WEBVTT 00:21.390 --> 00:24.692 DOWNTOWN. THE TOBIN CENTER. 00:24.694 --> 00:27.461 IN THIS EDITION OF ARTS. WE TAKE A LOOK AT SET DESIGN AT 00:27.463 --> 00:32.733 THE WOODLAWN THEATRE. IT TAKES US A GOOD TWO TO THREE 00:32.735 --> 00:37.338 WEEKS OF SOLID CONSTRUCTION TO BUILD THE SET AND WHILE THE 00:37.340 --> 00:40.274 PRODUCTION IS GOING WE'RE DESIGNING THE NEXT PRODUCTION 00:40.276 --> 00:42.076 COMING UP. A PHOTOGRAPHER WHO PUSHES THE 00:42.078 --> 00:45.746 BOUNDARIES OF REALITY. IT COULD BE RAW AND HONEST. 00:45.748 --> 00:48.182 IT CAN BECOME ANYTHING YOU WANT IT TO BE. 00:48.184 --> 00:51.085 IT CAN BE A FANTASY. >> 00:51.087 --> 00:57.291 A LOOK INTO HOW STEAMROLLERS CREATE ART. 00:57.293 --> 01:01.362 YOU CAN GO RIGHT THROUGH THEM. AND WE HEAR FROM BALLET SAN 01:01.364 --> 01:05.266 ANTONIO ABOUT THEIR UPCOMING PERFORMANCE OF DON QUIXOTE. 01:05.268 --> 01:12.339 THERE'S A LOT OF COMEDY. THERE'S A LOT OF ROMANCE. 01:12.341 --> 01:26.554 AND IT'S ALL AHEAD ON THIS EDITION OF ARTS. 01:26.556 --> 01:31.225 IT'S ALL AHEAD ON THIS EDITION OF ARTS. 01:31.227 --> 01:32.693 HI AND THANK YOU FOR JOINING US FOR THIS EDITION OF ARTS. 01:32.695 --> 01:36.397 I'M MELINA NAREZO. TODAY WE'RE EXCITED TO TAKE YOU 01:36.399 --> 01:40.468 TO THE HISTORIC WOODLAWN THEATRE. 01:40.470 --> 01:42.203 LOCATED IN THE HEART OF SAN ANTONIO'S DECO DISTRICT, THE 01:42.205 --> 01:44.305 WOODLAWN THEATRE PROVIDES QUALITY, ENTERTAINING 01:44.307 --> 01:47.007 PROGRAMMING FOR ALL AGES. WE VISITED THE THEATRE TO LEARN 01:47.009 --> 01:50.511 MORE ABOUT THE SET DESIGN BEHIND EACH SHOW, AS THEY PREPARE FOR 01:50.513 --> 01:56.050 THE OPENING OF SWEENEY TODD, THE DEMON BARBER OF FLEET STREET. 01:56.052 --> 02:03.757 >> WHEN WE START DESIGNING A SET THERE'S THINGS TO TAKE INTO 02:03.759 --> 02:06.327 CONSIDERATION. ONE TYPICALLY THESE SHOWS HAVE 02:06.329 --> 02:08.562 BEEN DONE ON BROADWAY OR WEST END. 02:08.564 --> 02:12.466 SO PEOPLE HAVE A PRECONCEIVED NOTION WHAT THE PRODUCTION IS 02:12.468 --> 02:16.504 SUPPOSED TO LOOK LIKE. IT HAS BEEN DESIGNED BEFORE. 02:16.506 --> 02:20.274 OFTENTIMES YOU'LL FIND IN THE ACTUAL SCRIPT YOU'LL FIND 02:20.276 --> 02:24.245 NOTATION THAT SPELLS OUT CERTAIN SET PARAMETERS. 02:24.247 --> 02:27.648 SO YOU START WITH THAT. THEN YOU WANT TO PUT YOUR OWN 02:27.650 --> 02:36.490 SPIN ON IT. I'M CURT WIENER. 02:36.492 --> 02:39.493 AND I'M THE EXECUTIVE DIRECTOR AT THE THEATRE. 