June 28, 2008
DirectorSector Fame — or lack thereof
Perhaps I should include more popular phrases from TV shows or movies in my blog (I am your father), since that seems to be the only traffic I get lately (You want the truth? You can’t handle the truth!). You see, awhile back I wrote a blog about a phrase from one of my favorite TV shows “Stargate SG-1″ (It took us 15 years and 3 super computers to MacGyver a system for the gate on Earth.) and roughly 2/3rds of my 35 average daily visitors come from people searching for that phrase.
Kind of odd, I thought. (Our affair, like our hotels, had gone from elegant with crystal to seedy with plastic cups.)
Incidentally, I just checked and my post “If you immediately know candlelight is fire, then the meal was cooked long ago” post is the #1 hit on Google for that phrase. Go me! Don’t believe me? Check it out for yourself.
So what does this mean? This means that maybe 5-8 people are actually reading this thing on a regular basis, and that 2/3rds of my “audience” accidentally made their way here. (Okay, Radar, state your business, in one word or less.). That’s not good.
That leaves me some options. I can shut this thing down and focus on other projects, spending my time browsing other blogs, and make my presence known that way. Or I could keep this up, keep writing for myself and the handful of people who read (but don’t comment) and wonder at all the visitors who don’t care about theatre and just want to know the meaning of Oma Desala’s phrase. (You’re worth two 43s, 86.)
I guess you’ll have to wait in terrible suspense (I ate his liver with some fava beans and a nice chianti) until next week to see if I keep this up or not.
I wonder how many accidental visits I’ll get now.
June 25, 2008
Job Hunting
Job hunting sucks. Believe me, I know. I’ve spent the past six months doing pretty much nothing but looking for a job with limited success.
It’s painful to look for a job for several reasons. One, you get your hopes up because you like this particular company and this particular position. And then they never return your calls. Second, even the ones you’re not THAT interested in aren’t interested in you. And third, there’s all this paperwork.
To my mind, the third is the most draining of all. I’m an actor. I can deal with rejections — just ask every girl I know (hah!). It’s the filling out the exact same information on every application that drives me nucking futs.
Look at Monster.com, for example. If you go there and try and apply for a job, it asks you to sign up. During this sign up period, it asks you for your name, address, phone number, work history, education history, first-born child, skills, etc, etc.
Great! I’m all signed up. Now, looking for jobs should be easy, right? I click the Home button on Monster, go back to the main page, and then I search for “web developer” in Atlanta. Tons of stuff. I rub my hands together and laugh a maniacal laugh. I’m going to find a job in no time!
Click on the first job that looks interesting. I click on “Apply Now!”
What’s this? A pop up window? To the website of the company I’m applying to?
And what’s this? Another form? They want my name, address, phone number, email, skills, work history, penis-size, education history, first-born child, ethnicity, gender, and social security number? Didn’t I just fill this in on Monster?
Argh!
And every job entry is like that. What’s the point? They’re ALL asking for the exact same information, so why can’t they just set up a standardized form to accept from Monster, Careerbuilder, Hotjobs?
Tell you what. How about I send you my resume, if you like what you see and decide to bring me in for an interview, it goes well, and then you extend an offer, THEN I’ll spend 30 minutes filling out an application for your files. Sounds like a good deal, right? That’s what I thought.
Now, if you’ll excuse me, I’ve got to write a script to automatically fill in all these fields for me.
June 19, 2008
Artists in a Brave New World
For those not in the know, Devilvet recently directed, starring Don Hall, Dave Goss, and Jen Ellison. Unfortunately, due to a combination of factors, including the recession, high gas prices, rising unemployment (particularly on my part) and a sad-faced clown in a giant mushroom car who assaulted me on the streets of Atlanta with a giant rubber dong, I was unable to attend this most excellent production.
Fortunately, dv is creating an excellent webcomic, which you can check out at The Mammals, for those of us who were unable to attend.
