Touching on Dre's topic ("Are workshops a waste of time?"), someone whimsically labeled people in the RPFS system of workshops by number of years/events with the titles:
Apprentice
Journeyman
Master
Yes, there was an additional category that was dropped in recent years.

So...
Shouldn't the masters be doing master stuff? If someone is at fair for ten years, they should be involved with either leadership of a group, or teaching people what they know? Shouldn't they be mentoring people? How many of them actually do? I don't see most of the people in the Master line out there making the fair (at least doing the craft I'm assuming they have mastery of, acting in the streets) so it seems like a title only, not a realistic approximation of ability to gig and so on.
posted by:
Pasha
  • Just because I am a "Master", that title does not obligate me to <<be involved with either leadership of a group, or teaching people what they know? Shouldn't they be mentoring people?>>

    Personally I enjoy sharing what I know. But when someone tells me I have to just because, well, I don't like it.
    • Thank you, again, Cat.

      There really IS no such thing as a "master"
      I remember [yowch, the dreaded "when I was..."]
      when the PTB, at LHC [oooh! cool word stuff]
      started the whole "Apprentice, Journeyman, Master
      thing, it was a bad idea then.
      I am hearing it as a bad idea now!

      1/2 the time, "masters" ]those who have done X # of Faires]
      don't know what they are "teaching"...because THEY never
      learned it. Where, some "jouneyman" who's only been
      at this [as was exampled] for one season, knows more.

      I'm with Dino-Cat: I hate being told I "have" to do something
      because I've "been around the longest" I also "enjoy sharing"
      and am happy to do so! But not with the caviat "you've been around
      the longest, so YOUMUST know all about it TEACH it!!"

      The voice of just another "when I was..." Dinosaur
  • Using that logic, at some point, the person who's been at Faire the longest should eventually become the Queen. (Or the Duke of Ellington.)

    Calling someone a "Master" in the RPFS scheme of things is an indication that after 150 to 200 hours of workshops and 10 seasons or more doing Faire, there isn't a helluvalot of "new" tricks you're going to teach old dogs. Some, certainly. But the Law of Diminishing Returns applies.

    Ms. Hanlin, with a paltry 6 weekends of Faire experience thus far, makes a magnificent Queen. (That's massive understatement, btw.)
    Whereas after 11+ years at Southern, and 2 years of small faires, I might be fit to attempt to teach a workshop. As might 500 of my far more-experienced peers who've never done either. But there aren't 500 workshop slots, nor guild managerial positions, nor would most of us aspire to either.

    Everyone can't be Babe Ruth, no matter how many seasons they play in the big league. :)

    Or, as someone a bare few years removed from Elizabeth I's reign famously penned:
    "They also serve who only stand and wait."
  • I would have to agree with the fact.. that just because you are a master because you have been here over 10 years you shouldn't have to teach or work at Master LEVEL. When all is said and done.. faire.. is a pasttime. It is something that we like to do.. it is a place we go to have a good time with the people we enjoy being with.
    A person... who has achieved this "Level"... based on time.. has earned the right to relax a little.
    There are some "Kids" out there.. who are brilliant at what they do... and it may only be their first year. But there are also some of the dinosaurs.. who have been there forever.. who may or may not have the skills. They have earned the right to be called "masters" because they have put in their time.
    • I don't think the title should have anything to do with how long you've been attending faires. Length of time is not a direct correlation to quality of skill of ability to teach. Just a newbie observation....
      • The reason I see this as a failing proposition is its all volunteerism. You can't make people do things if they're here on their dime. But then again, and I don't know much about this, I think maybe workshop teachers are paid? So there goes my protest right out the window.

        Titles are certainly good for the ego and respect, but teaching comes from a natural ability I think, as does gigging in the street, and cannot always be quantified by time....
        • "The reason I see this as a failing proposition is its all volunteerism. You can't make people do things if they're here on their dime."

          I'm a volunteer and I work my ass off. I expect no less of anybody else.
          • Clarification: I'm referring to the title system. Some people don't want added responsibility to their M-F duties and come to play, not to take on titles and the accompanying responsibilities of said title. Some don't mind it at all and are natural leaders and love the responsibility. Its all in the individual. Thats what I'm saying.
            • I am 100% with Mr R. It shouldn't matter "how many faires" or
              how many "workshops" you have taken/done. it should be
              a required thing, without all the "title" stuff.
              By the same token, Wags....It is not a matter of
              taking on titles and the accompanying responsibilities.
              Which is why I agree with Mr R. Get rid of the "titles"
              and have these workshops, as they were originally intended:
              to teach HOW to do the things we do. So that we can "play"
              and have a good time doing it. It's not a "burden" nor should
              it be forced. But it should, in ALL cases, be required.
              Just leave off the "titles" and subsequent "entitlements"
              that seem to go with it!