02:39.495 --> 02:44.899 THE LAST TWO PERFORMANCES ARE GOING TO INCLUDE SWEENEY TODD 02:44.901 --> 02:50.838 AND JOSEPH AND THE AMAZING TECHNICOLOR DREAM COAT FOR OUR 02:50.840 --> 02:55.142 HOLIDAY SHOW. SWEENEY TODD IS A BIT OF A DARK 02:55.144 --> 02:58.445 STORY. IT IS COMPOSED AND WRITTEN BY 02:58.447 --> 03:10.090 STEVEN SONDHEIM WHO IS A WELL RESPECTED THEATRE PLAY WRIGWRIP. 03:10.092 --> 03:14.929 >> I CAME ON WHEN IT WAS BEING LEASED BY ANOTHER PRODUCTION 03:14.931 --> 03:17.665 COMPANY AND CAME ON TO DESIGN SETS. 03:17.667 --> 03:22.203 AND ENDED UP BECOMING A PARTNER OF THAT THE PRODUCTION COMPANY. 03:22.205 --> 03:26.440 MY BACKGROUND ACTUALLY STARTED WITH A DEGREE IN CONSTRUCTION 03:26.442 --> 03:32.346 MANAGEMENT THAT I TOOK AND BECAME A CUSTOM HOMEBUILDER. 03:32.348 --> 03:38.919 BUT WHEN THE MARKET TURNED A FEW YEARS BACK 2008 BUSINESS GOT 03:38.921 --> 03:42.256 SLOW, AND MY DAUGHTER WAS ACTUALLY INTO THEATRE AND SHE 03:42.258 --> 03:45.993 GOT ME INVOLVED IN SOME OF HER PRODUCTIONS AS A VOLUNTEER. 03:45.995 --> 03:52.700 I STARTED DESIGNING SETS INSTEAD OF HOMES AND MADE IT A CAREER. 03:52.702 --> 03:58.439 WE HAVE ANOTHER INDIVIDUAL HERE AT TECHNICAL DIRECTOR BENJAMIN 03:58.441 --> 04:01.041 GRABLE. AND HE'S ALSO IN CHARGE OF 04:01.043 --> 04:03.310 RESPONSIBLE FOR SET DESIGN AS WELL. 04:03.312 --> 04:07.514 WE KIND OF SHARE THAT DUTY. WE'LL SHARE THAT DUTIES. 04:07.516 --> 04:12.753 WE HAVE A NUMBER OF SHOWS WE DO EACH YEAR. 04:12.755 --> 04:16.457 WE'LL TAKE ONE. AND THE OTHER PERSON WILL TAKE 04:16.459 --> 04:20.227 THE NEXT ONE. >> IT IS A LABOR INTENSIVE 04:20.229 --> 04:23.097 PROCESS. IT TAKES US A GOOD TWO TO THREE 04:23.099 --> 04:25.766 WEEKS OF SOLID CONSTRUCTION TO BUILD THE SET. 04:25.768 --> 04:33.374 IT TAKES US A WEEK OR SO TO DECONSTRUCT THE SET AFTER THE 04:33.376 --> 04:36.777 SHOW. IT'S A FULL-TIME JOB. 04:36.779 --> 04:44.151 MY NAME IS BENJAMIN GRABLE. I'M THE TECHNICAL DIRECTOR. 04:44.153 --> 04:52.426 I STARTED WITH AND I JUST VOLUNTEERED TO HELP DESIGN 04:52.428 --> 04:59.099 BUILDS AND SHORTLY THEREAFTER CURT ASKED ME TO JOIN THE TEAM. 04:59.101 --> 05:03.837 SO I JOINED THE TEAM. I WAS ACTUALLY THE HOUSE MANAGER 05:03.839 --> 05:06.073 AND I BECAME THE TECHNICAL DIRECTOR. 05:06.075 --> 05:11.545 WHEN YOU HAVE A SHOW THAT IS VERY LIKE THERE'S A LOT GOING 05:11.547 --> 05:16.583 ON, LIKE WHEN YOU HAVE FLYING AS WELL AS MOVING PIECES, AS WELL 05:16.585 --> 05:21.488 AS LARGE TON OF DIFFERENT ENVIRONMENTS YOU'RE GOING TO THE 05:21.490 --> 05:24.725 NEXT TO THE NEXT. THEY HAVE TO WORK TOGETHER. 05:24.727 --> 05:37.271 THEY HAVE TO GEL TOGETHER AND ACCOUNT FOR EACH OTHER. 05:37.273 --> 05:42.509 RIGHT NOW I AM DESIGNING SWEENEY TODD. 05:42.511 --> 05:44.878 THAT SET WILL BE ONE OF MY DESIGNS. 