tag:blogger.com,1999:blog-62284640942838109982024-03-08T01:59:49.298-08:00Theatre On PurposeFor Theatre Educators and Arts Advocates, Theatre On Purpose examines the role of the arts as a means for self-discovery, cultural understanding, societal transformation and global citizenry.Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.comBlogger37125tag:blogger.com,1999:blog-6228464094283810998.post-55185286726151523882022-06-21T16:09:00.001-07:002022-06-21T16:09:28.970-07:00Covid Couldn't Rain On Our Parade! <p> My first time back to New York since the fall of 2019 was a thrilling and emotional experience. We had tickets to see the two big revivals, FUNNY GIRL starring Beanie Feldstein and THE MUSIC MAN starring Hugh Jackman and Sutton Foster. We flew out two days after the Tony Awards. Just before leaving, an email landed in my inbox from Broadway.com announcing that Hugh Jackman was out with Covid. Fighting down frustration, disappointment and a little irritation that no one appeared to have masked at the Tony's, I decided to hold on to our mezzanine tickets anyway. Then, in the airport, another alert popped up on our phones. Beanie Feldstein was out with Covid. Boom. Covid strikes again. Only a couple of weeks earlier, a local production of OUR TOWN, to which I had been invited, closed because too many cast members had tested positive. </p><p>Directors at every level from high school to Broadway have faced the same challenges and the same questions - <i>Will the show go on? Can the show go on?</i> The Covid cloud hung over my entire theatre season. Mask mandates. Quarantines. Testing. My season theme mocked me. "A Season of New Beginnings" seemed like a good idea in the spring of '21 when we mistakenly expected that we would be returning to normal. Nothing has been normal in the theatre except the constant anxiety that has accompanied any and all plans, schedules and performances. </p><p>So when we got the news about Beanie and Hugh, it was an all too familiar feeling. The surprising silver lining, however, was the electric excitement that came with watching the standbys step into these iconic roles - ready, willing and able. As Fanny Brice, Julie Benko was extraordinary. Life was imitating art as she belted out "I'm the greatest star, I am by far, but no one knows it." They do now! </p><p>As Professor Harold Hill, Max Clayton was charismatic, charming and utterly engaging. He held his own with the superb Sutton Foster. Thanks to audience cancelations, our mezzanine tickets got upgraded to house row H center orchestra seats. We clapped along to Seventy Six Trombones and cheered wildly at the curtain call. </p><p>I felt a kinship with the Broadway theatre community at both of these performances. I felt a surge of emotion, bordering on catharsis, as I entered the Winter Garden and August Wilson houses after three long years. I realized how much I had missed Broadway. And perhaps more importantly, how much I love the theatre. Why this came as a surprise, I don't know. But when you come so close to losing what you love, there is a renewed appreciation for its place in your life. </p><p>This has been a long tough road. Like all theatre directors and educators, I'm desperately weary. But I'm also deeply proud to be a part of a community that has proven itself to be incredibly resilient, determined, creative and supportive of one another. Bravo to the standbys, swings and understudies who have kept the stage lights on with their talent, professionalism and heart. I learned an important lesson on this return to New York: <i>The show must go on! </i></p>Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-80595138325259382692021-06-24T19:33:00.001-07:002021-06-24T19:33:16.561-07:00When the Curtain Fell: A Theatre Educator's Pandemic Story<p><span face="Calibri, sans-serif">Like a lot of theatre educators, the Covid-19 Pandemic forced me to be creative in new and imaginative ways. I can say that the pandemic changed me.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">I’ve grown in ways I never could have anticipated.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">And now, fifteen-plus months later, as I come up for air during my long -awaited summer break, I am just beginning to process what happened. Writing this is harder than I thought it would be partly because my stomach churns remembering what we had to do just to get through. I don’t really want to relive it. And it isn’t over. Despite appearances the threat of variants and vaccine inequities persist leaving us with a complicated relationship with masks and continued uncertainty about the future.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">Yet, I feel a need to capture my story while it is still somewhat fresh. The time-warp of the 2020/2021 school year is real. The memory of it against the backdrop of a global pandemic, civil unrest and horrific loss is at once vivid and blurred.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">I often heard the analogy that we were learning how to build the airplane while flying it.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">This is an excellent metaphor for what we did in those early days.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">The urgency, fear, anxiety and uncertainty that gripped the artistic community leveled the playing field. High School directors and professional theatre producers were all asking the same questions. And no one had the answers.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">This was at once comforting and frightening.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span></p><p><span face="Calibri, sans-serif">When we “went out” in March of 2020, my students and I were a couple of weeks away from opening our spring musical.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">The set was in. The costumes were ready. The show was in great shape. After a last-minute flurry of activity and one final rehearsal to prepare for a potential delay in opening due to the rumored stay at home order, on March 14</span><sup style="font-family: Calibri, sans-serif;">th</sup><span face="Calibri, sans-serif">, 2020 the curtain fell. Like everyone else, I was in utter denial about how long our quarantine would actually be.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">As the reality set in and our return-to-school date kept being pushed further out, I continued to hold on to the hope that our show would go on if not in April perhaps in May or June or July. I surveyed my cast and crew on their availability. I held brush up rehearsals over the computer and continued giving acting notes.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span></p><p><span face="Calibri, sans-serif">And then unbelievably, we were told we would not be back until September at the earliest and no one knew exactly what school let alone theatre would look like.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">I was urged to let the show go. No need to push a boulder up the mountain.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">I melted down dissolving into uncontrollable sobbing.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">Eventually my grief transformed into a new level of problem solving.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">Disbelief, bordering on complete shock and intermittent panic set in as I desperately learned how to use Zoom.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">I participated in every webinar available on how to produce theatre online.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">I struggled with the limitations of music and singing over Zoom.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif">Like a warrior going in to battle against an unseen enemy, I plotted, planned and immersed myself in the unfamiliar landscape of a virtual world. With indefatigable energy I soldiered on determined that my students would not lose their spring musical.</span><span face="Calibri, sans-serif"> </span><span face="Calibri, sans-serif"> </span></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">We arranged a drive-by costume pick up for the cast. No one was allowed out of their car. Masked and gloved my production team carefully deposited costumes and essential props into their trunks. Our tech rehearsal shifted from a cue to cue in the theatre to designing virtual backgrounds on Zoom. I adopted a new directorial language that included “hide non-speaking participants,” “gallery view,” “mute,” and when all else failed, “just duck out of the frame!” We did it. The show did go on however crudely and imperfect. The bar was not exactly lowered. It was just a different bar. And the fact that we did it despite all of the obstacles brought immense joy and satisfaction. While creativity, teamwork and passion inspired our “show must go on” attitude, I now know that something else less obvious and more profound was happening to me. I was growing and learning. As my thirty-first year of teaching began in August of 2020, I felt like a first-year teacher. None of my experience had prepared me for what lay ahead. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">I was learning to let go of the idea that I had control over anything. <o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Technology became my lifeline and my nemesis. Immersed in the world of online teaching, glued to a computer screen for hours, toggling from one screen to another, I learned to let go of frustration as my clumsy fingers navigated my virtual classroom. I learned to accept lagging WIFI, audio issues, screen sharing, ghosting, and the imperfection of the process. I learned to slow down. I learned to be flexible. I learned to be patient. My vocabulary both expanded and reduced to a few repeated words and phrases: <i>asynchronous, cohort, hybrid, blended plus, social distancing, streaming, resilience, pivot, unmute, please activate your camera and I don’t know! </i><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"> </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">I learned to use new tools like Flip Grid and Microsoft Teams. Isolated and alone, in an eerily quiet, empty black box classroom, I tried with all my might to penetrate the distance to give my students at home an experience of theatre. Whether at their kitchen tables, in their garages or slumped on their beds, I asked my zombie-eyed, often depressed students, to stand up, move their bodies, warm up, and play games that forced them to connect. Mental health check-ins, sparkle fingers in lieu of applause, collaborating in channels and break out rooms all became the new normal. </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"> I learned how to conduct virtual auditions, virtual rehearsals, virtual Thespian meetings, virtual parent meetings and direct virtual performances. I learned about virtual choirs. I learned how to stage socially distanced productions. I learned that masks work better than face shields outside when the weather is cold because face shields fog up. I learned how to call camera cues for live-streamed performances. I learned what it feels like to finish a show and have a cast bow to no one and to be the only one in the theatre applauding. </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"> </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">Yes, we produced a full season of shows that included a virtual murder mystery, a one act compilation of Shakespearean scenes and monologues in face shields outside under scorching sun in the midst of fires and smoke that caused us to delay the show a week. We performed a small-scale musical with a canned orchestra, singing in masks in freezing weather in a week of rain that caused us to move our opening night inside for a tiny, socially distanced audience. We streamed a radio show and we held a virtual Broadway Cares talent show that was in fact a technical train wreck. I learned humility. I learned perseverance. </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">I learned that I love theatre even more than I realized. I learned that live theatre cannot be replaced. I learned to never take a live audience for granted ever again. I learned that while I was not prepared for the pandemic, I was prepared to face it. </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;">The gift of age? The gift of perspective? Perhaps. </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><br /></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"> What I know now that I didn’t know when the pandemic started was that my life journey had prepared me for this moment. I was equipped to help my students get through it. That is an important lesson for us all. We bring our unique life experience with us in every circumstance. The obstacles, challenges, loss, grief, pain and suffering are our teacher. The pandemic robbed the class of 2020 and 2021 of many milestones. But, the gift in the experience is perspective. When they face unknown challenges in the future they, too, will be prepared. Above all, I learned what Theatre on Purpose truly means. And now, so do my students. </p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p></o:p></p><p class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in;"><o:p> </o:p></p>Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-34023694105682825552020-06-15T20:30:00.000-07:002020-06-17T16:13:16.512-07:00A Theatre Educator's Pledge<blockquote class="tr_bq">
