Theater For The Future

The Art in the Business of Theater – Collaboration Tools and Technology and the Storefront Theater Movement
Subscribe

Archive for February, 2009

The quickest way to participate

February 26, 2009 By: Nick Keenan Category: Community Building, In a Perfect World, On the Theatrosphere

Curious about joining in World Theatre Day festivities, but don’t know what you want to do yet? Start with this:

Just read the following as part of your preshow announcement before your show on Friday, March 27th. It is this year’s World Theatre Day International Message, written by Augusto Boal. Pass it on.

All human societies are “spectacular” in their daily life and produce “spectacles” at special moments. They are “spectacular” as a form of social organization and produce “spectacles” like the one you have come to see.

Even if one is unaware of it, human relationships are structured in a theatrical way. The use of space, body language, choice of words and voice modulation, the confrontation of ideas and passions, everything that we demonstrate on the stage, we live in our lives. We are theatre!

Weddings and funerals are “spectacles”, but so, also, are daily rituals so familiar that we are not conscious of this. Occasions of pomp and circumstance, but also the morning coffee, the exchanged good-mornings, timid love and storms of passion, a senate session or a diplomatic meeting – all is theatre.

One of the main functions of our art is to make people sensitive to the “spectacles” of daily life in which the actors are their own spectators, performances in which the stage and the stalls coincide. We are all artists. By doing theatre, we learn to see what is obvious but what we usually can’t see because we are only used to looking at it. What is familiar to us becomes unseen: doing theatre throws light on the stage of daily life.

Last September, we were surprised by a theatrical revelation: we, who thought that we were living in a safe world, despite wars, genocide, slaughter and torture which certainly exist, but far from us in remote and wild places. We, who were living in security with our money invested in some respectable bank or in some honest trader’s hands in the stock exchange were told that this money did not exist, that it was virtual, a fictitious invention by some economists who were not fictitious at all and neither reliable nor respectable. Everything was just bad theatre, a dark plot in which a few people won a lot and many people lost all. Some politicians from rich countries held secret meetings in which they found some magic solutions. And we, the victims of their decisions, have remained spectators in the last row of the balcony.

Twenty years ago, I staged Racine’s Phèdre in Rio de Janeiro. The stage setting was poor: cow skins on the ground, bamboos around. Before each presentation, I used to say to my actors: “The fiction we created day by day is over. When you cross those bamboos, none of you will have the right to lie. Theatre is the Hidden Truth”.

When we look beyond appearances, we see oppressors and oppressed people, in all societies, ethnic groups, genders, social classes and casts; we see an unfair and cruel world. We have to create another world because we know it is possible. But it is up to us to build this other world with our hands and by acting on the stage and in our own life.

Participate in the “spectacle” which is about to begin and once you are back home, with your friends act your own plays and look at what you were never able to see: that which is obvious. Theatre is not just an event; it is a way of life!

We are all actors: being a citizen is not living in society, it is changing it.

If you want to do more than this, check out the ideas being cooked up at the official ITI Worldwide site and the plans set forth by our unofficial but still-kickin-butt blogosphere action committee.

Buy Me a Coffee?

Saturday Night Shakedown

February 21, 2009 By: Nick Keenan Category: Community Building, projects

I am not writing a blog post. I am simply getting all the crap running through my life on e-paper. A lot of this stuff I’d love for you to drill down to if you’re interested, but for now short and sweet is all I can do.

– League of Chicago Theaters meeting about World Theatre Day ’09 was, in one word: Exhilarating. In three different words: Here we go. Look for the League announcement next week at some point. If you are a theater ANYWHERE, you can be involved and you should be involved, and it doesn’t have to be taxing to be a big deal. March 27. Look it up.

– We’re totally having a World Theatre Day conference call tomorrow. London, Chicago, Vancouver, Austin, and Australia are talkin’ at the same time. This project is like an onion made of crazy fearlessness – an international game of “Yes, and…”

– I think one reason this doesn’t feel like blogging is that I haven’t been keeping up with my Google Reader very well, and having trouble processing other blogs these days. Understandable, but guess what: Being connected with a larger discussion is important for the health and relevance of one’s work.