05:44.880 --> 05:47.881 FOR INSTANCE WE HAVE A GUEST DIRECTOR. 05:47.883 --> 05:51.185 MR. RICK SANCHEZ THAT WILL DIRECTING SWEENEY TODD. 05:51.187 --> 05:54.922 I GET WITH HIM AND FIND OUT WHAT HIS VISION IS FOR THE SHOW AND 05:54.924 --> 05:57.825 WORK WITH THAT TO COME UP WITH A DESIGN. 05:57.827 --> 06:03.230 AS THE REHEARSAL PROCESS GOES ON WE START WORKING OUT SOME OF THE 06:03.232 --> 06:07.534 PROBLEMS WITH THE SET DESIGN. FOR INSTANCE IF THEY NEEDED 06:07.536 --> 06:11.872 ADDITIONAL ENTRANCE OR WE HAVE PROPS OR SET PIECES THAT NEED TO 06:11.874 --> 06:18.011 COME ON FROM SIDE OR ANOTHER WE'LL MODIFY THE DESIGN AS WE GO 06:18.013 --> 06:27.855 ALONG UNTIL WE GET IT JUST RIGHT. 06:27.857 --> 06:32.459 WHEN YOU KNOW YOU HAVE A SHOW LIKE SWEENEY COMING UP YOU'RE 06:32.461 --> 06:35.896 GENERATING IDEAS. YOU'RE THINKING ABOUT IT IN THE 06:35.898 --> 06:38.265 BACKGROUND. WE'RE TALKING ABOUT THAT STUFF. 06:38.267 --> 06:43.637 WHAT ARE WE GOING TO DO ABOUT THIS. 06:43.639 --> 06:48.041 I REALLY ENJOY THE KINETIC ASPECT. 06:48.043 --> 06:53.280 I DO SWEENEY WILL HAVE KINETIC ASPECTS. 06:53.282 --> 06:56.650 I REALLY ENJOY THAT STUFF. EVERY SHOW IS DIFFERENT. 06:56.652 --> 07:01.822 AND EVERY DAY IS DIFFERENT HERE. I'VE NEVER HAD A REPEAT 07:01.824 --> 07:04.658 EXPERIENCE. THAT'S WHAT I LIKE ABOUT THIS 07:04.660 --> 07:06.193 JOB. IT'S ALWAYS DIFFERENT. 07:06.195 --> 07:14.368 IT'S ALWAYS A CHALLENGE AND A PLACE FOR ME TO LEARN. 07:14.370 --> 07:24.411 FOR MORE INFORMATION ABOUT THE WOODLAWN THEATRE, VISIT 07:24.413 --> 07:26.313 WOODLAWNTHEATRE.ORG. 07:26.315 --> 07:32.085 PHOTOGRAPHER, SUZY TAYLOR OF HOUSTON, TEXAS, CAPTURES A 07:32.087 --> 07:34.054 COLORFUL RANGE OF DRAMATIC IMAGERY TO TELL EPIC, LAYERED 07:34.056 --> 07:37.424 STORIES THAT REQUIRE NO WORDS. INSPIRED BY HER OWN PERSONAL 07:37.426 --> 07:40.594 JOURNEY, SHE IMAGINES BOLD, EXPRESSIVE THEMES, AND THEN 07:40.596 --> 07:45.532 SHOOTS AT A VARIETY OF LOCATIONS TO CREATE HER IMAGES. 07:45.534 --> 07:48.635 HERE'S A LOOK. 07:48.637 --> 08:04.451 MY RELATIONSHIP WITH THE CAMERA IS MORE THAN JUST A THING. 08:04.453 --> 08:10.457 IT REPRESENTS A LOT TO ME. 1, 2, 3, GO. 08:10.459 --> 08:12.593 IT ALLOWS YOU TO CREATE ANYTHING. 08:12.595 --> 08:14.928 IT ALLOWS YOU TO EXPRESS ANYTHING. 08:14.930 --> 08:17.898 IT COULD BE RAW AND IT CAN BE HONEST. 08:17.900 --> 08:20.501 IT CAN ALSO BECOME ANYTHING YOU WANT IT TO BE. 08:20.503 --> 08:25.806 IT CAN BE A FANTASY. THE RED ONE HAVE IT FANNED OUT. 08:25.808 --> 08:35.048 WE CAN HAVE A LITTLE BIT OF FUN THROWING THE HAIR AROUND. 