1 00:00:21,390 --> 00:00:24,692 DOWNTOWN. THE TOBIN CENTER. 2 00:00:24,694 --> 00:00:27,461 IN THIS EDITION OF ARTS. WE TAKE A LOOK AT SET DESIGN AT 3 00:00:27,463 --> 00:00:32,733 THE WOODLAWN THEATRE. IT TAKES US A GOOD TWO TO THREE 4 00:00:32,735 --> 00:00:37,338 WEEKS OF SOLID CONSTRUCTION TO BUILD THE SET AND WHILE THE 5 00:00:37,340 --> 00:00:40,274 PRODUCTION IS GOING WE'RE DESIGNING THE NEXT PRODUCTION 6 00:00:40,276 --> 00:00:42,076 COMING UP. A PHOTOGRAPHER WHO PUSHES THE 7 00:00:42,078 --> 00:00:45,746 BOUNDARIES OF REALITY. IT COULD BE RAW AND HONEST. 8 00:00:45,748 --> 00:00:48,182 IT CAN BECOME ANYTHING YOU WANT IT TO BE. 9 00:00:48,184 --> 00:00:51,085 IT CAN BE A FANTASY. >> 10 00:00:51,087 --> 00:00:57,291 A LOOK INTO HOW STEAMROLLERS CREATE ART. 11 00:00:57,293 --> 00:01:01,362 YOU CAN GO RIGHT THROUGH THEM. AND WE HEAR FROM BALLET SAN 12 00:01:01,364 --> 00:01:05,266 ANTONIO ABOUT THEIR UPCOMING PERFORMANCE OF DON QUIXOTE. 13 00:01:05,268 --> 00:01:12,339 THERE'S A LOT OF COMEDY. THERE'S A LOT OF ROMANCE. 14 00:01:12,341 --> 00:01:26,554 AND IT'S ALL AHEAD ON THIS EDITION OF ARTS. 15 00:01:26,556 --> 00:01:31,225 IT'S ALL AHEAD ON THIS EDITION OF ARTS. 16 00:01:31,227 --> 00:01:32,693 HI AND THANK YOU FOR JOINING US FOR THIS EDITION OF ARTS. 17 00:01:32,695 --> 00:01:36,397 I'M MELINA NAREZO. TODAY WE'RE EXCITED TO TAKE YOU 18 00:01:36,399 --> 00:01:40,468 TO THE HISTORIC WOODLAWN THEATRE. 19 00:01:40,470 --> 00:01:42,203 LOCATED IN THE HEART OF SAN ANTONIO'S DECO DISTRICT, THE 20 00:01:42,205 --> 00:01:44,305 WOODLAWN THEATRE PROVIDES QUALITY, ENTERTAINING 21 00:01:44,307 --> 00:01:47,007 PROGRAMMING FOR ALL AGES. WE VISITED THE THEATRE TO LEARN 22 00:01:47,009 --> 00:01:50,511 MORE ABOUT THE SET DESIGN BEHIND EACH SHOW, AS THEY PREPARE FOR 23 00:01:50,513 --> 00:01:56,050 THE OPENING OF SWEENEY TODD, THE DEMON BARBER OF FLEET STREET. 24 00:01:56,052 --> 00:02:03,757 >> WHEN WE START DESIGNING A SET THERE'S THINGS TO TAKE INTO 25 00:02:03,759 --> 00:02:06,327 CONSIDERATION. ONE TYPICALLY THESE SHOWS HAVE 26 00:02:06,329 --> 00:02:08,562 BEEN DONE ON BROADWAY OR WEST END. 27 00:02:08,564 --> 00:02:12,466 SO PEOPLE HAVE A PRECONCEIVED NOTION WHAT THE PRODUCTION IS 28 00:02:12,468 --> 00:02:16,504 SUPPOSED TO LOOK LIKE. IT HAS BEEN DESIGNED BEFORE. 29 00:02:16,506 --> 00:02:20,274 OFTENTIMES YOU'LL FIND IN THE ACTUAL SCRIPT YOU'LL FIND 30 00:02:20,276 --> 00:02:24,245 NOTATION THAT SPELLS OUT CERTAIN SET PARAMETERS. 31 00:02:24,247 --> 00:02:27,648 SO YOU START WITH THAT. THEN YOU WANT TO PUT YOUR OWN 32 00:02:27,650 --> 00:02:36,490 SPIN ON IT. I'M CURT WIENER. 33 00:02:36,492 --> 00:02:39,493 AND I'M THE EXECUTIVE DIRECTOR AT THE THEATRE. 34 00:02:39,495 --> 00:02:44,899 THE LAST TWO PERFORMANCES ARE GOING TO INCLUDE SWEENEY TODD 35 00:02:44,901 --> 00:02:50,838 AND JOSEPH AND THE AMAZING TECHNICOLOR DREAM COAT FOR OUR 36 00:02:50,840 --> 00:02:55,142 HOLIDAY SHOW. SWEENEY TODD IS A BIT OF A DARK 37 00:02:55,144 --> 00:02:58,445 STORY. IT IS COMPOSED AND WRITTEN BY 38 00:02:58,447 --> 00:03:10,090 STEVEN SONDHEIM WHO IS A WELL RESPECTED THEATRE PLAY WRIGWRIP. 