Posts Tagged ‘grad school procrastination’

It’s madness I tell you

Tuesday, August 22nd, 2006

I am currently in Oakland, CA for a brief visit of the family. Most of my time however is in front of a computer preparing for the insanity that will ensue when I return to NY. I will tech four shows in the seven weeks following my return to New York, unless I get hired for something more in the interim. It’s a little crazy.

“Summer” in the Bay Area is really quite pleasant. Cool air. Bright clear skies. What New York would call an “unusually pleasant day” and it is all the time. I do miss that about the Bay Area. It’s too bad there really is not that much theatre out here to sustain a career as a designer.

If you like looking at art this is awesome. While not even remotely up to the standards of the Web Gallery, here is another image from the gradschool procrastination series.

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Creation 1 Copyleft 2002

Total Commitment OR The spiritual affinity of Moss Hart and Jerzy Growtowsky

Wednesday, August 2nd, 2006

We shout with triumph when we discover silly misunderstandings in Artaud. The sign which, in oriental theatre, is simply a part of a universally known alphabet, cannot – as Artaud would have it – be transferred to European theatre in which every sign has to be born separately in relation to familiar psychological or cultural associations, before becoming something quite different . . . Yet he does touch on . . . the very crux of the actors art: that what the actor achieves should be . . . a total act, that he does whatever he does with his entire being, and not just one mechanical . . . gesture of the arm or leg, not any grimace, helped by logical inflection and a thought. No thought can guide the entire organism of an actor in any living way. It must stimulate him, and that is all it really can do. Without commitment, his organism stops living . . . In the final result we are speaking of the impossibility of separating spiritual and physical. The actor should not use his organism to illustrate a “movement of the soul”, he should accomplish this movement with his organism.
Jerzy Grotowsky, Towards a Poor Theatre

It might seem strange to associate Moss Hart with Grotowsky, but I think the two of them have a surprising amount in common. On my vacation to the Republica Dominicana I read Hart’s Act One. If anyone is keeping score with my “Gradschool Procrastination” series this fits right in. My second year at NYU one of my lighting teachers Allan Lee Hughes suggested I read it. Not a formal assignment, but as a supplement to my course work. Well, with the rigors of grad school the only supplement I would take to my course work was drinking. So it took me a few years to finally do that assignment.

Act One should be required reading on the part of any serious student and practitioner of the theatre. More than any book book of theory or technique, Act One touches on the very heart of the theatrical life. That life of total commitment. The life that one can not “come back to” because it so firmly stands outside the day to day world of the rest of humanity. This is no hierarchical thing. It does not stand above other fields. But rather it demands of its practitioners a tenacious madness that once lost is difficult to return to. Even the six months I took off from designing to be the lighting assistant at the SF Opera killed so much of the momentum necessary to keep up. I wonder what I have missed in this week.

The story that Hart tells is one of unwavering commitment to a dream. His whole being dedicated to the theatre, to making a reality what he could only see in his mind. His story is one of the transformation from a vague impression of wanting to be involved somehow, to the nitty gritty practicalities of producing on Broadway. While told in almost epic proportions, the kind of transformation he undergoes is the same for every serious practitioner every time we step into the theatre. Every time we face that dark blank four dimensional canvass of the theatre we must strengthen our resolve against the pitiless gaze of the stage.

Every play is new.

Every new situation demands that we find that reserve again. That we rediscover that place inside ourselves that allows us to tap into the currents and energies of a text and build from that foundation a living breathing thing out of voice and movement and form and fabric and light. Sometimes it is the easiest thing in the world and all the pieces fall together born fully formed out the head of Zeus. And other times we are like Sisyphus pushing the rock interminably up that steep hill only to fail at the last minute and return to the bottom once again.

In many ways the truest test of this is the Musical Comedy. The light and effortless way in which a musical must flow takes the determined strength of hundreds to pull it all together. The rigor demanded by Minimalism is one thing, but what is demanded by the Musical Comedy is something of a whole other order of magnitude. In this same way opera demands an expansiveness that continually pushes at the horizons of imagination.