No, this is not just a plug for dv’s webcomic (it’s great, though, check it out here!) You see, Devilvet and I were Twittering about artists and our relationship with multimedia. For those of you who missed it, it was a rather nice conversation. DV and I Tweet often, so if you’d like to follow along, go visit Twitter’s webpage and sign in, then visit the Director and Devilvet’s twitter pages and click on the “Follow” button to follow us. I’ll write another post on Twitter, if you need help finding a decent client. Or you could just use the website itself.
Where was I? Oh, right, Elvis.. no, wait, artists. Artists and penguins. Multimedia. Whatever.
So dv and I were discussing this issue and he asked:
what are the possiblities if we as theatre artists get over it and become narrative artists using multi-medium approaches?
To clarify, he’s referring not only to use in live productions but in ADDITION to our live performances. His webcomic (i’m not plugging this webcomic. dude, seriously.) is a great example of what he’s talking about. Recently, I wrote a post regarding “While You Sleep” activities that theatres can do to boost revenue. What Devilvet is doing with The Mammals is the same thing. It may not be bringing in revenue, but it’s surely bringing in an audience.
So we chit-chatted about artists and media approaches and ultimately, we (by “we” I mean “I”) decided that this was too good of an idea to let up. Why let audiences see our art in only one medium? Why not branch out? Here’s our conversation:
directorsector @devilvet Yes, technology does aid in that example. I’m pretty good at Photoshop/Illustrator, for instance. Let me put it this way, though
directorsector How many of your theatre friends are good at math? Most think the complicated computer stuff like Photoshop et al at least as tough to learn
devilvet well i think people have to learn skills to survive. Math and Photoshop included.
devilvet anyone who doesnt acquire these skills opens themselves to well being a victim
devilvet I increasing think that the future means that specialization in the arts must end. The truly exceptional artist in the future has to be able to utilize much more than an theatrical talent that comes naturally to them. Working hard at things outside your comfort zone that’s not art. thats life. we need a world with les actors waiting to be cast, and rather more collaborators ready willing and excited to share and participate in narrative storytelling. it wont be about pointing actors to their marks. it will be more involving than that
directorsector @devilvet You’re exactly right. Cant do it alone. So how do we go about cultivating artists who explore the realm outside their comfort zone?
So there we are. How do we, as artists who want to inspire, create and share, expand our grasp of other media using modern technology (or even older techniques)? And once we’ve learned to do that, to reach out beyond just live theatre, how do we reach out and cultivate other artists to explore other media as well?
I may not be able to draw worth a shit, as I mentioned to devilvet, but I’m pretty damn good with computers. How can I utilize that expertise to share my art or expand my artistic influence?
What are you good at, besides performances/directing/playwriting? And how can you tie the two passions together and share your art in other ways?
June 15, 2008
Tony Awards
Congrats to Patti Lupone! Took her 28 years, but she won again! Best Actress in a Musical Revival. Great job!
I had heard lots of good things about all of the plays and musicals that were up for the Tony’s this year, but I’m ashamed to admit that I hadn’t had the opportunity to see any of them. Yet I’m stoked. I think the presentations were amazing and the performances by the actors and actresses in these dozens of plays and musicals were just absolutely phenomenal.
I was especially impressed with “In The Heights”, “Xanadu” (don’t laugh), and, oddly enough, “Grease”. I was more impressed with the choreography for “Grease” than anything else.
I love the directing choices behind “The 39 Steps” with the switching of hats and such. Absolutely brilliant.
I think I may try and take a trip to NYC later this Fall and see as many of these as I can.
June 1, 2008
Insecurity vs. Self-Confidence
When I was in first grade, I had my first role in a school play. Actually, it was a summer camp play. I played the old wise man in the story. Since I didn’t exactly have facial hair in first grade, I wore a piece of paper cut into the shape of a beard, and we glued cotton balls on top to give it a white beard appearance. There was string going into the sides that looped around my head to keep it on. Halfway through the performance, the string started slipping, my face was sweating and the paper ripped.