39 00:03:10,092 --> 00:03:14,929 >> I CAME ON WHEN IT WAS BEING LEASED BY ANOTHER PRODUCTION 40 00:03:14,931 --> 00:03:17,665 COMPANY AND CAME ON TO DESIGN SETS. 41 00:03:17,667 --> 00:03:22,203 AND ENDED UP BECOMING A PARTNER OF THAT THE PRODUCTION COMPANY. 42 00:03:22,205 --> 00:03:26,440 MY BACKGROUND ACTUALLY STARTED WITH A DEGREE IN CONSTRUCTION 43 00:03:26,442 --> 00:03:32,346 MANAGEMENT THAT I TOOK AND BECAME A CUSTOM HOMEBUILDER. 44 00:03:32,348 --> 00:03:38,919 BUT WHEN THE MARKET TURNED A FEW YEARS BACK 2008 BUSINESS GOT 45 00:03:38,921 --> 00:03:42,256 SLOW, AND MY DAUGHTER WAS ACTUALLY INTO THEATRE AND SHE 46 00:03:42,258 --> 00:03:45,993 GOT ME INVOLVED IN SOME OF HER PRODUCTIONS AS A VOLUNTEER. 47 00:03:45,995 --> 00:03:52,700 I STARTED DESIGNING SETS INSTEAD OF HOMES AND MADE IT A CAREER. 48 00:03:52,702 --> 00:03:58,439 WE HAVE ANOTHER INDIVIDUAL HERE AT TECHNICAL DIRECTOR BENJAMIN 49 00:03:58,441 --> 00:04:01,041 GRABLE. AND HE'S ALSO IN CHARGE OF 50 00:04:01,043 --> 00:04:03,310 RESPONSIBLE FOR SET DESIGN AS WELL. 51 00:04:03,312 --> 00:04:07,514 WE KIND OF SHARE THAT DUTY. WE'LL SHARE THAT DUTIES. 52 00:04:07,516 --> 00:04:12,753 WE HAVE A NUMBER OF SHOWS WE DO EACH YEAR. 53 00:04:12,755 --> 00:04:16,457 WE'LL TAKE ONE. AND THE OTHER PERSON WILL TAKE 54 00:04:16,459 --> 00:04:20,227 THE NEXT ONE. >> IT IS A LABOR INTENSIVE 55 00:04:20,229 --> 00:04:23,097 PROCESS. IT TAKES US A GOOD TWO TO THREE 56 00:04:23,099 --> 00:04:25,766 WEEKS OF SOLID CONSTRUCTION TO BUILD THE SET. 57 00:04:25,768 --> 00:04:33,374 IT TAKES US A WEEK OR SO TO DECONSTRUCT THE SET AFTER THE 58 00:04:33,376 --> 00:04:36,777 SHOW. IT'S A FULL-TIME JOB. 59 00:04:36,779 --> 00:04:44,151 MY NAME IS BENJAMIN GRABLE. I'M THE TECHNICAL DIRECTOR. 60 00:04:44,153 --> 00:04:52,426 I STARTED WITH AND I JUST VOLUNTEERED TO HELP DESIGN 61 00:04:52,428 --> 00:04:59,099 BUILDS AND SHORTLY THEREAFTER CURT ASKED ME TO JOIN THE TEAM. 62 00:04:59,101 --> 00:05:03,837 SO I JOINED THE TEAM. I WAS ACTUALLY THE HOUSE MANAGER 63 00:05:03,839 --> 00:05:06,073 AND I BECAME THE TECHNICAL DIRECTOR. 64 00:05:06,075 --> 00:05:11,545 WHEN YOU HAVE A SHOW THAT IS VERY LIKE THERE'S A LOT GOING 65 00:05:11,547 --> 00:05:16,583 ON, LIKE WHEN YOU HAVE FLYING AS WELL AS MOVING PIECES, AS WELL 66 00:05:16,585 --> 00:05:21,488 AS LARGE TON OF DIFFERENT ENVIRONMENTS YOU'RE GOING TO THE 67 00:05:21,490 --> 00:05:24,725 NEXT TO THE NEXT. THEY HAVE TO WORK TOGETHER. 68 00:05:24,727 --> 00:05:37,271 THEY HAVE TO GEL TOGETHER AND ACCOUNT FOR EACH OTHER. 69 00:05:37,273 --> 00:05:42,509 RIGHT NOW I AM DESIGNING SWEENEY TODD. 70 00:05:42,511 --> 00:05:44,878 THAT SET WILL BE ONE OF MY DESIGNS. 71 00:05:44,880 --> 00:05:47,881 FOR INSTANCE WE HAVE A GUEST DIRECTOR. 