Why going to Software as a Service (SaaS) platform ?

By Thibaud Gangloff

In the last few decades, healthcare model operated relatively well in western countries. With the new economy, comes a new approach where the bottom line preservation becomes the priority. Governments need more transparency, less fraud and no waste. Consumers need data on-demand, better access to their practitioners, and quicker health decision.

Current Health IT systems run on old technologies, are not integrated, nor flexible and do not bring sufficient visibility to health professionals. In this current situation, there is no more potential for improvement.

Software as a Service for Doctors

Software as a Service (SaaS) technology opens a new wave of hope, helping practitioners to solve these problems. The application resides on Internet (also known as Cloud), it improves your efficiency, it’s low cost, it’s secured, it’s easy to use, it’s adaptable and highly accessible.

Lots of advantages who makes this market growing by more than 20 % per year in the healthcare world.

Nuvenote made this technological choice for you, are you ready to start ? Please visit us on Nuvenote.com.

Nuvenote, made for doctors mobility.

Boal.

I’m not sure if many people on here that follow me are actually all that interested in theatre and therefore theatre practioners but today I worked with (and tomorrow I will be working with) Augusto Boal’s like wingman. Boal died two years ago and this woman is the next in line compared to him and I get to work with her. 

I know so many of you may not care - but how fucking amazing is that?

My first step

So, I never really knew what I wanted to do. Psychologist-full scholarship to university with aide, sports, and my gpa. Great? No, I change my mind. End up at a community college for business  No, that won’t cut it. Change my major- nursing. I am taking my first step jumping forward to my LPN. I just found I was accepted to BOCES for the adult LPN program. I am only 19 so I will be one of the youngest. My ultimate goal is a to be a practioner. I want to work my way up through everything before blowing all my money away into a masters degree. Feel free to follow me and my quest to get there. :)

UTA BARTH: 'A window into life'

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PROGRAMME:

Uta Barth will be in Melbourne for 1 month- living and working in a parasitic space to the Australian Contemporary Center of Art (ACCA).

She will live and work in a space that is designed particularly to facilitate her work and living needs; given that Barth’s life and work tend to coalesce, this is a perfect situation for her and the designer. The space itself will be parasitic to a window on the northern side of ACCA- allowing the space to be one of exhibit from within ACCA. It will be titled ‘Uta Barth: a window into life’.

Angels and Aristocrats

Actually this was a plan B – turned out the Warhol exhibit on at Lorne Street (Until the 10th I might add) was closed on Sundays.

Instead, I had the pleasure of venturing into the world of renaissance arts, an exhibition at Auckland Art gallery at the moment, running until June. I think that on the surface, renaissance arts seems a bit dull. One of the reasons being that it is everything we associate with “art”, in this bland indistinguishable way. I am sure your inner connoisseur just rolled around in anguish just then. But the fact is, that most renaissance art did center on many of the same themes, and many of the elements used were similar, plus this whole revitalization of the Greek/Roman culture and style permeates through a lot of the artwork, which to me seems to be the epitome of that classical beauty or aesthetics. However there are a significant variation in the artworks on display – I was actually astonished. I have viewed renaissance arts before, from ARoS in Denmark, to The Louvre in Paris, and if I add Auckland now, it sounds like I’ve done the whole world, though it has mainly been in Denmark.

The exhibit itself surprised me quite a bit, which I reckon is a good thing. I sometimes find that exhibits within renaissance arts are often centered on a theme within renaissance arts, and whereas I do enjoy a good round of art, I am not enough of an expert to distinguish different brush techniques, within portraying members of the lower merchant class in Capua, and how that indicates their status. So the variety of themes and styles on display at the Auckland Art Gallery were quite refreshing. The themes ranged from depictions of Saint Sebastian, to landscape painting and naval battles. In some ways it was quite fascinating, that if you took note of the years they were painted in, you could get some sense of progression through the genre. The emerging method or attempt to portray things as accurate as possible. Many of the works were laden with detail, which seems to be the tendency back then. This reflects a bit onto my own practise, as I tend to opt for a minimalistic design for many things. Though I realise how certain things benefits more from maybe a more intricate design, depending on the message or what is portrayed. My old teacher once taught me that one could appreciate the beauty of a piece in a museum, but not necessarily want it in your home. I realise that it is much about the work within the sorroundings. I reckon it would be hard to master such a skillset, but that the technique is important to what I am trying to portray. A portrait of the royal family would have a very different outlook, depending on the style - minimalist or intricate.