I had to hold my beard up for the remainder of the skit. I was mortified. I was absolutely positive that all six hundred people watching were laughing at me, and that I had completely destroyed any credibility I had as a person.
For the next twelve years, I refused to stand up in front of a group of people unless I was forced to. In school, I would refuse to give a Current Event report. I’d turn in my written draft, but I refused to present it to the class. I didn’t do book reports, presentations, class skits, or school plays. I took zeroes rather than present them to the class.
My junior year of high school, I was forced to present a scene to my English class. A scene from “The Crucible.” I played one of the adult men whose wife had been taken away for stoning, and my partner played the priest. Honestly, he did a terrible job. Very monotone and boring, while I was passionate and angry. I felt pretty good about it, actually. I decided in my moment of bravado to jump off the stage rather than walk around to the steps. When I landed, I twisted my ankle and slammed my head against the front row of seats. I was fine, but my ego was bruised once again. Again, I refused to participate in any sort of public speech for years.
At the end of my freshman year of college, I was required by my school to take “Oral Communications” or speech class. I opted to take it during a summer term, so as to minimize the time spent in that class. Get it over with as quickly as possible.
Our first assignment was to read an excerpt from anything we wanted to the class. I procrastinated and grabbed “The Hobbit” off my bookshelf on the way out of my dorm room. I got to class early, perused the first couple of pages til I found a page that I felt would be entertaining. “Hobbits are creatures…” I’m a fast reader, so I was able to read a whole sentence at once and look up while I said it.
The grades came down and I got an A. “You must have practiced. Great eye contact!”
The second assignment was to give a 2 minute speech about a quality about ourselves. Guess what I chose! You’re right: stagefright. I was so scared.
I got up at the podium and began to speak. My legs were shaking, my palms were sweating, I gripped the podium. I shifted from foot to foot, I stuttered. I said “uhh..”
“My uh.. quality is that I’m uh.. scared of uh.. getting up in front of people. I, um, get really nervous, and I uh.. stutter and say Uh… uh… and I sweat and um.. shake. And I feel like I’m about to, uh.. to pee in my pants.. It’s like, uh.. like you’re staring at me like.. that… and it makes me, uh.. nervous.”
This went on for the requisite two minutes. I literally described everything I felt at that moment. I was literally about to shit myself. Finally, the whole ordeal was over and I sat down. I shook for the rest of the class period, I was so nervous.
Grades came back. I got another A. “Great acting!” she wrote.
What?
What acting?
I was seriously nervous!
At that moment, I had an epiphany. I realized that she honestly thought I had been acting. She WANTED me to do a good job, and so she projected that desire onto my performance. She would rather assume that I had acted than believe that I had done so poorly. The rest of the class had convinced themselves of that, too.
Armed with this knowledge, I gathered up the courage to audition for the next Shakespeare production. I had developed an obsession with Shakespeare following our 10th and 12th grade studies of “Julius Caesar” and “Macbeth”, as well as watching the film “Shakespeare in Love.” If you haven’t seen it, stop reading this, go rent it and watch it. Dude, seriously.
At any rate, the play I auditioned for was the Scottish Play, and I actually got cast and had lines! By the time opening night came around, I wasn’t very nervous. I had performed my bit in front of the cast dozens of times, and when the audience was actually out there, I didn’t even notice.
I realized that they paid money to see a GOOD performance. They don’t want me to screw up. They don’t want me to forget my lines. So long as I didn’t go “OMG, WTF HAX!” I’d be okay. So long as I didn’t admit that I messed up, they’d believe that I meant to do whatever it was that I did. If I missed a line and Glenn covered it for me, they’d assume that was supposed to happen. If I forgot my hat and had to walk back onstage to get it, they’d assume that was supposed to happen.