08:35.050 --> 08:43.223 NOT GOING TO LOOK LIKE MUCH RIGHT NOW. 08:43.225 --> 08:51.832 PHOTOSHOP COMES IN AND I CAN CREATE A WHOLE DIFFERENT SCENE. 08:51.834 --> 08:56.169 PRETTY MUCH ALL OF US HAVE GONE THROUGH MOMENTS WHERE BAD THINGS 08:56.171 --> 09:01.108 ARE HAPPENING IN OUR LIVES. WE KNOW IT WILL GET BETTER 09:01.110 --> 09:04.611 EVENTUALLY. IF WE KNOW TOMORROW IS GOING TO 09:04.613 --> 09:07.981 BE BETTER. SO THIS PARTICULAR WE'VE GOT A 09:07.983 --> 09:12.686 GUY WHO'S GOT A ROPE. HE'S TRYING TO PULL THAT ACROSS 09:12.688 --> 09:17.024 THE SKY. I WANTED A WHOLE SERIES TO SHOW. 09:17.026 --> 09:21.562 AND WE NAMED IT DOT PLACES. WE'RE TALKING ABOUT PHYSICAL 09:21.564 --> 09:24.898 PLACES LIKE PLACES THAT ARE SCARY AND DARK. 09:24.900 --> 09:29.269 EMOTIONALLY DARK PLACES. THAT CREATE ANXIETY AND FEAR. 09:29.271 --> 09:38.879 THINGS THAT WE WILL EXPERIENCE IN OUR LIVES. 09:38.881 --> 09:44.551 I USE THE FANTASY AND THE SURREAL IMAGES THAT I CREATE TO 09:44.553 --> 09:49.523 KIND OF TELL A STORY IT MAY BE BASED ON SOMETHING VERY REAL. 09:49.525 --> 09:53.460 BUT PRESENTED IN A WAY THAT'S VERY TANGIBLE. 09:53.462 --> 09:58.932 VERY CASH DASH IT'S EASIER TO DIGEST. 09:58.934 --> 10:01.702 I USED TO BE IN FINANCE. I WAS ACADEMIC. 10:01.704 --> 10:04.404 IN THE RECESSION I LOST EVERYTHING. 10:04.406 --> 10:08.408 THEN I HAD A BABY. AND I DIDN'T KNOW WHO I WAS 10:08.410 --> 10:12.179 ANYMORE. THEN ONE DAY MY HUSBAND HAD SEEN 10:12.181 --> 10:19.453 MY LOVE OF PHOTOGRAPHY FROM A DISTAN 10:19.455 --> 10:23.724 DISTANCE. WE DIDN'T HAVE MONEY FOR TO RUB 10:23.726 --> 10:29.630 TOGETHER. >> IF IT MAKES YOU FEEL BETTER 10:29.632 --> 10:36.136 YOU CAN KIND OF STRADDLE. >> ANYTIME I FIGHTING WITH 10:36.138 --> 10:39.239 SOMETHING. THIS IS THE ONLY THING IN LIFE 10:39.241 --> 10:46.113 I'VE FOUND TO BRING THAT OUT. MY MOTIVATION BEHIND THIS SERIES 10:46.115 --> 10:52.119 IS A VERY PERSONAL ONE. I STRUGGLED WITH DEPRESSION AND 10:52.121 --> 10:56.323 ANXIETY MOST OF MY LIFE. AS MUCH AS I WANT TO HELP OTHER 10:56.325 --> 11:02.829 PEOPLE THIS IS ALSO THERAPY FOR ME. 11:02.831 --> 11:07.100 SOME OF THE STAFF WAS REALLY PRETTY. 11:07.102 --> 11:12.072 WHEN IT COMES TO EDITING I'M FOCUSING ON DARK THINGS. 11:12.074 --> 11:20.080 JUST BRINGING OTHER THING THAT ARE IMPORTANT IN THE SHOTS. 11:20.082 --> 11:26.353 WHILE I'M CREATING. I'M PUTTING A LOT OF MYSELF IN 11:26.355 --> 11:38.799 ALL OF THESE PIECES. 