Over at Parabasis, 99 Seats is discussing dynamic ticketing in theatre. While the discussion about this particular topic is interesting, I'm more intrigued by how it (once again) reveals the tension between for-profit and non-profit models for creating revenue in theatre. Or rather, the tension between the desire to create theatre that is accessible to everyone with the reality that creating theatre is really fucking expensive.
The value of theatre is most often described in its social impact - it's power to awaken, to inspire, to educate, to explore, to connect, to delight, etc. Yet, ironically, butts in seats determines a great deal about how most institutions function.
And now for a detour that's not really a detour.
I'm a member of the Anti-Racist Alliance women of color group, which I came to through the undoing racism workshop by the People's Institute for Survival and Beyond. At our last meeting, I expressed my growing restlessness when it comes to social justice. While dialogue is crucial, and I enjoy talking to people who really want to learn, this is no longer sufficient for my growth as an artist-activist. When the other women of color heard this, one of them said, "You're becoming an organizer," to which several others nodded or said, "Yup."
This shift in focus and effort is beginning to influence every aspect of my life, from how I want to earn a living to the kind of work I want to do to the kinds of conversations I want to have. This is not a dismissal of the discussion, but a desire to transform ideas into action. While it can be stimulating to once again wrestle with these perennial issues, the debating, explaining, and analyzing seems to be a distraction from the real question: How do we get out of this mess?
For a certain cantankerous professor (said with love), the answer is geographic decentralization. For others, it might be thinking outside the black box for performance spaces. Personally, I'm attracted to exploring the link between theatre and social entrepreneurship and/or lifestyle entrepreneurship. How can we change the way we make theatre so that it does what we believe it's best for while giving us a sustainable lifestyle that allows us to follow our passion? How can we organize differently so that we have an abundance of theatre's essentials (people, time, and space)?
For example, WOW Cafe Theatre does not operate as a production company, but as a collective of different artists and individuals who gather and create work in a particular space for the purpose of empowering women through the performing arts. As a result of the way they organize and how they used their resources, WOW is able to make creating theatre a hell of a lot more accessible than any theatre organization I've ever come across. The weird thing is that I've seen no other group like it in NYC. Where are the other places that do things differently? What can we start doing today to change things?
A blog by a playwright who wrote a play about a famous actress coming out of a TV, with a few thoughts on diversity, social justice, and indie theatre.
July 22, 2011
June 27, 2011
Now that it's over: reflections on "Tulpa, or Anne&Me" at Planet Connections Theatre Festivity
Now that Tulpa, or Anne&Me is officially through with its run at Planet Connections Theatre Festivity, I can reflect on some of the things we did that went well and those that could have gone a lot better.
I'm hugely indebted to Little Jimmy's Guide to Self-Producing. As a result of the things I learned there, I was able to do 2 things I consider very important for every production: 1) pay everyone a little something and 2) stay under budget. Of course, as a playwright, the audience response and the artistic collaboration were the most satisfying aspects of producing Tulpa, or Anne&Me for the Planet Connections Theatre Festivity. But as a producer, staying under budget and paying people were my most crucial tasks.
Looking back on it, I'd say that my function as a producer is to create a framework under which the creative team can do its best work despite limitations in time, budget, and personnel. This suits me to a T because my mind works in a strongly systemic way, and producing is basically creating and managing a system. I'm a classic Meyers-Briggs INTJ, so I flourish in a role like this.
That being said, although I enjoyed producing Tulpa, or Anne&Me for the Planet Connections Theatre Festivity, there are some things I'd do differently if I knew ahead of time that I'd be doing it. The main thing, though . . .
Get the people first.
Although the nature of our project changed from a staged reading to a production, in retrospect we should have started looking for our cast and crew as soon as we got the news that we were accepted into the festival. On the one hand, we didn't want to put too many resources into a staged reading, but we should have treated a production as a likelihood instead of as a distant possibility. This would have made things like booking rehearsal space a lot easier as well as given us more time to work with design elements.
Everything turned out great for the festival; we were very lucky in that regard. The next time around (especially knowing what we're going to be doing), we have to be more diligent about this part of the process.
Besides mounting the production itself, getting the cast and crew involved at the very beginning of a production makes it much easier to do things like fundraising and audience building. It's easier for 10 people to raise $2,500 than it is for 2 people to raise $2,000. It's easier to ask 10 people to each convince 5 people to see the show than it is to get 1 person to get 50 people to come see a show.