People will assume the best of you most of the time, and they will project that view onto whatever you do.
Ever since that moment, I’ve performed in dozens of shows on stage, I’ve taught for two years in public high schools, and worked in three drama camps teaching kids how to act and other aspects of theatre. I think we can safely assume that I’m over that insecurity.
It’s not entirely gone. There are moments when I get really nervous when I’m about to speak, or times when I really don’t feel comfortable speaking in front of people. But by and large, I’m comfortable speaking.
As an actor (or really, this applies to anyone), self-confidence will help you with everything. It will help you land jobs, make friends, make contacts. Insecurity will diminish your options in those areas. People don’t want to work with someone who’s constantly afraid of losing their job or afraid of hurting someone’s feelings or whatever. They don’t want to hang around someone who’s needy and desperate. People want friends who act sure of themselves, who act confident in their own abilities.
Self-confident people aren’t people without insecurities. They’re people who have worked through their insecurities and are able to function in spite of them. It’s okay to be insecure! It’s okay to be afraid. It’s not okay to let them take over your life. Insecurity is like a self-fulfilling prophecy. If you’re afraid of losing your job so badly that you act like you’re afraid of losing your job… you’re probably going to lose your job. If you act like you know exactly what you’re doing, if you act like you’re going to be just fine, they’re much more likely to believe that you can recover from your mistakes and let you keep your job.
For the first 18 years of my life, I let my insecurity and fear get in my way. I let it hurt my GPA in high school. I let it keep me from making friends. I let it keep me from meeting new people, from developing the social skills I needed so that I wouldn’t have to learn them later.
Now, I take my insecurities and push them aside. I know that I can succeed, and I can’t let a tiny thing like fear get in the way.
This is different from false confidence. Being self-confident means that you have to actually convince yourself that you can succeed, despite that fear that holds you back. False confidence will get you nowhere. False confidence is getting up there to speak, and then shitting in your pants anyway.
If you’re insecure about something — moving to a new place, speaking in front of people, auditioning for this show, applying to that school — just remember that people will think the best of you in the worst situations. Use that to your advantage and don’t give in to fear and uncertainty. Reach for that goal, and you’ll find you can make it.
Be self-confident.
May 14, 2008
Crappy Musicals (and Movies that Never Were)
A few years ago at my alma mater, I enjoyed (read: hated) my first solo number in a musical. I played Everett Baker in Crazy for You. For those who are unfamiliar, Crazy for You is a play that essentially wrote itself around songs by the Gershwins. The story is crap and doesn’t make a whole lot of sense, characters are introduced for the sole purpose of singing certain songs, and they’re not great songs to begin with.
At any rate, I tend to avoid those types of musicals because I don’t really think random songs should be stuck together and have a story written around them. If you want to promote music, promote it the old fashioned way — radio or whatever. Stay off my stage with it.
However, I’ve often listened to regular albums or concept albums by artists and felt like these albums had an overall theme. Indeed, often one or two songs will provide a story or overarching theme that ties the rest of the songs into one album. Ideally, this song will be the title of an album.
I’m probably going to receive a lot of flak about this, but one of my favorite artists is Garth Brooks. Many years ago, he released an album under a pseudonym and received a LOT of negative publicity about it. People thought he was committing career suicide (proved them wrong!) and thought that he was trying to cross over from country into rock. This was not the case, fortunately.
Under the pseudonym of Chris Gaines, Brooks released an album that was essentially the Greatest Hits of a fictional rocker, Chris Gaines. The album was to be a “pre-soundtrack” for a movie titled “The Bird” (I think). Brooks loved the script and was even a top contender for the lead role. He felt that once the movie was released, other movies would pick up on his trend — soundtracks that introduced audiences to the characters before the movies were even made.
The movie was to be about Chris Gaines rise to fame and subsequent fall from grace.