As a theatre educator, I am asking myself a lot of questions right now. This is a time for deep introspection and hard truths. It is a time to challenge systems of oppression in all forms and to work for justice and equality. This is a time to assess white privilege and to define what is meant by anti-racist. It is a time for painful learning. It is a time for change. It is a time for transformation.<b> </b> It is a time for truth.<b> </b>I am asking myself where I have been complicit in perpetuating the status quo. I am looking in the mirror to see my own unrecognized biases. I am seeking to educate myself so that I can be a positive example for my students. </blockquote>
<blockquote class="tr_bq">
As a Theatre on Purpose practitioner, I have been committed to giving students a voice through the arts. I have always believed that theatre is transformative because it offers students both a window and a mirror to see the world. Theatre is a window through which we can see others and thereby grow in understanding, empathy and knowledge. Theatre is a mirror because it allows us to see ourselves and reflect on our own reality, motivations and actions. </blockquote>
<blockquote class="tr_bq">
Arthur Miller said, <i>"I regard theater as a serious business, one that makes or should make man more human, which is to say, less alone."</i> I have always been moved by this quote. I agree, theatre is serious business. As a theatre educator and practitioner I can make a difference by exposing my students to diverse cultures and experiences while delving into the historic contexts across time and place.</blockquote>
<blockquote class="tr_bq">
In IB Theatre, the aim is to <i>"develop internationally minded people who, recognizing common humanity and shared guardianship of the planet, help to create a better and more peaceful world." </i> I embrace this philosophy but am asking how it can go further.</blockquote>
<blockquote class="tr_bq">
<b>Language and words matter. </b><b>Here is my pledge:</b></blockquote>
As a theatre educator,<br />
I pledge to listen more.<br />
I pledge to educate myself on race, white privilege and oppression.<br />
I pledge to pay more attention to the stories we tell on stage and the plays we read in class.<br />
I pledge to offer my students the opportunity to use their voices to make our world a<br />
a better place. <br />
I pledge to maintain a theatre program that is a safe, judgement-free space for students to <br />
belong.<br />
I pledge to engage students in meaningful, impactful, purpose-driven artistic projects that <br />
directly tackle difficult topics about race, identity, Anti-Semitism, harassment,<br />
and oppression.<br />
I pledge to maintain a spirit of goodwill.<br />
I pledge to resolve conflict.<br />
I pledge not to use violence in thought, word or deed.<br />
I pledge to work with others to build a world that is more loving, compassionate and just.<br />
I pledge to seek first to understand.<br />
I pledge to be more courageous.<br />
I pledge to use theatre on purpose.<br />
<br />
Theatre on Purpose - Now more than ever.<br />
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</blockquote>
Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-61473877940393208102020-04-17T13:33:00.000-07:002020-04-17T13:33:50.948-07:00I Ain't Down Yet...But... <br />
I find myself struggling during this open-ended time of waiting during the Pandemic of COVID-19. I'm a highly organized person. As a director and theatre educator, schedules, deadlines and calendars rule. I am also a problem solver. I don't give up easily. In high school, I was Molly in <i>The Unsinkable Molly Brown</i>. My mantra is "I ain't down yet." But right now all bets are off. What happens when the show can't go on?<br />
<br />
I remember a line from the play, <i>I Never Saw Another Butterfly</i>, the true story that bears witness to the children interned in Terezin during the Holocaust. Irena, the teacher who inspires and motivates her students to write poetry and draw pictures about their experience, says to young Raja, "waiting days are long days."<br />
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These are long days. I am waiting, like everyone, for this to be over. But that is not likely to happen any time soon. Given the reality, what does that mean for my students who have rehearsed and were ready to perform their spring musical, <i>Into the Woods </i>in April? At what point do I holler uncle?<br />
I'm walking a fine line between tenacity and insanity.<br />
<br />
We are not returning to school for the rest of the year. I have given up on the notion that we will be able to perform for a live audience. So what choices are left? I've envisioned everything from the actors coming back when it is safe - maybe late summer or even over Thanksgiving - performing with clear face shields. The cast members could apply their makeup, do their hair, dress in costume and warm up at home. But is that even feasible?<br />
<br />
There are a million dominoes. The set is installed but nothing has been teched. No light cues have been programmed. Does this make sense? Or would we be better off figuring out a way to do an audio recording of the cast? These students deserve some kind of "finished product," don't they?<br />
Or is this just another casualty of COVID-19. Another loss for the class of 2020?<br />
<br />
I don't know. Will the answers come? At some point will the answer be obvious? Will it be dictated to me? Somebody, anybody, tell me what to do!?<br />
<br />
Unwinding the show will have its own set of complications - set, props, costume returns. Negotiating contracts. Retrieving musical scripts and scores. What else? I don't know what I don't know. <br />
But what will the emotional toll be on those kids?<br />
<br />
Waiting to mount the show some time in the future without any idea of when that might be seems unreasonable. Reassembling a cast that would then include graduates, reinstalling the set, re-assembling the costumes.... at what expense? Is that even possible?<br />
<br />
I always say, "safety first." This is the ultimate, "heads up!" call.<br />
We cannot do the show until it is safe to do so. That line is clear.<br />
How long to hold on to a full scale production is not so clear. When do you cut your losses, regroup and create something lasting in a different way?<br />
<br />
Waiting days are indeed long days. I ain't down yet...but it's feeling like the iceberg is on the horizon.<br />
I'm willing to row. But where is the life boat?<br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-87501231858027389142020-04-13T18:15:00.002-07:002020-04-13T18:15:40.670-07:00From Football to Theatre: A Lesson on Great Coaching I just listened to a new podcast episode entitled <a href="https://podcasts.google.com/?feed=aHR0cHM6Ly9yc3MuYXJ0MTkuY29tL3RoZS1yaW5nZXItbmZsLXNob3c&episode=Z2lkOi8vYXJ0MTktZXBpc29kZS1sb2NhdG9yL1YwL1VJdlhSNW9la04tNFNyUmFTYXRMaXZrbXBfdEhJU05xRHpxZzBIVXg2Z2s&hl=en&ved=2ahUKEwiFsJqM3OboAhVBCjQIHT6aDxoQieUEegQICxAE&ep=6"><i>Flying Coach With Steve Kerr & Pete Carroll</i>: </a><i><a href="https://podcasts.google.com/?feed=aHR0cHM6Ly9yc3MuYXJ0MTkuY29tL3RoZS1yaW5nZXItbmZsLXNob3c&episode=Z2lkOi8vYXJ0MTktZXBpc29kZS1sb2NhdG9yL1YwL1VJdlhSNW9la04tNFNyUmFTYXRMaXZrbXBfdEhJU05xRHpxZzBIVXg2Z2s&hl=en&ved=2ahUKEwiFsJqM3OboAhVBCjQIHT6aDxoQieUEegQICxAE&ep=6">Two Champions on Mentors, Philosophies and Why They Coach</a> </i>on The Ringer NFL Show. Why would a high school theatre educator be the least bit interested in listening to a sports oriented podcast? Well, truth be known, I'm a huge Pete Carroll fan but more than that, I am an avid student of great coaching. I'm fascinated by how coaches motivate their teams to win game after game. I am wildly curious about what it takes to have a championship mentality.<br />
<br />
I love college football and <i>(full disclosure)</i> I am one of four USC alumni in our family so USC football has always been a favorite fall pastime. Over the years, I've observed differing coaching styles on display along the sidelines of college football games; the stern-faced authoritarian, the clipboard-throwing bully and the exuberant enthusiast. Pete Carroll falls into the latter category.<br />
<br />
When I saw that there was to be a podcast interview with Pete Carroll about his philosophy of coaching, I had to tune in. Never a big NFL fan, once Pete left USC and joined the Seattle Seahawks, I suddenly cared about the Super Bowl. Pete Carroll's energy, focus, and enthusiasm is effervescent. Watching Pete on the sidelines, chomping his gum is pure fun. He loves what he does. His passion is evident. His intensity is palpable. His positive spirit is infectious. <br />
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Now, forty-years in, Pete Carroll's personal charisma combined with his skill, daring and determination are legendary.<br />
<br />
Here are my five takeaways on coaching from <i>Flying Coach With Steve Kerr & Pete Carroll: Two Champions on Mentors, Philosophies and Why They Coach </i> that can be applied to high school theatre directors:<br />
<br />
<b>1. Be authentic: </b>It's not all about the "X's and O's" of play calling. Translated for theatre - it's not just about the blocking. Bring yourself, your passion, your unique approach to directing and trust yourself.<br />
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<b>2.</b> <b>Be consistent:</b> I couldn't agree more. In high school theatre, consistency provides clarity of communication and expectation. This is not easy because there is always the exception to the rule. Theatre educators need to be aware, intentional and fair. Five minutes early is on time for everyone!<br />
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<b>3.</b> <b>Have a philosophy: </b>This falls right in line with my belief in the Theatre on Purpose approach to teaching. Know why you are in educational theatre. It's not something to "fall back on." It's a calling.<br />
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<b>4. Do the hard work:</b> Training, discipline and developing the tools necessary to create theatre are imperative. It takes practice, rehearsal, and self-discipline. Theatre, like football, requires a team effort. Not everyone can be the quarterback. But without the kicker or receiver there isn't a team. Technicians, stage crew, and the ensemble are equally important as the leading actor.<br />
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<b>5. Make sound choices:</b> This one is personal. Life-work balance. To thine own self be true. Not always an easy thing to achieve, but regret is real so think about the choices you make along the way.<br />
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I once heard that Pete Carroll would tell his team to "go out there and do it better than you've ever done it before." I have quoted that "Pete Carrollism" many times to my students. You've got to show up ready to perform; seasoned, healthy and focused. The simple notion of doing something better than you've ever done before is a straight forward and clear directive. <br />
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And that's how we should live our lives, too, isn't it? Each day, shouldn't we be striving for excellence? Each day shouldn't we be trying to be the best version of ourselves?<br />
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I appreciate great coaching in educational theatre and recognize that it is all about the process. As I always say, if the process has integrity, the product will have integrity.<br />
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Theatre on Purpose is student-centered, nurturing, disciplined, passionate, authentic and above all, joyful!<br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-53575623782312202602020-03-25T09:27:00.000-07:002020-03-25T09:31:27.485-07:00Into the Woods and Through the Fear, You Have to Take The JourneyMy spring musical, <i>Into the Woods</i>, scheduled to open April 1st is postponed. This April Fools' is no joke. Sets abandoned, costumes hanging on their racks, wigs sitting idly on their styrofoam heads in front of makeup mirrors all waiting for somebody to call "places."<br />
<br />
Technology has allowed me access to my cast. But when you're trying to rehearse Parts 1 - 9 of the prologue of <i>Into the Woods</i> on Zoom from 56 remote locations, let's just say, it doesn't work.<br />
Wifi signals vary. Lags in transmission play havoc with Sondheim's already complex rhythms creating a cacophony more dissonant than the score itself.<br />
<br />
Anyone who knows me, knows that <i>Into the Woods </i>is my favorite musical. But as the Meme going around theatre circles says, "When I said I wanted life to be more like a musical, I didn't mean Act II of <i>Into the Woods." </i> Eerily on point. Equally chilling was my choice of our 19/20 season theme - <b>Courage.</b> Irony? Premonition? Intuition? Coincidence? Bad luck? You pick.<br />
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<i>"No more questions. Please. No more tests....comes the day you say what for... just no more!" </i><br />
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The drama we are living will no doubt result in great art. YouTube is already bursting with creativity. I've always said, theatre people are the most generous of human beings. With no lights and no stage, they are finding ways to reach out to support the community of out of work performers, writers, directors and most notably, young theatre students through multiple social media platforms. <br />
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It will be left to this generation of emerging theatre artists to tell the story of <i>"how it all happened."</i><br />
