ETW on the MT Forum. </p>

<p>Yes, Haley Joel Osment is a fellow actor in my D’s studio, ETW. So is Mara Wilson, another well known child actress.</p>

<p>While ETW does do a lot with physically based acting, they also have students explore many acting methods, not just one.</p>

Washington Square News

Breaking Down the Tisch Drama Studios

Studio 3 of the Experimental Theater Wing is one of many studios at Tisch School of the Arts.

Emma Hernando , Staff Writer February 20, 2018

Tisch School of the Arts is one of the best drama schools in the United States, but for the rest of NYU, the multitude of acting studios can be jarring. Everything from the tight-knit communities within to each studio’s off-campus locations seems imposing and elusive to outsiders.

So, what makes these studios so special? Tisch freshmen took some time out of their long studio days to enlighten WSN about the options for first-years.

• New Studio on Broadway

New Studio on Broadway specializes in musical theater. Throughout the week, classes focus on subjects in ballet, contemporary dance, acting, spoken voice, speech, music theory, sight singing, vocal performance and small group music. NSB aims to teach aspiring actors to be present and authentic while integrating that work into vocal training and dancing.

Emily Goes, a freshman in NSB, said she loves being in a community of artists who put their heart and soul into every performance.

“I think it’s so invigorating that I can integrate the approaches I’ve learned in acting into the dance studio or vocal performance,” Goes said. “And find the strength to discover the meaning and intent behind every move or lyric.”

• Atlantic Acting School

Atlantic Acting School –– founded by “Shameless” actor William H. Macy –– follows a technique known as Practical Aesthetics, which centers around script analysis and as if scenarios that personally connect every actor to a character in a scene. Atlantic students have four classes per day and six classes total with a ‘15-minute rule,’ where students have to arrive 15 minutes early to silently prepare for class.

Atlantic freshman Max Vaupen values this emphasis on individuality.

“I’ve seen the same scene performed [in] drastically different ways because two people analyzed the scene differently,” Vaupen said. “The outcome was still interesting because both analyses made sense within the given circumstances of the play.”

In Vaupen’s opinion, Atlantic kids are similar; they connect with one another very easily.

“Everyone has different strengths and weaknesses and being able to see progress really strengthens our chemistry as a group,” Vaupen said.

• Playwrights Horizons Theater School

Playwrights Horizons Theater School allows students to study all aspects of theater making and learn a variety of acting styles.

“Every day in Playwrights is different,” first-year Jack Dahill said. “Most have acting and movement followed by either playwriting or design.”

Studio days also consist of a salon, where an industry professional comes to speak to the students. Dahill said he fits right into Playwrights because it allows him to explore all that theater has to offer, especially directing.

“I’ve always been someone that likes to do a lot of different things,” Dahill said. “Playwrights allows me to do that.”

• The Meisner Studio

The Meisner technique is based on repetition, which emphasizes listening to your partner and reacting honestly to whatever they say or do. Partner work entails one actor going in front of the class and performing an unscripted moment where the goal is to elicit an emotion. Then another actor comes in and joins after doing emotional preparation outside.

Meisner freshman Nikolas Elrifi finds the studio a good fit for him.

“It really forces you to externalize emotion, which I have trouble doing,” he said. “Most of the work you have someone pushing you to high emotional states that you can’t keep inside.”

Production and Design Studio

Production and Design is the only studio at NYU that specializes in the technical aspects of theater alone. Students learn the processes behind different focuses of production.

“When I was in middle school, I had no clue that I was able to have a career in a field most people deem as a hobby,” P&D freshman Lauren Blanks said. “Being in this studio gives me the freedom to be creative and build my skills in areas I’d never encountered before”

An average class day consists of classes like theater organization, drafting, fundamentals of stagecraft, fundamentals of design, painting and drawing.

“Most people forget that we’re a studio because there’s not that many of us,” Blanks said. “But in reality, we’re a tightly-knit group that all share the same creative minds and want to create beautiful art just like the acting studios.”

• Experimental Theatre Wing

Experimental Theatre Wing works to create actors who are prepared conceptually, technically and personally to meet the demands of contemporary and traditional theater.

Studio days consist of voice class and ballet class in the morning with Meisner acting classes and circus class in the afternoon.

Freshman Collin Linnville feels like he belongs in ETW because of its priortization physicality.

“The physicality makes people even more intimate,” Linnville said.

In Linnville’s opinion, ETW kids are characterized by their individualism and freedom to create their own work.