              JM2CW

              Dino
              • I'd also point out that if you've done faire for 10 years as a booth worker and then switch to Entertainment/Guild you are, under the current title system, an Apprentance. I've said in the past that the booth owner I work for is "old school" in that he believes we are as much a part of faire as Entertainment and expects us to "entertain" the patrons as well, besides it helps to increase sales. But I've also heard that many booth owners don't have and some don't even want that level of expectation of their workers.
          • Your expectations for yourself are valid solely for yourself.

            1) I don't expect someone 70 years old to keep up with the exertional levels of an 18-year old. We are a town of differently-abled performers, not the Rockettes on crack.

            2) Experience usually means one works smarter, not harder. Someone who's played the faire game for 5 or 10 seasons can probably do things with a subtlety of exertion and interaction that a green newbie wouldn't equal with serial apoplectic fits in the middle of the street, repeated all day long, no matter how fun it is to watch.

            3) There is nothing wrong with coming to participate in faire because you enjoy a good time with your annual friends there - *as long as you aren't robbing the patrons of the faire experience they paid for, and which each participant contracted with the management to provide.* We're supposed to be protraying the annual celebration of Spring Faire. It seems a bit counterproductive to ask people to pretend to celebrate, as long as they aren't actually having any real fun.

            And if we're to require the same level of training regardless of level of prior experience, I'm curious about how one would go about that, and what it would accomplish.

            In the RPFS example, would you drop all participants to the same level as a Master? Or require everyone to undergo the same number of workshops as an Apprentice? Or make Journeyman level the universal standard, thus halving the number of required classes for the rawest rookies who need the most training and orientation, while doubling the requirements for those with anywhere from 10-40 years of faire experience?

            If we go to everyone needing 20 or so workshops, who's going to build the town? Elves? And who's going to teach the workshops, since the masters won't be able to have free periods to attend their own required workshops?
            (Or would you make those teaching classes exempt, thus creating the danger of the very problem that started this exercise: masters who don't have enough annual training to sustain "mastery".)

            If you make faire annoying enough for participants, they'll stay home in droves. Participating requires an amount of discipline and application. Buit it shouldn't become the equivalent of being chained to an oar for 3 months.

            And frankly, people who do something *for love of it* generally do a better job than people who are merely collecting a paycheck.

            I don't know, but I think you're letting experiences with a few less-than-stellar participants over the years drive this mental experiment. And the result sounds (unintentionally, I'm sure) more like group punishment for the sins of a few, than something that would make the faire experience richer for either the cast or the patrons.

            Maybe you're getting hung up on the title "Master."

            It means, to me, that a person at that point has become a Master Participant.
            They can accomplish and maintain a credible BFA. They don't wear purple boots, day-glo socks, or Bluetooth earpieces. They reverence the Queen and the Court nobility, and know where their own character stands in the great chain of being of the town, including who they are, what they do, and probably what they earn a year and what they'd have had for dinner the night before. And they can probably expound on their particular area of experience at length, and keep up with the patrons in conversation without resorting to "Nay, not" or "Forsooth, dude."

            It doesn't mean they've mastered all the minutiae of performing the most challenging roles in the run at a large faire, can prepare a period meal for an entire Progress with one trip to Costco, and recite the collected works of Shakespeare, in order, from memory, while accompanying themselves on a lute using period tonal scales.

            But it does leave us all something to aspire to.
            • ~grinning~
              I'm glad you like that, Wags....*)
              ~still grinning~

              Back to the matter at hand, Bob.
              Your points are all valid, I can assure you.
              However, you have oversymplified the issue.


              While it is true that "a green nubie could equal with
              serial apoplectic fits" is sometimes entertaining,
              people who work hard to achieve their particular
              level of "subtlety of exhertioin" only achieved that
              level by practice of their craft. This is what
              Workshops are supposed to be all about.