An unseen, microscopic giant has come into our midst. <br />
Through our social isolation, we are conversely coming together out of responsibility to the community. "<i>Careful, no one acts alone." </i><br />
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As a theatre educator, I am reminding myself every day as I strive to keep my cast inspired, hopeful and connected through tablets, iPhones and computers, <i>"Careful the things you say. Children will listen."</i><br />
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It may be <i>"Hard to see the light now. Just don't let it go. Things will come out right now. We can make it so. Someone is on your side. No one is alone."</i><br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-51497668736116060542019-10-29T12:31:00.000-07:002019-10-29T12:31:02.345-07:00VOICES OF COURAGE: A lesson in devised theatre and life<br /><div class="MsoNormal" style="font-family: Cambria; margin: 0in 0in 0.0001pt;">
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VOICES OF COURAGE just closed. The show ended up being a promenade-style semi-immersive hard-hitting experience performed in six locations around the campus culminating in an inspiring and uplifting finale. <o:p></o:p></div>
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We began in August experimenting with various approaches to devising. Given most of the students had never attempted an original work, it was important to introduce them to the process of creating original theatre using various starting points. At the end of the first session, the students began to feel confident that they <i>could</i> do it. <o:p></o:p></div>
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For three weeks we played with style, approaches and techniques equipping the students with a vocabulary for devised theatre. We drew from practitioners such as Anne Bogart, Brecht, and Grotowski. We explored the physical theatre techniques of Jaques LeCoq and Frantic Assembly. We also explored and unpacked the theme of courage. Vast and unwieldy, one of the most challenging aspects of the process was narrowing the theme to digestible topics. The whole group brainstormed on the question of what courage looks like. Their responses ended up as a word collage in the finale of the show. Each student had to ask themselves where they have been courageous in their own lives and where we lack courage in society today. We then took all of these ideas and sorted them by different types of courage: Physical, Emotional, Spiritual, Moral and Personal. <o:p></o:p></div>
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The structure of the piece began to emerge – certain topics continued to bubble to the surface. Students took an inventory of their passion, interests and skills and groups began to organically form. Ultimately the casting of each ensemble was left to the Story Weavers (Directors) based on the requirements for their performance. We all agreed that the whole piece had to have a variety of theatrical styles and topics. The issues the students selected for their individual ensembles were: Anxiety, Body Image, The Environment, and Disabilities. We agreed that the finale needed to bring it all together by focusing on voices of courage throughout history. We ultimately used projections, tableaus and music for the ending. <o:p></o:p></div>
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Some of the creative choices were dictated by logistics. Our black box can hold up to sixty people. Were we to have a capacity audience of 240 this would necessitate that we have four ensembles. Each Story Weaver was given the freedom to scout locations on campus to fit their particular piece. The site- specific locations were anchored by the black box and our main stage theatre which we had determined would be the site for the finale. The audience would be divided into four groups and would take different paths to the theatre while watching ten -minute performances in a different order. <o:p></o:p></div>
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We wanted to tackle the issue of immigration so we elected to start the show with a prologue at the front gates of the school which became an immigration processing center where the audience was processed in a harsh, dehumanizing way and divided into their groups by being separated into detention centers. We knew there would be some push back from some audience members who did not want to be separated. This of course, was an intentional choice emphasizing the dehumanizing effect of family separation at the border. Images of Ellis Island and contemporary immigrants at the southern border were used to establish the setting. </div>
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The marketing team went to work creating tags akin to the identification tags worn at Ellis Island. Biographies of famous immigrants who had made a contribution to the USA were affixed to the back of each tag. As the audience was processed they received a Voices of Courage lanyard with a stamped number corresponding to their assigned detention center. A guard stood watch, dressed in a costume that was vaguely suggestive of a Nazi concentration camp guard. Lighting was harsh and bright and the feeling was intended to be disorienting. The show opened with narrative and poetry showing three points of view about the issue of immigration: Those opposed, those supportive and the voices of the immigrants seeking safety and work. <o:p></o:p></div>
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The paths were revised numerous times by a student who created elaborate, color-coded maps. The sets, lights, and sound for each location were designed by students. The costume design team decided to use a similar lyrical dance-wear style with each ensemble being assigned a specific color. This provided a unifying effect throughout. Tour guides led each group along the path to each ensemble. The performances drew from original material, poetry, and song. The students incorporated voice over, video, and projections in their performances. They staged their pieces to fit the sites they had chosen. <o:p></o:p></div>
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The Environmental ensemble effectively used a grassy, tree-lined area of campus for their piece entitled “Our House is on Fire.” The ensemble that focused on anxiety in “Alex and You,” selected a courtyard surrounded by classrooms. The physical theatre piece that included “mind monsters” progressed along a path as the story unfolded forcing the audience to move along with the characters on the journey to healing.<o:p></o:p></div>
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In their piece “A World that Wasn’t Made for Us,” the black box ensemble transformed the space into a fractured and multi-leveled environment using projections and sound to capture the experience of disability. The piece incorporated poetry and movement in a highly impactful way which elicited empathy and enlightenment. <o:p></o:p></div>
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In “Adjusting to a Sick Society,” the ensemble interpreted lyrics through three choreographed pieces focused on domestic violence and body image. A dance floor was set up in a courtyard with imagery painted on flats.<o:p></o:p></div>
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There were four rotations. The audience was then immersed in a human rights protest march during which the cast of each ensemble converged outside the theatre chanting “Listen to our voices of courage. We rise up with voices of courage.”<o:p></o:p></div>
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The doors of the theatre were opened and a loud sound- scape of famous protests from the march on Washington D.C. to Parkland were played with images of the protests projected on stage. Ensemble members carried signs and banners were hung over the stage with messages that reflected the issues addressed in Voices of Courage.<o:p></o:p></div>
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The show ended with a performance of the song “Draw Your Own Conclusion,” by Andrew Lippa debuted at the International Thespian Festival for the 90<sup>th</sup> anniversary of the Thespian Society. <o:p></o:p></div>
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The process was not without its challenges. One of our greatest artistic difficulties was how to transition the audience from one performance to another. We experimented with numerous approaches and ended up simply tying each piece together by asking the audience a question that began with “Do you have the courage to….?”<o:p></o:p></div>
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We had hoped to encourage discussion among the audience members but this was only moderately successful. Ultimately, the subject matter of each performance was so profound that the audience needed time to process before transitioning to the next piece. We adjusted our talk back approach multiple times. <o:p></o:p></div>
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Another challenge we faced was that each performance started at a slightly different time. While they all were ten minutes in length, the staggered timing created an issue for the actual transitions. Thanks to walkie talkies and trials, we opted to allow each performance to begin as the audience settled and then to transition at the same time once the “talk backs” had concluded in each location.<o:p></o:p></div>
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Weather was on the whole favorable for us given that three of our locations were outside. It was a warm, October California week. Wind provided a few challenges leading to a lot of gaff tape and sand bags to prevent sets from blowing over. A rainy-day plan bringing all performances into the main theatre was put in to place. Light cues and transitions were recorded just in case of foul weather. <o:p></o:p></div>
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The cast of each ensemble was responsible for set up and strike of their individual performance areas each night of dress rehearsal and performance since the campus needed to be cleared for the next school day. It was a labor-intensive job but provided a lesson in teamwork for all. <o:p></o:p></div>
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The result of the entire experience was nothing short of a success. The students had total ownership of the piece. They grew by leaps and bounds both personally and artistically. Each night, I asked them to find their center and to feel the ground beneath them. They stood, solidly rooted to the floor. That center, I told them, is the strength from which they would find their voice of courage. I took the opportunity to remind them that while this process was based in devised theatre, the take away are many life lessons. They overcame challenges. They worked collaboratively as a team. They used their individual gifts to do purposeful work. They persevered. They questioned and doubted but kept going. In this age of angst and anxiety, they are stronger than they know. I urged them to draw on their experience to always remember that they are not victims. They are strong and resilient. They are voices of courage.<o:p></o:p></div>
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Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-44178187182377900942019-09-18T17:35:00.000-07:002019-09-18T17:35:07.037-07:00VOICES OF COURAGE ....The Journey Begins<br /><div class="MsoNormal" style="font-family: Cambria; margin: 0in 0in 0.0001pt;">
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Over forty Talon Theatre students are courageously diving in to the devising process for the fall production VOICES OF COURAGE.<o:p></o:p></div>
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The journey thus far has been creatively stimulating, thought provoking, and logistically challenging. We began with a non-traditional “audition” process of collaborative exercises requiring students to develop short performance pieces based on images, news stories, and narratives. For the first several rehearsals, the cast and design team were introduced to a variety of devised theatre and composing methods, styles, and processes equipping them with tools to create original material. The cast and crew have examined and discussed different types of courage and heard a presentation on courageous figures throughout history.<o:p></o:p></div>
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The whole ensemble was then divided into five individual ensembles lead by story weavers who are serving as the directors of the project. The make-up of the ensembles was based on the topics, interests, skills and passions of the individual members. Set, light, costume, prop, sound, projection, makeup and hair designers have been assigned to each ensemble. <o:p></o:p></div>
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The first production meeting produced some incredibly creative ideas.<o:p></o:p></div>
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Some of the logistical issues we will face include site -specific technical needs and how to implement the design concepts.<o:p></o:p></div>
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The five ensembles will be developing ten minute performance pieces in different styles dealing with specific topics related to the theme of courage. These five pieces will be woven together into one dramatic, musical, and movement collage.<o:p></o:p></div>
