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Questioning a Design Aesthetic, 2000 – 2005

April 29, 2009 By: Nick Keenan Category: Sound, Teachable Moments

So @travisbedardand @hethfenasked me the other day about blog posts related to sound design for the theater and, after slogging through my archives, I realized I had only a shameful 2 (two!) posts related to aesthetic choices in sound design. Apparently, on this site I’m a hobbyist theater marketer and cheerleader and nothing more.

The conversation has been an interesting one from there (spawing this amazing Tao Te Sound post from Steve Ptacek, among others), and to help move it along, I’m doing a series of posts on the specific aesthetic questions that have shaped me over the productions as a sound designer. One of the underlying reasons I’ve shied away from writing about sound on this blog is that there is so little sound design in theater theory out there. When I was in college only a decade ago, the only textbook I could find was only available self-published in velo-binding from the author. (It was also as dry and academic as six saltine crackers without milk). In that theory vaccuum, I’ve been worried as a teacher about dogmatizing my current aesthetic explorations as beliefs in my students and collaborators. That’s a big trap. It is also silly of me. And it’s also no excuse to not break open the specific aesthetic challenges that sound in theater presents, because frankly the conversation can’t necessarily be only led by playwrights, directors, critics and audiences.

So, to crack this huge subject open, these are the specific central questions (and my half-baked answers from the time) that I’ve asked myself both personally and collaboratively over each of my productions in my formative years as a designer – 2000 – 2005. Each one is a post in themselves, but for now, let’s look at the whole picture.

Dr. Faustus – University of Massachusetts. How do you use a ton of pop music in a play without conjuring up all of the audience’s personal emotional associations? My answer: Embrace and then Mash all those associations into an emotionally confusing and challenging pulp that becomes something new. Mix yer Philip Glass, Shawshank, and the Friday the 13th theme together in a melange of crazy.

Reckless – New Leaf. How do you unify an all-over-the-map-story into a unified aesthetic? Answer: intuit the emotional tone and arc of the story and start from there. In this case, lonely “diner” music that has been well-absorbed into collective pop sensibility: Mamas & Papas, 70’s soul, old 45s. Anchor the emotional tone of each song with the journey of the central character, and you’re off.

Accidental Rapture – Visions & Voices. If sound can so easily overpower human-sized action onstage (by losing them underneath huge, epic sonic landscapes), how do you know when to pull back for the good of the story? Answer: When there is an apocalypse sequence offstage in your play, not then (thanks, Eric Pfeffinger). Also, death mare snorts can be made out of the sound of Walruses.

Man Who Had All the Luck – Raven. How does one achieve a naturalistic realism in sound on stage? Answer: Think through all the physical parts and sequences of that engine that gets started onstage. Yes, that’s right: Naturalism is a lot of work with very little payoff. But: You have to know how to recreate the world before you can really mash it up into fine art.

Girl in Hyacinth Blue – New Leaf. How the heck do you compose without musical training? Answer: Focus on texture. Let acting and directorial choices be your guide. Memorize and review whole sequences of stage action, and intuit a sonic layer that works with those choices. Oh, and hire a cellist who can improv – a little help from your friends. Trust that if it sounds good to you, it will sound good to an audience.

Brilliant Traces – New Leaf. Does bad technology get in the way of your designs? Answer: After hearing the ugly compression on the 45 minute wind storm sound cue, I never use minidisc players again. You could use that effect, certainly… but not in naturalism.

A Streetcar Named Desire – Raven. How much should a designer pay attention to the sonic instructions from the playwright? Answer: Investigate all the big P’s choices and seek to understand the impulses that drive them. Ultimately, though, you’re communicating to a modern audience, not the audience that the playwright understood, and that means adapting. That said, no matter how much you cringe when hearing Lawrence Welk’s version, you can’t get rid of the Varsouviana in that play since it’s so tied up in Blanche’s crazy. Also, it’s in 3/4 time, which is the meter of crazy. Be respectful, young squire.

The Cherub Program. Educational theater, 10 fully-produced plays in 1 month. How the hell do you get this all done AND make the designs clear enough for student operators and stage managers who have never done this in their life? Answer: refine your paperwork, refine your process. For the past four years: teach ’em qLab. Know yourself, and get intimate with your limitations. Know the flame and the heat that gets generation from when you’re about to snap. And live there at least one month out of every year.

