Conversations about ensemble

The troupe that I founded and from which I have retired is changing and evolving. I was flattered to recently be asked a question about the changes being contemplated by the group.
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The question was:

A question has arisen as the troupe has been trying to standardize some of its policies and to plan for its growth.  It was suggested that the troupe become a two-tiered organization, having a level for beginning actors and another for advanced, more experienced actors.  With this set up, the troupe would be offering open auditions twice a year, with all being cast.  The third show would be an invitation-only audition with no casting guarantees.

I (this board member wrote) am not convinced that the suggested two-tiered approach is representative of our mission.  To me, having two-tiers contrasts with our ensemble approach and sets up competition instead of encouraging mentoring.  Also, we stress the importance of theater for all teens and how it can benefit them, and I feel that by limiting it to "talented" teens, even only for one show, that we are not fully living up to this mission.

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The board member requested my input as founder, as one there when the mission was originally crafted.

I responded:

This issue has been brought up from time to time; as you note, it is a thorny issue. In past years, we had tossed around ideas of invitation only shows; having limits to how many were *in* the troupe, period - so, a membership cap, with guaranteed casting once you were "in"; having an educational track open to all with advancement to the troupe following; and Travel Troupe as a solution.

When we first formed the organization, it was seen as a spin off of the (younger) 4-H performing arts club I'd founded, which we imagined might be a sort of "feeder" troupe (all very informal- don't tell 4-H on us!). The 4-H club was where younger actors, and newer actors, could explore without pressure. The new troupe was where the "serious" actors went.

Well, that didn't work out past the "first generation"; partly due to my time constraints, and partly due to the changing group dynamics, the 4-H club became less and less active- what vital parent support we had had shifted to the new teen troupe.

In the early years, in a very real way, Travel Troupe was the elite troupe. It was started by invitation with longer time members and presented quality shows for a few years.

Something else- on a couple of occasions - one being Zoo Story- one of the troupe asked for a specific project, which the board approved and sponsored. This was youth initiated and formally requested. So, that is one route: a core group of artists find a project they would like to do, and ask the board to approve and sponsor it.

An interesting note to me is that the intermittent pressure and/or calls for an "elite" squad always seemed to come from those (or the parents of those) who had been "newbies" recently, felt that they had "arrived", and were now looking down on the "newbies". The call *never* came from folks like my son A, like MD, like DH or AG, long-timers who had experienced the magic of successful ensemble.

So, having said all that: You are looking at a core dilemma for theater. Collaboration vs. competition. A (I believe - false!) dichotomy between ensemble and excellence.

This is what I believe: there are many, many organizations that force actors to compete to participate. There are few that work to build ensemble.

I believe that ensemble *can be* a path to excellence. However, there is a requirement that in order to build ensemble, you have to spend time- not one show but several shows, not one season but many seasons. If you are in it for the long haul, you know your time and your role will come. You look at the success of the season and the troupe.

It may be that there is no longer a large enough "core" of artists who have been working and have experienced making the whole greater than the sum of the parts. It does take continuity.

I do not have answers for the evolving organization; as has been noted many times, the organization is changing and evolving to what it will be from what it has been. I hope my comments, such as they are, may be of some assistance.

Unemployed

The unemployed actor is so common that it is almost a cliche. But other theater artists have times between gigs, too.

Having recently turned down my directing gig for this summer, I find myself unemployed.

While actors have a number of ways to keep their skills sharp between jobs, what can a director do? Actors take classes in voice, movement, acting, improvisation. Actors work on their audition pieces.

What can a director do? The medium in which we work is the energy exchange between human beings. It's hard to exercise that skill set without human beings!

We directors can read plays, read theory, go to plays, talk into the night with theater buddies.

But as far as practicing the real gifts of communication, connection, synergy? Not so much.

Rough it up- Peter Brook

For my class in Makers of Modern Theater, I have expanded to include Peter Brook, Tadashi Suzuki, Augusto Boal. There is a definite lack in the area of contemporary theorists, especially non-white, non-male theorists.

Nevertheless, I set my class to exploring Brook's concepts of Deadly Theater, Holy Theater, Rough Theater, and Immediate Theater.

One of my students embraced the idea of Deadly, as in "deadly dull" theater, and applied it heartily (quoting Brook) to Shakespeare. Then the student went on to say that Shakespeare was older than dirt and it was time to move past that shit.

I wish I had a chance to work with that student with Shakespeare.

Even though Brook found much of the lauded Shakespeare to be deadly, he himself made a name creating Rough/Immediate productions of Shakespeare's plays. I think that Shakespeare is so often done badly, it's hard for anyone to appreciate it. But people pretend, because they don't want to be thought "stupid".

finding actors

If you post it, they will come.

I have never had difficulty in finding actors. Of course, I was specializing for a number of years in youth artistry in the theater, and so finding young people interested in exploring theater arts was never a problem. I was connected with 4-H and with homeschooling organizations, so with just a few posts I was usually inundated with actors.