11:38.801 --> 11:43.637 AND YOU CAN FIND OUT MORE BY VISITING 11:43.639 --> 11:45.405 SUZYTAYLORPHOTOGRAPHY.COM. 11:45.407 --> 12:24.277 EACH YEAR, THE STUDENTS AT THE KANSAS CITY ART INSTITUTE IN 12:24.279 --> 12:27.214 MISSOURI, COME TOGETHER TO SHOW THEIR COMMUNITY HOW STEAMROLLERS 12:27.216 --> 12:29.049 CAN BE USED TO CREATE ART. HERE'S A LOOK AT THIS UNIQUE 12:29.051 --> 12:32.786 EVENT. WE ARE GLAD. 12:32.788 --> 12:42.262 IT'S A BEAUTIFUL DAY. [MUSIC] 12:42.264 --> 12:45.899 >> HI. WELL WE'RE DOING THE ROAD ROLLER 12:45.901 --> 12:50.337 EVENT WHICH IS BASICALLY A EVENT WE DO. 12:50.339 --> 12:56.009 WE'VE GOT A BUNCH OF BLOCK. WE INK THEM UP. 12:56.011 --> 13:00.881 AND IT LEAVES PRINTS THAT WE CAN SELL OR HANG IN OUR SCHOOL. 13:00.883 --> 13:04.050 THAT'S WHAT WE'RE DOING HERE TODAY. 13:04.052 --> 13:07.087 JUST BEING OUT IN THE COMMUNITY IS REALLY AWESOME. 13:07.089 --> 13:12.626 BEING ABLE TO AS A SCHOOL COORDINATE SOMETHING THAT'S MORE 13:12.628 --> 13:15.495 PUBLIC. WE LOVE THE FACT THAT THAT THE 13:15.497 --> 13:20.066 ART INSTITUTE IS SUCH AN IMPORTANT PART OF OUR ARTISTIC 13:20.068 --> 13:22.903 COMMUNITY. WE WANTED TO CELEBRATE IT. 13:22.905 --> 13:27.541 AND BRING ALL OF THAT TOGETHER. REALLY, REALLY NEAT TO SEE THE 13:27.543 --> 13:30.911 ARTWORK AND HOW DELICATE AND HOW DETAILED IT IS. 13:30.913 --> 13:34.414 IT'S AN AWESOME EXPERIENCE TO WATCH THEM AT WORK. 13:34.416 --> 13:40.086 >> IT'S KIND OF A LIKE A BREATH OF FRESH AIR TO GET AWAY FROM 13:40.088 --> 13:44.357 OUR CLASSES AND FOCUS ON WHAT WE LIKE TO DO. 13:44.359 --> 13:48.829 I THINK IT'S A GOOD AWARENESS FOR THE ART INSTITUTE. 13:48.831 --> 13:54.601 IT SHOWS WE CAN GET INVOLVED IN THE COMMUNITY AND HAVE SOME FUN. 13:54.603 --> 14:00.640 HAVE THE KIDS HAVE SOME FUN. >> THIS TEAM IS PRESIDENTS AND 14:00.642 --> 14:08.014 FIRST LADIES. >> THIS IS MARILYN MONROE. 14:08.016 --> 14:12.853 >> AND WE HAD WE HAD A LADY LOVER. 14:12.855 --> 14:15.422 I DON'T REMEMBER THESE GUYS NAMES. 14:15.424 --> 14:18.191 THEY SLEPT WITH DIFFERENT PRESIDENTS. 14:18.193 --> 14:20.894 NOW WE'RE GOING TO LAY THE PAPER ON TOP OF IT. 14:20.896 --> 14:27.300 WE'RE GOING TO CUT IT RIGHT TO THE SIDE. 14:27.302 --> 14:49.155 PUTTING THE BLANKET OVER IT. PUT IT BACK OVER IT. 14:49.157 --> 14:52.225 THEY'RE PUTTING INK ON A PIECE OF BLOCK WITH ROLLERS. 14:52.227 --> 14:55.395 SO YOU JUST SEE THIS GIANT ROLLER. 14:55.397 --> 14:57.764 OTHER PEOPLE HAVE BEEN DOING THE PAPER. 14:57.766 --> 15:03.136 HANDING THE PRINTING PART AND THE ANOTHER PERSON IS DRIVING 15:03.138 --> 15:08.074 THE STEAMROLLERS. IT TOOK ABOUT 12 PEOPLE TO PULL 15:08.076 --> 15:11.211 A PRINT. EACH PERSON HAS A VERY FORWARD 15:11.213 --> 15:19.719 LIKE ASSEMBLY LIKE LINE. THESE PEOPLE ARE INKING. 15:19.721 --> 15:35.769 THESE PEOPLE ARE DOING THE PRESSING. 