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Fi-ii-iiinally have some time to write this post... was writing cover letters all day today as I must get a job, for theater does not pay nor do I think I would want it to...
At present I am cooling my heels theaterwise, which is usual for this time of year --for the past three years we’ve done a fall show & we have an annual holiday show, so everyone’s pretty fried and sick of each other by New Year’s Day-- but then again last year was *such* a chamber of horrors, the company’s really in critical condition this time... what I’m mainly doing is presiding over the split, so wembley’s comment
quote:it fell apart, as do all such beautiful things
fairly hits home to me. Nevermind. It has to be done. It happens all the time. And last night we got the annual phonecall to tech our friend’s drag pageant (I do lights, Husband does sound), which feels like things going a little back to normal.
Well anyway, the Greeks. I’d be interested in reading your paper, Mazarine, if you feel like sharing it. I think I like the classics because they seem... uhhhhh, irreducible? Essential? I think I had better shut up now and read or see more Greek plays. I think it might say something that the two kinds of plays that I think are most worth doing are the classics and new works, which is what our company does. Did. Will do again. Because they’re on the edges, maybe, of the known world of created things? There’s a feeling of fighting-for-your-life in them, to me.
Hey there, autopilot... this is a thread about making theater, so writing plays *of course* counts. If I recall correctly, you are a Beckett fan? Is your work of a Beckett nature? Beckett also raises an interesting question that’s worth some discussion id est how horribly specific he is about how his work has to be produced. Well I don’t know, is there anything to say about that. Even in the most collaborative of arts there’s going to be one guy who has the capacity of envisioning the whole thing & more power to him. The trouble is with writers who think they’re Beckett, but what we’re talking about here is an adaptation of Valley of the Dolls or Johnny Guitar & conceivably they could lighten up.
Question for wembley:
quote:in the rehearsal process I collaborate quite a bit with the director and make sure she doesn't lose track of the arc of the play, basically
Honestly we don’t use a dramaturg because we don’t have enough bodies --as it is, as the producer I’m generally filling all the jobs that weren’t able to find people for-- but keeping track of the arc of the play is pretty emphatically the director’s job in our productions. But as you say different companies, different jobs; that’s plain. I was wondering, though, in your case what the director is doing... I’m thinking, staging and working with the actors? That actually would be a great setup. Is that what it is? |
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