The elements of old Greek elements were visible, through several busts and marble statues, Thorvaldsen among others, who has an interesting museum in Copenhagen as well with his sculptures. However whereas this might have been characteristic in ancient Greece, obviously oil painting was not. It is interesting to see how this elements of an ancient art form had to translate into other methods, whilst still maintaining stylistic elements from that period of time. It made me think of how the introduction of new techniques, using stylistic elements from another genre, can enhance it. In regards to popular culture, such a thing as “steampunk” bears several of those elements, whereas a certain period of time have been crossed over with stylistic elements from today, or another period of time even.

 In some ways this way of opening up a genre to other methods, seems to make it very exploratory, which I think is an interesting element for an art form. Of course, in some ways art will always be exploratory, but once you are working with the tools and techniques in an exploratory way, it seems as many early works brings something to the table, that are then later found among other such traits, as the industry have later developed rules or branched out in different directions. I definitely see the idea in mastering a genre and a technique, in order to work it proficiently. But similarly adding elements from other similar genres, or different genres that just seems to harmonize, is something I would like to work more with, especially how I can incorporate very different genres within each other, but some that somehow work well together.

Furthermore I found it an interesting look back into the past. Not only for the paintings and artworks themselves, but the drive behind them. The industry might have moved more towards a creative mind for artwork, whereas back then skill might easily have been one of the more predominant factors. I find that I easily would attribute art such as this a bit more value, as it is a matter of skill on the line with creativity, though lacking a bit in creativity. What I am looking for, is probably something that balances it equally. Much newer art I find devoid of actual skill within a genre, which saddens me. Not all of course, but an as the one below, illustrates my point(Hastings, Chris). Is it because there are more and more artistic people available? Is the boundaries between fine and so-so art blurring? I believe that most of the practioners I have touched upon have some sort of skillset. Lasse Gjertsen, not quite, which I feel deprives his work of value.

An equal measure of skill and creativity. Yes.

 

I believe that is what I deem the most important for art.

Hastings, Chris (2013)” Spot the modern art masters? Can you tell which of six of these artworks are worth millions… and which cost just a few hundred?”. Retrieved from: http://www.dailymail.co.uk/news/article-2319567/Spot-modern-art-masters-Can-tell-artworks-worth-millions—cost-just-hundred.html

 

Mme. Butterfly (Opera)

I’ve always had an interest in finer arts. Maybe not always, 5 year old me would probably be pouting if I were to state that claim. But for a long time. I have seen a number of ballets, but Opera had eluded me. That was until Thursday. Twas spectacular!

It was a staging of Madame Butterfly – an opera set in the 1800s, between American and Japanese culture. An interesting mix, a bit funny how it is still sung in Italian.

It is quite interesting seeing these old art forms, as they have a certain grandeur to them – likely derived from the many years the art forms were refined. It were easy to observe elements that were genre specific. The whole air of melodramatisicm (let’s pretend that’s an actual word) the performers materialize, seems to live up to my expectations of an Opera. To some extend I do understand as the storylines within Opera, e.g. Tosca, I am familiar with, seems to have romance as its core. The use of their voices in high and low pitched tones, seems to convey this feeling of raw emotion, to a stage where melodramatiscm (there, I used it again. It’s officially a word now) because acceptable – even a necessary and fundamental part of the act. In relation to this, I went to see a movie the other day, with a trailer for play being staged at the moment. The sampling from the show, did not translate well to the cinematic screen, as stage acting are distinctly different from that in movies. Similarly I would imagine genres such as opera and ballet will find similar difficulties translating to other media. The type of melodramatiscm found in Opera, I imagine would be seen as overacting in a regular play.

This emphasizes how a field have another frameset, so when working within an unfamiliar category, it is good to familiarize oneself with these. In other words, when working into fields that are not familiar, I see how I would benefit from researching not only previous examples, but what elements works and how they are presented - those elements I wouldn’t use in other genres.

I found the nature of Opera itself is quite interesting. Similar to ballet there is a tremendous synchronization between the stage performers and the orchestra. Even more in the Opera I think. The notes need to correspond to the notes being sung – as well as complementing them. If the actor singing is a tenor, the notes should suit his pitch rather than drown it. This seems to present a whole other aspect – it is not just about knowing the frameworks, but what elements within the genre can be used to complement each other. Relating this to my work, would mainly be harmonising material and concept for example.