15:35.771 --> 15:40.373 >> ALL THE EFFORT SEE PUT INTO IT. 15:40.375 --> 15:50.550 IT'S A GREAT EXPERIENCE. TO FIND OUT MORE INFORMATON ON 15:50.552 --> 15:54.621 THE KANSAS CITY ART INSTITUTE VISIT KCAI.EDU. 15:54.623 --> 16:38.631 MCK 16:38.633 --> 16:43.670 BEAUTY, ADVENTURE AND ROMANCE ARE RIGHT AROUND THE CORNER AS 16:43.672 --> 16:48.508 BALLET SAN ANTONIO BEGINS ITS 2016-2017 SEASON WITH THE 16:48.510 --> 16:50.877 PREMIERE OF DON QUIXOTE. BASED ON THE ICONIC SPANISH 16:50.879 --> 16:54.180 NOVEL, DON QUIXOTE WEAVES A SPLENDID TAPESTRY OF LOVE, 16:54.182 --> 16:57.150 ILLUSION, AND DARING ADVENTURE. WE VISITED THE ARTISTS AS THEY 16:57.152 --> 17:03.490 PREPARED FOR THEIR UPCOMING PERFORMANCE. 17:03.492 --> 17:08.228 WE ARE REAL FINE-TUNED ANIMALS AND IT'S JUST LIKE A 17:08.230 --> 17:10.597 THOROUGHBRED. THEY ARE VERY SPECIALIZED. 17:10.599 --> 17:14.768 THAT'S WHAT WE ARE. WE ARE COMPARED TO BASKETBALL 17:14.770 --> 17:17.470 PLAYERS WHERE BASKETBALL PLAYERS RUN ACROSS THE COURT. 17:17.472 --> 17:20.140 THEY STOP AND THEY GO ON THE OTHER SIDE. 17:20.142 --> 17:25.945 THEY REPEAT THAT AGAIN. THAT'S WHAT HAPPENED WITH BALLET 17:25.947 --> 17:27.847 DANCERS. WE START A COMBINATION AND THEN 17:27.849 --> 17:31.418 WE STOP. WE DO ANOTHER COMBINATION AND 17:31.420 --> 17:35.121 STOP. EXCEPT A BASKETBALL PLAYER SHOOT 17:35.123 --> 17:39.225 THE HOOP THEY DON'T POINT THEIR FEET. 17:39.227 --> 17:52.872 WE POINT OUR FEET. MY NAME IS WILLIE SHOOIIVES. 17:52.874 --> 17:55.675 WHAT AM I GOING TO DO FOR MY SEASON. 17:55.677 --> 18:01.047 WHAT THE SEASON IS GOING TO LOOK LIKE GIVING COMPANY CLASS. 18:01.049 --> 18:06.019 THAT WE WORKED TOGETHER. IT'S ALL ABOUT WHAT I WANT TO DO 18:06.021 --> 18:10.723 FOR THE SEASON. SO THIS YEAR I'M -- IT CAME 18:10.725 --> 18:15.929 ABOUT TWO OF MY ADMINISTRATION WORKERS MY EXECUTIVE DIRECTOR 18:15.931 --> 18:19.499 AND MY OFFICE MANAGER THEY WERE BOTH GETTING MARRIED. 18:19.501 --> 18:25.205 SOMETHING BLUE, SOMETHING OLD, SOMETHING NEW WOULD BE A GREAT 18:25.207 --> 18:39.752 IDEA AND START WITH THAT ALL OF THE THEMES COMING UP ARE DON 18:39.754 --> 18:50.930 QUIXOTE, SAND NUTCRACKER. DON QUIXOTE COMES FROM THE NOVEL 18:50.932 --> 18:54.234 OF MIGUEL CERVANTES. THERE'S A LOT OF COMEDY AND 18:54.236 --> 18:59.172 THERE'S A LOT OF ROMANCE. IT'S REALLY, REALLY HARD DANCING 18:59.174 --> 19:03.676 AND THEY HAVE SO MUCH FUN. THE DANCERS ARE HAVING A GREAT 19:03.678 --> 19:07.547 TIME. I'M A PRINCIPAL DANCER WITH THE 19:07.549 --> 19:12.719 BALLET SAN ANTONIO. IN OUR UPCOMING PRODUCTION OF 19:12.721 --> 19:16.923 DON QUIXOTE I WILL BE CUPID IN A FEW SHOWS. 