tag:blogger.com,1999:blog-12657288.post6126005867425908261..comments2024-01-07T06:59:04.212-05:00Comments on The Playgoer: My Night With DaiseyPlaygoerhttp://www.blogger.com/profile/02994724588504353485noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-12657288.post-31195486638286991632008-07-01T16:49:00.000-04:002008-07-01T16:49:00.000-04:00Great wrap-up, Playgoer. I would just add that not...Great wrap-up, Playgoer. I would just add that not only did audiences stay another 2 hours after the show for the panel, but it was a very large percentage of the audience. I've been on panels where we outnumbered the audience, and this was definitely not the case. The tons of people who (god-knows-why) care about the theater is tragically heartening. Also, I'll never eat that post-show reception cheese without thinking of Daisy with his hands swishing over his mouth.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-12657288.post-35453144124874902362008-06-26T14:48:00.000-04:002008-06-26T14:48:00.000-04:00Point taken on my "WPA" argument. So let me furth...Point taken on my "WPA" argument. So let me further clarify what I meant, since I, in principle, agree with you, anon.<BR/><BR/>All I was saying is that while I too wish stage actors could live solely off acting, I fear that will become less and less possible for the average AEA member. So I read with interest that Sunday Times story on the classical musicians basically being funded year-round (by a private foundation, I believe) on the condition they do some teaching/education outreach work in addition to their symphony and chamber music gigs.<BR/><BR/>So I couldn't help thinking, what if--just as an option, mind you--the state (if not the NEA then how about just the NY State Council on the Arts) guaranteed you some kind of full-employment for a year in various acting-related gigs? that was the point of the WPA--to put people to work AT THE JOB THEY"RE TRAINED TO DO, wherever they're needed. In my head, that might be something like agreeing to spend 3 months every year teaching OR performing for underserved communities OR role-playing at historical theme parks, even! <BR/><BR/>I in no way meant to push the whole profession into premature teaching. I agree with Daisey that we have too many acting teachers now who never even got a shot at an acting career (usually through no fault of their own). <BR/><BR/>Anyway, hope that explains it better.Playgoerhttps://www.blogger.com/profile/02994724588504353485noreply@blogger.comtag:blogger.com,1999:blog-12657288.post-2825189655849207522008-06-26T10:18:00.000-04:002008-06-26T10:18:00.000-04:00Oskar mentioned how innovatively theatres have res...Oskar mentioned how innovatively theatres have responded to the challenge of how to raise money, to the detriment of course of innovatively creating great art. Among all of the admin-bashing, I thought it was a nice gesture of acknowledging that these professionals are doing great work, just towards the wrong means. <BR/><BR/>Richard made a great point that theatres have a responsibility to serve the public, based on all the tax breaks the government gives them. And that artists are responsible for holding insitutions feet to the fire. And while theatres purport to support their community, their greatest fear is becoming community theatre. <BR/><BR/>I was particularly concerned with your point that actors should learn how to teach, in order to support themsevles, and we should encourage 'wpa-style' acting gigs. Leave actors to act--we don't tell chefs right out of culinary school to go teach cooking somewhere. <BR/><BR/>And a final moment of inspiration from Oskar, "The theatres have been built. *That* is the accomplishment of the regional theatre movement. Now what do we do with them?"Anonymousnoreply@blogger.com