The art form can be classified as quite old, and somehow I do see how it can seem a bit outdated or ridiculous, which I would imagine being an issue when trying to raise interest among young people. It seems that one would have to be relatively cultured to enjoy something like this, which I think is essential, that it does not aim for the lowest common denominator. It is a big step up from watching Big Brother and/or Survivor, not that one cannot fathom both, but I believe it is a good maintaining this air of “culturedness” or intellectualism – not to make it elitist, but to give the audience some sense of value, to approach them on a distinguished level, rather than talking down to them. Most people I believe need stimuli /entertainment on both intellectual and non-intellectual level – it would be a shame to rule one out, just because one occasionally enjoys another. One could always strive to live by virtue ethics (Aristotle) but that is not the point. I believe that one should be wary about claiming certain activities as having greater values, on an objective basis, though it is definitely valid on a personal basis. I for one enjoyed the Opera tremendously, the grandeur around it as much as the performance itself.

 

Now that it comes down to it, I realize that melodramatisicm might actually just be called melodrama.

 

Mme. Butterfly at NZ Opera : Retreived 28/5-2013 from http://nzopera.com/2013/madame-butterfly

(Opera News), Madame Butterfly, retreived the 28/5-2013 from http://www.metoperafamily.org/metopera/history/stories/synopsis.aspx?customid=8

Opera as an artform: : Retreived 28/5-2013 from http://www.operaarts.com/ 

Paulo Coelho

For my final practioner, I decided that I should touch upon a genre a bit different from the other ones, thus I settled to find a writer. I scoured my mind to remember who I have read a lot of, and whom I am inspired by. Whether it is the themes, or the use of the language. I have read quite a bit. I used to be a sucker for poetry. I was even once an aspiring writer within the genre, oh what melancholy to fuel your poetry when you are thirteen.

Aside from growing out of that poetry phase, realizing that it probably wasn’t that good, writing is one of my major forces. At least in Danish, which my English from time to time suffers from, as I draw on my Danish vocabulary, sayings and wording – which often translates in a very odd way in English.

However writing is a necessary skill to have, especially when working with marketing, as half the job postings out there are about creating content.

So who should I choose to reflect an inspiration with creative wording, creative structure and intricate themes? My first thought was Martha Tingvallen. She was a Swedish writer in an abusive relationship with his alcoholic husband, and during that time wrote a number poems, many which is characterized by being very short, but having a very strong use and repetition of common/everyday words, in a way that allows them to carry tremendous weight. Or so I thought. It turned out I do not remember her name correctly, thus my ability to find any material from her, especially in English, is severely inhibited.

What I have read “recently” could be interesting, Alexandre Dumas (The Count of Monte Christo), Margaret Mitchell (Gone with the wind), but each time I seem to remember the entertainment value of them more, than anything fundamentally about their skills. Except from Gone with the Wind – MM has a way of describing things by describing what they are not, I found quite interesting.

Nonetheless, I settled on something more pocketphilosofical as Paulo Coelho. Easy reads, but incredibly engaging. And why is that?

Reading through his blog, when he writes about his creative practice, he speaks in almost platonic terms when he states that a writer should never settle for what he believes is true

A good creator must know how to continually turn over his values, and never be content with that which he believes he understands.”(Coelho Blog)

This is quite an interesting approach, as it is not a matter of creating new ideas, but as well as digesting old ones. Not just ideas for that sake, ones view on things. One thing I have encountered while writing is a rationale telling me that I can have a person acting in a certain way or without a certain rationale. If it conflicts with my values, I either would tend to change it or make the character a caricature, with an overemphasized value system so it is clearly pointing in the wrong direction. Relating betweeness, trust in your audience and this, I reckon makes good sense. Sometimes the conflicts do not need to arise between the two polar opposites, as in good and evil.

 

Using elements from one’s own life is not that revolutionary. They say that the Lord of the Rings trilogy was inspired by Tolkien’s time in WWI. Coelho was committed to a mental asylum 3 times as a child (Biography.com) – and has since written a book about a girl trying to commit suicide, and then being put in one (Veronica decides to die). I doubt that it was coincidental. But it does present an interesting way of portraying something one is familiar with – searching for those moments in life that have had a tremendous impact on oneself – those laden with either good or bad emotion. Interpreting it a way that does not relate it to the author himself, I guess allows for an unusual insight into a world unknown, without tying it to a specific person or specific action itself. In other words, it allows us to experience it through the reading, rather than reading about how it was. It allows for a wider interpretation of the elements that were important, as well as harnessing a sense of authencity from actually having the experience.