– I’m back with my old friend Idris Goodwin and many new friends working on American Ethnic, this awesome collection of short-form hip hop theatre at Remy Bumppo. It’s gonna be *ha* exhilarating, and yes, Kelly Tsai might hold a pitchfork like that.

– Today was the first round of auditions for New Leaf’s next (and first ORIGINAL) work, The Long Count. I am so excited to bring this play into rehearsals I might just explode, which would be embarrassing. Both of these new plays, by the way, have been developed via Google Doc.

– Sat down with the other company members of The Side Project to talk about next season and following the next steps in pursuit of a long-term, sustainable, low-cost theater venue. Drafting the model and organizational structure in the coming weeks with the rest of the company… I think there might be some exciting stuff to share there, and I think if it works The Side Project is gonna be a significantly more kickass place to work. If we’ve had a conversation about this and you’re interested, shoot me an email.

– I have not forgotten about the Chicago Theater Database, and we are still inviting new folks to grab a username and update their stuff. However, that artists auto-fill problem is still there, taunting me, periodically causing mischief, and for the moment at least, it is still running around the countryside tormenting the peasants. In happier news, not working on this has allowed me to actually achieve some sleep.

– Last day of Hypocrites today, the Dutch arrive monday!

– Oh yeah, did I mention I’ll be designing this at the Goodman? It’s five hours long, and will be concluding the engaging and I-think-I-can-safely-say successful O’Neill fest. I think I might be in love with it. Note the pics of the Neos taken with hats and warm coats to metaphorically signify the lack of heat in the Neo-Futurarium. They’re going from there to here. Chicago: City of extremes.

– Don’t look now, but a certain big regional theater has a sweet new 26-channel QLab 2.0 sound playback rig. Hint: rhymes with “Qleppenwolf.”

– Been kicking up a bunch of educational work thanks largely to Cherubs students, including a big sound upgrade install at Whitney Young High School, wireless mic consulting for New Trier High School, and it looks like I’ll be helping out a pal with teaching a sound for science fiction course at Northwestern. [sound of light sabre]

– Twitter is seriously pulling the rug out of my impulse to blog. Mostly because I’m finding micro-blogging to be so compelling and useful to my typically action- and momentum-oriented projects. So if I seem to be going dark, check out the latest over here or in my sidebar.

– My sister is graduating from high school this year, and has landed a leading role in our high school’s production of Merrily We Roll Along. This is awesome. She is the third best singer I’ve ever heard. And I’m a sound engineer. This gal can belt something fierce. I am a proud brother.

– My brother is, at the end of the month, going to be setting sail from Oahu to Palmyra Atoll – 1,000 miles of empty Pacific Ocean, using traditional star-guided-and-tasting-the-sea navigation with this boat. Palmyra is a target 4.6 miles across. I have been asked several times how I do all this crap without collapsing, and the answer is: I will never be as bad-ass as this guy.

Buy Me a Coffee?

World Theatre Day: Coming to Chicago?

February 15, 2009 By: Nick Keenan Category: Chicago Theater, Community Building, On the Theatrosphere, projects, Uncategorized

The last weekend of Companhia Triptal’s Cardiff found some small pockets of free time for the company to explore Chicago, and especially Chicago theater. I had been talking with Bries Vannon about how much he had been inspired by Triptal’s work, and I had been talking with Triptal director André Garolli about how much he wanted to witness as much Chicago theater as he could fit in. It was around 4 pm on a Saturday between the matinee and the evening performance, and there was a wide open slot and a desire for exploration. I told André that a small local theater company was doing a highly experimental production by Fernando Arrabal and his eyes lit up. I told Bries that if the company could arrange a 4 pm run, a few folks from Triptal could catch the dress rehearsal, and his eyes lit up.