Unfortunately, Hollywood moves a lot slower than Nashville. The album was written, recorded and produced in under six months. The movie never got off the ground — possibly because of all the Brooks/Gaines negative publicity.
That album, however, is one of my favorites. I enjoy seeing Brooks go off into different genres. Each song on the album has a different feel to it. As an actor, I also enjoy Brooks going off into a completely different persona — Gaines made appearances on The Today Show, Saturday Night Live (mango!), and many others.
An interesting side note: the day I bought the album, I also bought Final Fantasy 8. I listened to the album over and over and over, learning all the words as I played the game. Now, whenever I listen to the Chris Gaines album, I get flashes of the video game in my mind. I associate certain songs with certain parts of the game. Neat.
Anyway, to tie this all together: two of the songs on the album strike me as very good stories that could ultimately tie the entire album together into a musical a la Crazy for You (albeit not total shit) or Across the Universe.
I’ve debated writing a script for it. The big question is whether or not to actually incorporate the songs. And even if I did, what’s the point since I’ll never get rights to the songs? Another possibility is to use the songs as the basis for an actual straight play.
Another show I’d love to write/do is Ziggy Stardust and the Spiders from Mars. I know Bowie essentially did a show for his rock shows, but they were basically rock performances and not really musicals. I think there’s a lot of potential there for a well-written musical.
What do you think?
May 11, 2008
Alms? Alms for the poor?
Here’s an interesting article I stumbled upon.
(Source: http://antistress.ro/2007/12/04/dodge-logo/)
Never have a limit on your income
A wise man said, “Never have a limit on your income.”
Example he gave:
If you sell pens for a living and someone orders a million pens, no problem! You just place an order with your manufacturer for a million pens, get them to the customer, and celebrate.
But if you do hands-on massage for a living and a recent spot on Oprah gets you a waiting list of 10,000 people, “you’ll wish you were in the pen business.”
Point being : if you make a living only providing an in-person (hands-on) service, you are limiting your income. If you were in a “while you sleep” business, there is no limit to how much you can make.
So… what about musicians?
For the last few years, many people have suggested that the products (CDs, even downloads) are now just the free giveaways to get people to go to the show - that musicians are only in a hands-on service-provider business now.
Of course I disagree because I watch CD Baby pay more and more to musicians every month (while they sleep).
Musicians MUST NOT buy into that “only earn by performing” belief because it limits your income.
I spend a LOT of money on music, but haven’t been to a live concert in years. The recorded music has great value to me, whether MP3s, CDs, or even subscription services.
What other ways can music be a “while you sleep” income-earner for musicians? (STUPID BRAINSTORM WARNING
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- write songs for others to perform
- creating commercial-use music (that businesses will use in advertising, for example)
- getting your music into film/tv
- paid-area access to your web-archive with all your music, even works-in-progress
- make it easy for fans to donate
- create a recognizable brand once, then license the name or model to others (like “Chicken Soup for the Soul”)
- franchise your band: train multiple bands how to sound just like you, then all can go tour, while you get royalty when they do
- creating music-education programs used by many schools
- release your unmixed tracks for fans to remix, letting them sell the remixes on a 50/50 split
WHAT ELSE?
Okay, so that got me thinking. According to those categories, theatre is a “hands-on” industry while other disciplines like film and TV are “while you sleep” industries. You can’t really do live theatre while you sleep (unless you’re Marvin from Marvin’s Room). On the other hand, once a film is made, all it takes to sell more is calling up the distributor and having them rush out more copies.
In short, this is mostly why two or three commercials in sizable markets can pay enough to last you a year while you pursue theatrical endeavors.
Theatre artists, like musicians, could benefit financially from “while you sleep” things. Notice musicians still tour; theatre artists should still produce live theatre. But musicians can also sell CDs and merchandise and music videos. How can we theatre artists do more “while you sleep” things to help us out financially?
Here’s a few ideas I thought of.
