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Year![]() ![]() | # Of Jobs![]() ![]() | % Of Population![]() ![]() |
---|---|---|
2021 | 502 | 0.00% |
2020 | 541 | 0.00% |
2019 | 636 | 0.00% |
2018 | 608 | 0.00% |
2017 | 612 | 0.00% |
Year![]() ![]() | Avg. Salary![]() ![]() | Hourly Rate![]() ![]() | % Change![]() ![]() |
---|---|---|---|
2025 | $76,014 | $36.54 | +13.8% |
2024 | $66,806 | $32.12 | +6.7% |
2023 | $62,608 | $30.10 | +4.6% |
2022 | $59,828 | $28.76 | --4.6% |
2021 | $62,737 | $30.16 | +7.4% |
Rank![]() ![]() | State![]() ![]() | Population![]() ![]() | # of Jobs![]() ![]() | Employment/ 1000ppl ![]() ![]() |
---|---|---|---|---|
1 | District of Columbia | 693,972 | 98 | 14% |
2 | New York | 19,849,399 | 498 | 3% |
3 | California | 39,536,653 | 632 | 2% |
4 | Virginia | 8,470,020 | 162 | 2% |
5 | Massachusetts | 6,859,819 | 108 | 2% |
6 | Colorado | 5,607,154 | 98 | 2% |
7 | Maryland | 6,052,177 | 91 | 2% |
8 | Alabama | 4,874,747 | 74 | 2% |
9 | Oregon | 4,142,776 | 68 | 2% |
10 | Connecticut | 3,588,184 | 58 | 2% |
11 | Utah | 3,101,833 | 57 | 2% |
12 | Iowa | 3,145,711 | 50 | 2% |
13 | Nebraska | 1,920,076 | 35 | 2% |
14 | Alaska | 739,795 | 16 | 2% |
15 | North Dakota | 755,393 | 14 | 2% |
16 | Vermont | 623,657 | 10 | 2% |
17 | Wyoming | 579,315 | 9 | 2% |
18 | Pennsylvania | 12,805,537 | 170 | 1% |
19 | West Virginia | 1,815,857 | 25 | 1% |
20 | New Hampshire | 1,342,795 | 15 | 1% |
Rank![]() ![]() | City![]() ![]() | # of Jobs![]() ![]() | Employment/ 1000ppl ![]() ![]() | Avg. Salary![]() ![]() |
---|---|---|---|---|
1 | West Sacramento | 1 | 2% | $85,479 |
2 | Fayetteville | 1 | 1% | $67,695 |
3 | Grand Rapids | 1 | 1% | $66,747 |
4 | Lansing | 1 | 1% | $68,091 |
5 | Shreveport | 1 | 1% | $59,612 |
6 | Fresno | 2 | 0% | $84,789 |
7 | Birmingham | 1 | 0% | $66,899 |
8 | Chicago | 1 | 0% | $82,208 |
9 | Indianapolis | 1 | 0% | $66,690 |
10 | Orlando | 1 | 0% | $58,021 |
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Jill Frank: This is probably too abstract a question for the field of art, but I will try my best: the better you are at taking photographs and marketing yourself & the better you are at moving seamlessly across different media and speaking to the relevant issues, the greater your success will be.
Nate Bynum: It will ever increase. Long before the pandemic, more and more stage performers were being asked to submit auditions via self-tapes. That process can be a time and money saver for both the theatre and the actor. Still, stage acting is centered around performing in front of a live audience, and the best way to prove confidence and ability in doing that is to audition live and respond to feedback in real-time. Recording and streaming live performances is already an issue causing legal ramifications between SAG-AFTRA and AEA. This is a sensitive issue at present.
On the other hand, technology has already impacted film/tv acting, and I think it is to stay there. A reliance on self-taped audition submissions, and Zoom auditions, will probably remain a norm in the on-screen discipline because, again, of time and cost. I think everyone is eager to get back to in-person auditions, getting adjustments in the room from the decision-makers, and just direct reading the room. Still, a lot of money has been spent on the equipment during the pandemic, and no one wants it only to become obsolete. Also, a lot of actors are getting good at self-taping. As well, casting directors have a lot more opportunities nowadays to cast multiple shows. The quick turnaround demanded from network, cable, and streaming shows doesn't allow for many in-person auditions.
Michael Neal Ph.D.: The advice can be tricky, especially since our graduates go into a number of fields. My hope for them is that they continue to build upon what they learned in our program and apply it to new situations and contexts outside of school. I often tell students that editing, writing, and media aren't skills you master and then apply universally across contexts. Instead, we encourage students to keep growing and stretching themselves, since they will most likely face new genres, audiences, and contexts that they didn't see in college. Therefore, we teach them to be flexible, to be close readers, and analyze each rhetorical situation to determine how to best communicate within that context. Good writing isn't one-size-fits-all. Instead, it's a complex, negotiated relationship between writers, texts, contexts, audiences, media, modalities, etc.