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