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New Blog: Theatre that Works

April 09, 2009 By: Nick Keenan Category: Chicago Theater, On the Theatrosphere

Okay, so Dan Granata has been working on this idea for a while: A blog that tells the stories of the theater of today and digs up comparisons with the theater of yesterday. As I’ve been helping him (and graphic designer extraordinaire Marni Keenan… soft plug…) build the site over the past few weeks, I’ve been looking over his shoulder at some of the research he’s dug up.

It’s learning from our history and our present… over the interwebs. Dan has unearthed a treasure trove of archived Chicago Theatre history, has been interviewing some exciting and articulate artists, and connecting the dots between the two with story. Truly, truly thrilling.

Theatre That Works launches today. Check it out.

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Theaters and The Web: An Online Debate

April 01, 2009 By: Nick Keenan Category: Community Building, In a Perfect World, Infrastructure, On the Theatrosphere, Teachable Moments

I was thrilled to be asked by The New Colony contributor and blogger Benno Nelson to engage in an online debate that took the temperature of theater blogs in this our internet age. That’s why I totally didn’t join in until a couple minutes ago. What can I say, it’s tech.

At any rate, here’s the discussion so far, and you can join in yourself. You’ll hear from Benno first and then you’ll hear from me.

The internet will be for maybe only a few more years the Wild West, the Manifest Destiny of our age. Not everyone understands what it is or how to use it, but most everyone knows they cannot be left out of it. This applies, of course, to Theater Companies. There have been some attempts to codify, or at least examine the components and goals of websites, and particularly blogs operated by Theater Companies. The consistently excellent Kris Vire has, for example, offered a few ruminations on this topic, but I think it is worth our attention here as well. The justification for including it as a Cliché, I feel it necessary to point out, is that the possession of a “blog” seems to have grown into an unconsidered necessity for theater companies and I want to draw attention to this thoughtlessness and worry about it.

First of all, it is so self-evident that it is almost absurd to point out that the primary activity of Theater Company websites is marketing/advertising: making it easy for a potential audience to get telegraphic information – who, what, where, when, why – about the company and their productions. But what is a Theater Company blog, and what is it for?

Well, it’s actually not very simple. A clichéd response would be that a blog allows a theater company to maintain an online presence. What the hell is that? In the case of The New Colony, for instance, what do they gain by having these columns up once a week? Ideally, I suppose, they get increased traffic by becoming a place people can count on for new content: in the internet, updates are the equivalent of a neon sign. The more updates, the more content, the more people are likely to check your site and keep checking it. Does this sell tickets? I really don’t know, but when I saw FRAT it was full almost to capacity.

The Steppenwolf also relies on content generation, but they are much more streamlined. That is, their posts are all about the Steppenwolf, their shows, their season, their collaborators. It is essentially like an ever-expanding playbill. Interestingly though, for a company like Steppenwolf or The Neo-Futurists where much of the draw of the company is in the company members, the blog offers a great way to deepen audiences’ familiarity with and knowledge of these members. By including a post by Joe Dempsey on joining the cast of Art, for instance, we get a better idea of who he is. Perhaps we’ll want to see him more, and return to the theater when he returns.

What is a bad theater company blog? One that is hard to read or navigate (with regard to design), or contains meaningless information, or is updated infrequently. The insistence on web 2.0 interaction is a little tiresome for me, because I don’t believe that the companies really care what I think; these seem to me rather more an extension of the farce of post-performance talk-backs, but I hope I’m wrong.

The interesting thing about the internet is that it is in some ways a great equalizer. It is essentially as easy for a tiny company without even a reliable performance space to operate an excellent website as it is for the Goodman– to make a home online and offer consistent and engaging programming there as on stage. It is not a requirement to offer this, but it is really not particularly difficult and if it exhibits that Theaters are engaged in the world as we come upon it today, not desperately keeping up and not hopelessly aloof, then they are certainly worth the trouble. But the panicked desperation to have a blog because it is the thing to do leads to a lot of bad blogs and a haziness about what they can and should be.

