Here's how you can navigate rejection in the theatrical production industry.

For me, it all starts with doing what you love! and keep doing what you love. And it does help if you are good at it too. And if not make sure you become very good. maybe even better than your teacher(s) And most of all, have your own party in what you do as a performer.

A great advantage in theatrical production is that there is always another production. Since live performance are by definition temporary (except maybe "Mousetrap in London: 71 years and running!) there will always be another production. Also there are many community and other organizations that need production work, and this builds resume, experience and connections. Most importantly, if you fall off the bike, get back on!

Rejection, if it could be seen without emotion involving, could lead us to understand where we really are in our career path. Then we have to accept the reality and we should strive to develop ourselves after evaluation. Theatre, and Acting in particular, is a dynamic profession which requires constant learning and development. For the part that we desire to embrace, we may need special skills, for example, that we don't possess for the time being. Therefore, rejection should lead us to acquiring that skill rather than feeling inadequacy. Personally, I used rejections to realize my situation and seriously started redeveloping my skills as an actor, which led me to directing and even to creative writing at some point, which is helpful......

Na minha perspectiva essa é a li??o numero um para quem quer trilhar essa caminhada, ter a no??o que o fracasso, a rejei??o, est?o na ordem do dia e apesar disso estar disposto a n?o ser definido pelos altos e baixos do trabalho. Nem o maravilhoso, nem o horrivel s?o definitivos.

Ask why you didn’t get the job. Most folks will be happy to have an honest conversation with you. Learn the skills you’re lacking or aren’t good enough at yet, and get better. But always ask why. Otherwise you’re going to be running into the same problems over and over and not know how to fix them.

Por alguna razón, se vuelve difícil conseguir retroalimentación positiva en este tipo de industria o, también, que venga de parte de alguien que realmente pueda dar una retroalimentación. Mi consejo es... al momento de buscar un punto de vista, encárgate de que los comentarios vengan de alguien que sí tenga dominio de lo que está hablando, que haya recorrido los pasos que tú estás siguiendo y que por lo tanto tenga claro qué vale la pena decir y qué no. Si no es posible, acepta sólo los comentarios de personas que sean objetivas con sus opiniones. Al ser una industria permeada por el arte, es fácil encontrarse con que cualquier persona, aunque nunca haya sido parte de ella, quiera dar su opinión.

La mejora constante en este nicho de mercado, como en cualquier otro, se vuelve piedra angular. Ojalá el rechazo aprenda a tomarse como un dato más para a?adir a la evaluación de la compa?ía y que se un incentivo para tomar decisiones. Importante, nunca casarse con mi propia manera de ver las cosas. El teatro se adapta a la realidad del público que quiere emocionar.

A theatre professional is, in my opinion, a student throughout his career. Refining skills should be one aspect of this process.

I thought learning was a ladder. At several points during college, I struggled with a despair of learning. The more I learned, the more I realized I didn't know. I felt like I was climbing a ladder up to the skies, but when I got through a cloud, I realized there was infinitely more ladder than I had just climbed. It felt hopeless. I wondered why I should keep learning if I just felt dumber in the attempt. It's taking me a long time to fully realize that learning and the feeling of failure are not rungs on a ladder. They're points on a map. You're the cartographer of your own mind. Maps mark every place, whether pleasant or dangerous. Every discovery adds, even if it's the border of an unknown land. Chart everything; it'll help later.

Once you enter this field, you must be at peace with rejection. Yes, it may be hard at first, but once you go through the process day in and day out, you'll develop an understanding that there are multiple facets to rejections; We tend to assume that we are not talented enough to get selected. This is far from reality; you might be rejected because the part wanted someone with a different height, weight, face cut, ethnicity, age, etc. The key to handling rejection is to persistently build up your skills. Each rejection is not a roadblock, but a stepping stone towards your ultimate goal. It's within your power to turn these setbacks into opportunities for growth and improvement. "Greatness can't be achieved walking down a simple path."

Developing resilience in handling rejection is crucial for a lasting career in this industry. Rejection may sting initially, but it often indicates a mismatch for a specific role rather than a reflection of your capabilities or value. When receiving negative feedback, embrace it as a chance for personal growth. Ask for insights on areas to enhance, turning each experience into a stepping stone toward future opportunities.

Am still learning and trying. Picking up piece by piece to fill the very hard puzzle with passion and drive that the next piece is the last.

El rechazo no es más que una circunstancia que no puedes modificar. Esta profesión su constante es el rechazo; sin embargo, esto depende de las expectativas del otro, de lo que busca, requiere o necesita para su proyecto; ello no implica que el perfil que busca sea el adecuado, pues, hay cierto grado de prejuicio en la búsqueda de talento. Por lo tanto, asumir el rechazo como una falta de capacidad, habilidad, destreza o talento, no necesariamente es atribuible a uno, como artista. Transformar ese sentimiento de vacío es el reto, que nos debería motivar al auto estudio de lo que contenemos como creativos, reconstruirnos y fortalecer aquello que percibimos como fortaleza y sacar ventaja de las debilidades para que sean campo de oportunidad.

As an introvert with mild anxiety, networking can be intimidating to say the least. So, start by saying something, at least. Say something to your boss, professor, mentor, friend. Mention that question about directing that's been lurking in the back of your mind. Say that you have tickets to the show at the theatre across town. The responses open doors and start conversations. It doesn't have to be scary or super bold, not at first. Be curious, out loud.

Connecting more with more industry players gets me new opportunities when I get rejected for a role. It has really worked for me as an actor. I have learnt over years that rejection is not based on how bad you are an actor. It is based on other aspects beyond your control.

?Networking! ?Que el arte no lo necesita? Por supuesto que sí. Conocer otros artistas, otras agrupaciones, otras corporaciones y que ellas te conozcan a ti tanto como a tu trabajo aumenta las posibilidades de éxito para tus producciones ?Por qué? Porque aumenta la visibilidad y la confianza de tu portafolio de servicios.

Max McLean, founder of Fellowship for Performing Arts in NYC, answered this exact question in a talkback, saying: "I write my own scripts." My first advice to every artist, both from his answer and my own experience, is this: -Create your own opportunities. I wrote a children's book and self-published it when I was 14. I created a free Summer Writing Program with homemade illustrations and cheap Amazon products for prizes. One of my best friends came to me in the summer of 2020 with the brilliant opportunity to perform outdoors. That turned into a community theatre company that ran for three years, producing our original shows. Rejection will always be around, but a richer teacher is the failure and success of created experience.