{"id":6042,"date":"2019-05-23T16:56:58","date_gmt":"2019-05-23T16:56:58","guid":{"rendered":"https:\/\/www.rochester.edu\/adv\/alumni-news-media\/?p=6042"},"modified":"2019-05-23T16:56:58","modified_gmt":"2019-05-23T16:56:58","slug":"the-worlds-a-stage","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/adv\/alumni-news-media\/2019\/05\/23\/the-worlds-a-stage\/","title":{"rendered":"The World\u2019s a Stage"},"content":{"rendered":"

[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” text_align=”left” background_image=”4502″ css_animation=”” box_shadow_on_row=”no”][vc_column][vc_empty_space height=”150px” image_repeat=”no-repeat”][vc_row_inner row_type=”row” type=”grid” use_row_as_full_screen_section_slide=”no” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column_inner width=”1\/4″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1558630204259{padding-top: 15px !important;padding-right: 15px !important;padding-bottom: 15px !important;padding-left: 15px !important;background-color: rgba(24,41,87,0.8) !important;*background-color: rgb(24,41,87) !important;}”]<\/p>\n

The World\u2019s a Stage<\/h1>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/4″][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=”150px” image_repeat=”no-repeat”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_empty_space height=”25px” image_repeat=”no-repeat”][vc_column_text]<\/p>\n

How does your experience in the performing arts affect your work in other fields?<\/h3>\n

Professions for some and hobbies for others, the performing arts can assert themselves in anyone\u2019s daily life, often in unexpected ways.<\/p>\n

In the inaugural Rochester Review alumni forum, three alumni with careers in business and technology\u2014all with long-term involvement in the performing arts\u2014describe how they draw on their arts experiences in the rest of their work lives.<\/p>\n

\"\"

(Illustration: Julia Joshpe)<\/p><\/div>\n

Angela Kim \u201995E<\/h3>\n

A former concert pianist, Angela Kim is the founder and CEO of Savor Beauty + Spa, transforming some of the Korean skin-care rituals she grew up with to produce organic and easy-to-apply products. The company has three New York City locations and ships worldwide through partners including Nordstrom, Neiman Marcus, and QVC.<\/em><\/p>\n

I started making lotions and potions as a hobby in my Manhattan kitchen in between practicing Beethoven and Mozart. My chamber music colleagues began asking if they could buy the creams from me, and I became an \u201caccidental entrepreneur.\u201d<\/p>\n

I was recently asked what the most challenging aspect of transitioning from concert pianist to businesswoman has been, and my response was leading a cohesive company comprised of a growing team, now with 25 employees.<\/p>\n

I had frequently performed with a cellist, a dear friend who is now the principal cellist of one of the nation\u2019s finest chamber orchestras. I told her of my scaling challenges, and she said something that changed my life: \u201cYou should run your company like a chamber orchestra,\u201d she told me. \u201cNot like a top-tier orchestra that is run like a major corporation, but like a chamber orchestra that attracts equally talented musicians who are more interested in a collaborative ensemble where their creative and artistic input matters.\u201d<\/p>\n

We talked through the idea. I left the brunch with my friend feeling energized and hopeful. I connected on a visceral level with the musical illustration and began to execute it.<\/p>\n

In a chamber orchestra, the conductor has the big picture vision. It\u2019s the conductor\u2019s job to hear every intricate detail and determine whether it is contributing or not to the success of the whole.<\/p>\n

The concertmaster conveys the conductor\u2019s vision to the principals, who connect their sections to the entire ensemble. The principal\u2019s goal is for their section not to sound like individual voices with different bowings and character, but to blend to become one with the section and, ultimately, with the orchestra.<\/p>\n

In business, one can replace the conductor with the CEO, the concertmaster with a COO, the principals with managers, and each section with the different departments operating in a business.<\/p>\n

A year after I began executing this new vision, we are more harmonious and cohesive, and I feel supported by the \u201censemble\u201d who works together for the overall vision that I have set forth as the \u201cconductor.\u201d<\/p>\n