72 00:05:47,883 --> 00:05:51,185 MR. RICK SANCHEZ THAT WILL DIRECTING SWEENEY TODD. 73 00:05:51,187 --> 00:05:54,922 I GET WITH HIM AND FIND OUT WHAT HIS VISION IS FOR THE SHOW AND 74 00:05:54,924 --> 00:05:57,825 WORK WITH THAT TO COME UP WITH A DESIGN. 75 00:05:57,827 --> 00:06:03,230 AS THE REHEARSAL PROCESS GOES ON WE START WORKING OUT SOME OF THE 76 00:06:03,232 --> 00:06:07,534 PROBLEMS WITH THE SET DESIGN. FOR INSTANCE IF THEY NEEDED 77 00:06:07,536 --> 00:06:11,872 ADDITIONAL ENTRANCE OR WE HAVE PROPS OR SET PIECES THAT NEED TO 78 00:06:11,874 --> 00:06:18,011 COME ON FROM SIDE OR ANOTHER WE'LL MODIFY THE DESIGN AS WE GO 79 00:06:18,013 --> 00:06:27,855 ALONG UNTIL WE GET IT JUST RIGHT. 80 00:06:27,857 --> 00:06:32,459 WHEN YOU KNOW YOU HAVE A SHOW LIKE SWEENEY COMING UP YOU'RE 81 00:06:32,461 --> 00:06:35,896 GENERATING IDEAS. YOU'RE THINKING ABOUT IT IN THE 82 00:06:35,898 --> 00:06:38,265 BACKGROUND. WE'RE TALKING ABOUT THAT STUFF. 83 00:06:38,267 --> 00:06:43,637 WHAT ARE WE GOING TO DO ABOUT THIS. 84 00:06:43,639 --> 00:06:48,041 I REALLY ENJOY THE KINETIC ASPECT. 85 00:06:48,043 --> 00:06:53,280 I DO SWEENEY WILL HAVE KINETIC ASPECTS. 86 00:06:53,282 --> 00:06:56,650 I REALLY ENJOY THAT STUFF. EVERY SHOW IS DIFFERENT. 87 00:06:56,652 --> 00:07:01,822 AND EVERY DAY IS DIFFERENT HERE. I'VE NEVER HAD A REPEAT 88 00:07:01,824 --> 00:07:04,658 EXPERIENCE. THAT'S WHAT I LIKE ABOUT THIS 89 00:07:04,660 --> 00:07:06,193 JOB. IT'S ALWAYS DIFFERENT. 90 00:07:06,195 --> 00:07:14,368 IT'S ALWAYS A CHALLENGE AND A PLACE FOR ME TO LEARN. 91 00:07:14,370 --> 00:07:24,411 FOR MORE INFORMATION ABOUT THE WOODLAWN THEATRE, VISIT 92 00:07:24,413 --> 00:07:26,313 WOODLAWNTHEATRE.ORG. 93 00:07:26,315 --> 00:07:32,085 PHOTOGRAPHER, SUZY TAYLOR OF HOUSTON, TEXAS, CAPTURES A 94 00:07:32,087 --> 00:07:34,054 COLORFUL RANGE OF DRAMATIC IMAGERY TO TELL EPIC, LAYERED 95 00:07:34,056 --> 00:07:37,424 STORIES THAT REQUIRE NO WORDS. INSPIRED BY HER OWN PERSONAL 96 00:07:37,426 --> 00:07:40,594 JOURNEY, SHE IMAGINES BOLD, EXPRESSIVE THEMES, AND THEN 97 00:07:40,596 --> 00:07:45,532 SHOOTS AT A VARIETY OF LOCATIONS TO CREATE HER IMAGES. 98 00:07:45,534 --> 00:07:48,635 HERE'S A LOOK. 99 00:07:48,637 --> 00:08:04,451 MY RELATIONSHIP WITH THE CAMERA IS MORE THAN JUST A THING. 100 00:08:04,453 --> 00:08:10,457 IT REPRESENTS A LOT TO ME. 1, 2, 3, GO. 101 00:08:10,459 --> 00:08:12,593 IT ALLOWS YOU TO CREATE ANYTHING. 102 00:08:12,595 --> 00:08:14,928 IT ALLOWS YOU TO EXPRESS ANYTHING. 103 00:08:14,930 --> 00:08:17,898 IT COULD BE RAW AND IT CAN BE HONEST. 104 00:08:17,900 --> 00:08:20,501 IT CAN ALSO BECOME ANYTHING YOU WANT IT TO BE. 105 00:08:20,503 --> 00:08:25,806 IT CAN BE A FANTASY. THE RED ONE HAVE IT FANNED OUT. 106 00:08:25,808 --> 00:08:35,048 WE CAN HAVE A LITTLE BIT OF FUN THROWING THE HAIR AROUND. 107 00:08:35,050 --> 00:08:43,223 NOT GOING TO LOOK LIKE MUCH RIGHT NOW. 108 00:08:43,225 --> 00:08:51,832 PHOTOSHOP COMES IN AND I CAN CREATE A WHOLE DIFFERENT SCENE. 