“People always say that ETW is mysterious, but it’s unique and has a large focus on developing great artists as well as great actors,” Linville said

• Lee Strasberg Theatre and Film Institute

At the core of Lee Strasberg is the ability to release complex emotions within, which would be difficult to create artificially for performances.

An average studio day includes two hours of dance, a   four hour method acting class, voice and speech and improvisation.

Strasberg freshman Jacob Edwards believes the personal training at Strasberg has helped him discover new aspects of himself and his craft.

“People think delving into your emotions is unhealthy when quite the opposite is true,” Edwards said. “If you’ve dealt with something and then bring it out, you can sense a feeling of relief that’s so refreshing.”

• Stella Adler Studio of Acting

At Stella Adler Studio of Acting, the technique revolves around the magnification of the imagination. Studio Founder Stella Adler provided actors with the tools to use their imaginations to develop roles.

“We believe that acting is ‘doing,” freshman Sorosh Wein said. “Growth as a human being and [as] an actor are synonymous.”

An average studio day consists of one to three hour classes on topics like movement, voice and speech or scene study.

“The Adler philosophy encourages us to be more than just actors,” Wein said. “I want to be someone that changes the world through his craft. The great endeavors and experiences in life inform and improve your acting.”

In Wein’s opinion, what makes Adler students so unique is the desire for activism and the desire to use their success for social change.

A version of this article appeared in the Tuesday, Feb. 20 print edition. Email Emma Hernando at [email protected] .

• Collin Linnville
• emma hernando
• Jack Dahill
• Jacob Edwards
• Lauren Blanks
• Nikolas Elrifi
• Production & Design
• Sorosh Wein
• william h. macy

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Daniel Colt • May 29, 2018 at 6:55 am

Hey Emma, fantastic article! Just a couple of small quips as a heavily Meisner trained actor: the technique isn’t BASED on repetition, it’s an integral part of the learning process because if done correctly it allows you to really be in the moment but it’s just a part. Lastly I’d say “responding” is more accurate than “reacting” because the former a!lows you to take in the other’s truth while the latter leaves no space for it. Best!

Experimental Theatre Wing presents THE SERPENT

Fri nov 11 2022 at 07:30 pm to tue nov 15 2022 at 09:00 pm, frederick loewe theater, tisch, nyu | new york.

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Published November 11, 2021

Surviving Your Tisch Drama Artistic Review

Gage Thomas

Photo courtesy of the NYU Tisch School of the Arts.

Complete Your Common App

In order to sign up for the artistic review portion of your Tisch Drama application, you must complete the Common Application! The Common Application, or Common App, is NYU’s main application no matter what school or major you are applying for. See here for application guidelines.

A couple of days after your application submission, you will receive an email with a personalized link to the Tisch Drama Artistic Review Portal. There, you can sign up for any of your artistic review dates. NYU’s Tisch School of the Arts offers artistic reviews in New York City, Miami, Los Angeles, and Chicago. If you are not able to make to one of the in-person sessions, digital submissions are also accepted! Click here to see a list of dates and locations.

Get Familiar with the Studio System

The Tisch School of the Arts is unique in that it works through a studio system. The Tisch Drama program is made up of eight different studios. These studios are the Stella Adler Studio of Acting , the Atlantic Acting School , the Experimental Theatre Wing , The Meisner Studio , the Lee Strasberg Theatre Institute , Playwrights Horizons Theater School , the New Studio on Broadway , and the Production and Design Studio . Each studio specializes in a specific technique or type of training. For example, the New Studio on Broadway specializes in musical theatre performance and the Production and Design Studio centers on technical theatre.

For the first two years of training, each drama student will train within one of these eight studios. There, they will build a foundation for performance and gain a knowledge of techniques specific to their studio.

Step Three:

Prepare for your artistic review.

When preparing for your artistic review, you want to look very carefully at your guidelines. There are four different disciplines one can choose from, and you should pick the discipline closest to what you want to train in during your time here at NYU. The four disciplines are: acting, directing, musical theatre, and production and design.

If you chose the acting discipline, that means that you mainly want to focus on acting. Though most studios do have an area of voice and movement training, the nonmusical theatre studios are going to have more of a focus on other aspects of performance than a musical theatre studio would.

The acting studios include: the Stella Adler Studio of Acting , the Atlantic Acting School , the Experimental Theatre Wing , The Meisner Studio , the Lee Strasberg Theatre Institute , and the Playwrights Horizons Theater School .

For your artistic review, you need to prepare two 90-second contrasting, contemporary monologues. Tisch Drama defines contemporary as anything written from 1900 through the present, so you have a ton of plays to choose from. Choose something from a play that you love or a character that you can relate to! For a closer look at your guidelines, click here .