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Some of the topics being explored include immigration, the environment, body image, mental health, discrimination, and equality. <o:p></o:p></div>
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The marketing and publicity team is developing the graphic design and logo for the piece and visual artists are creating a series of murals capturing the overall theme.<o:p></o:p></div>
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The commitment and energy of these students is inspiring! There is something utterly thrilling about devising original theatre with students. This truly is theatre on purpose!</div>
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Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-61140002232582909022019-08-16T10:56:00.000-07:002019-08-16T10:57:14.474-07:00Voices of CourageThe feeling is familiar. I can only describe it as a surge of energy pulsing through my veins accompanied by a quickening that can only be compared to expectancy. Equal doses of fear and anxiety - a mixture that is more exciting than scary. On the precipice - it is the beginning. It is the unknown and it is certain - both.<br />
Absolute. Driven. Determined. Important.<br />
At this stage of my career in educational theatre, it is the only thing that matters to me.<br />
Urgent. Necessary. It feels like the only thing I <i>can</i> do and <i>must</i> do because I can.<br />
Theatre on Purpose.<br />
For the next few months, I will be collaborating with students on devising an original piece of theatre focused on the theme of <b>courage</b>. Why? Because I believe theatre can make a difference. I believe theatre can change the world. I believe theatre can inspire. I believe theatre is essential. I want my students to know that. I want them to have a voice. I want them to be empowered.<br />
Our world needs to hear what they have to say. <br />
They are coming of age in difficult times. I want them to know what it feels like to use their creative gifts and talents for positive change. I want them to know what courage is, where it comes from and what it looks like. I want them to find their own personal courage.<br />
We will look for examples of courage in our daily lives and throughout history.<br />
Together, we will summon creative courage through collaboration and community to instill and inspire hope.<br />
I will document our process and reflect on the experience of devising an original piece of theatre from beginning to end in weekly blog posts in the hope of inspiring other Theatre on Purpose practitioners.<br />
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<b>Definitions of courage:</b><br />
Merriam -Webster: noun<br />
<i>mental or moral strength to venture, persevere, and withstand danger, fear or difficulty</i><br />
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Oxford: noun<br />
<i>The ability to do something that frightens one; bravery</i><br />
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Original definition: <i>The root of the word courage is cor - the Latin word for heart. In one of its earliest forms, the word courage meant "To speak one's mind by telling one's heart." </i><br />
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Onward....<br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-49406037906136813432019-08-01T11:45:00.000-07:002019-08-01T11:48:31.213-07:00 Hal Prince - An Appreciation Last night the lights dimmed on Broadway. This morning, we should all be planning our next creative project. The legendary theatre director and producer, Hal Prince, famously went to work the next day after the opening of every show, flop or a hit, and began working on his next big idea. <br />
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I'll admit that news of Hal Prince's passing hit me harder than I would have expected. I never had the privilege of meeting the man. I can't say that I thought all that much about him on a daily basis. The fact that he was responsible for many of the Broadway musicals I grew up with, listened to, performed in and directed was not uppermost on my mind. But this morning, as I sat down to write this post, I couldn't stop thinking about how Hal Prince impacted my creative life. <i>Fiddler on the Roof</i>, <i>Company</i>, <i>Follies</i>, <i>West Side Story</i>, <i>Evita</i>, <i>A Funny Thing Happened on the Way to the Forum</i>, <i>Phantom of the Opera - </i>just a few of the astonishing musicals he helped create in the twentieth century - are the reason I love the theatre so much. <i>Company</i> and <i>Follies</i> were part of the sound track of my college theatre days. They imprinted on my creative brain. Each starkly different in style, they were something entirely <i>different</i> from anything I'd ever seen before<i>. </i><br />
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There is no describing the importance that <i>Fiddler</i> <i>on the Roof </i>and <i>West Side Story</i> have played in my life. I've directed and performed in each of them twice. Both of these masterpieces rate among my favorite shows of all time.<br />
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I'm old enough to have seen Patty Lapone as <i>Evita</i> and I can still remember the utter thrill I felt as she belted out<i> "Don't Cry for me Argentina." </i>But the staging is what struck me the most about the show. It was the first musical I'd ever seen that incorporated film projection. When the movie reel wound to a stop in the opening scene and the chorus of mourners began to process, I was mesmerized.<br />
<i>Phantom of the Opera </i>ushered in the era of the visual and technical spectacle. For just one moment, remember the first time you experienced the chandelier falling. Hal Prince was a master of theatrical storytelling.<br />
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I am deeply grateful to have come of age in the twentieth century at a time when musical theatre entered the modern age. <br />
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The legacy of Hal Prince has permeated my life in surprising ways. But what I think I appreciate most about this artistic genius, is that he loved the craft so much that he never gave up. He just kept working. To me that is the epitome of the creative personality. Purpose-driven work is life-giving, energizing, passionate and essential. I simply cannot imagine my life without the musicals Hal Prince produced. Period.<br />
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From everything I've read about Hal Prince, and I think I've devoured virtually everything written since news of his passing broke, he trusted his instincts and had confidence in his vision. There is a lesson in that. Fearless, bold, larger than life, this legendary theatrical giant may have left this earth, but we will carry on inspired by and grateful for what he left us.<br />
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Now get back to work.Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-29696027097134857932019-07-24T11:30:00.000-07:002019-07-24T11:33:00.181-07:00On the Creative Process I'm guilty of having a lot of creative ideas. Sometimes the best ideas are the ones that terrify me the most. Lately, I've begun to examine this pattern. <br />
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It goes something like this:<br />
One moment I'm sitting on the couch like a lump feeling purposeless, unmotivated and utterly worthless. The next moment an idea hits like a bolt of lightening. I feel a quickening in my gut. My mind begins to explode with thoughts. I see the potential. I connect the dots. Boom! I have a fully visualized concept!<br />
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It's at this point that the surge of creative energy shifts and the anxiety sets in. I'm consumed with fear and doubt. <i>What </i>was I thinking?<br />
I border on panic.<br />
It's at this juncture that I face a choice:<br />
Curl up into a ball and pull the covers up over my head or take the first step toward making the vision a reality.<br />
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What am I afraid of? I reject the notion that I'm afraid of success. But maybe I am.<br />
Or maybe I fear being consumed. Once I begin a project, it's a deep dive. I cannot stop until I have mined the depths, explored every option and imagined the big picture. Time ceases to have meaning. Hours go by without pause. Even when I get up from my computer to eat, my brain is still active. I absentmindedly fix myself a sandwich while the details swirl around in my head. My desk or office begins to look like a bomb has gone off - drawers open, files, papers, books, pictures, journals, notebooks are strewn around the floor. Piles with colored post-its identify next steps and to do lists.<br />
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If I allow myself to jump in, I know that I may not come back up for air for a very long time. That is the fear. It's all or nothin'.<br />
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They say "leap and the net will appear." Almost everything I've done has been aligned with this belief. There is a difference, however, between risk-taking and recklessness. When a creative risk is worth taking, I feel it in the core of my being. There is a palpable tension between the excitement and the fear. <br />
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The next step for me is to look for the right people with whom to share the vision. It's very important to be careful in this stage because the wrong person can kill the creative energy. I've learned to stay away from wet blankets!<br />
The right collaborator is equally passionate about the project, understands the creative process and has skills and talents that I lack.<br />
I have very high standards. But I do not allow my perfectionistic tendencies to paralyze me. I also make mistakes because I move quickly. I need someone who has my back and the courage to steer me in the right direction when I get off course.<br />
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I believe that every obstacle can be overcome. But it's not a straight road. Detours are inevitable. U-turns and changes in direction are part of the journey. I do not lack patience with the meandering path. I embrace it.<br />
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I do lack patience when barriers are erected out of fear. I believe that it's important to seize the day. When the opportunity knocks, open the door. The intensity of the creative fire begins to wane over time. After the initial surge of inspiration, the nitty gritty work begins to realize the dream or vision. I love both of these stages and thrive on the implementation of a project.<br />
It's important to keep going even when you feel lost or out of control. I always follow Rilke's words, "Live the questions." <br />
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I've come to understand my process and my behavior in each stage of a creative project. To quote Rilke again, "Everything is gestation and birthing." The labor of giving birth to a creative vision takes time. Determination, perseverance, tenacity, trust, and belief are all critical to success.<br />
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Remember:<br />
<i>"A vision without a task is but a dream, a task without a vision is drudgery, a vision and a task is the hope of the world."</i> From a church in Sussex, England, circa 1730<br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-65178834703202793192019-07-12T12:14:00.002-07:002019-07-12T12:14:38.647-07:00SPEAK UP! Takes Their Show on the RoadPaste the link below into your browser to read about how PROJECT SPEAK UP! is being implemented at Santa Margarita Catholic High School:<br />
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https://www.smhs.org/about/news/news-stories-details/~board/talon-theatre/post/speak-up-takes-their-show-on-the-road-for-choc-professionals<br />
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SMCHS offers an excellent model of how to implement a Mental Health Task Force in schools and organizations.<br />
https://www.smhs.org/campus-life/wellness<br />
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For information about implementing PROJECT SPEAK UP! in your school, contact alb@theatreonpurpose.org<br />
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SPEAK UP! Save a Life!<br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-73956081125126800762019-06-19T10:20:00.000-07:002019-06-19T10:20:12.004-07:00 Where Do You Begin? Take It From The T.O.P.<div class="MsoNormal" style="font-family: Cambria; margin: 0in 0in 0.0001pt;">
<span style="font-family: Times, serif; font-size: 16pt;"><b>T.O.P.</b> is a philosophy of educational theatre that is a content-driven, process-oriented approach that may do one or all of the following:<o:p></o:p></span></div>
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<span style="font-family: Times, serif; font-size: 16pt;">1. Use theatre arts as a means for ensemble participants to more deeply discover who they are through writing, developing, and performing original material around a particular theme.<o:p></o:p></span></div>
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<span style="font-family: Times, serif; font-size: 16pt;">2. Use theatre arts as a way to raise consciousness about societal issues for pre-determined audiences.<o:p></o:p></span></div>
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<span style="font-family: Times, serif; font-size: 16pt;">3. Use the gifts and talents of the ensemble participants in the creation and performance of the finished product. There is usually no outside casting of the finished material.<o:p></o:p></span></div>