The Odd Couple – Metropolis. You’ve been designing for a young hipster and American realism-loving audiences. What do they like to see in the ‘burbs? Answer: Get over yourself, Arty McFarty. Get conventional, and get fun. 60’s bachelor pad music is a rich tapestry of goofy awesome, and if you’re not having fun, they’re not having fun.

Hello Again – Apple Tree. Uh oh. Wireless mics and no budget. What now? Answer: Turn them down. Get transparent. Listen, EQ, Listen, EQ. Refine, Refine, Refine. Care. Sit in all the seats, and take notes through all the previews. Do. The. Work. Even when all odds are against you, and you’ll end up with *something*. Sometimes learning is survival.

Lexicon – New Leaf Theatre. What happens when sound is… all of the show? Is it still theater? Answer: I need some practice with playwriting, but a solo project is a great way to quickly galvanize your process. And what a great way to learn how to design in surround sound. And even better: easy remount for educational purposes!

Improvisation with the Vampire – The Free Associates. How do you design a show that is meant to be improvised? Do you just stay out of everyone’s way, or do you try to support their choices with a framework of underscore that focuses those choices? Answer: Work, Train, and Play with your Stage Manager. Make everything easy easy easy for them. Empower them to make split-second artistic choices within a framework that you establish. Watch them work, coach them, and adjust your design until they can play your (ugh) minidisc player like an instrument. That’s a particular kind of joy for a design team.

War of the Worlds – Metropolis – What about foley and actor-driven sound? How do you practically train and translate the language of foley sci-fi effects into flashy onstage magical trickery? Answer: Do a mix of experimenting and stacking the deck. Assemble an entire orchestra of options, filling the frequency bands (Low, middle and high) as you go. In a story like WOTW, there is a fascinating point where the narrative perspective shifts – when the invented world becomes more “real” than the “real” world – and the sound can follow that transition. Find the point when you shift the diegetic world of the foley-powered CBS radio studio into a more out-of control and non-diegetic world of the story itself with piped-in sound effects.

Crave – The Side Project – How do you do the work of a sound designer when you can’t afford to devote enough time to properly tech a show? Answer: Still figuring that one out, but short answer: be very very clear in your communication and be very very attentive and efficient in your listening. Make a bold textural choice, and then back the hell away from choices that require precise timings and levels.

Stay Tuned for part 2!

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Schedule C for the Theater Freelancer

April 13, 2009 By: Nick Keenan Category: In a Perfect World, Infrastructure, productivity, Tools

If your income stream is anything like mine, you kind of feel a one-two punch at the end of the tax year for simply being an artist in America (though clearly Canadians also have issues). Most theaters don’t employ artists on a full-time basis, nor do they pay a lot. Assembling an artistic income means 1099 / Independent Contractor income and that means no matter how little money you make and how close to the real, scary poverty line you are: you’re in business for yourself now. You get to file a schedule C and pay self-employment tax. The punch that you feel is the realization: I already GAVE my financial stability to theater… now I have to give again because it actually paid me less money than it took for me to survive?

Ah, doesn’t whining make you feel better? I recommend a good whining / coffee / bite your pillow break every half hour or so while doing your taxes.

Before I get started: This is not meant as a catch-all tax guide, nor should you use it as one. I am not a CPA. I am also writing this in 2009, and the tax law changes every year, sometimes drastically. Think of this as a catalyst for your own personal investigation and deeper understanding of how the tax code applies to freelancing artists. If you’re looking for an artist-friendly CPA, I highly recommend getting one locally via word of mouth. I’m also a little “too little too late” for this year, so hopefully this will help serve as a guide to help you capture the information you’ll need for next year. Those of you in the Chicago still in need of help area could also file an extension ASAP (most CPAs are only taking extension clients right now) and look to @rockstarcpa, aka Martin Kamenski of Collaboraction Theatre.

So the trick to Schedule C is the claiming of deductions – expenses – that legitimately offset your as-yet untaxed income and prove to the IRS (in terms it understands) that no, I’m eating Top Ramen for crying out loud, I didn’t turn a $14k profit this year that you now need to tax me for. You’ve accrued more expenses than you may think in the pursuit of your artistic work, which is why it may feel so ridiculous that you’re being taxed on this income. After all, the money is gone now, right?

