Love's Labors Lost: Response to Laura

September 16, 2008

Response to Laura

Laura left in the comments section of my previous post:

I have one of those open-ended questions for you, my friend... perhaps a writing prompt, if you will. As someone who jumped herself into the theatrosphere about the same time I did: Why? A)What did/do you want out of blogging? and B)What did/do you want out of joining up your blog with the rest of this rambunctious "community"?

Her question is so good I had to follow up in an actual post.

This won't be long, but I think it can open up discussion in new ways. I know that in my very first post, I mentioned generating conversation with and between other theater folks. But if I'm honest with myself, it goes deeper than that.

The first word that came up when I read your question was: gateway.

Too often IRL, when I met other Theater People, they functioned more as gatekeepers. Instead of finding fellow artists to talk to, I felt sort of brushed off. Virtually none of the people I met locally acted like I was important enough to listen to or ask questions to. If I'm blunt with myself, I know they have no reason to care. I also know that I'm not gregarious or charismatic or immediately likeable. But it still stung.

I'd hoped blogging would be a way to get the more aesthetic conversations I crave. I literally had nobody to do this with. It's not that I don't care about politics and arts funding. I do (or I wouldn't want to make money doing it). But there are other things worth thinking and talking about. There are things beyond the topic of the day that I'm interested in. Things like experimentations in form and content, problem-solving for shoestring budgets, balancing theater with "real life" responsibilities, deepening and expanding our theatre vocabulary, giving ourselves more tools to understand and evaluate avant-garde work, etc.

It sometimes feels like I want to play ball, but I always have to warm the bench.

4 comments:

anonymous9/16/2008 1:55 PM
It is perhaps unfair, but I think perhaps people start to respect (and seek out) your thoughts and ideas only after they have seen or heard about your years of experience in the trenches. While I do recognize that my being out there working regularly with companies of all shapes and sizes over the last decade has most definitely given me some much-needed perspective, I think there should always be a place for new voices in every field. And those new voices will always have to struggle to be taken seriously, but they're what keep us from dying off. So what I'm saying is "Keep speaking up!"

On the other hand, aesthetic conversations are challenging in a virtual world where we're not all sharing a simultaneous aesthetic experience. I'm wondering how to foster discussion in that area...
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RVCBard9/16/2008 2:25 PM
I'll respond to your question on your blog.
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Tony Adams9/17/2008 1:19 PM
Who says what gate you have to go through?
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Jim Habegger1/28/2009 3:15 AM
Bard, I posted some thoughts about this in my blog.
Traveling companions
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Words, Words, Words

. . . a lot of it [fostering rather than smothering students' playwriting] has to do with finding a way to construct a dialogue about ongoing work that empowers the writer. A lot of it has to do with making sure there's a diversity of voices around you. A lot of it has to do with thinking of the writing program as a brain trust for writers, not as some infantilization in which the dramaturg gets the power. And basically trying to find a place where everyone's aesthetic in the room grows larger rather than smaller. There are many ways to do that. It's really not a hard thing to do.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

Here is what seems to me an elementary truth that must precede any other: namely, that the theater, an independent and autonomous art, must, in order to revive or simply to live, realize what differentiates it from text, pure speech, literature, and all other fixed and written means.
--Antonin Artaud, letter, 9/15/1931

I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all I need for an act of theatre to be engaged.
--Peter Brook, The Empty Space

My work is characterized by one thing above all --- invention. In theatre we imagine the world, we do not record it, we are not documentary makers. I hold all social realism and journalistic theatre in contempt. It is a sordid habit. And the social realists have the impertinence to pretend they are 'telling the truth…'
--Howard Barker, interview

Women and writers of color are still seen as threats because, in essence, when a woman or writer of color is defining a play world, there's another definition of what our society is, and that's very threatening.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

Through this experience [working on " . . . and last week it was a mountain"] I learned the importance of the life and the dynamics under the words, and began to see the power of working from the silent space within - the emotions, the images, the experience and the feelings - rather than relying on the words.
--Sande Shurin, Transformational Acting: A Step Beyond

How does it happen that . . . the Occidental theater does not see theater under any other aspect than as a theater of dialogue?
--Antonin Artaud, Theater and Its Double

All conventions are imaginable, but they depend on the absence of rigid forms.
--Peter Brook, The Open Door

I never 'say' anything in my work. I invent a world. Let others decide what is being 'said'. Nor do I claim to tell the truth or enlighten people. We are suffocated by writers who want to enlighten us with their truths. For me, the theatre is beautiful because it is a secret, and secrets seduce us, we all want to share secrets. That is also its politics, if it has any politics at all. And modern democracies hate secrets, they want everything transparent. Obviously the critics collaborate in this desire to expose everything to the light of day, they are the police force, after all.
--Howard Barker, interview

I think that form is content . . . I've always been more interested . . . in the formal devices and the structure rather than in the subject matter . . . I really am a follower of Viktor Shklovsky, who said that in some ways the subject matter doesn't even matter. It's whether or not we see the subject matter anew that matters.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

I am well aware that the language of gestures and postures, dance and music, is less capable of analyzing a character, revealing a man's thoughts, or elucidating states of consciousness clearly and precisely, than is verbal language, but who ever said the theater was created to analyze a character, to resolve conflicts of love and duty, to wrestle with all the problems of a typical and psychological nature that monopolize our contemporary stage?
--Antonin Artaud, Theater and Its Double

The mediocre artist prefers not to take risks, which is why he is conventional.
--Peter Brook, The Open Door

"Transcendence became my life theme. I wanted to be lifted beyond everyday circumstances and everyday reality."
--Sande Shurin, Transformational Acting: A Step Beyond

I actually think of writing for the stage as not writing . . . It's about structuring, about gaps between the language that are really filled in by the collaborators and the process. It's all about indirection rather than a direct statement . . . It's like a three-dimensional chess game in a way. If I say this, will the director go in this direction? If I say this, will the actor respond? And one of the delights of the process is actually not having your intention fulfilled, but finding out at times that other people's interpretation or intention is actually more interesting than you originally thought of.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

The person who has an idea of what this language is will be able to understand us. We write only for him. --Antonin Artaud, letter, 9/28/1932