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<span style="font-family: Times, serif; font-size: 16pt;">4. Use an organic, experimental approach to the development of the project.<o:p></o:p></span></div>
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<b><span style="font-family: Times, serif; font-size: 16pt;">Know your purpose:</span></b><span style="font-family: Times, serif; font-size: 16pt;"> <i>It's a process</i>. Know who you want to work with and what your goal is. (Teenagers? Older Adults? Children?) Remember Shakespeare said, "To Thine Own Self Be True." If you don't like working with kids then don't. Stay with your passion. This is intense, intimate work that requires an investment of time, courage, energy, and risk. As a T.O.P. facilitator, you must have the commitment to the purpose and a passion for the work.<o:p></o:p></span></div>
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<b><span style="font-family: Times, serif; font-size: 16pt;">Know your audience</span></b><span style="font-family: Times, serif; font-size: 16pt;">: <i>It's a product. </i>Know who you are creating the material for - specific population, demographic, community?<o:p></o:p></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;"><b>Students as Collaborators:</b> This work is not directed by you. This work is highly organic and requires letting go of control. You may start with a theme but the process of developing the content is collaborative. There is an art to facilitating the process and knowing what the boundaries are but let the students take the lead. </span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;"><b>Anchors:</b> As the facilitator you are also part of the collaborative process. You may have a vision and there may be certain anchor points you want included in the finished product. You may identify certain material, poetry, music, news stories, historic events or visual metaphors that will help shape the piece of theatre you are devising. This is not a free wheeling, completely unstructured process. Rather, there are seeds of inspiration that you plant within the ensemble. </span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;"><b>Theatrical Storytelling Styles:</b> Is the piece you are devising non-linear? Is it a collage? Will you employ a particular style? Genre? What will serve the purpose? Perhaps the piece is didactic in nature lending itself to a Brechtian approach. Perhaps you are creating something that would best be expressed through physical movement. Having students explore different genres, styles, practitioners and processes will ignite their imagination and invite creative exploration.</span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;"><b>Time:</b> Give yourself the necessary time to experiment. Eventually the piece needs to be solidified. However I always tell students, "You can't fake a process." If the process has integrity, the product will have integrity.</span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;"><b>Controlled Chaos</b>: Be comfortable with the messiness of the creative process. Remember you are starting from nothing. No script, no blocking, no roadmap. However, I recommend that the stage manager keep rehearsal reports so that there is a record of where you have left off and where you need to pick up at the next rehearsal. </span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;">I<b>ntended Impact: </b>Your compass is the desired impact you want to have on the audience. What do you want to be the take away from their experience? </span></span></div>
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<span style="font-family: Times, serif; font-size: 16pt;"><b> Trust:</b> Above all trust and keep going. There will be setbacks. There will be doubts. There will be confusion. There will be conflict. There will be breakthroughs. There will be discoveries. There will be </span><span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;">exhilarating moments. There will be satisfaction. There will be fulfillment.</span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;"><b>Reflect:</b> Theatre on Purpose teaches a way of working that applies not only to theatre but to any creative endeavor. I believe that one of the most important aspects of T.O.P. is what students learn about themselves.</span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;">At the end of the process, I always have students do a reflection on their own process of collaboration. By holding a mirror up to themselves, they see how they work, how they deal with obstacles and how they communicate with others. </span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;">There is comfort in coming to know one's self. Theatre on Purpose provides a way for students to understand themselves, to recognize their gifts and contribution to the whole and to be confident in who they are. </span></span></div>
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<span style="font-family: Times, serif;"><span style="font-size: 21.33333396911621px;">A Theatre on Purpose practitioner understands that the goal is not the product. It is the process. </span></span></div>
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Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-18013541090450851752019-06-18T17:01:00.001-07:002019-06-18T17:12:38.886-07:00The Importance of the International Thespian Society <br />
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Often, students who are drawn to theatre are not involved in the main -stream high school programs, clubs, or sports teams. It was for this reason that I chartered a Thespian troupe in my second year building the Tri-School Theatre Program and years later reactivated a dormant troupe in my current position at Santa Margarita Catholic High School. </div>
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When I began teaching, I knew very little about the International Thespian Society. The Thespian Honor Society formed the center of the program and created a focus. By rewarding quality work with a point system, the Thespian Society gave me a structure by which to organize the program. We established a group of officers and developed a constitution. The student officers were given the responsibility for communication, planning and executing social activities and philanthropic work and for tracking members’ the points. The International Thespian Society elevated the program immediately because of its well -designed point and ranking system. Students achieve various levels of honors based on the number of hours of quality work. The fact that the International Thespian Society is recognized by colleges and universities as the only honor society for secondary school theatre students gave me a story to tell students and parents. <o:p></o:p></div>
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Initiating new members in a dignified ceremony instilled pride in the work. By being a member of the International Thespian Society, students joined a multi-faceted organization with a long-standing traditions. We developed a potluck to celebrate and recognize the accomplishments of the students. This event quickly grew into a formal awards banquet in the spring. <o:p></o:p></div>
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Parents love nothing more than to see their children recognized. <o:p></o:p></div>
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For the T.O.P. practitioner, it is important to establish criteria that is in line with the educational theatre philosophy of the program. Developing self-esteem in students is a priority. I have seen students lives completely transformed by their involvement in the International Thespian Society. It is the equivalent of an academic honor society for theatre arts. <o:p></o:p></div>
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FESTIVALS<o:p></o:p></div>
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I believe taking students to one or two specific educational theatre festivals provides a growing experience on a number of levels. A theatre community is like a family. We come to know one another well and as a T.O.P. practitioner we see the potential in our students and strive to nurture their abilities. However perspective is a good thing. If a student wants to pursue theatre in college or as a career, there is great value in providing opportunities to test themselves in a larger talent pool. Some festivals provide adjudicated events for monologues, musical theatre, dance and duet scene work. This kind of experience teaches students to:<o:p></o:p></div>
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<span style="color: black;">The other great value in attending an educational theatre festival is that theatre students discover their “tribe.” In a traditional high school setting, theatre students can feel like the proverbial “square peg in a round hole.” In a festival setting, they meet other students who are creative, passionate, and like themselves. There is no greater feeling than to belong and to be accepted for who you are. Theatre festivals create a safe environment where friendships, alliances, and support systems are formed. <o:p></o:p></span></div>
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<span style="color: black;">For programs with a Thespian Troupe, I recommend attending the state festival. Usually this process is frenetic and overwhelming especially for newer teachers. I recommend not trying to do it all the first year. Take a small group and observe, ask questions, and get to understand the various opportunities. Once you have conquered your state thespian festival, I would suggest going to the International Thespian Festival.<a href="http://www.schooltheatre.org/">www.schooltheatre.org</a> </span></div>
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<span style="color: black;">This is a much bigger undertaking because it requires travel and therefore, fund raising, chaperones and a week of your summer. </span></div>
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Is it worth it? I would have to say yes. A week-long immersion for students to take workshops, see productions done by other high school programs and to compete in Individual Events based on their qualifying at the state festival is one of the best learning experiences a high school theatre student can have! <o:p></o:p><br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-21857304293003702432018-07-25T15:35:00.000-07:002018-07-25T15:52:39.249-07:00T.O.P. Needs Assessment and Planning ToolAs a Theatre on Purpose practitioner it is time to start thinking about your intentions for the upcoming school year. Remember, Theatre on Purpose is the opposite of theatre by accident! I shared this needs assessment tool with participants in my T.O.P. workshop at the International Thespian Festival. I hope it will help theatre educators make purpose-driven choices!<br />
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<b style="mso-bidi-font-weight: normal;">TAKE IT FROM THE T.O.P. NEEDS ASSESSMENT AND PLANNING TOOL<o:p></o:p></b></div>
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Amy Luskey-Barth, MPC<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">“A vision without a task is but a dream. A task without a vision is
drudgery. A vision and a task is the hope of the world.”</i></b> From a church
in Sussex, England.<o:p></o:p></div>
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1. What specific skills and talents do you possess that you
can use in your theatre program?</div>
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2. We have the greatest impact when we are in touch with our
gifts and in an environment that fosters those gifts and passions. What
projects, subjects, and activities would you like to introduce in to your
program?</div>
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3. In teaching, who we are is often a far greater example
than what we do.<span style="mso-spacerun: yes;"> </span>What are some
qualities, personality traits and life experiences that make you YOU that can benefit your students?<o:p></o:p></div>
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4. Are there challenges you currently face that may be
impacting your teaching? Are there issues that need clarification, refining or
restructuring in your current job structure to make you a more effective
teacher?</div>
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5. What is your purpose as a theatre educator? (In one sentence)<o:p></o:p></div>
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6. What needs do your students have that you believe you
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7. What kind of team, additional resources, <span style="mso-spacerun: yes;"> </span>structures or support do you need to better
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8. What additional training, professional development ,
networking, or artistic outlets would make you a more impactful theatre
educator? <o:p></o:p></div>
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9.<span style="mso-spacerun: yes;"> </span>To whom<span style="mso-spacerun: yes;"> </span>can you<span style="mso-spacerun: yes;"> </span>turn<span style="mso-spacerun: yes;"> </span>as a mentor, guide, or
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10. What is your vision for growth of your theatre program? <o:p></o:p></div>