19:16.925 --> 19:22.162 >> COMING TO SAN ANTONIO AND PERFORMING WITH BALLET SAN 19:22.164 --> 19:25.698 ANTONIO HAS BEEN A DREAM COME TRUE. 19:25.700 --> 19:30.403 WITH THIS COMPANY I'VE GOT THE OPPORTUNITY TO DANCE SO MANY 19:30.405 --> 19:40.246 ROLES THAT I DIDN'T DANCE BEFORE. 19:40.248 --> 19:44.150 I'VE LEARNED SO MUCH ABOUT BALLET AND DIFFERENT WAYS OF 19:44.152 --> 19:48.354 APPROACHING THE ART FORM. WE'VE BEEN PRACTICING FOR SIX 19:48.356 --> 19:51.758 WEEKS, MAYBE FIVE WEEKS ON DON QUIXOTE. 19:51.760 --> 19:55.528 IT'S A BASED ON THE NOVEL. IT'S VERY FUN. 19:55.530 --> 20:01.434 IT HAS A LOT OF FUNNY MOMENTS AND IT'S AN OPPORTUNITY FOR A 20:01.436 --> 20:06.573 DANCER TO PLAY A REAL HUMAN BEING WHICH IS A CHANGE FOR MANY 20:06.575 --> 20:22.589 OF US BECAUSE TYPICALLY WE PLAY FAIRIES OR NYMPHS. 20:22.591 --> 20:29.495 >> EVERY ROLE AND IN EVERY DANCER IN THE COMPANY PLAYS TWO 20:29.497 --> 20:32.098 PARTS ON PUTTING ON A GREAT PRODUCTION. 20:32.100 --> 20:39.639 IN THE BALANLET SHOWS SINGLE CHARACTER ENHANCES THE STORY. 20:39.641 --> 20:45.812 TO ALL OF THE VILLAGERS. THEY PLAY THIS INTEGRAL PART IN 20:45.814 --> 20:55.455 BRINGING THIS LIFE. AND THE TRUE STORY IS TOLD. 20:55.457 --> 21:02.362 THERE'S LIKE TRYING TO USE THAT AS FIRE THE FUEL YOUR EMOTIONS. 21:02.364 --> 21:08.835 BUT ULTIMATELY I TRY TO GET IN THE ROLE AS MUCH AS POSSIBLE. 21:08.837 --> 21:14.307 I DON'T THINK ABOUT THE STEPS. I TRY TO JUST EMBODY THE ROLE 21:14.309 --> 21:20.280 AND TRY TO REALLY ALMOST WHEN I'M ON STAGE LIVE IT AS IF I'M 21:20.282 --> 21:24.684 TRULY THERE IN THAT MOMENT AND THERE'S NOTHING ELSE IN THE 21:24.686 --> 21:33.159 WORLD AT THAT MOMENT. I LIKE TO MAKE A PRESENT. 21:33.161 --> 21:36.829 AND I THINK THAT STARTS FROM THE FIRST MOMENT ON STAGE. 21:36.831 --> 21:40.333 YOU HAVE TO SET THAT PERSONAL PRESENCE. 21:40.335 --> 21:44.404 IT'S VERY POWERFUL. I'VE BEEN IN THE DANCER'S SHOES 21:44.406 --> 21:48.908 WHAT THEY'RE DOOLING AND NOW I'M ON THE OTHER SIDE. 21:48.910 --> 21:51.577 I KNOW HOW HARD THEY ARE WORKING. 21:51.579 --> 21:57.150 I HAVE SO MUCH RESPECT FOR THEM. I LIKE TO LET THEM KNOW THEY'RE 21:57.152 --> 22:01.721 LOVED AND THEIR PASSION THEY GIVE EVERY DAY WHEN THEY COME TO 22:01.723 --> 22:07.060 CLASS AND REHEARSALS. AND NOW GETTING A CHANCE TO 22:07.062 --> 22:10.496 PERFORM IT IS COMING REALLY, REALLY FAST. 22:10.498 --> 22:14.100 THEY'RE BEING GIVEN THE OPPORTUNITY TO TOUR. 22:14.102 --> 22:20.173 SO WE'RE 35 MEMBERS WHERE YOU DON'T HAVE A LARGE BUDGET. 