And while we're at it . . .
Take the time to learn about and accommodate how people work.
Unless you are working with people who are just like you, there are going to be differences in the way everyone works. Part of working well with others is learning how to speak their language so that they can get what you're saying with a minimum of static.
For instance, in an early rehearsal, one of the actors mentioned that she's a highly auditory learner. That was such a revelation. It opened up a whole new way of relating to her and understanding how she sees the world. Yet how long would it have gone ignored had she not brought it up? How often do we overlook the ways we can better communicate with people? How often do we think to say, "This is what I need to do my best work?"
I'm hugely indebted to Little Jimmy's Guide to Self-Producing. As a result of the things I learned there, I was able to do 2 things I consider very important for every production: 1) pay everyone a little something and 2) stay under budget. Of course, as a playwright, the audience response and the artistic collaboration were the most satisfying aspects of producing Tulpa, or Anne&Me for the Planet Connections Theatre Festivity. But as a producer, staying under budget and paying people were my most crucial tasks.
Looking back on it, I'd say that my function as a producer is to create a framework under which the creative team can do its best work despite limitations in time, budget, and personnel. This suits me to a T because my mind works in a strongly systemic way, and producing is basically creating and managing a system. I'm a classic Meyers-Briggs INTJ, so I flourish in a role like this.
That being said, although I enjoyed producing Tulpa, or Anne&Me for the Planet Connections Theatre Festivity, there are some things I'd do differently if I knew ahead of time that I'd be doing it. The main thing, though . . .
Get the people first.
Although the nature of our project changed from a staged reading to a production, in retrospect we should have started looking for our cast and crew as soon as we got the news that we were accepted into the festival. On the one hand, we didn't want to put too many resources into a staged reading, but we should have treated a production as a likelihood instead of as a distant possibility. This would have made things like booking rehearsal space a lot easier as well as given us more time to work with design elements.
Everything turned out great for the festival; we were very lucky in that regard. The next time around (especially knowing what we're going to be doing), we have to be more diligent about this part of the process.
Besides mounting the production itself, getting the cast and crew involved at the very beginning of a production makes it much easier to do things like fundraising and audience building. It's easier for 10 people to raise $2,500 than it is for 2 people to raise $2,000. It's easier to ask 10 people to each convince 5 people to see the show than it is to get 1 person to get 50 people to come see a show.
And while we're at it . . .
Take the time to learn about and accommodate how people work.
Unless you are working with people who are just like you, there are going to be differences in the way everyone works. Part of working well with others is learning how to speak their language so that they can get what you're saying with a minimum of static.
For instance, in an early rehearsal, one of the actors mentioned that she's a highly auditory learner. That was such a revelation. It opened up a whole new way of relating to her and understanding how she sees the world. Yet how long would it have gone ignored had she not brought it up? How often do we overlook the ways we can better communicate with people? How often do we think to say, "This is what I need to do my best work?"
June 2, 2011
Breaking legs and such
If all goes well, you won't be hearing from me for a few weeks because me and everyone working on Tulpa, or Anne&Me will be in the hospital for breaking legs.
If you haven't done so already, get your tickets and let me know when I'll see you there so I can say hi and be all social and stuff.
UPDATE: Due to changes happening with another show at the festivity, the June 16 performance will start at 8:30pm instead of 8pm. All other info stays the same.
If you haven't done so already, get your tickets and let me know when I'll see you there so I can say hi and be all social and stuff.
UPDATE: Due to changes happening with another show at the festivity, the June 16 performance will start at 8:30pm instead of 8pm. All other info stays the same.
May 26, 2011
To Do, To Watch, To Go
Looks like June's going to be a busy month. Lots to do, watch, and go to.
I'm going to do my best to see Flux Theatre Ensemble's Ajax in Iraq as well as BOTH of Nosedive's works: Captain Moonbeam & Lynchpin/Savior and Freaks from the Morgue. I could do worse with my money (like see some summer blockbuster film that I know will be terrible *cough*Green Lantern*cough*).
In the meantime, Mom will be coming to NYC with my uncle and her friend. We're going to the Bronx Zoo. Shut up.
I'm going to do my best to see Flux Theatre Ensemble's Ajax in Iraq as well as BOTH of Nosedive's works: Captain Moonbeam & Lynchpin/Savior and Freaks from the Morgue. I could do worse with my money (like see some summer blockbuster film that I know will be terrible *cough*Green Lantern*cough*).
