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• W2950548298 abstract "The choreographer Mary Overlie, the inventor of the Viewpoints, told me that earlyon she had considered calling the Viewpoints “Windows.” I understood immediately.Look at a specific theatrical moment through the window of space. Look at the samemoment through the window of shape. Look at themoment through the window of storyor the window of time. The specific window through which we look determines how welook and what we are looking for defines our particular experience of the moment.Mary’s choice of the word “Windows” reminded me of the architecture of a peepshow. In midtown Manhattan in the days before Times Square was transformed intoa theme park, 42nd Street was littered with adult bookstores, topless bars, stripclubs, and peep shows. As part of research for a play about the seedy world of stripjoints, I visited a peep show on the corner of Eighth Avenue and 42nd Street.I entered nervously into one of the booths that surrounded the circular performancespace, put a quarter into a slot, and a window shade opened revealing a scantily cladwoman on a raised platform in the middle of the circle of booths. I felt uncomfortablebut also intrigued. I thought of the other people, probably men, each with verydifferent intentions than mine, sitting in their own booths, with their own view ofthe woman’s shape and movements. Perhaps the architecture of a peep show is auseful image in considering the way we approach different aspects of play developmentand also how we think about collaboration.Each member of a collaborative team views the production from a separate boothand through a different window. There is a director window, a playwright window, adramaturgical window, an actor window, a set design window, a lighting designwindow, a sound design window, a producer window, and so on. Each artist looksat the very same event through a vastly different lens. For the best results, everymoment of the play is examined with clarity through all of the different windows.Each window demands different skills and abilities.Perhaps it is helpful to imagine that there is no such person as a director, no suchperson as a dramaturg, no such person as an actor, playwright, or designer. Perhapsrather than specific people, think of these jobs as windows through which anymember of the collaborative team can approach the shared effort. In thinking thisway, the contributions of others may be less threatening.For most of my life I have felt great passion for and interest in the profession ofdirecting. I have studied and continue to study how to best look at a play throughthe lens, or window, of a director. But I do not feel threatened if someone else looksthrough my window. In fact, I know that at times it is essential to the process thatI move away from my own window and look for a time through the dramaturgicalwindow or the design window or the actor window. The views of the play througheach window are radically different. And I know that it is also advantageous for mycolleagues to do the same. Sound designer DarronWest often steps into my proverbialbooth, looks at the play through the director window, and makes useful observations.Actors are also welcome to step into my booth.An actor spends his or her entire life training to meet a live audience. A playwrightfaces the predicament of the blank page and then forges into battle to make somethingout of nothing. As a director, I provide the litmus test for an actor’s attempts atexpression in rehearsal. I am the first audience. But this does not mean that fromtime to time the roles cannot be fluid. I do not have to identify with my role soinflexibly that I cannot step away from the director booth and allow another personto step in and look at the play from the director’s point of view. In true collaboration,all of these lenses or windows are necessary in the realization of a play.The Taoists say, “Be round on the outside and square on the inside,” whichmeans be generous, respectful, and civil on the outside but on the inside knowexactly what you think and feel at all times. A director who spends time controllingthe rehearsal in superficial ways, a director who is territorial and inflexible is not astrong director. To collaborate one needs a strong core and a supple and flexibleexterior. Imagine steel wrapped in cotton. While it is true that the director is theperson who makes the final decisions about how the play is put together, this aspectof control and power can be negotiated in various ways. If all of the collaboratorsgenuinely feel the freedom to breathe and roam around, taking breaks from therelentless points of view of their own disciplines, they will ultimately contributemore and feel more ownership in the process and the project." @default.
• W2950548298 created "2019-06-27" @default.
• W2950548298 creator A5044863350 @default.
• W2950548298 date "2014-08-07" @default.
• W2950548298 modified "2023-10-17" @default.
• W2950548298 title "The art of collaboration: on dramaturgy and directing" @default.
• W2950548298 doi "https://doi.org/10.4324/9780203075944-45" @default.
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