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11. What can you let go of? </div>
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Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-53784408886431341282018-03-10T10:07:00.003-08:002018-03-10T10:07:48.636-08:00Artistic ActivismOne of my favorite quotes by the late artist, Fred Babb, is "Go to your studio and make stuff." Content creation. It's my latest obsession. <br />
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When teaching theatre history, I have my students examine various artistic movements in the social, cultural and historical context of the times. I then ask them to come up with a name for the present period based on the events and issues of the day. The next step in the process is for them to create a dramatic collage that expresses the current time through poetry, music, projections, movement and dialogue. The results are often startling and always enlightening.<br />
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Were students to name the period in which they live today, it might be called the "Age of Anxiety." There is an overwhelming sense of fear related to multiple threats, real and imagined facing teenagers today. The mental health and well being among high school students is drastically impacted by the seemingly endless news of school shootings and other troubling issues. The level of angst among teenagers cannot be ignored. As a theatre educator, I constantly ask myself how I can ease my students' stress despite the bombardment of bad news. It is then, I remember Fred Babb's quote. "Go to your studio and make stuff."<br />
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The counterpoint to the "Age of Anxiety" might be called the "Age of Artistic Activism." Giving students a creative outlet to wrestle with their fears moves them from feeling powerless to being empowered. Giving students a voice breaks through the silence and allows them to speak truth to power. Since Parkland, teenagers have proven that their voices are vital and that their activism can impact change. The beauty of educational theatre is that it provides both a window and a mirror for students and audiences. Theatre as a form of activism can be an effective way to encourage conversation, ignite debate, and present alternative views.<br />
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Historically, theatre has played a critical role in social commentary and political activism. Standing on the shoulders of playwrights and theatre practitioners like Brecht, Vaclav Havel, Athol Fugard, and Anna Deavere Smith, theatre students can be motivated to create content that will have a lasting impact and affect positive change.<br />
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So, teachers, tell your students, "Go to your studio and make stuff." <br />
It will ease their anxiety...and yours.<br />
<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-23563927792649676792018-02-10T16:53:00.001-08:002018-02-10T16:53:44.479-08:00The Power of ProcessAs a Theatre Educator, one of my favorite things to do is to develop new works with my students. There is nothing that teaches the importance of process more effectively than play development.<br />
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Over the past year, I have worked with a group of students on a new play that began as a collaborative project in the IB Theatre class. The initial script was a series of four monologues. There was no arc to the individual stories nor to the characters. They were connected solely by a thematic through line that dealt with the very serious topic of teen suicide. <br />
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Inspired by <a href="https://projectsemicolon.com/">Project Semicolon</a>, the students were highly invested in the project and agreed to rewrite the play. After multiple revisions and readings, the play was presented at the International Thespian Festival in the Freestyle event this past June under the title <i>Semicolon.</i> The playwrights also performed the play which ended with the definition and tagline <i>"A semicolon is used when an author could have ended a sentence but chose not to. The sentence is your life."</i> The response was overwhelming. It was evident that the subject matter touched the high school audience in a profound way.<br />
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Since then, the playwrights have continued to revise the play. The process has included more than ten revisions and readings. They have done statistical research and engaged in discussions and talkbacks. What began as four separate monologues has developed into a thirty minute one act play with interwoven storylines and complex characters.<br />
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Through the process, it became clear that the original title no longer fit the play. This was one of the harder editing choices for the authors to accept. The message of the play and the point of view of the characters shifted to a call to action.<br />
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The revised play with its new title, <b>Speak Up! </b>was presented at the Southern California Thespian Play Festival in January and was awarded second place out of eleven entries. The only original play in the festival, the authors engaged the audience in a talk back after the performance. The feedback from the teenagers and teachers affirmed that, sadly, there is a need for this play. <br />
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I was uncertain whether the plot lines and character connections were clear. Had we made the play too complicated? Had we watered it down? Did it still have the punch it had in its earlier iteration? There always comes a point when one is too close to the work to be objective. That is why the opportunity to perform the play again was such a valuable experience. Indeed there was confusion about some story points. It didn't help that the author/actors also dropped some lines which impacted an important revelation.<br />
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Lessons learned. The play is now undergoing one more revision. The revised version of <b>Speak Up! </b>will have a reading done by other actors so the authors can hear the play rather than worry about performing it. Acting and writing are two separate roles and it is time for the student playwrights to hear what they have written without worrying about memorizing lines and emotional connection to the characters they created.<br />
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For these students, this process has included struggling over sentence structure, punctuation, word choice, character development and dramatic action. Most importantly, these student playwrights have engaged in an authentic play development process that will result in a play that could save lives. What better way to discover the power of Theatre on Purpose?<br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-25844413816747105222017-11-10T13:00:00.000-08:002017-11-10T13:05:06.583-08:00The Power of ContextIn IB Theatre, a great deal of time is devoted to discussing the personal, cultural, and societal context of artistic expression. Students are asked to explore their own context, giving them insight in to how their life experience might inform and inspire their creativity. Social, political, and cultural context can provide rich subtext for original works and breathe new life into existing works. Never was this so evident than in my most recent directorial endeavor with GODSPELL at Santa Margarita Catholic High School. <br />
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Initially, I found GODSPELL, a musical by Stephen Schwartz and John -Michael Tebelak, based on the Gospel of St. Matthew to be a challenging show. The first act, which according to Schwartz, should focus on developing community and relationship among the cast members through the telling of Parables, relies on various story-telling devices and clownish humor. The second act follows more closely the Passion of Jesus from the Last Supper through His Crucifixion. The transitions between the parables and songs and the style of storytelling are left entirely up to the director. While this allows for a great deal of creative license, it makes for a highly improvisational and unstructured rehearsal process.<br />
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Whenever I choose a play or musical, I try to consider the space in which the show is to be performed. In this case, the venue was a sprung tent-like structure called "The Dome." The dome is an unconventional space which lends itself to environmental theatre. As I began to consider GODSPELL, the dome seemed to provide the freedom in staging that I felt the show required.<br />
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Given the nature of educational theatre, I also seek to give as many students an opportunity to perform as possible. GODSPELL is written for a cast of ten performers. Adapting the script for nearly forty performers was a daunting task. Without any character names, the casting of each parable, song, and role was based entirely on the personalities and qualities of the individual ensemble members. Each ensemble member also took on the role of a homeless person in the encampment and created their own back story. Those characters then took on roles within the parables adding to the "story within a story" casting complexity.<br />
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In the early conceptual phase, my intention was to set the show in a refugee camp. That initial concept morphed into setting the show in a motel and adjacent parking lot where "homeless" families are housed close to Disneyland. Ultimately, it was the set design created by one of my students that inspired us to set the show right in our own back yard in a fictitious homeless encampment under a freeway overpass near Angel Stadium. The setting of an actual homeless encampment along the Santa Ana Riverbed had been the subject of frequent news stories thus our setting for GODSPELL resonated deeply with the cast, crew and audience.<br />
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I had been inspired by a faculty service project I had participated in at Santa Margarita during which the faculty filled back packs with essential items for homeless members of the community. I envisioned a similar service project involving audience members filling backpacks as they entered the dome before GODSPELL. Initially, I thought that we would create a human assembly line and pass the backpacks from the audience members to the stage. However, in the end, we decided to have the audience members actually bring the backpacks down to the stage on their way out to intermission. In the second act, I knew I wanted to build a mound of back packs to create Golgotha for the Crucifixion scene. This idea remained in tact and was a powerful image. Ultimately, I chose to have the cast wear the backpacks as they processed out singing "Long Live God and Beautiful City." It was a highly symbolic and moving visual metaphor for the Resurrection. <br />
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The context of homelessness provided a powerful focus for the show and shed new light on the parables and the Gospel message of Jesus. Interwoven throughout the show were projections that juxtaposed images of homelessness with the Beatitudes, the parable of the Sheep and Goats, and a soup kitchen during the song, "Beautiful City."<br />
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The initial directorial challenges I faced began to melt away as it became clear that the context of the show's setting was providing potent meaning and relevance.<br />
I was reminded again of how important it is to be patient with the process. GODSPELL also reinforced my belief that if the process has integrity, the product will have integrity. By all accounts, GODSPELL touched the hearts of the audience. Ultimately, 650 backpacks were delivered to the Illumination Foundation to be distributed to members of the homeless community. A total of $3000 was raised from ticket sales and donations for first and last month's rent for a homeless family.<br />
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The process of producing and directing GODSPELL with a group of committed, creative, and passionate student designers and performers made this experience one of the most satisfying of my educational theatre career. The transformative power of Theatre on Purpose was on full display and continues to move in the hearts of those touched by the show. Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-3990037475904045442017-10-22T12:34:00.000-07:002017-10-22T12:38:56.523-07:00Building a Beautiful City<div class="MsoNormal" style="line-height: 24.0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; vertical-align: baseline;">
<span style="font-family: "times"; font-size: 16.0pt;">SMCHS Talon Theatre's
production of </span><i><span style="border: none 1.0pt; font-family: "georgia"; font-size: 15.5pt; padding: 0in;">Godspell</span></i><span style="font-family: "times"; font-size: 16.0pt;"> opens on
November 2nd in the Eagle Dome and runs through November 5th. The show is set
in a fictitious homeless encampment and is being done in partnership with the
Campus Ministry to raise awareness and support for the homeless community of
Orange County. The cast and crew have undertaken a service project in
conjunction with the production that includes a back pack and hygiene drive.
