Re: RAT Re: obscurity

[Sharon MacMenamin <saoirse9@yahoo.com>]

Hot damn 4 Johnny S & Chris MackyD!

Just when I'm feeling xtra specially cranky being an actor that
usually works for "no $"...you all remind me why I CHOOSE to work with
the people/theatres I do, instead of pursuing more
commercially/financially viable work @ the bigger Equity houses..."go
raibh mile math agat" (100,000 thanx) guys...

Bad Grrrl Sharon ;>




---chris mac <cmacdona@Adobe.COM> wrote:
>
> Karen:
> 
> I agree with John S. He said it all. He's wise, funny, and smart.
Print out
> his reply and tape it to the fridge. Let me say this last thing,
just for
> the hell of it:
> 
> It sounds as if you have had a rough time getting this play done,
and that
> many people have tried to add on their improvements like ill advised
> additions to a house. I'm sure it was all done out of good will, but
perhaps
> the result is that you've got a five story building with an
escalator, when
> what you designed was a underground bomb shelter with a ladder. Well
you
> should be strong enough, and perceptive enough to discard ideas when
they
> don't serve your work.
> 
> If you feel the script for Scavengers has enough integrity on its
own, then
> leave it alone, and write something else. At the end of the day it
is your
> play, and your language. Keep the integrity of your writing.
> 
> You certainly must have had some bad experiences because comparing
post play
> discussions with actors to advice given by theater professionals
about your
> writing seems like a long stretch at best. If certain theaters have
treated
> you like a child then don't work with them again. Heck. You've got
theater
> friends who seem to know something about your writing, why not work
with
> them.
> 
> I think you should open all the windows in your house, let the storm
in, and
> write the first thing that comes into your head.
> 
> ...C
> 
> 
> 
> 
> 
> 
> ----------
> >From: "Karen Cronacher" <kcron@ix.netcom.com>
> >To: rat-list@whirl-i-gig.com
> >Subject: Re: RAT Re: obscurity
> >Date: Tue, Feb 23, 1999, 4:02 PM
> >
> 
> >
> > I agree that writers need feedback--when we write a first draft we
don't get
> > any immediate feedback like an actress does on a first reading, or a
> > director does when they see a first blocking using actors.
> >
> > when i talk with other playwrights we always agree that the staged
reading
> > thing is a sham, it's becuz the theatre doesn't have the dough to
back you
> > but they're interested, sort of, so they won't have to pay you and
they save
> > money by having a reading.  who does the reading serve?? it does
not serve
> > me as a playwright, it serves the theatre.  The theatre world
treats the
> > playwright as a child who can't get it right the first time.
> >
> > I've been writing scavengers since 1989--ten years, and every
director
> > wants to make their own changes, and they all want different
changes, and
> > the script has no integrity on its own.  When i tell my theatre
friends i'm
> > making changes, they always laugh and ask why?  it's fine as it
is.  it
> > works.  in other words, i'm making changes to soothe someone
else's ego.
> >
> > I don't want to give the impression that i don't readily make the
changes--i
> > do...but the script needs to have an objective integrity, before its
> > published, so everyone isn't putting their two cents in...everyone
alway
> > thinks it's in the interest of the play....but is it?
> >
> > can you imagine asking each actor to step forward after a play has
been
> > presented, and having the audience discuss her performance in
relation to
> > the art of acting????  What does the audience know of the actual
craft of
> > acting?  or of playwriting?  why assume they know more than the
writer?
> >
> > i can't go garden now it's stormy out, but i actually was heading
out to the
> > nursery...
