January 13–20, 2000
cover story

Basic Training
by Fern Sternberg

Forget your romantic images of artistic life. In reality, being an artist is a lot like being in the army. It takes a certain kind of individual; it requires a strong sense of commitment; you must learn to work in a team; sometimes you need to be your own drill sergeant; the training never ends; and, even if you leave the profession, the profession never leaves you.

Fortunately for Philadelphia artists, life has gotten a little easier here in the last decade, helped by a thriving theater and dance scene, a plethora of new galleries and a vibrant Fringe Festival. But even in the best of times, making art is tough. And the most valuable people in an arts community may well be the teachers.

That’s who we focus on in this "Basic Training" edition of CP’s mid-year arts preview. People like Paul Green, who uses experimental methods to nurture aspiring rock stars. Deborah Chase-Hicks, who has been working with Philadanco, in one capacity or another, for several decades. Carlos Serrano, who offers students a relaxed alternative to uptight opera training. Lynn Denton, who teaches artists, young and old, the power of collaboration.

And people like our cover girl — dancer/choreographer/teacher and all-around sex symbol Myra Bazell — who, in our opinion, is the epitome of discipline and training (and was probably a platoon captain in another life).

Bazell, 36, has studied dance since she was 5. She remembers ballet teachers who hit her with a stick when a move wasn’t executed correctly. While Bazell is hardcore about her own training and her teaching, stick beatings are not a method she has adopted. From her classes with theater students at University of the Arts and Bryn Mawr College to her professional and company classes at Susan Hess and Kumquat studios, Bazell creates an open environment — teaching from the "mind, body, spirit and heart" — that fosters self-expression. And she believes that to achieve that, a "certain amount of strictness and obedience is necessary."

If Bazell is hard on anyone, it’s herself. In addition to teaching a dozen classes a week and working with her company members, Bazell spends two hours, four to five times a week, at the gym. In the competitive world of dance, Bazell says, "You can’t allow yourself to get weak. It’s all about discipline."

If you’re looking for a little discipline yourself (and we don’t mean the kind offered in the personal ads), this issue also includes information about where you can study dance, music, art or theater — including a complete roundup of area theaters and studios that offer actor training (and my own scary return to the acting lab). Plus, our critics offer their best bets for what looks intriguing in music, theater, dance and art over the next few months.

So, what are you waiting for, soldier? Forward march!