              By the same token, one who glides through the
              system, who really has no interest in achiving
              a level of creativity, should not be assumed to
              be so,


              The gist, of Mr R's and other's argument is[I believe]
              not that "you would drop all participants to the same level
              as Master."
              It is to do away with "titles' altogether. I don't bellieve
              that the idea is to "require everyone to undergo
              the same number of workshops as an Apprentice"
              I think that would be asinine.
              However, I do agree that it is "masters" who don't
              know what they are "teaching" because they never
              learned it , [or took the time to learn it] but only
              achieve the "master" title because they have done
              X # of faires. They are skating on "merits" they
              have not achieved.
              YES, workshops should be "required" but I also
              think, going back to a "simpler time", that a few
              "basic" workshops should be used.

              You will now add "well how do they determine
              which workshops are to be used and which
              should be "cast aside" as not important?"

              They are "requiring all "boothies" [a term I hate, BW]
              to take workshops. But they should be limited.
              Basic Dress: simple, with examples, and "how to"
              Speaking to give the "illusion"..
              [That would be BFA [or Basic Faire Accent] and not
              "pretending to celebrate"]

              That would be all that should really be needed of
              someone who does not "entertain" on the streets.

              Actors, on the other hand, should be a bit more
              refined AND required But not "overburdened".
              Along with the above mentioned, I would suggest:

              1.Interaction with others. Be they Patrons or Participants.
              [that would also include booth workers] so that, while
              "celebrating", no one feels awkward or "out of place"
              [BTW, it would help with NOT feeling they are "pretending to celebrate"]

              2.How to "project" so they can be heard, and even speak
              all day, without straining their voices. [you would not
              believe the number of "masters" who cannot do
              that simple thing...and yes, it is simple]

              3. How to "think" like an Elizabethan [I am thinking RPFS
              or RPFN, as they are the only examples I know] This would
              include "how to be funny or serious". And also, how to get
              out of "tight" situations.

              Three "basic workshops" that can be "taught" by one or
              two folks who know how. Just because they have done
              X # of faires, does not mean that "they know how" or that
              they are better. They can be a "green nubie" and still be
              able to teach something simple. But, by the same token,
              ANYONE can go to any of the other workshops, if they
              so desire.

              All done kind of "round robin" for actors AND booth workers.
              The first , given to the booth workers, for the "look"
              The last, for those who will, continually engage patrons.
              Entertainment value, if you will, if they wish to be on that "level".

              RE: Paychecks? I don't think that comes into play, for the
              "average" participant.

              Again, I say, EVERYONE should take these three "basic" workshops.
              The experience is for everyone. Young or old. New or "veteran".
              AND, everyone needs a little "brush up" if they are here.
              But, not have requirements to double......it is an
              "experience" for everyone to take part in.
              Not as a "Master Participant"
              Those with more than "a few" years at Faire [be it Booth worker
              or Actor] should be considered, [for want of better than "title"]
              "long time participant".

              And, in "closing' [of this long winded "sermon"]
              I would take your final sentence, as truth, but alter it a bit:

              " But it does leave us something to aspire to"...if we wish.
              JM 2 cents

              [jumping down, from soap box]
              Wanting to be helpful Dinosaur
              • > "Three "basic workshops" that can be "taught" by one or
                two folks who know how. Just because they have done
                X # of faires, does not mean that "they know how" or that
                they are better."

                But everyone has different needs, which is why I like our current system. I'm not a master yet but I've also taken professional singing and acting lessons. Having some guy at faire, of any level, give me a projection class is a total waste of my time. I sing ALL day at faire, if I didn't know how to project correctly my voice wouldn't last through the first weekend. The same goes for just about any workshop. Some people don't need certain ones. I'm all for everyone needing to take some workshops but having universal "required" workshops seems like a waste of people's time. I've also always thought it was silly that everyone had to take BFA no matter what accent they used. It's a waste of a class for an Italian.

                With the current system at RPFS (I've never taken workshops for another faire) each level takes a specific number of workshops. Each level has some required classes (usually some level of spoken accent) and then they can choose whatever classes interest them to finish out the requirement. This allowed me to take neat classes like ones on superstitions, nautical classes, etc. Which were all more enjoyable and more applicable to my needs then taking another costuming class or another class on improv or projection.

                And do the names really matter? Other then the number of workshops you take it has no effect on the faire. I've never seen anybody treat anyone differently due to their level and I have seen many qualified non-masters teaching great classes. It's just an fancy way to say level 1, level 2, and level 3.
  • When they put these classifications into play I was already a "master".