If I were to pick something similar, I am not sure how I would go about it. I had plenty to write about when I was thirteen and my heart was broken – but the impact and importance of such event seems to have diminished. I would probably choose my travels. How I’ve ended up in Myanmar with only 60 dollars left. How I’ve had to bribe the Cambodian border guards to let me pass, or be stranded in no-man’s land through the night.

I am not saying that you need an interesting life to write interesting, but using something that have had an impact on you could probably help word it much better. After all, if you have never been loved, maybe write about that, rather than love – as the love may easily become an idealized version of it, rather than the real “there are so many benefits having a joint bank account”-love that we can all relate to.

Coelho writes in a way that often have his stories balancing between a fairy tale and reality. A quite hard genre to master I would reckon, because you can always save the main character by letting a winged refrigerator swoop down and save him, should you not know how to write him out of his predicament. But through his wording I feel that he creates an illusion of a world that fathoms so much more than our world, but are still mainly the world we live in – it is just a matter of the eyes and how open one’s mind is.

His way of writing is very engaging. I wish I could say more. I am not sure why, and my nearest copy of any of his books are stowed away in my basement, 11 000 km from here. I remember it as him using many short sentences, rather than long explanatory ones. It probably makes it much more digestible, and prevents it from turning into a great epic work, but instead works well and turns it in to a small pensive novel.

I am inspired by many writers I think. I have read a lot, and I even have my own system where I fold the top of the page to mark where I am at, but fold the bottom of the page when there is a page where the language or the wording are so exceptional I want to go back and read it. Needless to say my books are awfully scuffed and crumbly looking.

In so many of Coelho’s works, it is about a journey. Again, not a revolutionary writing technique, but I often tend to feel that in his books, you as a reader, take part of this journey more than in any other. That you feel wiser afterwards, by putting some things together, not written out in his books. I think wiser is a good way of putting it. Talking up to your audience. Feel like they derived something from it, and left a fuller person.

That’s what I like.

(Biography.com) Paulo Coelho Biography; Retreived 28/5-2013  from http://www.biography.com/people/paolo-coelho-5524

Themes in the alchemist : Retreived 28/5-2013  from http://www.cliffsnotes.com/study_guide/literature/alchemist/paulo-coelho-biography.html

 

Coelho Paulo; blog; : Retreived 28/5-2013  from http://paulocoelhoblog.com/2008/07/24/the-creative-process-2/

(Limley, Charles) Major Themes and Symbols :  Retreived 28/5-2013  from http://www.hyperink.com/Major-Themes-And-Symbols-b1288a15

youtube

To clarify a few things. When I do my posts, I reference less that I actually read. Not that I am attempting plagiarism. But as it is a reflective assignment, I tend to familiarize myself with the practioner I am about to write about, through text and pictures of his works. This means I rarely pick things from another text and reference it specifically – instead I tend to reference where I have my knowledge from, and just let my mind work from there and how it relates to me. Whenever I feel I am touching upon something so specific that it is the point made by another media, rather than my perception of how it relates to me, I of course reference. But that is why confusion of my referencing in the bottom that might not appear in the text is highly irrational. And uncalled for.

Also I tend to pick practioners that I already have come across, as their works have had some sort of impact on me already. Oursler wasn’t – or at least he was a new acquaintance so to speak. Christo and Banksy I knew a bit about already, but my understanding deepened through researching them a bit more. I likely know more specifics than stated in the text, as I often base my reflection on how I perceive and feel about the practioner and his/her work. If you want to, you could even give me a quiz on each. But you shouldn’t. That would make us both look terrible. Me mostly.

Enough of that.

And now to something, completely different.

Yes. You guessed it. Monty Python. I realize that it is not a creative practioner as such. Neither was Christo and Jeanne-Claude, they were clearly 2 persons, rather than one. So I make up for it, by not counting them as the entire group, but just one. Otherwise I could probably do the entire cast, and claim that was my practioners.