109 00:08:51,834 --> 00:08:56,169 PRETTY MUCH ALL OF US HAVE GONE THROUGH MOMENTS WHERE BAD THINGS 110 00:08:56,171 --> 00:09:01,108 ARE HAPPENING IN OUR LIVES. WE KNOW IT WILL GET BETTER 111 00:09:01,110 --> 00:09:04,611 EVENTUALLY. IF WE KNOW TOMORROW IS GOING TO 112 00:09:04,613 --> 00:09:07,981 BE BETTER. SO THIS PARTICULAR WE'VE GOT A 113 00:09:07,983 --> 00:09:12,686 GUY WHO'S GOT A ROPE. HE'S TRYING TO PULL THAT ACROSS 114 00:09:12,688 --> 00:09:17,024 THE SKY. I WANTED A WHOLE SERIES TO SHOW. 115 00:09:17,026 --> 00:09:21,562 AND WE NAMED IT DOT PLACES. WE'RE TALKING ABOUT PHYSICAL 116 00:09:21,564 --> 00:09:24,898 PLACES LIKE PLACES THAT ARE SCARY AND DARK. 117 00:09:24,900 --> 00:09:29,269 EMOTIONALLY DARK PLACES. THAT CREATE ANXIETY AND FEAR. 118 00:09:29,271 --> 00:09:38,879 THINGS THAT WE WILL EXPERIENCE IN OUR LIVES. 119 00:09:38,881 --> 00:09:44,551 I USE THE FANTASY AND THE SURREAL IMAGES THAT I CREATE TO 120 00:09:44,553 --> 00:09:49,523 KIND OF TELL A STORY IT MAY BE BASED ON SOMETHING VERY REAL. 121 00:09:49,525 --> 00:09:53,460 BUT PRESENTED IN A WAY THAT'S VERY TANGIBLE. 122 00:09:53,462 --> 00:09:58,932 VERY CASH DASH IT'S EASIER TO DIGEST. 123 00:09:58,934 --> 00:10:01,702 I USED TO BE IN FINANCE. I WAS ACADEMIC. 124 00:10:01,704 --> 00:10:04,404 IN THE RECESSION I LOST EVERYTHING. 125 00:10:04,406 --> 00:10:08,408 THEN I HAD A BABY. AND I DIDN'T KNOW WHO I WAS 126 00:10:08,410 --> 00:10:12,179 ANYMORE. THEN ONE DAY MY HUSBAND HAD SEEN 127 00:10:12,181 --> 00:10:19,453 MY LOVE OF PHOTOGRAPHY FROM A DISTAN 128 00:10:19,455 --> 00:10:23,724 DISTANCE. WE DIDN'T HAVE MONEY FOR TO RUB 129 00:10:23,726 --> 00:10:29,630 TOGETHER. >> IF IT MAKES YOU FEEL BETTER 130 00:10:29,632 --> 00:10:36,136 YOU CAN KIND OF STRADDLE. >> ANYTIME I FIGHTING WITH 131 00:10:36,138 --> 00:10:39,239 SOMETHING. THIS IS THE ONLY THING IN LIFE 132 00:10:39,241 --> 00:10:46,113 I'VE FOUND TO BRING THAT OUT. MY MOTIVATION BEHIND THIS SERIES 133 00:10:46,115 --> 00:10:52,119 IS A VERY PERSONAL ONE. I STRUGGLED WITH DEPRESSION AND 134 00:10:52,121 --> 00:10:56,323 ANXIETY MOST OF MY LIFE. AS MUCH AS I WANT TO HELP OTHER 135 00:10:56,325 --> 00:11:02,829 PEOPLE THIS IS ALSO THERAPY FOR ME. 136 00:11:02,831 --> 00:11:07,100 SOME OF THE STAFF WAS REALLY PRETTY. 137 00:11:07,102 --> 00:11:12,072 WHEN IT COMES TO EDITING I'M FOCUSING ON DARK THINGS. 138 00:11:12,074 --> 00:11:20,080 JUST BRINGING OTHER THING THAT ARE IMPORTANT IN THE SHOTS. 139 00:11:20,082 --> 00:11:26,353 WHILE I'M CREATING. I'M PUTTING A LOT OF MYSELF IN 140 00:11:26,355 --> 00:11:38,799 ALL OF THESE PIECES. 