On why theatre artists are "migrant workers" and desperately need to be supported by salaries. (Like their administrators are.)
On why American audiences have a closer relation to art than to "artists." ("Art comes from artists, not from institutions.")
On why they couldn't attract the kind of mega-donors and philanthropists that could have saved them: "They give very generously to the institutions on which they could put their name. And Jeune Lune was not an institution you could put your name on. Because it was not about rooms and buildings and stone, it was about the work."
And about thirty minutes of other theatrical postmortem thoughts.
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