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Death & The Theater

I was listening to a recent episode of the Tim Ferris podcast and the guest, happiness scholar Arthur C. Brooks, was discussing death meditations. And the little lightbulb in my brain turned on with the thought, "We need to talk more about death in theaters." I know, I know, that seems like an illogical statement because it feels like we're always talking about the death of theater. This whole summer has been filled with articles and op-eds from across the country about how large regional theaters are dying in major cities. But that's not the kind of death Brooks was talking about, and in reality, it isn't death these articles are complaining about, either: they are trying to stay alive in a “E’s just resting” fashion, to find some kind of life-support for the theaters, to keep them going, receive new money from new audiences or donors, new shows, new gimmicks to draw more or different people in the door. Anything to keep from dying. We don't talk about death

What constitutes a pro?

Director and cast of "Othello," Deep Dish Theater, 2011, Chapel Hill One of the questions that comes up over and over in my work--supporting both theater and other arts genres--is the idea of the "professional." What is professional theater, or a professional writer, or painter, or poet, or dancer, or improviser?  Much like the term "success," we've conflated "professional" with "earning money." If you have earned a lot of money from your art, you are a "professional" "success."  Odd, in that we also equate the term "selling out" with "earning money" and that has a bad connotation.  I think, though, Steven Pressfield's idea of "Professional" is closer to the truth, and why so much of the Triangle theater scene is so damn good, is actually professional quality.  Pressfield talks about the Professional Mindset being one of doing the best work you're capable of at all times

Pass the Collection Plate, Please.

Various sizes of buildings, with some sort of seating arranged in rows, facing a slightly raised platform. may have curtains around the platform. people --primarily men-- take the platform to orate to the audience seated before them. A plea for donations is made at some point, either before or after the show, which may have music and will definitely have directives masked as stories on how to be a human in this day-and-age. children will be seen, maybe, but definitely not heard. the men in charge will believe they have been given a special gift for leading this particular group of people. and the people, for whatever reason, will also believe this. and this group of people will believe that their building and person and each other are completely different and somehow better than all the other exact same groups around their town/city/county/state/nation. If theater wants to be treated as church and church as theater, then both are getting exactly what they have been setting up for the p