141 00:11:38,801 --> 00:11:43,637 AND YOU CAN FIND OUT MORE BY VISITING 142 00:11:43,639 --> 00:11:45,405 SUZYTAYLORPHOTOGRAPHY.COM. 143 00:11:45,407 --> 00:12:24,277 EACH YEAR, THE STUDENTS AT THE KANSAS CITY ART INSTITUTE IN 144 00:12:24,279 --> 00:12:27,214 MISSOURI, COME TOGETHER TO SHOW THEIR COMMUNITY HOW STEAMROLLERS 145 00:12:27,216 --> 00:12:29,049 CAN BE USED TO CREATE ART. HERE'S A LOOK AT THIS UNIQUE 146 00:12:29,051 --> 00:12:32,786 EVENT. WE ARE GLAD. 147 00:12:32,788 --> 00:12:42,262 IT'S A BEAUTIFUL DAY. [MUSIC] 148 00:12:42,264 --> 00:12:45,899 >> HI. WELL WE'RE DOING THE ROAD ROLLER 149 00:12:45,901 --> 00:12:50,337 EVENT WHICH IS BASICALLY A EVENT WE DO. 150 00:12:50,339 --> 00:12:56,009 WE'VE GOT A BUNCH OF BLOCK. WE INK THEM UP. 151 00:12:56,011 --> 00:13:00,881 AND IT LEAVES PRINTS THAT WE CAN SELL OR HANG IN OUR SCHOOL. 152 00:13:00,883 --> 00:13:04,050 THAT'S WHAT WE'RE DOING HERE TODAY. 153 00:13:04,052 --> 00:13:07,087 JUST BEING OUT IN THE COMMUNITY IS REALLY AWESOME. 154 00:13:07,089 --> 00:13:12,626 BEING ABLE TO AS A SCHOOL COORDINATE SOMETHING THAT'S MORE 155 00:13:12,628 --> 00:13:15,495 PUBLIC. WE LOVE THE FACT THAT THAT THE 156 00:13:15,497 --> 00:13:20,066 ART INSTITUTE IS SUCH AN IMPORTANT PART OF OUR ARTISTIC 157 00:13:20,068 --> 00:13:22,903 COMMUNITY. WE WANTED TO CELEBRATE IT. 158 00:13:22,905 --> 00:13:27,541 AND BRING ALL OF THAT TOGETHER. REALLY, REALLY NEAT TO SEE THE 159 00:13:27,543 --> 00:13:30,911 ARTWORK AND HOW DELICATE AND HOW DETAILED IT IS. 160 00:13:30,913 --> 00:13:34,414 IT'S AN AWESOME EXPERIENCE TO WATCH THEM AT WORK. 161 00:13:34,416 --> 00:13:40,086 >> IT'S KIND OF A LIKE A BREATH OF FRESH AIR TO GET AWAY FROM 162 00:13:40,088 --> 00:13:44,357 OUR CLASSES AND FOCUS ON WHAT WE LIKE TO DO. 163 00:13:44,359 --> 00:13:48,829 I THINK IT'S A GOOD AWARENESS FOR THE ART INSTITUTE. 164 00:13:48,831 --> 00:13:54,601 IT SHOWS WE CAN GET INVOLVED IN THE COMMUNITY AND HAVE SOME FUN. 165 00:13:54,603 --> 00:14:00,640 HAVE THE KIDS HAVE SOME FUN. >> THIS TEAM IS PRESIDENTS AND 166 00:14:00,642 --> 00:14:08,014 FIRST LADIES. >> THIS IS MARILYN MONROE. 167 00:14:08,016 --> 00:14:12,853 >> AND WE HAD WE HAD A LADY LOVER. 168 00:14:12,855 --> 00:14:15,422 I DON'T REMEMBER THESE GUYS NAMES. 169 00:14:15,424 --> 00:14:18,191 THEY SLEPT WITH DIFFERENT PRESIDENTS. 170 00:14:18,193 --> 00:14:20,894 NOW WE'RE GOING TO LAY THE PAPER ON TOP OF IT. 171 00:14:20,896 --> 00:14:27,300 WE'RE GOING TO CUT IT RIGHT TO THE SIDE. 172 00:14:27,302 --> 00:14:49,155 PUTTING THE BLANKET OVER IT. PUT IT BACK OVER IT. 173 00:14:49,157 --> 00:14:52,225 THEY'RE PUTTING INK ON A PIECE OF BLOCK WITH ROLLERS. 174 00:14:52,227 --> 00:14:55,395 SO YOU JUST SEE THIS GIANT ROLLER. 175 00:14:55,397 --> 00:14:57,764 OTHER PEOPLE HAVE BEEN DOING THE PAPER. 176 00:14:57,766 --> 00:15:03,136 HANDING THE PRINTING PART AND THE ANOTHER PERSON IS DRIVING 177 00:15:03,138 --> 00:15:08,074 THE STEAMROLLERS. IT TOOK ABOUT 12 PEOPLE TO PULL 178 00:15:08,076 --> 00:15:11,211 A PRINT. EACH PERSON HAS A VERY FORWARD 179 00:15:11,213 --> 00:15:19,719 LIKE ASSEMBLY LIKE LINE. THESE PEOPLE ARE INKING. 180 00:15:19,721 --> 00:15:35,769 THESE PEOPLE ARE DOING THE PRESSING. 