Aww yeah. Showing up late to the party.

While I’m late to contribute to this online debate, it’s certainly not for lack of interest. A number of the concepts of content generation that Benno explores here (capturing more traffic, deepening interest of the work already being done by theaters, cultivating an ability to communicate clearly and interestingly about one’s own work) are things we tried to throw into relief with World Theatre Day – an event a number of Chicago theater companies threw in cooperation with the League of Chicago Theatres and the Chopin Theatre.

For me, the Chicago WTD celebration was about putting some of these theories into practice and, hopefully, feeding that growing energy of theater’s online presence back offline into a live spectacle. Before the event, theaters from all over the world were asked to contribute video, audio and images of work and play – content they were already generating in the normal course of producing theater – to an open blog. That video and content was then projected and shared in the event on a big screen. During the party, a team of volunteers captured quick video snippets and interviews, and uploaded it within minutes to the open blog using the dirt-simple video capturing tool that is the Flip Camera. International theater artists live-tweeted their responses to the fun was being had in real time, and I posted those tweets back up on the projector screen. It was like internet connection feedback.

So yes: there’s many different ways to generate content as a theater, and there’s many ways to streamline the process of generating new content. But there’s a couple points here where Benno and I seem to have completely different perspectives. One is on the preeminence of new content over easy content. We agree, before you get too excited, that this content has always got to be good. This difference of opinion makes sense, as I’m a production manager of a small company who knows that when you make time for creating new content during a production process, you inevitably rob time from another project … like opening your show. Since marketing is a contract of trust with a potential customer, the model of “you must create new content on your online presence every week or you will lose your online audience” just isn’t sustainable in my experience. What I think is sustainable is something similar… a model of “capturing” your

While Benno is suspect, I’m a total believer and convert to the value and, yes, necessity of social networking as a conscious and intelligently-utilized component to a company’s online presence. World Theatre Day in America simply would not have happened this year without the presence of Twitter and Facebook to coordinate and fuel it. We quite literally organized every aspect of that party – from putting together the talent and equipment to getting the hundreds of partygoers to show up – all through a Facebook meme that allowed individual theaters to add their own branding sauce to the event. That said, Benno’s point about the way he feels about the way especially very large and very small theaters have been using social media – that “they don’t really care what he thinks” – well hell, attention must be paid here. If you are a theater that wants to take advantage of the huge currently-erupting geyser that is social media, part of the bargain is that you must demonstrate care about what your readership thinks. When they feel it’s not a two-way relationship, they bolt.

Remember to remember the obvious: rich two-way dialogue is what theater is all about. The fact that there seems to be a prevalent idea that post-performance talkbacks – or indeed any structured dialogue between theater and audience – is a “farce” is a sign of trouble in my book. That’s a signal to me that we need to reengage and re-conceive how this dialogue could really take place in the future. There have been many moments in the past year that actually indicate to me that theaters take the nurturing of this dialogue very seriously. I was witness to some electric moments of audience engagement in the talkbacks and performances of the O’Neill fest at the Goodman.

Speaking of the internet being an equalizer, it’s a little sad to note that this is because NO theaters, and really no industries on the planet right now, have the infrastructure currently to incorporate Social Networking and web content into their day to day operations. I’ve seen big, small, and medium theaters miss or delay big opportunities to engage in online dialogue, because they’re all still getting the hang of it. The wonderful talkbacks I mentioned above were captured – as the sound engineer I actually did the recording – but as far as I’ve seen they haven’t been rereleased as podcasts yet after over a month. The reason everyone is buzzing about these services and their effect on society right now is because those effects are potentially revolutionary. The effects of blogs on print journalism have shown exactly how revolutionary they can be. I’m not one of those (anymore?) that think that theater is in trouble, since theater ultimately thrives wherever people can talk with each other. New Leaf has been very lucky, as a very very small company, to be one of the beneficiaries of that equalizing force. Getting involved in bringing World Theatre Day to Chicago has put us, a tiny storefront theatre company, in contact with the strategic planners of TCG and in direct collaboration with the League of Chicago Theaters. Sharing our ideas has the added benefit of making us thought leaders. Before I get too excited about that, remember that our theories are only as strong as our data. Companies like Steppenwolf and the Goodman may prove to be the adopters that really matter, since they can accurately test how effective this new form of communication really works.