This is the mechanism of international cultural exchange. Making this one connection made me hungry for more, and deeper connections.

Sometimes it just falls into your lap.

As I hinted in the last post, it hasn’t just been New Leaf that’s been all a-twitter in the past few days. After all, the regular contributors to the #theatre feed on twitter include local tribes from Vancouver, Australia, Texas, Toronto, London, and a whole bunch of seemingly unrelated localities, all hungry for a deeper cultural exchange.

As Jess Hutchinson lays down the gauntlet today on Violence of Articulation, March 27 is the day all these tribes and the communities they represent have an opportunity to connect. The world of theater could get a whole lot closer. Read her whole post. It made my heart race.

On March 27th, we have a unique opportunity to celebrate that choice, and build our global connection and sense of collaboration at the same time. What’s this World Theatre Day, you ask? I’ve never heard of World Theatre Day, you say? Neither had I. Luckily, Rebecca Coleman can explain it for us:

World Theatre Day takes place every year on March 27, and is the brainchild of the International Theatre Institute. It’s aim is to: “promote international exchange of knowledge and practice in theatre arts (drama, dance, music theatre) in order to consolidate peace and solidarity between peoples, to deepen mutual understanding and increase creative co-operation between all people in the theatre arts”

Little time and less (read:no) money might look like prohibtive factors to our successful participation on March 27, but if there’s one thing I’ve learned from my family of fellow artists here, when it comes to a challenge we prove that Yes We Can. In a town where our lighting grids are often held together with paper clips and hope, our rehearsal spaces also serve as our studio apartments, and our costumes are pulled from our own closets – we’re not going to let something like a lack of funding keep us from getting our voices in the mix.

Simplicity will be key.

Damn Right.

So I’ve been thinking… How do you have a *simple* World Theatre Day? It’s something we’ll certainly be comparing notes about (and talking about face to face at the League of Chicago Theater meeting on Feb. 20th – hope to see all you League members there)

Well, you take the advice of master Chicago architect Louis Sullivan: “Form follows Function”.

To me, the ITI’s “creative cooperation” language is the most energizing call to action. The primary function of having a World Theater Day is to connect the local community with a sense of global community through the medium and experience of theater. Simple, Creative, Cooperative, Connection are the key ideas there.

To kick off the brainstorming (and please, Blog on, ye travelers)-

1) CREATE A FLICKR PHOTO FEED TO SHARE IMAGES GLOBALLY
Connecting people can be done richly through online media exchange, though some online media can be too time-intensive and complex for an in-the-moment event. Video and Audio streaming becomes not necessarily expensive financially, but expensive in terms of making computers, video cameras and microphones available to the local public. Photos, on the other hand, and the ubiquitous Flickr, are both well supported and integrated with a range of software, operating systems, and smart phones. Plus Flickr has some simple features to feedback the content to each locality: Setting up an ongoing slideshow of captured moments is as easy as hooking a computer up to a big screen or a projector. Comment-enabled photos make a global conversation about a local moment possible. The twitter folks have started experimenting with this service to share production photos… check it out and see what it can do.

2) CREATE CENTRAL INTERNATIONAL & LOCAL HUBS TO DIRECT TRAFFIC TO ALL THE WORLD’S CONTENT
Global events can get a little chaotic, and without reinforcing newly-minted connections with established channels of communication, each local event may experience confusion and difficulty connecting to the global movement. It’s important to prebuild the event with central infrastructures that encourage the generation and funneling up of local content. I think Rebecca Coleman already has this tricky bit started with the group-authored World Theatre Day blog that can be expanded to feature all kinds of content, planning, and exposure in the coming weeks. The 2/20 meeting at the League will be a great way to establish this hub of participation between the interested theaters of Chicago.

