I’ll be posting the next round of the cross-country back-and-forth between us and Praxis Theatre soon, for now there’s a comment on the last entry left by Ottawa actor/blogger/bon vivante Kris Joseph that demands its own post. Because it manages to be hilarious and bang-on topic simultaneously.
For you consideration:
I certainly don’t mean to imply that having staff to support the activity of a theatre company has no value — certainly not, and I can bend your ear with great stories of how my new-media-exploits on my current contract are being supported and facilitated by staff people. I do think the “silo” approach to theatre is inefficient, though. But that’s a little off-topic, so I’ll just point you at one of Chad Bauman’s great blog posts on the subject, here: http://arts-marketing.blogspot.com/2009/09/problem-of-silos.html
I think there’s great value in referring back to Simon’s metaphor of the theatrosphere as a ongoing cocktail party. Right now there are a growing number of people who’ve heard there’s a cocktail party going on. “Some cool people are there,” they think, “and cocktail parties seem like a really good idea. But I have to be up early in the morning, and I’m really not sure what I want to get OUT of the cocktail party, so maybe this isn’t the right time. It’s not the kind of cocktail party I like, anyway — the music is loud, and let’s be honest: I prefer the kind of party where everyone is sitting politely in the dark with their cell-phones off watching important people play charades and reflecting on how awesome the experience is. Besides, I think it’s really important that we have a vision for what OUR Cocktail Party Experience should be before we go rushing off to just any old party. Is this party using industry-proven Best Party Practices? Because unless I can prove to my friends that I met at least Six Valuable People, which is a Clearly-Defined Goal for my Planned Party-Going Experience, the whole thing will be a waste of my time! And if I DO go, we’ll have to have a Party Post-Mortem tomorrow to figure out if the party was a good idea, and whether or not we should go to the next one.” Well… in the meantime, the party’s going on without those people. And the people AT the party are meeting other people, sometimes connecting and MANY times not connecting. Success ISN’T guaranteed — life sucks that way — but you have to be present, at least, to get any benefit.
So COME ON, people. Just put on a clean shirt and GO TO THE PARTY. Leave yourself open to who you might meet and what you might talk about once you’re there. You can test the waters by DOING, or you can plan too much, and miss the party altogether. I don’t care how much I get teased for it: snapping a quick pic and tweeting a caption only takes a few seconds, and costs nothing. MAYBE nobody will like it. Maybe everybody will. I may be sick of rehearsing Scene Four for 30 hours, but to somebody who never rehearses anything (read: someone who normally doesn’t ATTEND THEATRE), this could be cool and interesting stuff they’ve never heard before. Or maybe the ONE person who has a wig fitting fetish and loves my twitpic is also a patron, or a media person, or a philanthropist, or a historian, or a playwright, and that person responds, which starts a relationship that can bear an infinite variety of fruit over time.
ARTISTS, I firmly believe, need to start looking at this stuff with the same level of priority they give to things like keeping their resume up-to-date and keeping on top of audition postings and agent relationships. It’s a critical part of the business and, Manda, your job will get EASIER once you have artists around you who come to YOU and say “how can I help?”. Right now, the average theatre artists’ response to technology like this is like the marketing director asking for cast headshots and hearing “oh, I don’t HAVE one of those. Is that important?” in response.
And I want to talk about the issue with permissions, as well, because it is a constant source of frustration for me. We live in a world where average, normal people are using these tools ALL THE TIME: my neighbours have their own channel on YouTube. My buddy updates his Flickr stream constantly. Some kid at MIT has a Twitter account for his FLOWER GARDEN. Students half my age are shooting great-looking and creative videos, using their iPhones, on their weekends. And WE have a bunch of guilds and unions — everyone from Equity to ACTRA to IATSE — reacting in varying degrees with the same kind of outdated, protectionist claptrap that is killing the traditional broadcast and recording industries. They are (back to the metaphor) standing OUTSIDE the cocktail party, peeking in the window between bouts of navel-gazing, fretting about how going to the party will affect their income and the livelihood of old codgers who never liked parties in the first place. The problem definitely lies in their court, but folks who are making headway in this area need to throw that window open, show them the air is fertile rather than toxic, and invite them in.
Sometimes — I’ll freely admit it — I break the rules ON PURPOSE, just to prove that nobody has to go on the dole because I shot a 30-second clip of a lit set. In fact, these things sell tickets; they raise the profile of the work; they connect artists to one another. Hell, sometimes they do NONE of those things — but they DON’T HURT and I challenge anyone to prove otherwise.