This is an unprecedented moment in theater’s history in the internet age. Finally, technology is not simply working on producing more widgets or harvesting more resources, we’re focusing our innovative energies on the fundamental challenges of human communication. And I think theater has a lot to teach technology in that department. But we, as a theater community, have to re-learn to have a dialogue in new formats first. And we’re doing it! Gold star.

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Raise Money. When No Money Comes: Save Money.

March 06, 2009 By: Nick Keenan Category: Chicago Theater, In a Perfect World, Infrastructure, Teachable Moments

I have been thinking about this for a couple weeks now:

I love About Face. Their work is important. Their youth program is solid, and yes, I’d agree that it is unique. Inarguably About Face created several of the best long-running works I’ve seen in Chicago: I Am My Own Wife and Winesburg, Ohio. And there are a lot of others that I missed.

But. I cannot help raise $300,000 for About Face. Other than by drawing your attention to it, as many others have this week. If you can help, you should. But I’ve been trying for what seems like years to raise even $10,000 for my home theater, and that has never easy for a theater of our size under normal economic conditions. And I know from among other things the League Fiscal Survey that About Face is not alone and will not be alone in the coming months. I am imagining, right now, a sea of $300,000 pledge drives and that. just. will. not. work.

I get the pain, even if I don’t really understand of the specific conditions. There was this particular day I visited the offices of the soon-to-shutter Famous Door theater after the run of Great Society that I had worked on, days before they started rehearsals for their last production. This was a company that still inspires me, years later, for their seminal production of Cider House Rules that introduced me to Chicago theater – and what Chicago Theater could be. This particular day the tone in the office was… demoralized. Framed pictures were piling on desks. I remember that. No one was moving out… yet. But preparations were in effect. There was big debt being talked about in rumors. The managing director sheparded into a closed office a last-ditch group of independant funders. It was gut-wrenching to watch a theater that I loved break apart. I wish they had as a company reduced their overhead to a manageable level before they had to cease and burn out. Instead, they seemed to do what was best for the people in the company… dismantle the company to allow everyone to pursue their incredible acting careers.

This is not an idea I enjoy writing. It is a moment of support through challenge:

I can hear the furious typing of reprioritized budgets, and backup plans set in motion. Remember what we all know: we should support most what makes our work live most. (Hint: it’s the people, it’s not the office, the furniture.) It’s only partly the space, though we need to support the venues that support us just as if they were a company member. It’s the work, it’s not the size of the production budget. It is that ability to connect with students in your education program and teach them in a lasting way. You may not be able to pay the people, but find new ways to support and connect with your artists.

We must, must, must, must, must, must, must adapt or we will die. That starts with rationing. This is a climate change for the arts. If we are a polar bear sitting on a melting iceberg we can do four things:

– Wait it out. And drown.

– Panic. And drown.

– Phone a prominent national zoo for a helicopter rescue and a cushy but ultimately transformed life as a toothless and contained exhibit in a museum. And hope they pick up the phone before we count all our unhatched chickens.

– Swim to the nearest rocky outcropping before we float away into open ocean and learn to bite through tough Walrus hide. As if our life depended on it.

Survival is more important than the Money.