3) CONNECT, INVOLVE AND SUPPORT YOUR EXISTING INTERNATIONAL COLLABORATORS
In Performink, Kerry Reid lays out the incredible flowering panoply of Chicago’s current international collaborations. From the Goodman’s internationally-aimed O’Neill festival, the recently announced collaboration with Linz, Austria on the upcoming Joan Dark, Chicago Shakespeare’s World Stages presentation of the Rwandan production The Investigation, and the more homegrown DIY internationalism of Chopin Theatre’s I-Fest, Chicago demonstrates an existing adeptness at connecting the international dots. While creating new connections will be a huge potential value from WTD ’09, it will be easier to Simply Connect our existing international projects to the event, and reap the benefits of deeper dialogue and a higher international profile.
Establishing a blogging, twittering, or other content-sharing partnership with a single similarly-sized sister theater company may be a great way to draw attention to both theaters with a mitigated risk of local branding issues. You know, “Don’t forget your theater buddy!”

4) CONNECT YOUR LOCAL AUDIENCE WITH THE GLOBAL EVENT
Here’s where each theater’s approach can be anything goes. You have a relationship with your audience and you know what they want and respond to. The goal here is to create a global feedback loop of excitement and experience.

Maybe you arrange a backstage tour. You bring a photographer or videographer to capture images of your audience walking through, experiencing where the magic happens. Those images get uploaded during the show, and the global community responds to the images. After your show, as your audience leaves the theater, you invite them to see what the global community has said about your pictures, your show, your moments. Maybe some audience members from your sister company are ready to talk on Skype. Maybe your audience can spend some time browsing images of other global events, and making comments of their own. Maybe you present them with a website or the address of an after party where they can continue the experience.

This is just the beginning of what is possible… What is the fastest, simplest way for your theater to connect your audience’s experience and the experience of your work to other audiences across the globe?

Buy Me a Coffee?

Getting Things Done on Twitter

February 14, 2009 By: Nick Keenan Category: productivity, Tools

It took me a while to get my sea legs, but the past few days has me settled on a response to Ian’s query on Praxis Theatre.

One of the most clear uses of the Twitter network is to solve problems. Unlike blogging, which is about thinking, exploring, deepening the discussion, my favorite uses of the Twitter format have been about getting quickly unstuck and taking collective action.

In the past 48 hours, the fast-growing and largely international theater Twittmob has been used to discover connections, shared interest, and get some very interesting things accomplished:

Selling / Reusing / Trading old props
Gathering momentum behind national political action
Comparing notes on how to take better headshots
Announcing newly available same-night discount tickets
Organizing and Spreading the word about various details of upcoming International Theater Events
Connecting with like-minded strangers
Making after-show plans quickly and efficiently
Notifying next of kin that you’re narrowly evading the path of a tornado

To someone who’s never used (and often refused to try) Twitter before, one of the most powerful and least understood features of the format is the way a Twitter tribe will use hashtag searches to quickly expand the network of people looking at or working on a Tweet.

Under normal circumstances, if you post:

“Oh crap. Bathtub clogged. Anyone know how to fix?”

The only people you’ll be asking are those already following you… all your friends who also don’t know the first thing about plumbing. But make a simple change:

“Oh crap. Bathtub clogged. Anyone have any tips on #plumbing?”

Twitter automatically links your tweet to the #plumbing search page, which is watched by a wider group of interested users. I’ve found those users / power lurkers to be more engaged, more connected, and more able to communicate through social networks than the average blogger, which I suppose is not surprising.

It’s not all made of Awesome on the Twitter, though. You may have felt (as I did about rereading my own early blog posts) that new bloggers go through a phase of self-absorbed perspectives as they begin to immerse themselves in (or distance themselves from) a larger blogging community. Twitter being a much younger technology than blogs, there is sometimes a similar, tiring emergent behavior. New Twitterers (and their eager mentors) spend a great deal of time on Twitter talking about how great Twittering is. Yes, my tongue is firmly in my cheek as I type this. Think about the rush of excitement and simultaneous trepidation you felt when you first SMS texted a friend or family member. You’d get seventeen messages from your Aunt Suzy the next day saying “Im Txting U at the Grocry Stor!” Deep breath, and then we move on.