Recently, I have been thinking about moving on to adult actors. This may prove more challenging. One of my friends is posting on Facebook about the practice currently of asking actors to work for free. Now, granted, he concedes that if *no one* is getting paid, it is fair to ask that actors are  also volunteers. This is almost a necessity with new material or new organizations. However, as the organization moves on, actors should be benefitting along with the rest of the company.

Perhaps it's time to go back to the shareholder model of Shakespeare's day?

I think my friend's posts are relevant, not only for those who hire actors, but also for the actors themselves. Actors need to think twice before giving it away.

I will have to muse on this and reflect on my budgetting experiences with my past theatrical endeavors.

Award winning!

My daughter of Little Pixie Magic fame has honored me with the Versatile Blogger Award.

I am delighted and grateful. Thank you!

Now, to get to the responsibilities of being a VBA winner.

First, to thank the talented and brilliant blogger, Beth of Little Pixie Magic. Beth, your writing inspires me far more often than you know!

Then, 7 things about myself. Mostly connected to theater, some personal:

1. I am a Bardophile. Not really a Bardolator. My first theater experiences were with Shakespeare and Taming of the Shrew. Truly, theatrical genius, from the sublime to the ridiculous- sometimes in the same play.

2.  I love dirty jokes and puns. Another reason to love Shakespeare.

3. I love the audience! I also have great respect for the audience.

4. I love the moment a new play/idea/line reading/moment grabs you and twists your vision and perspective.

5. When I give notes- or when I am playing "The Professor," when I lecture- there is an element of stand up comedy.

6. Theater feeds your mind and heart and soul- and, if I am your director, I feed your body.

7. Personal: Thanks to FB Friend MTST, I now have a name for it: I am a sapiosexual.

Then, nominate 15 bloggers for the VBA. My blog reading tends to be sporadic, beyond my top few. I hope I can come up with 15!

Note: I read a number of the same blogs as does my daughter- therefore, if you've already been awarded the VBA, you mustn't feel compelled to come up with *another* 15 blogs due to my nominating you!

1. I am always eagerly awaiting the next installment of A Little Pixie Magic. Sometimes amusing, sometimes provocative, sometimes inspiring, always worthwhile.

2. Adventures of Megan   Adventures of my friend Meg- a smart girl with heart, whose wit is sometimes wise and sometimes tart.

3. Scatterbrained in Southeast Asia
I hope that we will read more installments from this traveler. A unique take on a unique adventure.

4. Jake's Israel Journal
Another traveler. No posts in a while- I hope to read more soon.

5. Tell It Away
Honest and searching, these posts are always worthwhile.
6. Brand New Day
One of the bravest women I know, on a unique journey of discovery of life as a transgender woman. It is a privilege to be able to share in the journey of my friend.
7. Murf Magic
Another brave soul successfully wrestling with demons. Murf fosters growth for himself- and for beautiful botanicals!
8. Ink Spot
Ink Spot is a highly creative and thought-provoking designer and woman.

9. Altucher Confidential
I stumbled on this wide-ranging blog from a self-identified autistic.


10. Post Secret
A window on so many souls. Sometimes heart-wrenching and sometimes gut-busting (with laughter, people).
11. Best in Class
Amusing musing- discovered when my daughter was featured.
12. Born Storyteller
Educator, artist, writer.


13. Rants and Mutters
Educator, thinker and Guiness-drinker.


14. PhD comics -
Also known as: Piled Higher and Deeper. Not sure if this is a blog? But I sure do enjoy it.

15. The Bloggess
Irreverant and brash. Uncensored.

Everything's an Audition

Recently I was discussing the proposed rehearsal schedule for the musical I will be directing this summer.

"You don't have an audition day," said one of the music directors.

I noted that I intended for the music and dance directors to arrange their auditions to meet their needs. I said, "But I don't need one for acting. We will be working with the team for two weeks before casting, and that is all I will need."

I said that, especially for young actors, auditions aren't necessarily useful. I pointed out that some don't read well cold, and then do well on stage; that some read beautifully at auditions, but then do not connect with the other actors in rehearsal or performance. In playing together, in those first weeks, we get a better feel for the team as a whole, for how we work together.

That's my preferred method of working through casting, as I have noted.

Besides (though I didn't say this at our brief production meeting), everything is an audition.

When you walk in, you make an impression. When you introduce yourself, you make another impression.

Visiting with other actors as you fill out paperwork, you make an impression.

How your treat the stage manager makes a huge impression. How you greet the auditors, how you thank the auditors and leave, these actions make additional impressions.

There's more. How you work with the team for this show is an audition for the next show. How you react when you don't get the part you want- or how you react when you do- this is an audition.

It's true beyond the world of theater, too. Any time you interact with others, you are making impressions- auditioning, if you will.

I don't mean that you are, or should be, always "on." Quite the contrary- what a director is looking for, what a potential new boss is looking for, is the real you.

Relax, and be yourself.

Because that's who I'd like to get to know.

WHAT do we say about Beckett?

In my Development of Drama class, we are about to discuss Beckett.

WHAT to say?

In a word,
He's Absurd.