> >
> > --Karen
> > ----------
> >>From: "chris mac" <cmacdona@Adobe.COM>
> >>To: rat-list@whirl-i-gig.com
> >>Subject: Re: RAT Re: obscurity
> >>Date: Tue, Feb 23, 1999, 12:36 PM
> >>
> >
> >>Hi Karen:
> >>
> >>I've been watching these comments fly by and I just wanted to say
that your
> >>last posting seems to be the most honest: you have unencumbered
yourself of
> >>all the perceived trappings of being a writer. You have loosened
up. But I
> >>disagree with you when you say that theater writers work alone.
> >>
> >>I think we are all at our best when we collaborate together. I
mean what
> >>play comes out fully and perfectly formed? You learn from a staged
reading,
> >>you make changes, you learn from first productions, you make
changes again.
> >>I guess I'm advocating for the Carol Churchill/ Joint Stock
process, where
> >>plays are written and rewritten based on feedback from everyone
involved.
> >>(This line doesn't communicate what I wanted theatrically; how do
I make it
> >>better?)
> >>
> >>So don't feel so all alone. Find a local group to do your stuff.
If you
> >>can't find a local group, create one. The best way to improve your
writing
> >>for the theater is to get involved with the production of your
plays. So do
> >>what you need to do to make that happen. Maybe get off the net for
a while,
> >>go do some gardening, clear your head, and figure where and how
you can get
> >>your stuff in front of people.
> >>
> >>I'll shut up now.
> >>
> >>...C
> >>----------
> >>>From: "Karen Cronacher" <kcron@ix.netcom.com>
> >>>To: rat-list@whirl-i-gig.com
> >>>Subject: Re: RAT Re: obscurity
> >>>Date: Tue, Feb 23, 1999, 1:15 PM
> >>>
> >>
> >>> oh no no no.  i'm an actress too.  i just mean, i don't have to
wait to get
> >>> cast or wait to get a rehearsal space to write...i can do it by
myself,
> >>> anywhere.  i practice my acting only when i'm working on a solo
piece..and
> >>> then i need my director around to edit my choices.  i don't know
that actors
> >>> and directors have to do their craft everyday...but writers and
musicians
> >>> have to...maybe i'm wrong...if so then i stand corrected.  the
writer is the
> >>> only craftsperson in theatre who works alone, everyone else is
doing
> >>> communal work.  i don't mean to be disrespectful to the arts of
acting or
> >>> directing, or privilege writing.
> >>>
> >>> --Karen
> >>> ----------
> >>>>From: thadd@cstone.net (Thadd McQuade)
> >>>>To: rat-list@whirl-i-gig.com
> >>>>Subject: Re: RAT Re: obscurity
> >>>>Date: Mon, Feb 22, 1999, 7:47 PM
> >>>>
> >>>
> >>>>
> >>>>
> >>>>Karen Cronacher wrote:
> >>>>
> >>>>>
> >>>>>
> >>>>> number three:  just as i have a wild and cluttered busy inner
life as a
> >>>>> writer, i happen to have an external life that does not allow
time for
> >>>>> "hanging out".  please, i am a woman!  i mean no offense here,
just
> >>>>> explanation.  like other artists, my whole life is art, and
full of
> >>>>> meaningful projects,im in my 30s, etc.i am renovating a house,
gardening,
> >>>>> and i have two dogs, a talking parrot, and a cat.  i put all
my spare time
> >>>>> into writing, two hours a day if i can get it!  And writers
(not actors or
> >>>>> directors) have to do that.
> >>>>>
> >>>>>
> >>>>
> >>>>
> >>>>
> >>>>I'm sorry, perhaps I'm just dazzled by the brilliance of your
writing.  Are
> >>you
> >>>>meaning to suggest that writers need to work on their craft
everyday, but
> >>actors
> >>>>and directors need not?
> >>>>
> >>>>
> >>>>Thadd McQuade
> >>>>Foolery
> >>>>Charlottesville, VA.
> >>>>thadd@foolery.org
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>>
> >>>>> The auality of the script, as it reflects the mind of the
playwright, is
> >>>>> everything.
> >>>>>
> >>>>> --Karen
> >>>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>
> >>
> > 
> 

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