I choose to play my Monty Python card as the “lame pick”. The one that are probably not that refined, a little bit of a crude choice, balancing on the edge of what is acceptable. Like going to twilight and writing how the meeting with Edward through the magic of the moving picture changed one profoundly, shook the innermost core of identity, and emerged one the other side reborn as a glittering vampire. I am sure if Monty Python were still active they would have made fun of twilight as well.

Why Monty Python? Well, for starters, they are odd. Which is probably what appeals to me. They really explored their genre. Secondly, I believe that through my consumption of Monty Python, I won’t have to rely too much on other sources of information.

I think for me, what really turned me on to Monty Python was the sort of slapstick humor, which was all I understood when I was a kid. Especially when you’re not speaking English. Reporting burglaries in high pitched and low pitched voices suddenly became interesting, despite not knowing the language. I was a Danish kid, by the way, English is not my native language. Quite common when you are born in Denmark, and raised by Danish parents. At least, I wasn’t surprised.

But this also emphasized a point about something being universally translatable. As an adult, I would probably not have found quite as much joy not understanding it, as I did as a kid. But nonetheless, certain things are universally funny, despite major barriers such as language and/or culture. Charles Chaplin is a good example. So is the old Disney cartoons, my nephew often likes them more than the new cartoons. I should note that my nephew is only 6 – not some 30 year old lay about. But this is part of what interests me – communicating in a universal language.

Later, I learned how to read. So I could read subtitles, and that turned out to be quite useful. It also enabled me to read other things, such as exit signs and milk cartons. Monty Python then started to make a whole more sense.

Yes. As a matter of fact it didn’t.*

Even though I suddenly understood what a piston engine was, I still had no idea what Mrs. Gorilla was doing with it. No wonder Mrs. Non-Gorilla was confused. But this also opened up for a whole other universe – a humor that was otherwise lost on me.

I once learned that Shakespeare’s plays often had to accommodate both the rich and the poor, so it was written so that certain elements appealed to each group, as often it wouldn’t be a common denominator. And that is, sort of, what I saw Monty Python did. Except, in the span might not have been just a great – but more a question of kid me and adult me, meaning that the target audience is much larger. You can easily accommodate families, if the show appeals to the children and on another level the adults. I’m still unsure if my parents liked it though. But I am sure some parents out there liked it for what it was. But again this communicating in a universal language, was suddenly sidelined with a very distinct separation of the audience. In this case, I am not entirely sure how well it was intended. I remember most of the lyrics for “every sperm is sacred”, and I am not sure it would have suited an English kid that well, or at least, it might have raised some questions.

In my later years, I think it occupied a sort of nostalgia. Me longing back to a time I wasn’t really a part of, as I chose to be born slightly later than my parents. Which is a good thing, given the complications it would otherwise have entailed.  But it also made me curious of how something becomes such an icon that is still has such a strong fan base and becomes iconic, even for people like me who weren’t around when it happened. The world it was written in, is much different from the world I am watching it in today. The quality of the recording are questionable, and it’s barely 3D. But the whole feeling and entertainment, gives it sort of a feeling of “this is the way it is supposed to be” – like the quality of the media and the recordings create this whole universe or identity around it, that makes it much more enjoyable. I talk about this in my post about opera. How I feel that a certain genre has a certain connection to specific elements, or a certain look - and how I would like to familiarise myself with these trends or types, in order to be more adept, when I start working within a new field. I’d like to know the robes, what works, what doesn’t - and how it is supposed to come across. Knowing what is iconic for the genre or for specific pieces.

It raises 2 points, how do you make something iconic?

The other point relates to what I said earlier with the old Disney Cartoons. What is it that elevates it from being determined by the settings it is created it, and makes it transcend through the ages? Surely most modern will eventually be hopelessly outdated and no longer relevant, such as renaissance art may have lost some of its relevance to today’s situation and themes.

I think that there is an underlying language, that people can somehow relate to, or find amusement from. Not necessarily crude, but childish. How do I extract and use this, in my practice? I think it could also benefit to make something much more harmless, if everyone can find some sort of childish amusement in it. When the Mohammed drawings in 2005 had had such an element, maybe it wouldn’t have seemed quite as grave to those who we so gravely offended?