The directing track here at Tisch Drama is located within the Playwrights Horizons Theater School .

For your artistic review, you need to prepare one 90-second contemporary monologue from a published play. Once again, you have a ton of works to choose from, so choose something you love and can relate to! Along with your acting component, you also have a special directing portfolio component. For a more in-depth look at your artistic review guidelines, click here .

Musical theatre training here at Tisch Drama is located within the New Studio on Broadwa y. As a musical theatre applicant, you have the choice to be considered for all studios or just the musical theatre studio. If you choose all studios and the drama department believes you be a stronger fit within another studio, you simply will be placed there. If you choose musical theatre only and you are not selected for the New Studio on Broadway, you will not be admitted into Tisch Drama. This choice is completely up to you and does not affect how your application is viewed, so really only choose what you would be most happy with.

For your artistic review, you will need to prepare two 90-second contrasting, contemporary monologues and two contrasting 32-bar cuts of a song. You will also be asked to participate in a dance component where you will learn a brief combination from one of our NYU Drama faculty members. For a more in-depth look at your guidelines, click here .

The production and design artistic review discipline feeds directly into the Production and Design Studio .

For your artistic review, you will need to prepare a statement of purpose and a portfolio of three to five of your recent projects. Your portfolio can include anything from photographs, drawings, sketches, research, sound cues, draftings, and the like that demonstrates your experiences with production. Show something you are proud of and feel showcases your talents. If you have any other kind of work to showcase that does not relate directly to the theatre, you are encouraged to bring it in. Your portfolio should be a show of artistic work that you have completed so far. For a more in-depth look at your guidelines, click here .

Artistic Review Tips from a Current Drama Student

• Be game. Be ready to workshop some of your material and play around with things. Be open to experiencing your work in a different way.
• Choose the material you love doing. Sharing pieces of theatre that you enjoy and are excited to do makes all the difference. Your joy and excitement about the material will be infectious.
• Take a deep breath. Before you walk into any of the rooms, take a moment to center yourself and calm your nerves. There is no rush, and we want you to feel comfortable and ready.
• Wear clothes you feel comfortable in. Looking presentable for your audition is encouraged, but if you can, find clothes that you feel grounded in and represents you as a person.
• Encourage your fellow artistic review friends. There is nothing more calming than being in a warm and welcoming environment. Be nice and respectful to the other students who are doing their artistic reviews alongside you, and who knows, you might run into each other on campus!
• Just be yourself. The Tisch Drama program is not looking for perfection. The best applicants are passionate and eager to learn. There is no formula to getting accepted into the Tisch School of the Arts, but at the end of the day, all the faculty wants to see is your unique self.

I wish you all the best of luck on your college application process. Go out and break those legs!

Gage Thomas is a third-year at NYU in the Tisch School of the Arts, where he studies Drama in the New Studio on Broadway. Gage also is working towards double minoring in the Business of Entertainment, Media, and Technology, and Producing.  Outside of his schooling, Gage works as an Admissions Ambassador with the Office of Undergraduate Admissions, and in the Scene Shop at the Tisch School of the Arts. He likes to volunteer his time helping his school as an Artistic Representative and Orientation Leader. During his free time, Gage likes to relax with friends and family, explore the city, and watch movies and plays. He is looking forward to sharing his voice with the NYU community, and the readers of Meet NYU.

More from Gage:

Tisch Drama 101

Everything you need to know about applying to the drama program at the Tisch School of the Arts!

A Theatre Kidʼs Application Guide to Tisch Drama

Curious about the Tisch Drama artistic review? Youʼre in luck! We explain all the basics of the process.

Acing Your Tisch Drama Audition

A theatre girl’s guide to everything you need to know about applying, preparing, and acing your Tisch Drama audition in a few easy steps!

Student Blog: Spotlight on My Classmate, Edoardo Tesio

I interviewed one of my inspiring classmates, who just put on his first NYC production that he wrote, directed, and starred in!

When my classmate Edoardo Tesio was a little boy, he saw a life-changing production of The Wizard of Oz. He had already decided that he was interested in storytelling when he began playing with the dolls his grandmother had gotten him for Christmas a few years before. However, Edoardo began taking theatre classes after he was inspired by the storytelling that is live theatre. A few years later, at the age of 15, he wrote and directed his first show.