Is our work done? Not by a long shot, but that\u2019s another thing music taught me. The work will never be done, and that\u2019s the beauty of it all.<\/p>\n

\"\"

(Illustration: Julia Joshpe)<\/p><\/div>\n

Brad Orego \u201910, \u201911 (T5)<\/h3>\n

Brad Orego is a user-experience researcher, product designer, entrepreneur, and dancer. He designs and builds products with Prolific Interactive and dances professionally with Kanopy Dance Company in Madison, Wisconsin, and Sokolow Theater Dance Ensemble in New York City.<\/em><\/p>\n

Historically, I never really made an effort to bring the two worlds of dance and technology together. Then I attended a conference called DevOpsDays Madison. One of the speakers urged me to start thinking about my experience straddling the two, as it\u2019s such a unique perspective in the tech industry. At another event last March, the NYC Service Design Jam, I met Tim Gilligan, a designer who also has a background in theater, and who also urged me to dig into this perspective.<\/p>\n

Tim and I recently launched a blog called \u201cPerforming Design: Informing Design Practices with Lessons from Performing Arts\u201d (http:\/\/performing. design). It turns out there\u2019s a lot more material there than I ever really thought about. For example, I write about embodied cognition, which is a fairly recent concept in cognitive science that explores how we use our bodies\u2014beyond just the brain\u2014to help us perceive, interpret, and understand the world. Embodied cognition is imperative for dancers, who use the physical sensation of moving their bodies through space to both understand and remember choreography. But it helps designers as well by teaching them to try to physically interact with something they\u2019ve sketched out.<\/p>\n

I started dancing at Rochester. I never imagined that a ballroom dancing class would have catapulted my interest in all things dance and would inform my approach to technology and problem- solving, nor would I have thought I would have been able to live a life in both worlds. But, I have. My dual degree in computer science and psychology, combined with a minor in dance (I was the first dance minor granted by the University), has given me a perspective that no one else has.<\/p>\n

\"\"

(Illustration: Julia Joshpe)<\/p><\/div>\n

Mark Perlberg \u201978<\/h3>\n

Mark Perlberg is president and CEO of the human resources firm Oasis Outsourcing, a leading business in the industry with more than 1,000 employees. He also serves on the boards of the Minneapolis-based Playwrights\u2019 Center, which is focused on developing new work, and the nonprofit theater company Palm Beach Dramaworks, where he is cocreator and executive producer of the Master Playwright Series.<\/em><\/p>\n

I was consumed by theater when I was a student at Rochester. I did some acting and then, as a sophomore, I directed a Drama House production of Steinbeck\u2019s\u00a0Of Mice and Men<\/em>. I didn\u2019t have any experience with directing at the time, but it showed me I had an aptitude and an appetite for it. I went on to direct two musicals along with many other productions in college, and have continued my involvement in theater to this day.<\/p>\n

My experience in theater has benefited my professional work in that, above all else, it has taught me about people. It has given me the \u201csoft\u201d skills that are so important in business. From the stage, I\u2019ve learned that everyone is different and that getting everyone to perform at their best requires the ability to ascertain what makes each one \u201ctick.\u201d Ultimately, a director is in charge of making a performance happen and producing a cohesive event that makes an impact on people.<\/p>\n

It\u2019s what a CEO does, too. I love directing and I always have\u2014whether it\u2019s for a stage production or within the parameters of doing business. You have to get people to cooperate with one another to achieve results. You have to build an environment where people can communicate openly and where there\u2019s a high degree of trust. You also have to be comfortable experimenting, building consensus, testing ideas, and responding to audience or customer feedback.<\/p>\n

I find I use my directing skills every day.[\/vc_column_text][vc_empty_space height=”25px” image_repeat=”no-repeat”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” css_animation=”” box_shadow_on_row=”no”][vc_column][vc_column_text css=”.vc_custom_1550503412987{border-top-width: 1px !important;padding-top: 10px !important;border-top-color: #999999 !important;border-top-style: solid !important;}”]<\/p>\n

\u2014 Optional Byline, Year<\/strong><\/span><\/p>\n

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