The goal is to fill 650 backpacks with necessities to be donated at the end of
the run. $1.00 of every ticket sale is being donated to the <a href="https://www.ifhomeless.org/"><span style="mso-field-code: " HYPERLINK \0022https\:\/\/www\.ifhomeless\.org\/\0022 \\t \0022_blank\0022 ";"><span style="border: none 1.0pt; color: #827be9; padding: 0in;">Illumination Foundation</span></span> </a>for first and last months
rent for a needy family. Junior and senior students visited the Children's
Resource Center of the Illumination Foundation in Santa Ana on a rehearsal day
to play theatre games with the children and to learn more about the important
work being done through the Illumination Foundation. The students also visited
the Isaiah House at the <span style="mso-field-code: " HYPERLINK \0022http\:\/\/www\.occatholicworker\.org\/\0022 \\t \0022_blank\0022 ";"><span style="border: none 1.0pt; color: #827be9; padding: 0in;"><a href="http://www.occatholicworker.org/">OC Catholic Worker</a></span></span> where they performed the song </span><i><span style="border: none 1.0pt; font-family: "georgia"; font-size: 15.5pt; padding: 0in;">"All
Good Gifts" </span></i><span style="font-family: "times"; font-size: 16.0pt;">from </span><i><span style="border: none 1.0pt; font-family: "georgia"; font-size: 15.5pt; padding: 0in;">Godspell </span></i><span style="font-family: "times"; font-size: 16.0pt;">for
the residents. The set, lights, costumes, projections, and makeup for the show
are being designed entirely by Talon Theatre students. They have researched and
studied the issue of homelessness in Orange County over the course of the
production process and have been awakened to the shocking statistics and
misinformation about many in the homeless community. </span><i><span style="border: none 1.0pt; font-family: "georgia"; font-size: 15.5pt; padding: 0in;">Godspell</span></i><span style="font-family: "times"; font-size: 16.0pt;">,
a musical by Stephen Schwartz and John-Michael Tebelak, based on the Gospel of
St. Matthew, provides a context to explore social justice issues through the
parables and the story of the Passion of Jesus Christ. The musical score,
composed by Schwartz, includes such familiar hits as "Day by Day,"
and "Beautiful City." The Talon Theatre production of </span><i><span style="border: none 1.0pt; font-family: "georgia"; font-size: 15.5pt; padding: 0in;">Godspell
</span></i><span style="font-family: "times"; font-size: 16.0pt;">is another example of how the arts can be used to make the
world a better place. Together, we can </span><i><span style="border: none 1.0pt; font-family: "georgia"; font-size: 15.5pt; padding: 0in;">"build a beautiful city -
yes we can."</span></i><span style="font-family: "times"; font-size: 16.0pt;"> This is Theatre on Purpose. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 24.0pt; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; vertical-align: baseline;">
<span style="font-family: "times"; font-size: 16.0pt;">Godspell is directed
by Amy Luskey-Barth, Choreographed by Casey Garritano with Musical Direction by
W. Chris Winn and Technical Direction by Mark Robertson. For ticket information
contact <span style="mso-field-code: " HYPERLINK \0022https\:\/\/www\.smhs\.org\/\0022 \\t \0022_blank\0022 ";"><span style="border: none 1.0pt; color: #827be9; padding: 0in;"><a href="http://www.smhs.org/">www.smhs.org</a></span></span><o:p></o:p></span></div>
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Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-45270607893650360902017-07-06T10:59:00.000-07:002017-07-06T11:04:48.007-07:00A Week of Hope I have been taking students to the International Thespian Festival at the University of Nebraska, Lincoln since 1995. People who don't understand why I'd spend a week of my increasingly shorter summer in hot, humid Lincoln give me looks that say, "I'm so sorry" or "how awful." It's hard to explain why living in a dorm with a bunch of teenagers, staying up until 1:00 a.m. for bed check at curfew, eating meals in the cafeteria, and walking miles across campus in blistering heat, on blistering feet is one of the most enjoyable weeks of my vacation. <br />
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Years ago, I read a book by Jean M. Auel called <u>Clan of the Cave Bear</u>. While I don't recall a great deal about the story, I do remember the impact that the idea of a clan had on me. According to Webster's dictionary, one of the definitions of a clan is <i>a group of people with a strong, common interest.</i> <span style="color: #222222; font-family: "arial" , sans-serif; font-size: x-small;"><span style="background-color: white;"> </span></span>For theatre students and teachers, being at the International Thespian Festival is like finding one's clan. This clan is energetic, passionate, generous, kind, helpful, creative, serious-minded, skilled, and accepting. For over twenty years, I have found this to be true. For as much change as there has been since I first started going to the International Thespian Festival in 1995 (I'm not sure how we managed without cell phones, texting, and Guidebook apps) the essence of the experience has remained exactly the same - students, teachers, guest artists coming together in a massive celebration of educational theatre.<br />
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For anyone who has lost hope in the next generation, there is no need to despair. The 2017 International Thespian Festival, bursting at the seams with over 4,000 theatre artists, proved to me again that our future is bright. It is a privilege to spend a week where hope is alive and well. We witness remarkable performances by talented young actors, listen to new plays and musicals developed by high school students, laugh together at improvisation and cry together as topics such as teen suicide and gun violence are tackled by emerging theatre artists finding their voices.<br />
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Spend a week with this clan, and cynicism melts away. I am more convinced than ever that theatre is one of the most powerful and transformative tools we have as human beings to affect positive change in our world . Empowering students by giving them the opportunity to come together with other working artists is affirming, encouraging, and inspiring. <br />
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I highly recommend that anyone new to educational theatre, spend a week in Lincoln with this Educational Theatre "clan." You will come back knowing that your work is not only a noble profession but a calling. What you do matters not only to your students, but to our world. What greater example of Theatre on Purpose can there be?<br />
<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com1tag:blogger.com,1999:blog-6228464094283810998.post-25840251544017671472017-06-07T10:08:00.001-07:002017-06-07T10:35:58.642-07:00Speaking of ArtImagine a world without the music of Mozart, the beauty of a Michelangelo sculpture, the social commentary of an Arthur Miller drama, the grace of a Balenchine ballet, or the melody of Rodgers and Hammerstein musical? Each of these forms of artistic expression - music, dance, visual arts, and theatre tell the stories of civilizations, societies, cultures, - in short - humanity. As Shakespeare said, "All the world's a stage and all the men and women merely players."<br />
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As an arts in education "advocate," I spend a lot of time thinking about how to articulate the value of the arts in education to the non-arts oriented population.<br />
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The defense of an arts education inevitably leads to framing an argument that includes<br />
- how a child's involvement in drama or theatre helps to develop their self confidence.<br />
- how in the digital age of the 21st Century, the arts rely on human- face to face, eye to eye interaction thus developing ever diminishing interpersonal communication skills that include tone of voice, listening, and give and take of conversation and dialogue. <br />
- how in an "instant text message, snap chat society", developing technique and striving for mastery through practice and rehearsal, is not instant but takes time and patience. <br />
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Sometimes, advocating for the value of an arts education gets reduced to pointing out the quantifiable statistical evidence of higher test scores among students who study music for example.<br />
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The importance of an arts education is often evaluated on the basis of the core skills sought after by 21st century employers such as collaboration, team work, flexibility, adaptability, leadership, problem solving and analysis guaranteeing security for a person's future. <br />
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The most common question high school parents ask me is, "How will my son or daughter make a living?" This well meaning, understandable concern is driven by fear as if to say by encouraging a child's artistic impulses, creative imagination, or artistic passion - like opening Pandora's box - something will be unleashed that is uncontrollable - even dangerous. Therefore some would say it is best not nurture a child's impulses or desires but redirect the child onto a path that will lead to "success." <br />
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Our schools have evolved into places that promote a culture of competition leading to an environment that breeds anxiety-ridden kids who fear that if they waste their time in arts electives, their academic record will be impacted. All of this is driven by the cost of higher education and the extreme pressure of college admissions. The value of the arts is diminished based on a perceived notion that they are not as important as math or science.<br />
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But waging an argument against this line of thinking as an arts advocate starts from a <i>results </i>and <i>product</i> oriented argument and misses something that I believe to be much more important. As arts advocates we must articulate the value of the artistic <i>process</i> in education. We must ask ourselves,<br />
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<i>What kind of human beings do we want to shape for the future?</i><br />
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Exposure to the arts enlivens the spirit and provides a language and vocabulary with which to interpret the world. This language is a form of communication that has a transformative power.<br />
The arts help to develop citizens of the world with empathy, appreciation for cultural diversity, and a heart for social justice in overcoming oppression. The arts provide tools to combat hatred and discrimination. As Albert Einstein said,<br />
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“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.”</blockquote>
A process -oriented arts education where students learn about <i>who</i> they are in relation to others is an arts program with purpose beyond skill development or financial security. If the programming has integrity, those aspects will likely be an outcome as well - but helping a child to discover his or her purpose in life <i>through</i> artistic processes in the context of their lives not only matters, but I would say is essential to our world. That is Theatre on Purpose.<br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com1tag:blogger.com,1999:blog-6228464094283810998.post-25247852432415473902017-05-25T09:40:00.000-07:002017-05-25T09:40:16.486-07:00Make StuffAbout twenty years ago I discovered the artist Fred Babb's gallery in Cambria, California. I bought a poster book with the title, <i>"Go To Your Studio and Make Stuff."</i> <a href="http://www.fredbabbart.com/">http://www.fredbabbart.com</a><br />
His artwork combined with pithy artistic nudges served as an inspiration for me then and continues to this day. While he has since passed on, the fact that his work continues to loom in my imagination is a testimony to why it's so important to go to your studio and make stuff!<br />
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As Agnes DeMille famously said to Martha Graham, "<i>There is a vitality, a life force, a quickening that is translated through you into action, and because there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium; and be lost. The world will not have it. "</i><br />
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Making stuff - creating content - is what an artist does. An artist should not judge its worth - rather, she must trust the deep instinct, the impulse, the inner voice and as Martha Graham said, <i>"Keep the channel open." </i><br />
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As artists, we all suffer with self- doubt and wrestle with the question of whether our work is good enough. We all struggle with discipline and stamina particularly when we feel blocked. At certain points in our journey, we may even feel like giving up. Pushing through and persevering during those times is what often allows us to chisel out of stone, a great sculpture. That's why it's so important to go to your studio and make stuff! An artist's self-worth comes from the creative process. Blocking that channel is like an artistic heart attack. The blood ceases to flow through our veins and we feel creatively dead.<br />
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As a theatre educator, I strive to make my classroom a "studio" in which my students experiment and create. I believe it is the most important thing I can do to ensure the next generation of theatre makers. Let them make their stuff. As a teacher it can feel like a high wire act without a net. No concrete lesson plan or road map for this type of classroom. Rather the experience is exciting, daunting, messy, and real. The role of the teacher in this sort of environment is not to direct or fix but rather to question.<br />