That love of storytelling continued throughout Edoardo's life, and it continues now as he finishes his first half of his senior year at NYU Tisch Drama's Experimental Theatre Wing. Today, Edoardo identifies as primarily a playwright and director, but he also enjoys acting, dancing, and choreographing. "It changes everyday," he tells me. He ended up at NYU after attending the high school summer program, where he was excited to see that "finally [he] wasn't the only gay person!" NYU and Edoardo were meant to be, proven by the fact that NYU was the college that he applied to. "I don't know what I was thinking," he jokes. "I definitely had the whole American dream, New York City magic kind of thing going on at 16."

However, not two years into his education at NYU, the COVID-19 pandemic struck, and Edoardo was sent back to Italy, where he's from. He was actually trying to put up one of his original shows in NYC when the pandemic hit, and his cast had just started rehearsals. Edoardo, ever the optimist, did not let the pandemic stop him and his art, and he continued working while in quarantine. He described to me the difficulty and determination that came from working on his show during the pandemic, saying, "we're getting through [the pandemic], and [we're] making art, and we're not gonna be stopped."

Luckily, Edoardo was finally able to return to the states this year and put on his very first NYC show, titled Vanity. I was lucky enough to see it last weekend, and I can personally attest to Edoardo Tesio's artistic genius. The show he built was unique, charming, and mesmerizing, with a hint of humor. Everything from the script, to the costumes, to the lights was outstanding. And Edoardo made it happen almost entirely on his own. He had help from his incredibly talented friends and classmates on the creation of the actual show itself, but managing the budget, finding the space, and all the other behind the scenes work that got the show up and running was his doing.

The process of getting this idea out of his head and onto the stage was a difficult one, but a rewarding one nonetheless. Edoardo explains how he worked with his cast to develop the trust that he knew what he was doing. One of the biggest things he learned within the process was about sacrifices. With his budget, he had to decide whether he wanted really nice costumes or a really nice set, a really nice theatre or a better date for the show, a spectacular trailer or cooler props. In the end, Edoardo decided against having a set. "Maybe I don't have a set, and I make that a choice," he said. "Even if I had the money to get a proper set, I wouldn't want it because it became a very cool thing."

Edoardo also learned more about the importance of connecting with people, and most of his creative team was made up of his friends and classmates. His roommate, Bridget Spencer, did the killer choreography; his friend, Marjorie Murillo expertly assistant directed; his friend, Olivia Amicangioli wrote and produced some incredible original music; and he had a friend back home in Italy create the stunning backdrops! "I'm so lucky that I know people who are so talented," said Edoardo. "They helped me." His talented friends helped him to figure out how to put on a show without a large budget and without compromising his artistic vision. Overall, he explained that the biggest lesson he learned throughout the project is: You have to make it happen, and don't give up.

And Vanity was born! Vanity, originally a screenplay, is about an actor who is trying to figure out how to deal with their trauma, while playing a triggering role. The show deals with themes of navigating trauma, gender and sexuality, and the power of stories. Edoardo's inspiration for the show came from his schooling, and his own journey to figure out how to navigate trauma within the work. He explains how he has learned that "finding a balance to not have acting be hurtful to you is complicated." About the power of stories, Edoardo said, "You have to kill every single person who heard the story for it to die," which was a statement similar to one in the play.

As far as what's next for Edoardo, he wants to continue growing and learning about himself as an artist and as a person separate from his art. "When people ask me about myself not related to shows and my projects, I never know what to say," he laughed. "My artist self, the writer, the director, the Vanity Edoardo is way more aware of himself than my non artistic side. Me in my personal life, I want to learn from my artistic self, my artistic life." Right now, Edoardo considers himself to be a writer and director first, but "if you come back tomorrow, [he] might have a different answer."

However, I will tell you that you should remember his name now because one day everyone will know the one-of-a-kind artistic talent that is Edoardo Tesio! I, for one, cannot wait to see what he does next.

To see the trailer for Vanity: https://vimeo.com/645560554

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Celisse is a dynamic musician known for her soulful voice and captivating stage presence. Born in Oakland, California, and shaped by her time in New York City, she has recently gained significant momentum in the music world. Celisse has collaborated with artists like Alicia Keys and Brandi Carlile and performed at notable events, including Joni Mitchell’s Newport Folk Festival set. She has also appeared on The Late Show with Stephen Colbert and Austin City Limits Live . With her debut album on the way, Celisse is ready to showcase her soulful voice and captivating stage presence at NYU Portraits.

Stephanie Hsu

Stephanie Hsu is an Academy Award-nominated actor best known for her role as Joy/Jobu in the Academy Award-winning film Everything Everywhere All At Once . Her work includes Joy Ride , Poker Face , and The Marvelous Mrs. Maisel . She is a graduate of NYU Tisch’s Experimental Theatre Wing. On stage, Stephanie originated roles in Be More Chill and SpongeBob Squarepants The Musical. Upcoming projects include starring in and executive producing the Peacock series Laid , voicing a character in the animated film The Wild Robot , and starring in Par for the Course , a new comedy co-starring Quinta Brunson.