Just as there is a somewhat accepted online etiquette in play in emails, web authoring, blog commenting, and in texting, there will eventually be an accepted etiquette that emerges from the Twitter community. It’s not quite there yet, so it’s a bit like the wild west right now… everyone is looking to stake out a plot of land with their donkey, and everyone goes about it in kind of their own wonky, loud way.

What is different – and exciting – about the Twitter format is the disciplined structure and its ability to focus and discipline conversation. A 140 character limit means it’s harder for a single conversant to suck all the oxygen out of a conversation. That means Twitter offers opportunites that complement the opportunities of blogging or Facebook – but on Twitter it’s going to be easier to be heard, it’s easier to collaborate, it’s easier to filter content, and it’s quicker to get results – especially if you have clear questions and you know who you need to ask.

This post was made possible by a cup of diner joe that I enjoyed thanks to @TravisBedard. He’s an awesome blogger, so you should check out his stuff, and follow him on Twitter. That way you’ll be there to catch the brilliance.

Update: Check out @dramagirl‘s post on generating useful discussions on Twitter.

Update the Second: Steve Greer at read write play has created a great resource, especially for you non-twitterers out there: A blog that sifts through tweets and pulls out things to read in the #theatre feed!

Buy Me a Coffee?

Where do I know them from?

February 11, 2009 By: Nick Keenan Category: CTDB

Neat new trick you can do with the Chicago Theater Database. So neat, let’s do it on your snazzy mobile device.

Oh crap. You’re talking to your pals and you cant think of that show so and so was working on, or what company they work with. What was that show? DAMN IT!


Oh right. We know how to fix this. In our mobile web browser, let’s key in their full name as a URL with the path “artist”. As in: http://chicagotheaterdb.com/artist/so/andso

And now: Go there.


Oh right. There they are. No searching required.

Oh! Of course. He’s the sound designer for Touch. Doesn’t that close soon? Let’s click through.

Oh crap, that closes this week!

Buy Me a Coffee?

Conversion

February 10, 2009 By: Nick Keenan Category: In a Perfect World, Teachable Moments

Do you ever have those moments where life imitates Art? Where you realize that your life is following the same path as the characters in your play? I think I finally internalized the meaning of the word “resonance” the third year I ran A Christmas Carol in a row and each December I found the story of Scrooge to be drawing my attention to my own avarice. Don’t get me started about that time I ran Massacre.

It took me a while to figure it out, but I’m experiencing the same kind of Art->Life effect while working on the Hypocrites’ version of Eugene O’Neill’s The Hairy Ape over the past week (which opens Wednesday).

Only the minorest of spoiler alerts, I’m not here to give anything about the play or the production away, but I will discuss some details about the world of the play.

When you’re running a show (opposed to watching it as a member of audience), you get a very different experience of the play as bits and pieces of the story as they accrue between cues, programming changes, quick changes, and preset checks. So the character of Yank, a stoker on a steamship liner, is one that I understand in my bones. The stage manager tells me to hit the sound cue, the sound cue whistles, and Yank hears his engineer call him to throw more coal on the boiler. The director tells the sound designer how many whistles there should be, and how often, and my job is to know and push the machinery, the cogs of technological storytelling.

Where force is converted to momentum, there is stress. The energy of burning matter creates steam which pushes the turbine, cranks the wheel, grinds the gears, lurches the steel forward and there it is: movement. As Yank says, “25 knots. Steel. That’s me every time.”

But humans are not steel, and the forces of the world bend us and provide resistance to our efforts. As the director – the theater itself, even – experiments and refines, there is a flurry of activity as the cogs of the theatrical machinery react and tack, shifting their course in collaborative tandem, and that flurry can look like chaos, can look like panic, can look like stress. As the winds fill the sails of my little theater company that could, we know that there will now come a time where we see if she is seaworthy. And that means sailing through a storm.