Here is a list of things I am doing to help my collaborators continue to do the work they do in the face of nightmare scenarios. I have no resources to my name other than time, connections to other awesome people, and ingenuity. So I know these ideas don’t require significant amounts of money. Post your own additions in the comments:

– Unemployed? Spend your time learning new skills. I am training about five people right now about skills that are marketable beyond the arts., and as you can tell from that link, have already gotten some dividends on that training in a little over a year. HTML, PHP, Ruby on Rails Web Programming, Graphics Design, Podcast recording and production, DVD authoring. It is HARD to learn while you’re unemployed. It is hard to battle through the feeling of personal whatever to make small steps of progress again. So latch on to people who know skills like and beyond these, make them breakfast, and learn from them as if your life depends on it. Think about the possibilities you can tap into: there is an expanding market right now for highly-skilled freelancers as full-time coders and records. It’s not a pretty situation any way you slice it, but I’ve seen theater workers, who need these skills anyway to support their primary work, bring a unique and attractive creative energy to technological and design work. It’s vastly easier than managing the logistics of creating theater (yeah, I said it, eat that private sector) and in the right proportions will support the work rather than sap time away from it.

– Fighting an uphill battle against the tide alone? Collaborate. No collaboration can stand without building a trustful relationship first. Be dependable and depend on others. Theaters all need to face this problem three days/months/years ago, and each theater is still coming up with solutions in their own private laboratory. For the love of god, there’s a reason why the medical community publishes their work. Share your thoughts, plans, and goals with other theaters towards the end of mutual support. Get specific, get vocal, get transparent. Those seem to be the traits that are rewarded by community attention right now. Perhaps itemize what specific line items your $300,000 fund drive will go to support. There is often a $5,000 solution to a $20,000 problem… if many eyes are on the lookout, you’ll find it faster. Also, on a really basic level – talking out your problems with your peers provides all kinds of psychological support that helps nurture creative problem solving.

– Closing down the office? Where will we have in-depth creative discussions? Where can we focus our energy? I’ve explored the low-cost possibilities of public spaces, online forums, and all the wonderful breakfast joints this town has to offer for a more efficient kind of collaboration. And you know what, it’s hard, but it works.

For more on this problem as it relates to Chicago Theatre, listen to this analysis / Q&A from Justin Kaufmann, Jonathan Abarbanel & Kelly Kleiman at WBEZ.

I’ll say it one last time (since it is a mantra):

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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.

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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?

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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!

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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.

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Holy Crap, Hal is in my Computer

January 25, 2009 By: Nick Keenan Category: Teachable Moments

After disconnecting my speakers from my macbook, I noticed that my built-in speakers were suddenly not working. On further inspection, I was very surprised to see a red light coming out of my headphone jack.

While it is technically a hardware failure, I was kind of amazed to see it. Apparently, the headphone jack can alternate as an optical sound output using an adapter like this one. I feel like a rube for not knowing about this beforehand. The best part? The digital signal this spits out is Surround-Sound Ready and it looks fairly pro-grade. I’m trying to find how many digital outputs this is capable of spitting out … I’ve seen some reports that it can handle 6.1 Surround, which is 7 discrete channels of audio. Not too shabby for not having an audio interface.

If you work for Apple or Applecare, this is all your fault. Now stop reading. Okay, everyone else: this red light issue might happen to you by accident if you’re as rough with your headphone jack as I am. If your macbook volume is suddenly not working, check for the red light. Never fear if the light does show up, just insert a mini cable or gently insert a toothpick into the port and wiggle around a bit, you should be able to relatch the output into place so that the digital output shuts off and the standard analog headphone jack (and your built in speakers) starts functioning again.

Just don’t be *too* rough. 1/4″ and 1/8″ headphone jacks, while ubiquitous, are also a very flawed design. It’s very easy to bend an internal connection in these ports, rendering the jack useless. If you want to use the jack… yup, it’s pretty much new logic board time. Having done that a couple times during tech weeks, trust me: Avoid at all costs. So be gentle to your lappy. Maybe someday they’ll start making mini-XLR or Neutrik jacks for headphones, and we won’t have to worry so much. But they probably won’t be awesome enough to have an optional digital output.

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