22:20.175 --> 22:26.913 WE HAVE BEAUTIFUL DANCERS THAT CAN DANCE ANYWHERE THEY WANT. 22:26.915 --> 22:31.918 BUT THEY CHOOSE HERE. IN SAN ANTONIO, TEXAS I'M GOING 22:31.920 --> 22:36.022 TO PUT THIS COMPANY ON THE MAP BECAUSE THEY DESERVE IT. 22:36.024 --> 22:40.126 THESE DANCERS DESERVE IT. IT'S REALLY HARD TO PUT INTO 22:40.128 --> 22:42.662 WORDS THE FEELING WHEN YOU'RE ON STAGE PERFORMING. 22:42.664 --> 22:50.470 IT'S UNLIKE ANYTHING I'VE EXPERIENCE BEFORE. 22:50.472 --> 22:55.174 LIFE TO THE NEXT LEVEL. BUT ONE THING THAT'S NICE ABOUT 22:55.176 --> 23:02.081 DANCING AT THE TOBIN CENTER FOR SUCH A LARGE THEATRE IT'S VERY 23:02.083 --> 23:04.650 INTIMA INTIMATE. 23:04.652 --> 23:08.221 IT DOESN'T FEELS THERE'S A THOUSAND PEOPLE OUT THERE EVEN 23:08.223 --> 23:11.758 THOUGH THERE ARE. IT'S COMFORTING. 23:11.760 --> 23:17.630 IT'S A VERY COMFORTABLE SPACE TO DANCE IN. 23:17.632 --> 23:22.201 I THINK I SAY THIS FOR EVERY SHOW. 23:22.203 --> 23:27.940 TRY TO GO IN WITH AN OPEN MIND AND DON'T HAVE ANY PRE- 23:27.942 --> 23:32.445 CONCEPTION AND JUST TRY TO BE IN THE STORY. 23:32.447 --> 23:39.952 TRY TO FEEL THE STORY AND SEE HOW THE DANCE IING INTERPRETS T 23:39.954 --> 23:43.723 STORY. ULTIMATELY TO INSPIRE SOMEBODY. 23:43.725 --> 23:48.628 I HOPE THEY TAKE AWAY FROM IT. YOU DON'T KNOW WHAT YOU'RE 23:48.630 --> 23:51.030 MISSING UNTIL YOU GO AND FIGURE IT OUT. 23:51.032 --> 23:58.337 TAKE THE CHANCE AND YOU MIGHT REALLY, REALLY ENJOY YOURSELF. 23:58.339 --> 24:25.198 F FOR MORE INFORMATION ON BALLET 24:25.200 --> 24:31.103 SAN ANTONIO, VISIT BALLETSANANTONIO.ORG. 24:31.105 --> 24:45.718 AND THAT WRAPS IT UP FOR THIS EDITION OF ARTS. 24:45.720 --> 24:50.690 TUNE IN NEXT WEEK AS WE WRAP UP HISPANIC HERITAGE MONTH WITH A 24:50.692 --> 24:55.361 VISIT TO THE THE MCNAY ART MUSEUM TO MEET THEIR NEW 24:55.363 --> 24:59.599 DIRECTOR AND GET A GLIMPSE OF A SELECTION OF ART CREATED BY 24:59.601 --> 25:04.003 HISPANIC ARTISTS. AND IT'S AN HONOR TO COME TO YOU 25:04.005 --> 25:14.313 AT THE VERY END OF HISPANIC HERITAGE MONTH. 25:14.315 --> 25:19.418 AND FOR MORE ARTS AND CULTURE, VISIT KLRN.ORG/ARTS WHERE YOU'LL 25:19.420 --> 25:23.356 FIND FEATURE VIDEOS, BLOGS AND INFORMATION ON UPCOMING ARTS 25:23.358 --> 25:26.626 EVENTS. UNTIL NEXT TIME, I'M MELINA 25:26.628 --> 25:33.866 NAREZO. THANKS FOR WATCHING. 25:33.868 --> 26:32.792 ARTS IS MADE POSSIBLE BY VIEWERS LIKE YOU. 26:32.794 --> 26:37.430 ARTS IS PRESENTED BY THE TOBIN CENTER FOR THE PERFORMING ARTS 26:37.432 --> 26:41.901 ARING PROVIDING THE BEST PLACE ANYWHERE TO SEE AND HEAR A LIVE 26:41.903 --> 26:45.104 PERFORMANCE. TRANSFORMING THE PERFORMING ARTS 26:45.106 --> 26:48.274 IN SAN ANTONIO'S DECADE OF DOWNTOWN. 26:48.276 --> 26:49.475 THE TOBIN CENTER.