Doctrine of Responsibility for the Theatre Activist

Graduating from the sandbox of my youth, I emerge wielding ideology and a toy-shovel. Today is The Now and forever is The Now. For as long as there exists the foundation upon which I stand, I have achieved immortality. Herein lies a doctrine for responsibility and participation recognition to be applied by theatre activists (patrons, students, enthusiasts and professionals alike) everywhere. Should a theatre activist accept their responsibility, we might unbind this art form yet from the ropes of tyranny set in place by The Mouse and his minions.

“Upon paying for admission and entering a theater, I, the theatre activist, recognize my monetary transaction as a contract for collaboration – not the price of a nap. I expect of the performers, and I expect of myself full attention, efficient use of time, and the physical and mental labor necessary to create this individual and unreplicate piece of art.”

The common reputation of the theatre precedes it unfavorably. The general public understands it to be a tired form of art. And yet the standards to which it is compared are unfair. Theatre should never be cinematic. Cinema serves a fine purpose, but at its base level is a recorded art form, unalterable by its patrons until after the credits roll. Walking out of a film does not change the performers’, directors’ or technicians’ recorded work. It is a document; an artifact. Theatre is not. A performance only exists for one night and is alterable by the true theatre activist.

Having been disappointed greatly by the level of commitment I see in young theatre activists, let me explain in common terms: theatre is an art that is as dynamic as we are. It has moods. It can be sleepy, over-caffeinated, horny or a myriad other things. A performer looks to the theatre activist for guidance. A performer has a need to relate a story and to have an audience understand their character. To have neglected your audience is the most brash and conceited crime a performer can commit. And yet, realize that to a performer, an audience of faces bathed in blue light – the clicking of thumbs on plastic screens, each a pinprick in the majestic breath of silence – is not only deterring them from participating with an audience, but fatal to their spirit as artists.

Nic Adams
March 9, 2009

Community

Something I have been thinking a lot about, that unfortunately gets forced to the wayside by our ludicrous expectations of success, is theatre as a community. We’re trained and reassured that if we audition – diligently – we will be rewarded with success and all the other crap that so many actors, designers, writers, and who ever else wants to be in that category expect after college. What is left out is the only aspect, I have realized, you can control. The people. People you work, learn, associate, and create with are the ones (too me!) that are important. I’m not sure when it happened or how (before my time I assume) but being a career actor became about solitude and a self-righteous streak of who knows who. I always thought that theatre was taught and understood as an ensemble work – one with many facilities and aspects that one person can not and isn’t expected to accomplish. The giant disconnect for me is then how come getting jobs is so opposite. Instead of people investing time with artist that can foster them artistically and in a positive career direction actors look at the people they work with and the stories they are telling as stepping stones to who ever playbill.com and entertainment tonight say is the top of their profession. Why don’t – now this is going to sound crazy – why don’t we just work with people? Why do we spend so much energy in draining what we see as peoples “use” in relation to who they know and how they can give you work, and instead try to actually become interested in them – as people. I think it could happen again. Peter Brooks talks about the dangers of “deadly theatre,” and too me – the inability to see people as fellow artist and not just pawns for your own sad – I emphasize – SAD attempts at shoving yourself to fame and fortune is just prolonging the slow and steady of decline of intelligent, change based theatre. Which trust me – we don’t need.

-Matt

The state of American theatre in three words - "Shrek the Musical"

The big question I’m noticed being asked in an out of meetings with actors and various professional types is what and what isn’t legitimate theatre? Equity, non-equity, community theatre all these terms are thrown around with varying levels of competence and ferocity. In plain terms it seems that the general consensus that equity means you’re a professional, non-equity means you’re trying to be a professional, and community theatre is hobbyist for the most part. Personally I don’t see the difference between non-equity and community theatre but the population has made up arbitrary terms such as “off off bway” and such, I guess to comfort themselves that they are getting somewhere. In a material sense these terms make sense. After all, with equity you’re getting paid and all the other nice perks of being taken seriously. However, I am beginning to see the big problem with thinking this way. I (and I know countless other people) have seen “non professional” theatres that put much more thought and respect into what they do than some of these cash cow theatres, and that to many is worth more than the weekly check and the health insurance…don’t get me wrong those two would both be a welcome change…I think the point is that equity, non equity, or how ever many “offs” you want to shove in front of broadway doesn’t change the fact that the focus and appreciation for the theatre FROM THE ARTIST should not, can not, and will not be the paycheck. If that were the case one would assume that said ARTIST should join a more rank and file profession. Unfortunately for many people losing that sight and respect for the art gets lost quickly in the pursuit of getting the money – and almost more importantly the respect which comes after, of the community. For as we all no, no actor takes one seriously (at least and fortunately only in NYC) with out being able to “make that skrill.”