One final point, on inundation. Some people get DO annoyed by all the email and Facebook messages. And at that cocktail party — as Simon said — some folks are gentle and wise, and some are obnoxious and crass. There is work to be done in matching content to the right tool, and in terms of style and etiquette, but this comes with learning and experimentation — we can all participate here and learn together. In the early days of the web and email, people did all sorts of silly things, but we learn by doing and by sharing with other people who are doing. For example, I can tweet a pic of a wig fitting, but I dare not spend three hours writing a blog post about it, or an evening editing a video of a wig being put on my head. And NOBODY wants an email newsletter with “SEE A PIC OF MY WIG FITTING!” as a headline.
Some media — like email — is serial: people are expected to read every piece they get. Other media — like Twitter — is parallel: it’s like having 200 channels on my TV; I’m NEVER going to sit down and watch everything that was broadcast on every channel, but my friends tell me what shows they like, and once in a while I get told about something cool that I then choose to track down. Trepidation about getting into some forms of new media is sometimes a belief that the new thing is serial (like THEATRE — the thing we KNOW — AHA!), rather than parallel (the thing we’re afraid of).
Wow, Kris. Nice.
It always amazes me that the people who should be pioneers in this new media landscape are the ones bashing it.
Each tool should be thought of as an extension of the work. Not a replacement for it. It’s a chance to extend the story and allow people an entry point.
Each of these tools offers the opportunity to put control in the hands of the artists. Maybe that’s the scary part.
Then if it fails, who’s to blame?
It’s easier to complain about the way the things are.
Perhaps harder to forge new ground. But I seem to remember the best moments onstage coming from embracing the fear.
If the storytellers don’t take advantage of this now. I fear they’ll get left behind wondering where it all went wrong.
That’s not good.
Posts like this are uplifting. It boils down to sharing the work.
Then people get excited about it. They share it.
Thanks for sharing, Kris. And you too Simon. =)
Thanks Dave. There certainly is a fair amount of complaining in the theatrosphere, but it’s also proven to be the first step in initiating change. I think the pace of theatre blogging is slower than we all at first hoped, but I’ve seen change happen nonetheless.
I think this is the ignition for my next post on this, actually. Thanks for that.
I hope so. =)
Looking forward to your post.
Thanks for the post. I have been having a lot of the same thoughts/questions. I was a fight director for a equity showcase production in New York. I recorded the fight scene and uploaded on to my youtube page as the actress in the scene was from France and I wanted her to have the opportunity to send it to her friends and family. The other actor in the scene has family in Michigan he wanted to sent it to.
There were only two actors in the fight, they both agreed to the taping. After I put it up on youtube, one of the equity actors complained to the equity rep for the show, mind you an equity actor was not even in the scene that was filmed. I agreed to take it down till the end of the production. Once I put it back up, youtube removed it as somehow equity headquarters complained.
We are in a digital age, and the unions, theaters, and artists can either continue to be ignorant and slow, or embrace it for the ways it can help and connect.
ospiti » Porcasi Gaetano
Gaetano Porcasi is a Sicilian artist and school art teacher. His paintings are considered unique not only for their social and political commitment but also for the technique and choice of typical Mediterranean colours from which a strong and deep Sicilitudine (Sicilian mood) emerges. The 2003 itinerant exhibition Portella della Ginestra Massacre is a good example: in 1947 a group of Sicilian farmers was shot and killed in Portella by the outlaw Salvatore Giuliano and his men under orders from the local Mafia mobsters and big landowners in order to stop the farmers’ attempts to occupy and plant uncultivated local land. His historical paintings which denounce the violence and oppression of the Mafia find their counterpart in his paintings which depict sunny Sicilian landscapes rich in lemon, orange and olive trees, in prickly pear, agave and broom plants. They show the wealth of a land that has been kissed by God but downtrodden by man. In painting the sky of his native Sicily Gaetano uses several different hues of blue and it’s from this sky that his pictorial journey starts. In his paintings the history of Sicily, which has always been marked by its farmers’ sweat and blood and by their struggles for freedom and democracy, finds its pictorial expression in the fusion of the red flags of the workers with the Italian flag in a sort of Italian and Mediterranean epopea. The red flags and the Italian flag stand out against the blue sky that changes its hues according to the events, the seasons, the deeds and the moods that are painted on the canvas. The luxuriant nature of Sicily with its beautiful, sunny, Mediterranean landscapes seems to remain the silent, unchangeable and unchanged witness to events and the passing of time. Here people are only accidenti, they aren’t makers of their own life. Thus Gaetano makes a clear-cut metaphysical distinction between a benign, merciful nature and Man who breaks the natural harmony to satisfy his wild, unbridled ambition and selfishness and who becomes the perpetrator of violence and crime. Gaetano is also an active environmentalist and his fight against all forms of pollution has already cost him a lot of aggravation.