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Questions force students to clearly articulate their vision and intended impact. Questions help them to shape their storytelling. A teacher needs to stay engaged through the process in order to formulate the right questions while controlling the impulse to <i>tell</i> them what <i>should </i>happen. The role of the teacher in this type of classroom is as a facilitator, mentor, or guide.<br />
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The degree to which a teacher should intervene depends of course on the group. Navigating the messy process of collaboration with teenagers can sometimes require gentle forms of conflict resolution. However, if the class has been adequately equipped and prepared by establishing rules of collaboration, conflicts can be kept to a minimum and communication can lead to problem solving.<br />
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In my opinion, this is what it means to be a theatre educator: To give your students the opportunity to go to their "studio" and make stuff, to push on and to keep the channel open. This, to me is the fulfilling work of Theatre on Purpose.<br />
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<br />Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-17510106691466689732017-04-22T11:55:00.002-07:002017-04-22T12:02:35.159-07:00Directorial Musings...The Glass Menagerie Everybody's a critic. It's true. And yes, so am I. But as a theatre educator, I use the process of critique almost as an academic exercise. As I attempt to analyze a production, I force myself to formulate my thoughts in way that helps me to grow as a theatre educator and director. I teach my students to separate the play from the production. This is not an easy concept for young theatre students because it challenges them to understand the relationship between playwright and director, and the concepts of intent versus interpretation. Such was my own challenge with the Broadway revival of <i>The Glass Menagerie </i>with Sally Field. <br />
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I'll admit it. When I walked in to the Belasco Theatre and saw the nearly bare stage, I was disappointed. I didn't know what to think but I knew the production had received mixed reviews - none of which had I read. The question I found myself asking was to what degree should a director reimagine or reinvent a play and what is the line between the directorial vision and the playwright's intent? </div>
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My stock answer is that if directorial and design choices serve to illuminate the text in light of a new context or perspective then what's the harm? But I also feel that a director needs to exercise some respectful caution not to flex their creative muscle just because they can. I emphasize to my students the importance of justifying artistic choices and being able to articulate their intended impact. Cleverness for cleverness sake is not a good reason to do something on stage. </div>
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A week after seeing <i>The Glass Menagerie, </i>I find myself questioning that bare stage, the dull costuming (save Amanda's cartoonish pink tulle dress) and the startling interpretation of Laura's disability. The minimal production elements magnified the profoundly moving performance by Madison Ferris as a wheelchair bound Laura. I couldn't help but think of the late Rick Curry, SJ, founder of the National Theatre Workshop for the Handicapped (NTWH) and how pleased he would have been to see that Broadway had finally achieved his personal mission to cast actors with physical disabilities rather than casting actors to "play" a character with a disability. I found myself wondering if Sam Gould's choice to reinterpret what Tennessee Williams describes as a slight limp was a way to externally exaggerate Laura's internal self -consciousness of her "clump." Regardless of the reason, the choice made the character of Laura so central to the play that it caused me to question its impact on the text.</div>
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Perhaps I am being too literal, but given the directorial choice to have Laura carried to the stage from the house, I found it difficult to believe that she ever could have made it to typing school on her own let alone spend days at the bird-house at the zoo. But maybe that was the point. Lay bare all other production elements including a minuscule, nearly invisible glass menagerie, while emphasizing Laura's physical disability may have revealed Amanda's delusional hopes for her daughter and heightened Tom's anguish as the memory of his sister haunts him in store front windows. The production's inconsistencies make an interesting study in opposites: </div>
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Southern lyricism versus an A-tonal modern quality, illusion versus starkness, darkness versus light.</div>
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The extreme contrast in lighting served to underscore the sadness of the story. The soft, flickering candle- lit scene between Laura and Jim allowed the audience to sit with the aching pathos of Laura's crush, the wincing heartache of a broken unicorn, and the awkward embarrassment of Jim's escape from the clutches of Amanda's delusional dream. Then, suddenly the lights are turned in an interrogative style onto the audience, harshly revealing that bare, unadorned stage, the ugly truth of this dysfunctional family, and the audience as witness to the truth. As Tom opens the play saying, "I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion" - in this production, the audience is left with the broken hearted remnants of a shattered illusion.</div>
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I can't say I loved this production, but I appreciated its boldness and it likely will remain with me for a very long time. It is for this reason that I believe students should be exposed to a wide range of productions in order to sharpen their directorial eye, wrestle with interpretation, and expand their understanding of theatrical story-telling. </div>
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Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-79595077754599825522017-04-22T10:16:00.002-07:002017-04-22T10:16:35.435-07:00Directorial Musings....Fun Home<span style="font-family: inherit;">"And yet...."</span><br />
Two words that say there is something else. Something unsaid. Something unknown. I marvel at the power of a well conceived lyric.<br />
In listening to the musical FUN HOME I am even more impressed with the writing and the score by Lisa Kron and Jeanine Tesori<span style="color: #545454; font-family: inherit;"><span style="background-color: white;">. </span></span>Fragments of memory are effectively woven and expressed through a musical motif that evokes yearning and remembering. Phrasing, unfinished sentences, thoughts only partially spoken out loud. A void, a space, a pause, an emptiness as deep as a cavern. But we know what is unsayable and we wait and watch until the characters can finally say it.<br />
This show continues to resonate with me. In listening to it I hear a stress, a tension, a self-consciousness that is palpable in the character of Bruce. He sounds like someone always on the brink of exploding. It is wrenching. This is material that the author Alison Bechdel knows so well. That may seem obvious, but plenty of families choose to pretend, ignore, and deny. It takes guts to look at the truth of one's family and Bechdel does it with honesty and humor.<br />
Each character in FUN HOME is well developed and achingly restrained. A perfect blend of book, score, direction and writing. I haven't been this captivated by a musical since I saw NEXT TO NORMAL. I am drawn to complex texts with layers of subtext and characters with complicated relationships. Denial, secrecy, choice, discovery, and revelation are powerful storylines. The skill with which the creators of FUN HOME tell the story is truly admirable. The narrative structure is clever without being contrived. Clearly, this is a musical that will stand the test of time. It instantly imprinted on my psyche the way Sondheim's INTO THE WOODS did. Audience members will focus on different aspects of the storyline and be moved by each in their own way based on their own context. There is plenty to mine in this story. The fact that I'm still thinking about it days after seeing it and am analyzing its structure, relationships, and characters, I know it has made a significant impact on me. For that, I am grateful and inspired.<br />
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Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0tag:blogger.com,1999:blog-6228464094283810998.post-86112981194930826112017-02-18T15:49:00.000-08:002017-02-18T15:55:13.811-08:00It's the Little Things<br />
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I have often been asked what differentiates a good production from a great one. There are many things that elevate a show to greatness of course. But I believe every element of a great production can be reduced to these two principles: attention to detail and finding the moments.</div>
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In educational theatre, directors are forced to wear many hats often leading them to feeling overwhelmed. The nuances can be missed and artistic choices can take a back seat to the bigger demands of the job. After all, getting a group of emotionally-charged adolescents focused and working together as a team while mounting a full scale production on a tight budget is a tall order. </div>
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But the things that bring a show to the next level are also the fun things that bring about satisfaction with the end product and leave an audience recognizing the difference but not being able to pinpoint exactly what it was that made it so. </div>
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So for what its worth, here are my top ten ways to take your show to the next level: </div>
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<span style="text-align: justify;">1. Pick good material. It will never betray you.</span><br />
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<span style="text-align: justify;">2. Know the style of your show and honor it. Keep it consistent throughout. Beware of modern casualness creeping in to body language and diction. </span><br />
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<span style="text-align: justify;">3. If the script inherently calls for a dialect - use it. Some plays are written with a rhythm and cadence that is driven by regional, ethnic, or cultural dialects. </span><i style="text-align: justify;">Guys and Dolls </i><span style="text-align: justify;">without the "Runyonese" loses the humor and kills the punchline. </span><i style="text-align: justify;">Fiddler on the Roof </i><span style="text-align: justify;"> without the Yiddish inflection loses the melody. "Right? Of Course right!"</span><br />
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<span style="text-align: justify;">4. Pay attention to punctuation...especially ellipses...</span><br />
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<span style="text-align: justify;">5. Analyze the text with your actors. There is nothing worse than students not understanding what they are saying or why they are doing what they are doing. The "aha" moment when a character's motivation becomes clear to the actor is thrilling. I have been known to take hours working over just a few lines in order for my actors to understand every word and subtext before getting them on their feet. If done well, a scene will practically block itself. I'm a big fan of the Atlantic Theatre Company's <i>Practical Handbook for the Actor </i>technique myself.</span><br />
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<span style="text-align: justify;">6. Pay attention to pacing. Know when to pick up the tempo and when to slow it down. Know when to pause. Let the moment happen. Don't rush it. </span><br />
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<span style="text-align: justify;">7. Create interesting stage pictures that communicate the tension, emotion, atmosphere or meaning of the moment. </span><br />
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<span style="text-align: justify;">8. Beware of cleverness for cleverness sake. Don't give in to the cheap laugh or clap trap. Schtick is schtick. Leave to the stand ups.</span><br />
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<span style="text-align: justify;">9. Whatever the budget, put the money where they can see it. Production values are important. Know how fabric works under light. Understand color, texture, line, and form. Don't let an actor go on stage looking bad. Shoes make the costume. Sorry. I know character shoes are the standard go-to for most musicals. Attention to detail in shoes not only gives the show a "look" - it will help your actors get in to character. The old adage, accessories make the outfit is as true in costuming as in real life.</span></div>
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<span style="text-align: justify;">10. Remember it's a process. Young actors need to season. It takes time.</span></div>
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Amy Luskey-Barthhttp://www.blogger.com/profile/17055896796020195733noreply@blogger.com0