    They included work done at Dickens in the total.

    But, I have always worked on the axiom...If you think you know it all, you obviously don"t.

    Old Platapus
    • The Two Mr R's have the right of it!
      Especially the Platapus.

      "If you think you know it all, you obviously don't!"

      I am still of the mind that, unfortunately, too many take
      their "title" and use it as a way to avoid taking workshops,
      period.

      I am still of the mind that certain things, that are totaly relevant
      to Faire [and Continuing Ensemble Acting, in general]
      should be used as a "Guideline" and be taught to everyone...

      Creepy & infirm [for the moment] Dinosaur
  • First off... I think that the titles in place mean no more then "Really new" "been around for a bit" and "Been doing this a long time". It takes everyone different amounts of time to become a master in a certain area, so I don't think the title necessarily correlates to how much someone knows, as much as it is there just to put it into one word a general amount of time someone has been around. I know both new people who know tons more then they'll actually ever put to use, and people who have been around "forever" that still have a lot of room to grow.

    Next, I don't think that just because someone has been around "forever" should require them to teach a workshop or be a leader. Teaching isn't for everyone, neither is leading... Just because someone has been around a while and knows a lot doesn't mean that they have the skills necessary to successfully teach how to do it, or to get people to follow... nuff said there.

    So basically... I think of it as a title only, used to classify how many workshops you need to take, not ones ability to gig, teach, lead, etc.
    • Exactly. "Masters" still need to prove themselves capable to participate in whatever group they are a part of. Some groups require certain skills and they must be learned. Like a sword fighting group isn't going to take a master just because they are a master, but they might take an apprentice with tons of stunt fighting experience. A singing group isn't going to just accept a master they would require an audition. I think the groups are where the quality control comes in. The faire already provides the classes. It's up to the GM or director to make sure all their cast members are up to the quality that they want (and in turn faire monitors the groups for good quality).
      • Oh so true, Kimi, yet there are people out there who sometimes have the mentality that becasue they've been doing faire for however many decades, they deserve some measure of respect for just that reason.

        It all depends on the group. If the group is known to have quick-witted wise-asses who will run with a phrase or gesture, on or off-stage and that "Master" mentioned above knows this, they shouldn't get their panties in a wad and start muttering about their time in and they deserve respect and whatever when they made a statement or a gesture that got someone else going. Basically, if you dish it out, you have to take it and in exchanges of insults, wit, whatever, it's a must.

        On another note, I was a boothie in Agoura. In the two years I worked Faire, I took a grand total of three, count 'em 3 workshops. My husband and I retired from participation in 1989, didn't even go to the new site. We came out of retirement in 2006. My husband worked Agoura (also as a boothie) for 11 years at Agoura, but when we signed up for Workshops, we did the right thing and came in as Apprentices. I'm also a Teacher's Aid in the Country Dance Classes when I have a free period. Will I ever teach a class on my own? No, I have too much stuff I need to learn. I try to take as many classes as possible in as many diverse subjects as possible to try to build a well-rounded character though the audience really only sees the surface.
    • "I think that the titles in place mean no more then "Really new" "been around for a bit" and "Been doing this a long time"."

      That's always been my impression. Do these designations have any application once the show starts? I thought they were just for dividing up workshop requirements, and meant to essentially be kind of fun. You have to call each group something and A, B, and C is boring. Does anyone really think they're a Master Actor because they have a Master's reckoning card?
      • I think I'm a master ba...

        Sorry. Faire just ended, too much Reef time.

        Seriously, it's just a freakin' name. I looked up to the actors who were good, not the ones who'd managed to adhere to the side of a hooch and weather twenty years of storms. I wouldn't call myself a "master" anything other than strictly the time served Behind The Burlap. I'm perfectly ok with that. And morons who DO insist that "I've been here since before Agoura was Agoura, worship my toe jam"? If they have the chops, sure. But if they're just another bitter burnout case demanding adulation for duration, then to hell with them. Noone cares what they think, and that's about the right place for them to be.
        • WORD.

          Seriously, it Is just a word, and it has as much power as a bunch of other words I can think of, that aren't polite for public forums. It doens't mean anything. If you want to get all technically, being a master means only that you have worked for a certain number of years, passed a test, and in some of the trades, have produced a "masterpiece". Well. I'd say that working 10 years counts, I'd say that workshops and auditions are tests, and I'd say that if you help to produce the faire in any way, then you have made a masterpiece.