Hopefully not, actually. In preparation for your next year, make sure you find some way of imposing a rule on yourself that you squirrel away a certain amount of each check into savings over the course of the year or pay estimated taxes at the end of each quarter. The first way, you keep the interest, the second way, the government does. Either way, you’re talking about a couple packets of Starbucks VIA, so do what makes you happy. It makes the tax crunch a lot less stressful to deal with when you’re only worried about filing paperwork rather than hustling for scratch to pay the tax man.

So about those deductions. I use my debit card almost all year long rather than cash. It’s really annoying for splitting the bill, but I find that getting a receipt for everything is both a good budget reminder and takes care of my paperwork for me. I sort and file these receipts all year long into deductible and non-deductible expenses in a little coupon file like this one, one for each year. Best part about the folder? It’s a deductible office expense. I also keep track of my budgets, expenses, and anticipated freelancing income using the cheap and pretty useful online software Buxfer. It’s easy to tag transactions into pre-sorted deduction categories, and balance my checkbook from my iPhone. The upshot of all of this: You’re going for a stress-free tax season. That’s much easier to achieve when you do all the sorting and filing work in little easy chunks all year long rather than in one chaotic panicked mess on April 14th.

These are the deductions I track:

Business Meals. Not every meal, but every meal that I took because I was discussing work related to my 1099 income: Production meetings, design meetings, interviews, planning sessions, all that jazz. It always ends up being a bigger percentage of my meals than I expect. You only get to deduct 50% of these expenses, but the collaborative art of theater often makes us go out together to chat when we could be bringing a sandwich from home, so it’s a cost of doing business. I always write who I was meeting with and what we discussed on the receipt or in a Buxfer note, because you can be sure I won’t remember later.

Office Supplies
For a designer, this can be a pretty big expense. For me, it’s CD-Rs and play binders, for some it’s model building or drafting supplies. In the paperless age, however, it’s nothing compared to the allure of…

Resume and Job-seeking expenses
Oh yeah. Headshots. Portfolio expenses. Kinkos. Anything you spent looking for work, and especially for you performers, that’s a lot a lot a lot of potential deductions.

Section 179 Depreciation
This one is cleverly titled to be as confusing as possible, but it roughly translates as a deduction for the full cost of medium-term assets (Computers, hard drives, PDAs, Software) that you bought this year. Since these assets often die after 3-5 years, Section 179 allows you to depreciate and thereby deduct the entire portion of these assets that you use for business in a single year. Needless to say, if you own a computer or hard drive or seven that you use exclusively for business, as I do, this is the golden child of deductions.

Business Travel
If you’re lucky enough to get regional or even national work, you probably don’t need my advice. However, this can be a useful deduction. Taxis, Hotels, Travel Meals, Parking Fees and Plane Fare are all deductible in the pursuit of the almighty dollar. Track ’em.

Business Mileage & Use of a Personal Car
No, you can’t deduct your regular commute, so get that out of your head. But if you’re freelancing and go to a different location to work, that is deductible, as are Taxi fares and Parking costs that you incur for freelance business purposes. (For instance, my “day job” source of W-2 income is downtown, so when I park there as part of my regular commute, I do NOT get to deduct those expenses, but if I travel to Wisconsin to design a show, I DO.) What the IRS would like here in your records is odometer readings all year long, which I find to be an unsustainable practice when you use your car for both personal and business use. The key here is specific written records. I find myself keeping a really good calendar record of everywhere I go day-to-day, so I cross reference round-trip mileages for a number of theaters in the suburbs where I work with my calendar. A simple spreadsheet later, I have a table of about a dozen places I drove for business over the year and the number of times I drove there, and voila: a pretty close estimate of my business mileage. Also, if you really want to make the IRS happy, make writing your odometer reading into a dashboard notebook an annual New Years tradition. How they want you to do this and while also not drinking and driving is something they leave up to you.

Professional Research & Subscriptions – This is something you should definitely talk over with a professional, but I encourage you to track your expenses here, whether or not you can deduct them. Artists spend a lot on research in the course of the year. We see other shows and buy tickets, we go to awards ceremonies and trade shows because we it’s good for our career. We rent movies and purchase books and music and all kinds of art to investigate dramaturgical history or artistic technique. Actors and dancers need to maintain themselves physically, so a gym membership is a reasonable business expense. If you spend money on it because you’re using it as research or material for your work, it is deductible. Be reasonable now. Your Nintendo Wii is probably not helping you with your flexibility all that much.