1) Custom T-shirts for Theatres and Plays. It’s relatively cheap to make custom T-shirts and you can do a 10% mark-up to cover costs and bring in a little extra income. You could do custom shirts for each play or do one for an entire season. The sky’s the limit!
2) uh… uh… I’m out of ideas.
Help? Any ideas out there?
May 8, 2008
Civility or Endless Rants?
Over at Angry White Guy in Chicago, Don often breaks out into angry rants (fits his blog title!) about every topic under the sun, from tourists to theatre, politics to gas prices, stupid hats to idiot bloggers calling for civility. In his latest post, “Is being ‘civil’ just another way to shut people up?”, Don argues that his ranting style brings honesty to a culture and community that simply isn’t used to being honest. And let’s face it, folks, he’s right.
When is the last time someone came to one of your performances and, when asked how it went, said “That was a shitty show”? Honestly, when did someone give you NEGATIVE feedback? They don’t. Or if they do, they cushion it with “Well, I didn’t like this part so much *mumble*becauseithoughtitwasstupid*mumble*, BUT I liked your performance. You were so funny!” They deflect the negative criticism while focusing on the positive.
One of Don’s favorite pasttimes was to rip Scott Walters a new one each week. And each week, Scott would retaliate. It always resulted in interesting conversations and arguments for us readers, but to be honest, when the overarching plot of both blogs should have been moving forward, they were standing still, rehashing the same arguments over and over. Many readers, including myself, put out a call for civility.
Don clearly takes offense at this statement. Why should he be civil? Clearly, we’re just trying to shut him up.
That’s not the case.
It’s one thing to say “This Pine Tree cigarette sucks donkey balls” and quite another to say “This Pine Tree cigarette sucks donkey balls because I feel like I’m smoking a picnic table and I think I’m gonna puke”
The first is just antagonistic and worthy of you wearing an “I’m a fucking retard” hat. The second expresses the same feeling, but offers justification which a) validates your opinion in that at least fact-based opinion and b) lets them know exactly why you felt their product sucked donkey balls.
Any time I call for civility, that’s what I’m asking for — not just criticism but constructive criticism. Meaningful feedback that can be acted upon.
I feel like Don’s review of GreyZelda’s The Skriker was a good one — he pointed out the flaws, essentially saying “I felt like this was crap and could’ve been a lot better, and here’s why…” As a director, I would have walked away with a lot of useful information from that. I might not agree with the criticism, but I’d at least listen and learn. The next night, I might watch it with the newfound information and notice what that person was talking about — or decide that their complaint wasn’t relevant (i.e. it only happened that one night, or perhaps you had intended something to work this way — in which case, you need to figure out why they didn’t get it, etc etc).
Just because you don’t like something I did does NOT mean that I’m obligated to follow your suggestions. It simply means that you had an opinion. And most people don’t just make comments like “That was horseshit” without at least a semi-good reason. So if find out what that reason was, I can maybe make it more clear next time.
Be honest. Be critical. Be constructively critical.
For you theatre people out there, if you honestly don’t like something — SAY SO. If you don’t say anything, we’ll never know and we’ll never change! We’ll assume it just works and keep on keeping on. But if you say something, then at least you can rest in the knowledge that you put in your six cents (gas prices, you know) and that if they don’t take your criticism to heart, then you’ve done all you can.
Cause let’s be honest, folks. There’s a lot of shitty theatre going on out there. And we put up with it because we’re too nice to say otherwise. There’s a lot of good theater out there, too. You know what separates the good theatre from the shitty theatre? Criticism. Lots and lots of constructive criticism. These guys get advice from people they trust so that they know what works and what doesn’t.
Anyone who doesn’t accept constructive criticism and at least listens to it with an open mind and hopes to learn is a fucking moron and deserves to wear Don’s stupid hat.
Be honest. Be bold. Be in-your-face. Be constructive.