          If someone is REALLY as lazy and awful as you make them out to be then 1. RPFS and any other faire would never get off the damn ground. and 2. They wouldn't last long in any group. There will always be bits of fluff around to be picked off, but perhaps the people you judge so harshly are contributing in ways that you just don't see. If you have such problems with dross, why don't you ask their directors? Why change a name?

          What would that ACTUALLY accomplish?
          • Megan...I think the "gist" of all this is simple [or not]
            It's almost like putting everyone on the same "level"
            No one is any better than anyone else, even though
            they might be more experianced.
            Unfortunately, there ARE too many people who put
            too much "power" in thes [and now I speak of ALL]
            the "words".

            The "...masters who haven't demonstrated mastery"
            are really more prolific than you think. And the "apprentices"
            are made to feel as if they are "inferior" to the "masters"
            Inexperianced,perhaps, but they are not Inferior.

            Shakespeare, I think, once said "What's in a name.."
            Unfortunately, too much is inferred by that name. By
            those who wield it as a "badge of honor" that they
            have not "earned". I "worked" faire for 18 years.
            But I don't consider myself a "master"
            just because of that. More experianced, most likely
            in need of some "brush up", but by NO means a "
            "master"


            Standing firmly [probably on shaky ground]
            Dinosaur
            • Gail, I don't think it is quite as bad as you think it is. I certainly don't know anyone personally playing this sort of game(and I do know enough people to make a reasonable random sampling), and while I'd wager they exist, they aren't the majority.

              Honestly, I haven't heard any REAL reasons yet to do away with the words. I don't know any of these horrid lazy masters who think they are so awesome. All the masters I know use all the time they don't take classes to build, to teach, to direct, to rehearse, to stage manage, etc. I don't know anyone who thinks that ebing a amster means they are the best actor, the most historical, etc. etc. I do know a few people who are of that sort, but I wouldn't qualify them as thinking so ebcause they are masters; they've always behaved like horses bums.
              • As an "apprentice" last year and a "journeyman" this year, I have not experienced any condescension from the "masters," only happiness on their part that they can choose the workshops they can benefit from and spend more time on their other tasks of getting the group area built and the group members ready.

                And in that light, I would like to take this opportunity to thank all of you who have so generously given me your time and ideas and feedback - and helped me on the first steps of my own journey to experience this year. (Yes, I mean you.)
                • I know this will probably not be received well, but why not build some time other than workshops? Workshop time should be for theatrical training and rehearsal. I realize the time constraints, blah, blah, blah, but the Masters doing all this other stuff still need the exercises and the bonding that workshops provide.

                  I know a group at one show that believes they don't require any training and spend all the time allotted for workshops building an elaborate environmental area. In fact, they could really use the rehearsal and training.
                  • This is the maximum depth. Additional responses will not be threaded.
                    Taking your question as an actual question and not a merely rhetorical one, at RPFS the "building" groups get in as soon as they can, which is usually about the time that workshops begin, and build right up to the end. My group encourages people to do their workshops, when possible, at the point in the build where they are least needed at the build. From what I hear in our group, they would be *delighted* to get more help building so that they can spend more time in workshops and have, in fact, scaled down the building as they can. None of us are getting any younger, and we all have day jobs.

                    However, also keep in mind that in many cases the buildings are not necessarily places to "hide" but are, in fact, for the protection of, for example, forges, looms, and other expensive or dangerous pieces of equipment as well as stages for people like musicians and the Queen to entertain from.

                    I can't, however, speak for other groups but know we will keep this from becoming finger-pointing.
                  • This is the maximum depth. Additional responses will not be threaded.
                    That would work fine, if only there were eight days in a week, and two more months before Big Faire opened after stakeout.

                    If you can envision a faire with so much enthusiasm for it that people were willing to haul in generators and build their stage/sets under floodlights at 3AM on weeknights instead of sleeping, put me on your mailing list, and please contact me when it's a reality. I want to see it.

                    We're talking about a huge stage show, and somebody's got to build the sets and paint the backdrops before the opening curtain goes up.

                    I readily grant that everyone should do a little of both, rather than do exclusively one, or the other.

                    But what I'd really rather do is build a great set/environmental area, take 6 excellent workshops, and sp