In the meantime, Mom will be coming to NYC with my uncle and her friend. We're going to the Bronx Zoo. Shut up.
May 23, 2011
I have to say this because I can't not say it anymore
Someone said something to me about That Conversation that really clicked. It was one of those moments when I see something I experience and realize that what happens is not my fault. To paraphrase, that person said, "You know how no matter what you say White people always think you're yelling at them?"
As soon as I heard that, a huge fog about many things I've been stewing on suddenly lifted, and something very important became clear: I am not the problem.
I usually keep things like this to myself (although recently I've been trying to break out of that habit), but with the show coming up and many of the things I've been involved with this week, as well as things that have happened to me and are going on in the world today, staying silent is self-destructive.
There's this pattern of behavior I notice in White men that really has to stop. It goes like this:
It's racist and sexist. I tried not taking it personally. I tried giving it the benefit of the doubt. But you know what? It is personal, and there is no defending or excusing it. I don't care who are, who you vote for, who you're friends with, who you work for, who you studied, or who you're fucking - this behavior is racist and sexist. And if you see this happening and you sit by and watch and not say or do anything, you may as well be agreeing with it.
I am not Mammy. I am not Sapphire. I am not Jezebel. Just because I'm not mothering or fucking you does not mean I'm trying to castrate you. For real, I have better things to do with my time than to deliberately go out of my way for the express purpose of making you feel bad. Will I sugarcoat my exasperation at your ignorance and apathy? No. You need to know what your shit does to people like me.
I tell you because I want to believe you're a decent person and that you care about not doing racist, sexist things. If you can't see that my telling you when you're fucking up is not about hating you, but about still having hope that you're a decent human being - then that's your shit, not mine. So stop putting your shit on me and acting like I'm the one stinking up the place.
To recap:
And tell me you're sorry if you have. Yeah, I know you don't think you did anything wrong, but it lets me know you're not a calloused asshole.
As soon as I heard that, a huge fog about many things I've been stewing on suddenly lifted, and something very important became clear: I am not the problem.
I usually keep things like this to myself (although recently I've been trying to break out of that habit), but with the show coming up and many of the things I've been involved with this week, as well as things that have happened to me and are going on in the world today, staying silent is self-destructive.
There's this pattern of behavior I notice in White men that really has to stop. It goes like this:
- I say something critiquing or poking fun at White privilege, male privilege, and/or straight privilege.
- White man decides that I'm hostile and angry and personally attacking him - as though he knows me and my thoughts/feelings/beliefs better than I do. And certainly those feelings matter less than his own because Black women are (to coin a phrase) "rhino-hided she-beasts" until proven otherwise.
- White man decides to verbally put me in my place by attacking my intelligence, my sanity, or my morality - as though I must be stupid/crazy/evil to say what I say. They have learned the lesson very well - Black women are intellectually and morally inferior.
- I shut up and keep my pain to myself because it's no use talking to the person who does this. I've been trained very well and know that I am supposed to remain silent in the face of White/male anger and disapproval.
- The person who does this walks away with no clue how fucked up this whole thing is. They too have been trained very well and know that there's no point listening to that Angry Militant Black Bitch about anything.
STOP FUCKING DOING THIS!
It's racist and sexist. I tried not taking it personally. I tried giving it the benefit of the doubt. But you know what? It is personal, and there is no defending or excusing it. I don't care who are, who you vote for, who you're friends with, who you work for, who you studied, or who you're fucking - this behavior is racist and sexist. And if you see this happening and you sit by and watch and not say or do anything, you may as well be agreeing with it.
I am not Mammy. I am not Sapphire. I am not Jezebel. Just because I'm not mothering or fucking you does not mean I'm trying to castrate you. For real, I have better things to do with my time than to deliberately go out of my way for the express purpose of making you feel bad. Will I sugarcoat my exasperation at your ignorance and apathy? No. You need to know what your shit does to people like me.
I tell you because I want to believe you're a decent person and that you care about not doing racist, sexist things. If you can't see that my telling you when you're fucking up is not about hating you, but about still having hope that you're a decent human being - then that's your shit, not mine. So stop putting your shit on me and acting like I'm the one stinking up the place.
To recap:
DON'T FUCKING DO THIS TO ME EVER AGAIN!
And tell me you're sorry if you have. Yeah, I know you don't think you did anything wrong, but it lets me know you're not a calloused asshole.
Subscribe to:
Posts (Atom)