The solution – well there isn’t one. I don’t think so (I have been called a pessimist) but I do think we could work on one. Most people who know me know that I am a big opponent of taking work for no money. Let’s face it, I have a degree, I spent four years studying to have a career, which by definition means some sort of monetary compensation, so no thank you – I don’t want to play mean mr. carrot in your elementary school tour. Maybe we need to be flexible, we need to head back to the days of the late night community theatre. Gives us something to fight for I suppose. Theatre is being celebrtized, an unfortunate side effect of the Paris Hiltons of the world, and its causing serious damage. Real actors don’t matter, people are so obsessed over seeing someone who FAILED from American Idol in Grease they pass over the chance to experience and learn something from some one new. Needless to say these things wont change till the evening news stops show clips of “Obama’s rocking beach bod,” and 19 year old cocksuckers snorting coke and twitiering. Once those are gone we can go back to learning from people who have studied these skill and abilities to story tell and not some sad man being forced on Grease’s sparkly million dollar stage because he made a fool of himself on national tv. Besides no one should see Grease anyway.

Love and Licks,

Matt

Introducing The Now

Introduction

The challenges of being an actor, designer, writer, painter, musician, or any member of the artistic community are twofold: the first being the challenge of getting work, and introducing yourself to an industry or community that can aid you in your development, and the second, constantly coping with the disappointment of having all the ability, creativity and “talent” necessary, but no outlet. Bearing these thoughts in mind, it has come to my attention that there are too many people in this world facing these challenges on a daily basis. We, as the next generation of artists, need to be seen and heard. It is imperative that our ability to create lasting and affective commentaries on our society be matched equally in both enthusiasm, and in professional opportunities in order to accommodate this new influx of artistic voices.
What I am proposing is a venue for this influx to be incubated. Not a theatre. Not a museum, or a gallery, but just a space. A space to put on plays or concerts; a space to show artwork and movies; a space to give and receive speeches, and, hopefully, a space to combine all of these elements. I am proposing we create an open space, created by and for the people hoping to change the condition of artistic affairs. All of this enthusiasm and optimism must be shouldered by a group of people who are as hardheaded as they are talented; a group of people dedicated to maintaining both the artistic and practical integrity of such a space. For what is this space if not a resource? And resources, of course, must be fostered and cared for in order to prove beneficial. What this space needs is a group of people who want to nurture and take care of it, and I think those people will be easy to find.
What is the purpose of this space? Quite selfishly, its purpose will be to showcase what its members can offer to the growing artistic community. While this space will serve as a creative fertile-ground, it will also seek to challenge to nature of the Entertainment Industry itself. Through this space, we will conduct a showbusiness experiment. We hope to manipulate the old system of headshots, portfolios, cattle-call auditions and artistic-representation. It is my great hope that this space will serve as a template for a new era in the artistic world. But I digress. Most importantly, The Now Theatre will be a means for people to create what they want based on what they care about and not based on what will sell or pay their rent. This theatre should function as a tool to help artists get exposure and work. It is unlikely that this space will provide anyone with a steady paycheck, so its objective should be to educate company members about their craft outside of a school setting, learning through trial and error, perseverance and dedication.
In light of all this experimentation and artistic education, it is important that this ensemble focuses on the integrity of its material. The plays will be chosen for what the literature says, who it affects, and how it can change or educate. We, as a group of artists and storytellers, have a duty to push the limit, to create tension and confusion where necessary, and to force discussion out of people. Ideal art should be a conversation, with both sides working hard to provide arguments, rebuttals, and, more generally, to improve humanity. With these ideas in mind it is imperative that the group picks material that doesn’t influence thought or impose ideas, but material that opens minds and sparks conversations about what is happening in our world. The same will be expected of painters, writers, and musicians. The need to discuss and educate is the single thread that connects all disciplines in art, and that thread is something that this group is going to focus on most.
Lastly, what to do about a name? Names, like ideas, I am told, are a dime a dozen. However, a title is important if it is to accurately inform people of what we are planning to create. The question now is how to do that without sounding pretentious or amateur. My friends at the Rogue Theatre seem to have perfected this. A name like The Rogue is a wonderful combination of playfulness and a defining purpose. With much thought, I have come to the conclusion crowning this group, space and idea “The Now Theatre”. This name clearly illustrates the characteristics that I am trying to put forth. “The Now”, to me, says ‘Immediate Theatre’ as defined by Peter Brooks; raw, current, energetic, and strong theatre is what we, as a group, will create.


The Now Theatre
Matthew Bowdren
Artistic Director