New site: Yourbeliefs.org
One of the things I look forward to each week is Don Hall’s semi-regular blog posts titled “I believe.” In these posts, Don rages against society and our stupid ways. He rants against tourism, money-grubbing politicians, oil companies, theatre companies, civility, and even himself. It’s a refreshingly honest way of looking at the world, and I wish more people were like Don in their expressions!
People tend to hide behind niceness and civility, so you never truly know what someone believes until the shit hits the fan. They’ll waver and sit on that fence and dodge the questions and give fuzzy answers until they turn blue. So it’s nice when someone flat out says “I believe…”
I think we all believe certain things, from beliefs about religion to secularism, music to movies, politics to entertainment. We all have beliefs — things that can’t be proven by facts, things that are merely opinions. But in this great country, we have the right to our own opinions and we have the right to the freedom of speech.
Inspired by Don’s blogs, I created a website for people to express their beliefs in a public forum. So please, take two minutes out of your life and share your beliefs with the world.
The rules:
1) You have up to fifty words to express your beliefs.
Okay, just one rule. You can remain anonymous if you wish, or you can include your first name or your screen name or your nickname or however you wish to identify yourself.
Share your beliefs with the world: www.yourbeliefs.org
And for those so inclined, please Stumble! YourBeliefs.org or share it with the social media site of your choice. Tell your friends and get them to visit. I truly believe this site can offer a valuable insight into the contrasts and similarities in our beliefs as a society.
Thanks.
May 7, 2008
Am I missing something?
Seriously. Am I? Check out Scott’s latest blog entry, Closed, and then come back here.
Why is everyone acting like he’s leaving for good? Bloggers like Devilvet, Laura Axelrod, and Freeman have written blogs lamenting the latest post by Scott. They’re acting like he died.
Maybe I’m missing something, but I beg to differ.
Scott wrote,
I have used this blog, especially during the past five months, to develop my ideas about theatre tribes. I have floated the first drafts of ideas to see what needed to be clarified, fine-tuned, or scrapped entirely. It is now time to truly focus on the development of those ideas. It does not serve my purpose to continue scrapping with the usual bloggers about whether the theatre tribe idea will work — I know it will work; or whether it is worthwhile — I know it is worthwhile. I am wasting my time, and I don’t have any to waste.
…The discussion will continue, however, just not here. There are currently 64 people who have joined my Theatre Tribe website at Ning, and I have been neglecting them all while I scrap with others. It is time to focus on those who are interested in exploring these ideas, rather than those who are focused on knocking them down in the interest of “strengthening” them. If you are interested in joining this community, click on the badge in the right column that says “Join Theatre Tribe.”
I have enjoyed this conversation, but we all know that I have started to repeat myself, and have the same argument with the same people over and over. Even I am bored with it by now.
So Scott used the blog to promote his theatre tribes idea. And now he’s taking that discussion elsewhere. Does that mean he’s going to stop posting at all? Half of his posts have nothing to do with theatre tribes. Perhaps it’s these lines that people are hinging their posts on:
I leave the door open a crack for a future return, should I feel the need. But right now, I am headed for Ning, and for the quiet of my study as I try to complete this book on the theatre tribe idea.
That definitely reeks of I’m Gone-ness, but I interpret this as an end to this particular conversation. For two and a half years Scott has written about various topics relating to theatre and only in the most recent five months has he developed the theatre tribe paradigm. I don’t define Scott Walters by his tribes idea — and I hope he doesn’t define himself by that.
Maybe he’ll correct me himself, but like many others, I don’t think this is the end of Theatre Ideas. I, for one, would be disappointed should Scott shut down Theatre Ideas for good. So I hope that doesn’t happen.
It is true, however, that his major shift will be to a different medium. So those of you who care about changing the face of regional theatre, I’ll see you at the Theatre Ideas Ning site.
But just to cover my ass: if it is the end, best of luck Scott. I’ll be seeing you on the Ning forum.