181 00:15:35,771 --> 00:15:40,373 >> ALL THE EFFORT SEE PUT INTO IT. 182 00:15:40,375 --> 00:15:50,550 IT'S A GREAT EXPERIENCE. TO FIND OUT MORE INFORMATON ON 183 00:15:50,552 --> 00:15:54,621 THE KANSAS CITY ART INSTITUTE VISIT KCAI.EDU. 184 00:15:54,623 --> 00:16:38,631 MCK 185 00:16:38,633 --> 00:16:43,670 BEAUTY, ADVENTURE AND ROMANCE ARE RIGHT AROUND THE CORNER AS 186 00:16:43,672 --> 00:16:48,508 BALLET SAN ANTONIO BEGINS ITS 2016-2017 SEASON WITH THE 187 00:16:48,510 --> 00:16:50,877 PREMIERE OF DON QUIXOTE. BASED ON THE ICONIC SPANISH 188 00:16:50,879 --> 00:16:54,180 NOVEL, DON QUIXOTE WEAVES A SPLENDID TAPESTRY OF LOVE, 189 00:16:54,182 --> 00:16:57,150 ILLUSION, AND DARING ADVENTURE. WE VISITED THE ARTISTS AS THEY 190 00:16:57,152 --> 00:17:03,490 PREPARED FOR THEIR UPCOMING PERFORMANCE. 191 00:17:03,492 --> 00:17:08,228 WE ARE REAL FINE-TUNED ANIMALS AND IT'S JUST LIKE A 192 00:17:08,230 --> 00:17:10,597 THOROUGHBRED. THEY ARE VERY SPECIALIZED. 193 00:17:10,599 --> 00:17:14,768 THAT'S WHAT WE ARE. WE ARE COMPARED TO BASKETBALL 194 00:17:14,770 --> 00:17:17,470 PLAYERS WHERE BASKETBALL PLAYERS RUN ACROSS THE COURT. 195 00:17:17,472 --> 00:17:20,140 THEY STOP AND THEY GO ON THE OTHER SIDE. 196 00:17:20,142 --> 00:17:25,945 THEY REPEAT THAT AGAIN. THAT'S WHAT HAPPENED WITH BALLET 197 00:17:25,947 --> 00:17:27,847 DANCERS. WE START A COMBINATION AND THEN 198 00:17:27,849 --> 00:17:31,418 WE STOP. WE DO ANOTHER COMBINATION AND 199 00:17:31,420 --> 00:17:35,121 STOP. EXCEPT A BASKETBALL PLAYER SHOOT 200 00:17:35,123 --> 00:17:39,225 THE HOOP THEY DON'T POINT THEIR FEET. 201 00:17:39,227 --> 00:17:52,872 WE POINT OUR FEET. MY NAME IS WILLIE SHOOIIVES. 202 00:17:52,874 --> 00:17:55,675 WHAT AM I GOING TO DO FOR MY SEASON. 203 00:17:55,677 --> 00:18:01,047 WHAT THE SEASON IS GOING TO LOOK LIKE GIVING COMPANY CLASS. 204 00:18:01,049 --> 00:18:06,019 THAT WE WORKED TOGETHER. IT'S ALL ABOUT WHAT I WANT TO DO 205 00:18:06,021 --> 00:18:10,723 FOR THE SEASON. SO THIS YEAR I'M -- IT CAME 206 00:18:10,725 --> 00:18:15,929 ABOUT TWO OF MY ADMINISTRATION WORKERS MY EXECUTIVE DIRECTOR 207 00:18:15,931 --> 00:18:19,499 AND MY OFFICE MANAGER THEY WERE BOTH GETTING MARRIED. 208 00:18:19,501 --> 00:18:25,205 SOMETHING BLUE, SOMETHING OLD, SOMETHING NEW WOULD BE A GREAT 209 00:18:25,207 --> 00:18:39,752 IDEA AND START WITH THAT ALL OF THE THEMES COMING UP ARE DON 210 00:18:39,754 --> 00:18:50,930 QUIXOTE, SAND NUTCRACKER. DON QUIXOTE COMES FROM THE NOVEL 211 00:18:50,932 --> 00:18:54,234 OF MIGUEL CERVANTES. THERE'S A LOT OF COMEDY AND 212 00:18:54,236 --> 00:18:59,172 THERE'S A LOT OF ROMANCE. IT'S REALLY, REALLY HARD DANCING 213 00:18:59,174 --> 00:19:03,676 AND THEY HAVE SO MUCH FUN. THE DANCERS ARE HAVING A GREAT 214 00:19:03,678 --> 00:19:07,547 TIME. I'M A PRINCIPAL DANCER WITH THE 215 00:19:07,549 --> 00:19:12,719 BALLET SAN ANTONIO. IN OUR UPCOMING PRODUCTION OF 216 00:19:12,721 --> 00:19:16,923 DON QUIXOTE I WILL BE CUPID IN A FEW SHOWS. 