This week, like Yank, I’m trying hard to think. And it’s hard, it takes all of my body. I’m grappling with a big, underlying theory of everything, and my mind is just not big and agile enough to keep up with it. The forces that pushed me to Chicago, that pushed my theater company to develop its way of working, that pushed me to start blogging, to speak up, they are all pointing me to look at one problem: the problem of conversion. Converting energy into movement.

Is it happening for theater right now? I know so many people want it to be happening, and so many others believe that kind of change cannot happen, but under both wishes and prayers there are these fundamentals: force, direction of that force, and the natural resistance and momentum of the dead weight – our past and our future.

I’m still thinking about how to build a better machine. In the days of Yank, machines served a simple purpose, which is why they could proliferate: They burnt material, boiled water, pressurized the steam and turned giant wheels of progress. Progress was measured by how much you could move, how fast you could go. 25 knots. “That’s me every time.” Our very identities as Americans was tied with this idea of giant force, giant growth – but it dehumanized us, and made us cogs rolling towards an increasingly untenable dream of personal largesse. That’s why we gave that up and went towards a service economy, no?

Today we know the consequences of unchecked progress, and O’Neill certainly foresaw them in 1922. We know that machines designed to simply convert matter into force also create waste. We ignored that waste for decades, and now as it piles up in our air, in our water, in our land, we cannot ignore waste in our machinery anymore. We know that thinking of human beings as machines creates, well, just rampant unpleasantness in our daily lives. We must build purer machines, and we do that by:

– measuring their leverage (how much they amplify our own force)
– measuring their applied purpose (what is our goal by using the machine?)
– and by measuring their waste (what do we lose – on our planet and in ourselves – if we overuse this machine?)

In this new definition of efficiency, we must create sustainability and we can demand an increase in social quality. Where in the industrial world we would design a machine to move a mountain, in the post-industrial world we are starting to understand that the efficient solution is sometimes to keep the mountain and find a way to use its weight, heft, eco-system, and drainage patterns to our long-term advantage. In the online world, we are starting to see how social media can leverage the social mechanisms of human flocking and the natural-resource friendly connectivity of the global internet to solve problems by the accrual of many small efforts. In theater, we are starting to see how we can reuse our artistic waste as promotional material, feeding our excess energy and work right back into the creative process, just like a triple-expansion marine engine.

Which leaves one last, nagging, itchy question yet to be really answered: to what end? What does the end of this effort look like? Like Yank, I thought I knew my purpose when setting out and stepping up to the mic in Chicago Theater. I was truly surprised to learn that blogging, like steam power, is an example of literally, magically, turning hot air into momentum. I am also learning that the conversion of excitement into movement requires great stress as the hot air pushes, pressurizes, and pulls at many bodies at rest – until suddenly, we have shared momentum. Velocity in the same direction. And I am learning that there will be days when that stress will be applied directly to my mind, my body, and they will not be strong enough.

What I don’t know yet, what I know I will need to find a way to answer: How do I accurately measure the effectiveness of my efforts to improve something as mushy as the quality of my own work? I feel them working, but I will soon need to show, to prove, to provide the underlying physics of this new machinery. There are many who looked at the first steam engine and said, “sure, you *could* push that cart with steam power, but it doesn’t seem very practical.” To answer this, I am grasping at straws looking for a new metric, watching the rate and type of contributions to the database, and even counting the number of times that someone who watches Touch calls their family at intermission. These are questions that help us gauge our speed. 25 knots?

We must feed our problems into our solutions. This is the thing I’ve learned from studying the past this week: Increasing efficiency means reusing waste, taking nothing for granted, and feeding it all into the right engine. Conversion is an art in itself.

How do you measure your own effectiveness at the things you set your mind to? Is it an accurate measure? How does your measurement affect your will to continue your effort… or change?

P.S. I also realized tonight after reading this that the answer probably means having a bit more fun in the shows I’m working on. It’s been a soul-shaking season thus far. Look for summa that kinda playfulness in this.

Buy Me a Coffee?

  • Favorite Topics

  • Blogroll