In all these theatrical pursuits what is demanded is an unwavering spirit and dedication to the art. And that dedication to the art must be born not in the head or in the body, but in the soul. The work must wholly infuse the spirit of the artist to even have a chance. And even then the risk of failure is great. It is this understanding of dedication, this total submission of the self to the work that is the intersection of Hart and Grotowsky. They both know the sacrifice that is necessary and live fully in that place of total commitment.

Silence, stillness and shadow

Friday, July 21st, 2006

John Cage in his essays on silence writes extensively about the role of silence in music. They are essays, but in a very real sense they are musical compositions without noise. In fact, his discourse on silence is so powerful precisely because it forces the reader to focus intently upon the subject matter at hand. The words themselves are in a way immaterial. They serve to guide the mind into that still point of silence.

Th modern world is one of constant frantic energy. The pace of everything increases daily. Minute by minute we move faster and faster. A perfect symbol for this is Times Square. I love watching films from the fourties or fifties when they show their fast paced Times Square imagery. I think of the opening sequence in The Sweet Smell of Success. That fast paced Times Square would be such a relief today. If only we could go that slow!

The modern world is about movement. It is about action. Frantic action. Chaotic and uncontrolled.

Growing up I studied Aikido. For about eleven years I went once or twice a week to the Dojo and trained. Aikido grew out of Judo and is a technique of controlling and redirecting one’s opponent’s energy. At one level Aikido is all about movement and energy. You step inside a dojo and you see people fly through the air and fall in the ruffle of a roll or the crash of a hard landing. But in reality Aikido is about stillness.

The founder of the Martial Art, O Sensei, was a tiny Japanese man. There is some wonderful film footage of him, old and white haired, being attacked by his students. These rather large young men come rushing at him full bore. With hardly a flick of the wrist he sends them flying through the air and crashing to the ground.

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Sunset Distortion Copyleft 2002

I find a lot of designers think lighting is about writing light cues. Sure that is what we do and without them the house lights would never go down and there would never be a blackout at the end of the piece. The writing of light cues is integral to the work of a lighting designer, but to say that is what lighting is about is like saying the point of writing is constructing a plot. Sure this is necessary, even if the plot is no plot, but it is hardly the core essence of the written word.

There was a line from Cupid and Psyche, “It is in the silence that the gods reveal themselves.” So too is it in the stillness that the light reveals itself. Watching a sun set is a gloriously beautiful thing. Growing up on the West Coast we would get these amazing sun sets over the water, the sun falling behind the Golden Gate Bridge in midsummer, or behind the Marin headlands in the winter. I strongly recommend this experience to anyone with a passing interest in light.

There is a moment in every sunset, where the pace at which the sun is falling increases and then, just before it goes away, it appears to stop. Time stands still. The last sliver of sunlight clutching the horizon.

And then gone.

It is in that moment of stillness that the sun reveals all its secrets. It whispers them out over its long extended fingers, and if you are very very quiet, you might just hear a little. The trees understand. Like John Cage they stand there silent and still, waiting to hear the grand symphony of the setting sun.

Circles

Saturday, July 15th, 2006

I have been looking at Art from the Holocost for a play I am doing next month set in Terezin.

Looking at these images is very difficult. I can really only look at a few at a time before I start feeling physically ill, they are so powerful. I remember in 1999 I went to Eastern Europe and visited the Jewish/Holocost Museum in Prauge. It is housed inside five synagogs, only one of which is still in operation. The sad irony is that this museum was marked by Hitler to be the site for a museum containing artifacts of an eradicated race. But here was his dream, a museum dedicated to the people he murdered. And one room in particular was especially chilling. It had hundreds of drawings by children, most of whom died in the Holocaust. I was only able to be in there for a few minutes before I had to leave, sick to my stomach.

While it is of a very different kind, all I can think of reading and looking at these images is the U.S. prison in Guantanamo. The fact that anything even remotely close to the kind of inhumane treatment perpetrated by the Germans could be even considered in light of what we know about the Holocaust is fundamentally revolting. The images in these books are incredibly powerful, and they certainly speak to the idea of truth in shadow.

On a wholly different note, here is another image from my procrastination series.

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Copyleft 2002, Vision 1


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