217 00:19:16,925 --> 00:19:22,162 >> COMING TO SAN ANTONIO AND PERFORMING WITH BALLET SAN 218 00:19:22,164 --> 00:19:25,698 ANTONIO HAS BEEN A DREAM COME TRUE. 219 00:19:25,700 --> 00:19:30,403 WITH THIS COMPANY I'VE GOT THE OPPORTUNITY TO DANCE SO MANY 220 00:19:30,405 --> 00:19:40,246 ROLES THAT I DIDN'T DANCE BEFORE. 221 00:19:40,248 --> 00:19:44,150 I'VE LEARNED SO MUCH ABOUT BALLET AND DIFFERENT WAYS OF 222 00:19:44,152 --> 00:19:48,354 APPROACHING THE ART FORM. WE'VE BEEN PRACTICING FOR SIX 223 00:19:48,356 --> 00:19:51,758 WEEKS, MAYBE FIVE WEEKS ON DON QUIXOTE. 224 00:19:51,760 --> 00:19:55,528 IT'S A BASED ON THE NOVEL. IT'S VERY FUN. 225 00:19:55,530 --> 00:20:01,434 IT HAS A LOT OF FUNNY MOMENTS AND IT'S AN OPPORTUNITY FOR A 226 00:20:01,436 --> 00:20:06,573 DANCER TO PLAY A REAL HUMAN BEING WHICH IS A CHANGE FOR MANY 227 00:20:06,575 --> 00:20:22,589 OF US BECAUSE TYPICALLY WE PLAY FAIRIES OR NYMPHS. 228 00:20:22,591 --> 00:20:29,495 >> EVERY ROLE AND IN EVERY DANCER IN THE COMPANY PLAYS TWO 229 00:20:29,497 --> 00:20:32,098 PARTS ON PUTTING ON A GREAT PRODUCTION. 230 00:20:32,100 --> 00:20:39,639 IN THE BALANLET SHOWS SINGLE CHARACTER ENHANCES THE STORY. 231 00:20:39,641 --> 00:20:45,812 TO ALL OF THE VILLAGERS. THEY PLAY THIS INTEGRAL PART IN 232 00:20:45,814 --> 00:20:55,455 BRINGING THIS LIFE. AND THE TRUE STORY IS TOLD. 233 00:20:55,457 --> 00:21:02,362 THERE'S LIKE TRYING TO USE THAT AS FIRE THE FUEL YOUR EMOTIONS. 234 00:21:02,364 --> 00:21:08,835 BUT ULTIMATELY I TRY TO GET IN THE ROLE AS MUCH AS POSSIBLE. 235 00:21:08,837 --> 00:21:14,307 I DON'T THINK ABOUT THE STEPS. I TRY TO JUST EMBODY THE ROLE 236 00:21:14,309 --> 00:21:20,280 AND TRY TO REALLY ALMOST WHEN I'M ON STAGE LIVE IT AS IF I'M 237 00:21:20,282 --> 00:21:24,684 TRULY THERE IN THAT MOMENT AND THERE'S NOTHING ELSE IN THE 238 00:21:24,686 --> 00:21:33,159 WORLD AT THAT MOMENT. I LIKE TO MAKE A PRESENT. 239 00:21:33,161 --> 00:21:36,829 AND I THINK THAT STARTS FROM THE FIRST MOMENT ON STAGE. 240 00:21:36,831 --> 00:21:40,333 YOU HAVE TO SET THAT PERSONAL PRESENCE. 241 00:21:40,335 --> 00:21:44,404 IT'S VERY POWERFUL. I'VE BEEN IN THE DANCER'S SHOES 242 00:21:44,406 --> 00:21:48,908 WHAT THEY'RE DOOLING AND NOW I'M ON THE OTHER SIDE. 243 00:21:48,910 --> 00:21:51,577 I KNOW HOW HARD THEY ARE WORKING. 244 00:21:51,579 --> 00:21:57,150 I HAVE SO MUCH RESPECT FOR THEM. I LIKE TO LET THEM KNOW THEY'RE 245 00:21:57,152 --> 00:22:01,721 LOVED AND THEIR PASSION THEY GIVE EVERY DAY WHEN THEY COME TO 246 00:22:01,723 --> 00:22:07,060 CLASS AND REHEARSALS. AND NOW GETTING A CHANCE TO 247 00:22:07,062 --> 00:22:10,496 PERFORM IT IS COMING REALLY, REALLY FAST. 248 00:22:10,498 --> 00:22:14,100 THEY'RE BEING GIVEN THE OPPORTUNITY TO TOUR. 249 00:22:14,102 --> 00:22:20,173 SO WE'RE 35 MEMBERS WHERE YOU DON'T HAVE A LARGE BUDGET. 