Danny Ramirez

Danny Ramirez is a rising star in the entertainment industry, known for his versatility and dynamic performances. A graduate of NYU Tisch, Danny will reprise his role as ‘Joaquin Torres’ in Captain America: New World Order and appear in the second season of HBO’s critically acclaimed The Last of Us . Ramirez gained global recognition in Top Gun: Maverick and was featured in Black Mirror , Look Both Ways , and No Exit . He has also made waves at major film festivals with roles in Assassination Nation and Stars at Noon . Danny is teaming up with Slave Play writer Jeremy O. Harris on the new movie Pursuit of Touch .

Ali Stroker

Ali Stroker is a Tony Award-winning actor known for her role as ‘Ado Annie’ in Oklahoma! She made history as the first actor in a wheelchair to graduate from NYU Tisch Drama and to appear on Broadway in the 2015 revival of Spring Awakening . Ali has appeared in film and TV roles like Netflix’s Echoes and Ozark , Hulu’s Only Murders in the Building , and Lifetime’s Christmas Ever After . She has performed at prestigious venues like Carnegie Hall, The Kennedy Center, and Lincoln Center. Her mission to improve the lives of others through the arts is captured in her motto: “Turning Your Limitations Into Your Opportunities.”

​​Amina Abdiaziz 

Amina Abdiaziz is a junior majoring in Global Public Health combined with Media, Culture, and Communication, and a minor in Social Public Policy. She began writing poetry to connect with the Somali tradition of oral poetry (gabay). Her rich cultural heritage passed down to her through community elders and family, as well as her experiences as a Black woman in the US, deeply influences her work. Amina serves as the vice president of the SLAM! Poetry club at NYU and wrote for a blog focused on fashion sustainability.

​​Italy Ja'rae Lee 

Italy Ja'rae Lee is a second-year student at the Atlantic Acting School at Tisch. A multi-talented artist, she has written and performed spoken word poetry across New York, at venues like the Apollo Victoria Theatre, S.O.B., and right here in the Skirball Center for the Performing Arts, where she won the audience choice award at Ultra Violet Live. Recently named the Teen Slam Champ of NYC after winning Parlee Endeavor's “Battle of the Boroughs,” Italy uses her work to advocate for arts education, dismantle toxic societal narratives, and bridge the gaps between communities.

​​Leilani Patao 

Leilani Patao is a performer, singer-songwriter, and music producer. They are a junior at the Clive Davis Institute of Recorded Music and Tisch Dean’s Scholar. As a composer, Leilani was most recently featured as a finalist for the Write Out Loud competition in 2023 with their song “Imposter Syndrome,” making their 54 Below debut. Their most recent single, “LABEL,” is out now on all streaming platforms.

​​Naira Sarin 

Naira Sarin is a senior studying theatre at Tisch with a focus on directing and a passion for film. Poetry was their first love, and they had been writing free verse since age 5 and slam poetry since 16. Naira aims to create work that expresses difficult emotions and connects with audiences. This will be their second live slam poetry performance, and they are thrilled to be part of NYU Portraits this year.

​​ Fred Carl 

Fred Carl is an associate arts professor in the Graduate Musical Theatre Writing Program and one of the co-associate deans of faculty at Tisch. A founding member of the Blackheart Collective, his work has been showcased at venues like the Public Theater and the Whitney Museum. He won the 2000 Audelco Award for musical directing  The Bubbly Black Girl Sheds Her Chameleon Skin  and composed for  Becoming Ailey  during Alvin Ailey's 60th anniversary season. Currently, he's the Creative Dramaturg for  The Greatest , a new musical about Muhammad Ali.

Renzhong Tan

Renzhong Tan is the director of the Center for Multicultural Education and Programs (CMEP). In their role, Renzhong manages programs, education, and resources to enhance global inclusion, diversity, belonging, equity, and access—while centering the experiences of students of color and other historically marginalized student communities. As a proud NYU alum, Renzhong worked at NYU Shanghai for over seven years, where she deepened her commitment to collective care and community building. 

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Tomsk Drama Theater - Tomsk Drama Theater

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Tomsk Drama Theater

This is a giant building, next to a large open platz. You can't miss it in the center of the city... read more

it is in a middle of Tomsk (main square), soviet era building (not very pretty outside), we saw a Moscow theater play "All about the men". Not bad at all, but local people say it is not worth going if local troupe having a play .