But it carries some obstacles. Obviously, some of the edge is lost, should we all try to create this crowd pleasing, so I’m not saying this is a solution that should be integrated into all art. I am just saying that the potential of having simple effects such as the use of a silly voice, can with a bit of skill, work on many levels. Even if you do not understand what they are saying. And I think that is something I could most likely use, maybe even as theme, in future creative endeavors. Maybe my focus shouldn’t always lie on a very complex construction, but rather look at the audience. Depending on the audience of course. But if I could look at the audience and recognise it, maybe even see myself, this would likely unveil some common denominators that would give my work a stronger appeal

http://www.youtube.com/watch?v=akbflkF_1zY

* Okay, so this is a little quirky bonus element, working on sort of a Meta level, as I was talking about making sense, and that sentence clearly didn’t.

 Sources

 Python Homepage: Retreived 28/5-2013  from   http://www.montypython.net/

 Debate on how “Life of Brian” could be considered blasfemous, much in the line of the Muhammed Drawing issue, an issue which is raised 30 years before its time. 

http://www.youtube.com/watch?v=1ni559bHXDg

I have a doctors appointment tomorrow to try to get back on HRT and all I can think about is how depressed and anxious I’ve been lately and how difficult it’s been for me and that I wish it was an appointment to get that addressed but I also want to be on HRT again too. 

I really really want to be on HRT again. But I think of my doctor’s appointment tomorrow and it just makes me feel upset and now I’m crying again because I don’t emotionally react to anything properly anymore. I have no doubt in my mind that I want to be on HRT again, but it’s just stressful to think about how I have to go through going to a new clinic and a new doctor tomorrow. There’s a lot of uncertainty about what the process will be like this time. And I’ll probably have to pretend this giant gray hole that’s interfered with my life and well-being in various ways for the past few years doesn’t exist. Because I’m scared. I am going to see a doctor and I’m scared to talk about my mental health and its just so fucked up I hate everything.

anonymous said:

Came over because of a post you reblogged re: Kabbalah. ( post / 100010025088/thetransintransgenic-thetransintransgenic ) A Hermetic derivative of Judaic Kabbalah is a huge portion of ceremonial magic, including demon work. So, I'm wondering what the mods' stance on whether or not ceremonial magic is appropriative since it includes Kabbalah, which that post considers wrong for non-Jewish practioners to use.

I’m aware of the existence of Hermetic Qabbalah. within Judaism, most believe it’s basically just hoohaa. specifically, one rabbi sees it as “whisper down the lane”. it is generally seen as a totally different thing because of how distant they are from one another.

the problem within the post was focused more on people not focusing on the Hermetic Qabbalah and trying to use the Kabbalah when they’re not Jewish.

— Mod D

Connecticut Limits Long Boards

On February 21, 2013 I wrote the post In Praise of CEMSMAC, to celebrate the courage of Connecticut’s top EMS doctors to back the draft document on spinal boards proposed by the National Association of EMS Physicians (NAEMSP), and to use that document as a guideline to developing statewide guidelines limiting the use of long boards for spinal immobilization instead of backing the final watered down version of the NAEMSP/American College of Surgeons Joint Position Paper.

This week, after a year and a half of meetings and review by various state EMS committees, the state Department of Public Health released the final document that both enables BLS practioners to utilize selective spinal immobilization and radically changes the treatment for those who merit spinal restriction. The new document effectively eliminates the long board board for anything but assistance with extrication and movement.

Check it out here:

Connecticut Spinal Motion Restriction GuidelineClick Here to read the story… http://www.emergencyshorts.co.uk/25499/

shortcuttothestars said:

Hello!! I was wondering how you came about being a makeup artist for theatre and opera productions? I'd absolutely love to do something similar, and I'm trying to figure out paths :)

Hi! 
It all began while I was studying opera/classical singing, and I volunteered to help out with makeup and hair during our school productions. After two years at said school, the director who had worked with most of our shows suggested that I should apply for a scholarship at Vadstena Academy (a small but esteemed opera academy that has a mission to renew the world of opera and to "provide an established road to professional life for young singers, musicians and for practioners of other crafts involved in the world of opera such as lighting, wardrobe and stagecraft"). I got the scholarship, and got to work as their makeup assistant all summer. 

My current job is my first “real” one, and I got it thanks to my old director (who I’m working with once again, only this time I’m actually getting paid). Hopefully this will lead to more job opportunities in the future!

In short, my journey has taken some unexpected turns - I didn’t even consider the fact that I could do this for a living until about a year ago. I’m not sure what advice I should give you, more than to get yourself involved in the world of theatre somehow; perhaps by volunteering at amateur theatre productions or something similar. And of course, to let people know that you love what you do :) Good luck! 

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