IRA Contributions – Why pay taxes when you can be saving for poverty-in-retirement? You ain’t gonna be a ballerina forever. Another benefit I’ve found about squirreling away some of my 1099 income is that it means I have a glut of savings that I can throw into a traditional IRA at the end of the year… some of which will actually increase my refund at the end of the year. Stocks are also in the toilet this year, which means that unless the economy really falls off a cliff your donations will go farther when the economy rebounds. Check with an accountant about the pros and cons of traditional vs. Roth IRAs… They are DIRT simple to set up online. I was surprised.

Other deductions you should track closely:

Tax Filing Expenses including software, filing costs, and CPA professional fees. I guess this is how the government absolves themselves of the guilt of making the tax code so complex that you need a professional to file if you have a non-traditional relationship with your employer.

Credit Card Interest on Business Expenses ONLY sometimes.

Cellphone Usage for business purposes – as with all personal / private usage, deduct business usage only.

Professional Dues & Fees – I got my IATSE Union Card this year. It was espensive, but it’s quite the deduction.

Charitable expenses – Track all your donations of materials to 501(c)(3) organizations, and make sure you get a donation letter for the agreed-upon value of your donated goods. Update: thanks to @rockstarcpafor this catch: You cannot take a tempting, tempting deduction for donated time to an organization. Donated goods and materials only. Also, do not deduct political contributions or anything that you received a benefit in kind for, like that CD I got with my NPR donation this year.

State, Local Taxes and Registration Fees – Different states allow you to deduct different taxes, so this is definitely one you’ll want to investigate more. For instance, Illinois does NOT allow you to deduct annual car registration fees, other states do.

Home Office
This is one that every CPA and tax software warns you that it’s like playing with Audit fire, and I tend to agree with them. However, it’s a huge potential deduction IF you have a dedicated space of your home that you use exclusively for business. The concept here is: figure out the percentage of square footage in your home that you use for your home office, and then deduct that percentage of your home expenses: Rent, Utilities, Mortgage Interest, Association Fees. This is an oft-abused deduction, so handle with care and seek specific advice to your situation. Remember too that you can deduct 100% of any office-related expenses like furniture that you use entirely for business purposes. Getting the trend here? Do not deduct your personal stuff, DO deduct your business stuff, the rest is just capturing and estimating the relative value of each. If you own your home, there are also some long-term ramifications to using the home office deduction.

One thing that’s really important than can be confusing when using tax software like TaxCut or TurboTax: Most business deductions can EITHER be deducted on schedule C as business deductions OR you can deduct them as part of your itemized deductions offsetting your W-2 tax-withheld income. Obviously the advantage is to apply deductions as much as is appropriate off your Schedule C income, since the standard income deduction is pretty healthy on your W-2 “day job” income. And be careful when moving column A to column B that you don’t accidentally deduct expenses in both places, because that of course is a no-no.

See? This is SIMPLE. Taxes are EASY for EVERYONE to do, especially artists whose livelihoods neatly fit into predescribed non-corporate deductible behavior like BOTTLED WATER DELIVERY. I am being SARCASTIC.

I’m gonna wrap up with a little bit of social commentary about an often-overlooked, but significant deduction that I think artists would be more vocal about if they had ever heard of it. It’s called the “Qualified Performing Artist Deduction” and it’s a doozy. It’s so obscure and mostly useless that most CPAs I consulted in my early theater years had never heard about it. If you are “Qualified” for the deduction, you are allowed to deduct all your job-related expenses IN ADDITION to the standard deduction, even on your non-schedule-C income. However, to qualify you need to jump through some gut-wrenching hoops that I wouldn’t wish on anyone:

– You need to have made a minimum of 2 $200+ performer-related W-2s during the year
– Your performing-related deductions must have been 10% or more of your income
– Your adjusted GROSS total income cannot be more than $16,000 for the year – and married couples taking the deduction must not have a COMBINED income of $16k in a year.