250 00:22:20,175 --> 00:22:26,913 WE HAVE BEAUTIFUL DANCERS THAT CAN DANCE ANYWHERE THEY WANT. 251 00:22:26,915 --> 00:22:31,918 BUT THEY CHOOSE HERE. IN SAN ANTONIO, TEXAS I'M GOING 252 00:22:31,920 --> 00:22:36,022 TO PUT THIS COMPANY ON THE MAP BECAUSE THEY DESERVE IT. 253 00:22:36,024 --> 00:22:40,126 THESE DANCERS DESERVE IT. IT'S REALLY HARD TO PUT INTO 254 00:22:40,128 --> 00:22:42,662 WORDS THE FEELING WHEN YOU'RE ON STAGE PERFORMING. 255 00:22:42,664 --> 00:22:50,470 IT'S UNLIKE ANYTHING I'VE EXPERIENCE BEFORE. 256 00:22:50,472 --> 00:22:55,174 LIFE TO THE NEXT LEVEL. BUT ONE THING THAT'S NICE ABOUT 257 00:22:55,176 --> 00:23:02,081 DANCING AT THE TOBIN CENTER FOR SUCH A LARGE THEATRE IT'S VERY 258 00:23:02,083 --> 00:23:04,650 INTIMA INTIMATE. 259 00:23:04,652 --> 00:23:08,221 IT DOESN'T FEELS THERE'S A THOUSAND PEOPLE OUT THERE EVEN 260 00:23:08,223 --> 00:23:11,758 THOUGH THERE ARE. IT'S COMFORTING. 261 00:23:11,760 --> 00:23:17,630 IT'S A VERY COMFORTABLE SPACE TO DANCE IN. 262 00:23:17,632 --> 00:23:22,201 I THINK I SAY THIS FOR EVERY SHOW. 263 00:23:22,203 --> 00:23:27,940 TRY TO GO IN WITH AN OPEN MIND AND DON'T HAVE ANY PRE- 264 00:23:27,942 --> 00:23:32,445 CONCEPTION AND JUST TRY TO BE IN THE STORY. 265 00:23:32,447 --> 00:23:39,952 TRY TO FEEL THE STORY AND SEE HOW THE DANCE IING INTERPRETS T 266 00:23:39,954 --> 00:23:43,723 STORY. ULTIMATELY TO INSPIRE SOMEBODY. 267 00:23:43,725 --> 00:23:48,628 I HOPE THEY TAKE AWAY FROM IT. YOU DON'T KNOW WHAT YOU'RE 268 00:23:48,630 --> 00:23:51,030 MISSING UNTIL YOU GO AND FIGURE IT OUT. 269 00:23:51,032 --> 00:23:58,337 TAKE THE CHANCE AND YOU MIGHT REALLY, REALLY ENJOY YOURSELF. 270 00:23:58,339 --> 00:24:25,198 F FOR MORE INFORMATION ON BALLET 271 00:24:25,200 --> 00:24:31,103 SAN ANTONIO, VISIT BALLETSANANTONIO.ORG. 272 00:24:31,105 --> 00:24:45,718 AND THAT WRAPS IT UP FOR THIS EDITION OF ARTS. 273 00:24:45,720 --> 00:24:50,690 TUNE IN NEXT WEEK AS WE WRAP UP HISPANIC HERITAGE MONTH WITH A 274 00:24:50,692 --> 00:24:55,361 VISIT TO THE THE MCNAY ART MUSEUM TO MEET THEIR NEW 275 00:24:55,363 --> 00:24:59,599 DIRECTOR AND GET A GLIMPSE OF A SELECTION OF ART CREATED BY 276 00:24:59,601 --> 00:25:04,003 HISPANIC ARTISTS. AND IT'S AN HONOR TO COME TO YOU 277 00:25:04,005 --> 00:25:14,313 AT THE VERY END OF HISPANIC HERITAGE MONTH. 278 00:25:14,315 --> 00:25:19,418 AND FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS WHERE YOU'LL 279 00:25:19,420 --> 00:25:23,356 FIND FEATURE VIDEOS, BLOGS AND INFORMATION ON UPCOMING ARTS 280 00:25:23,358 --> 00:25:26,626 EVENTS. UNTIL NEXT TIME, I'M MELINA 281 00:25:26,628 --> 00:25:33,866 NAREZO. THANKS FOR WATCHING. 282 00:25:33,868 --> 00:26:32,792 ARTS IS MADE POSSIBLE BY VIEWERS LIKE YOU. 283 00:26:32,794 --> 00:26:37,430 ARTS IS PRESENTED BY THE TOBIN CENTER FOR THE PERFORMING ARTS 284 00:26:37,432 --> 00:26:41,901 ARING PROVIDING THE BEST PLACE ANYWHERE TO SEE AND HEAR A LIVE 285 00:26:41,903 --> 00:26:45,104 PERFORMANCE. TRANSFORMING THE PERFORMING ARTS 286 00:26:45,106 --> 00:26:48,274 IN SAN ANTONIO'S DECADE OF DOWNTOWN. 287 00:26:48,276 --> 00:26:49,475 THE TOBIN CENTER.