[Date Prev][Date Next]
[Chronological]
[Thread]
[Top]
Re: RAT The Anonymous Dramaturg(es)
Dear Cat,
While I'm in agreement with all you say as it pertains to the
dilettantes place in theatrical history, I would gently remind you of
many of the personality types associated with those who work within the
established system of "professional" theatre. Watching one's back and
buttering one's own bread seem to be the contemporary tools used in
building one's theatrical career these days. Which is why I wonder if
this plan of anonymous opinion posting would be of any use whatsoever.
As a theatrical artist, I would question <more> readily, I think, those
opinions that are housed in the sheath of anonymity. And I truly question
the theory that it would serve our theatrical history better. I think it
would only give those with a propensity toward undermining others'
successes a blanket voice of agenda ridden propaganda. If what you
propose takes the form of a very general "who do you respect and why"
structure then it's benign, really, at best and indulgent at worst. Or
are you thinking something more along the lines of "What were your
impressions of (fill in the blank)'s production of (fill in the blank)?
Which, assuming it's anonymous, I find cowardly. I'm not sure I
understand what you mean when you say "it would be more difficult to
dismiss both positive and negative feedback". I think some artists are
more dismissive of feedback in general than others, but I don't look at
that as a negative. Historically or otherwise. They just behave in a
universe separate from anothers. Not unlike artists themselves.
Theatre in America has always been (and, I dare say, always will
remain) a bit of a scavenger art form. RAT stands for many things. I
think anonymous opinions are useless fodder that only go to feed the
beast of politically correct-think and furthers the agenda ridden
theatrical politicos in their intentionally generic white-washing of the
beloved black box. If one has an opinion on should <feel free> to state
it. Without fear of repercussion. This, of course, is not that case. And
that, IMHO, is the problem. This fear based motivation of the majority of
theatre practitioners today will eventually eat away at the heart and
soul of the theatre until it devours itself in an effort to fill the hole
in its' soul.
Mark my words.
Jonathan
On Mon, 2 Apr 2001 21:02:04 -0400 (EDT) Cat Hebert
<virtualdrama@juno.com> writes:
> Jonathan,
>
> There's that difference between theater as a game or a social hobby
> and theater as an art form -- which has historical significance. The
> art form develops through feedback, recognition, mentoring, and the
> odd wadded up newspaper applied to the collaborative nose. But.. as
> we all know, we have to respect those who are commenting on our
> work. (I'm leaving out those who feel that *no one* understands what
> they are doing or why. They may be right, but theater doesn't tend
> to look backward in quite that way.) And, it's important in a
> business where competition can be polite, but ruthless, that people
> have the ability to save face. Thus the anonymity. If, for example,
> a large group of theater folk in Chicago were (also anonymously)
> polled about who they respect the most in different disciplines and
> why, and if some of those "most respected" individuals were to agree
> to comment on work and performances anonymously, it would be more
> difficult to dismiss both positive and negative feed!
> !
> back.
>
> I'd see the nature of the criticism being "bullet-point" notes --
> not crafted prose -- so that it becomes "Notes from the Masters".
> The productions/performers save face, but are forced to look into
> the mirror -- especially if the criticism were given not only
> anonymously, but secretly, so that people *couldn't* use positive
> comments in their next flyer.
>
> I suppose what prompts all this from me is my observation that with
> decreased funding and even less "safety net" for the theater in the
> US, scavenger behavior has taken over, with a lot of scuttling for
> grants, audiences, patrons, students. The more crowded the scuttling
> pit becomes, the less attention is paid to adding a generation's own
> true stories into the historical mix, and the more hungrily theatre
> artists feed on scraps from the past and delectables from the
> fringes.
>
> That's why I see documentation, mentoring, anonymous "master-cism",
> and a general atmosphere of learning so important. The egoist and
> the hobbyist have their place in theater. I'd just prefer that they
> not occupy the best seats :)
>
>
> Cheers,
> Cat
>
>
> To what end?
> Jonathan
>
> On Mon, 2 Apr 2001 17:00:56 -0400 Cat Hebert <virtualdrama@juno.com>
> writes:
> > The discussion on critics led me to think about this relationship
> > between
> > theatres and theater people and and who listens to whom.
> >
> > It seems to me that it would be pretty useful to have a group of
> > roving
> > critics -- viz very very experienced theater folk who would
> provide
> > detailed, *anonymous* criticism of productions -- broken down by
> > specialty, etc. Normally this function is actually performed by
> > award
> > committees in cities that have that sort of thing. It would be
> > useful to
> > have established acting teachers, directors, designers e.g.
> > commenting on
> > specific bits of performances. ("John R. has memorized the role of
>
> > King
> > Lear, and the ?director's? interpretation of Lear as a 19th
> century
> > vaudeville performer is ... interesting ... but John needs more
> > practice
> > with those pratfalls during the large speeches." "The rear set
> flats
> > sway
> > precipitously when doors are closed. The persian rug and the
> > waterpipe
> > are a nice touch."
> >
> > Cheers,
> > Cat Hebert
> > ________________________________________________________________
> > GET INTERNET ACCESS FROM JUNO!
> > Juno offers FREE or PREMIUM Internet access for less!
> > Join Juno today! For your FREE software, visit:
> > http://dl.www.juno.com/get/tagj.
> >
> >
> >
> > ---------------------------------------
> > To [un]subscribe to the rat-list, send an email to
> > "majordomo@ratconference.com"
> > with [un]subscribe rat-list" in the body of the message.
> > For information on other functions send a message containing the
> > word
> > "help" to the same address. Do not use quotes in your message.
> > ---------------------------------------
> > You may also [un]subscribe on the web at
> > http://www.ratconference.com/cgi-bin/web_domo.pl?list=rat-list
>
> www.ezrabuzzington.com
>
>
>
> ---------------------------------------
> To [un]subscribe to the rat-list, send an email to
> "majordomo@ratconference.com"
> with [un]subscribe rat-list" in the body of the message.
> For information on other functions send a message containing the
> word
> "help" to the same address. Do not use quotes in your message.
> ---------------------------------------
> You may also [un]subscribe on the web at
> http://www.ratconference.com/cgi-bin/web_domo.pl?list=rat-list
>
>
>
>
>
> ---------------------------------------
> To [un]subscribe to the rat-list, send an email to
> "majordomo@ratconference.com"
> with [un]subscribe rat-list" in the body of the message.
> For information on other functions send a message containing the
> word
> "help" to the same address. Do not use quotes in your message.
> ---------------------------------------
> You may also [un]subscribe on the web at
> http://www.ratconference.com/cgi-bin/web_domo.pl?list=rat-list
www.ezrabuzzington.com
---------------------------------------
To [un]subscribe to the rat-list, send an email to "majordomo@ratconference.com"
with [un]subscribe rat-list" in the body of the message.
For information on other functions send a message containing the word
"help" to the same address. Do not use quotes in your message.
---------------------------------------
You may also [un]subscribe on the web at http://www.ratconference.com/cgi-bin/web_domo.pl?list=rat-list