Here’s where I get incensed… that $16,000 limit is awfully close to the poverty line, and don’t get me started about not doubling the limit for married couples. I’m glad truly starving artists can actually take this deduction, the problem is all those folks who are still starving and make more than $16k in a year. The limit on this deduction – as far as I can gather – has not been amended to adjust for inflation since the Tax Code was overhauled in 1986, as similar deductions are on a regular basis, although Sens. Schumer and Feinstein attempted to in 2006. So bully to them. It’s such a weird tax code exception – an exception literally made for only one kind of worder – and so on the one hand it’s one of the only tangible examples I can think of where the government has actually tried to treat performing artists differently and give them a leg up. On the other hand that assistance is so half-hearted and I’m sure politically unstable that a prerequisite for that leg up is that you chop the leg off first.

This article was sponsored by @marebiddle, who not only bought me a cup of home-made Kona coffee that fed the adrenaline drive required to write a post on tax code, but also specifically requested that I follow through on it with a simple “Please…”. Thanks, Mare, and good luck!

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Stretching

April 12, 2009 By: Nick Keenan Category: Collaboration, projects

Been catching up on my blog reading. It’s been a while, between taxes and tech and projects and travel, so I’m staring down about 3,000 posts or so. I am skimming, to say the least.

I have noticed, among those posts, that many of my consistently favorite bloggers have (kinda sorta) apologized on their blogs for not posting in a while during this time. In the spirit of Easter or whatever, why don’t we forgive ourselves and each other for these blogging vacations in the name of better conversation?

I am not sorry for not posting as regularly these days. I have been stretching. Unlike the impulse to raging monologue that I had when starting this blog, I’ve noticed a change in myself and others – an equally unquenchable desire for dialogue. The last few posts on TFTF have reflected that desire: < ahref="http://theaterforthefuture.com/world-theatre-day-happened/">World Theatre Day was a catalyst for idea sharing and note-comparing that is still going on. I’ve been digging on Dan Granata’s work with his new share-our-theater-stories blog Theatre that Works. Benno Nelson and I had a quick dialogue-format blog conversation about what makes a theater blog tick (god, like I know.) And New Leaf is working on a new way for us to have a deeper back-and-forth conversation with our guest artists and audience.

Specifically, the New Leaf company has been balls-to-the-wall in developing The Long Count. We wrote it (adapting several source texts and original material into an apocalyptic melange) and revised it as a collective, and it’s been hard. A good hard. Like really challenging yoga. Ssstrrech. What happens when you create a project with a group rather than a single auteur is that you have to let go of ownership of ideas, and that just plain takes practice. The gut response to having an idea is that want to see it realized. The gut response to realizing an idea that you initiated is that you want to have it realized your way. In this process, however, we have applied collaborative principles to every step of the process, including the text itself. When it works, a kind of group mind takes over and the ideas themselves lead us to new impulses. Its scary, because it’s a very lizard brain approach to creating theatrical work. We could be acting like bees, a flock of birds, ants… or lemmings, sure. It’s been so intensive to just learn how to best work this way that we haven’t opened the process up quite as much as we wanted to.. yet.

These past few weeks I hit the extent of my reach for the time being. I’m thrilled by the amount of experimentation and flexibility that our artistic home has been willing to demonstrate on this project, but like any family we can only push the collaboration, hopefully, just to the point of strain. Then it’s time for a little massage and cooldown. Yesterday, we entered the final phase of tech – which is still a more gradual layering tech process than we’re used to. Though the designers, like tightrope walkers, are all a little off kilter teching a show that is built to be this fluid, it was at the same time back to that place of comfort again for me. The whole company was there, collaborating, all jumping in working on moments of choreography, vocal texture, sound, set configuration, prop usage, lighting angles, cue timing, staging for evolving sight lines… After the stretching soreness of finalizing our first collaboratively authored script, we were immediately a family again for each other and for the cast, watching, shaping, giving each other feedback, like bees building a honeycomb that we don’t really understand.

We leap this coming friday, and open this process to the public. We are especially curious about how guests will participate in our Thursday open rehearsals – April 23, 30, and May 7 at 7 PM. The show will be open, but we will still be clarifying timings, intentions, staging, and design after we learn more about how an audience reacts to the show. We are curious… what happens when the audience is invited in to share their reactions and have that feedback actually facilitate the creative process?

What happens when you talk with others and work to draw out their ideas before you present your own?

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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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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.

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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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