Wednesday, July 20, 2016

Make the Process a Good Time






"I am a total believer of making the process a good time - make it memorable, have some fun, try to shoot high in your quality and then don't get crazy, see what happens."
                                                                     ~ Gary Marshall


"It's always helpful to learn from your mistakes because then your mistakes seem worthwhile."
                                                                      ~ Gary Marshall



Friday, June 3, 2016

Outstanding Stage Manager Award Application


Did you have an Outstanding Stage Manager this season?


Q2Q comic by by Steve Younkins

Stage Managers are often the heart of the production. We love them. 

Help us recognize your Outstanding Stage Manager by submitting an application for the OSM Award.

If you registered a production with the IT Awards this season, then your Stage Manager is eligible for this award.

Complete your application today! 






Wednesday, June 1, 2016

Happy New Season


We all know that Indie Theatre runs 24/7/365.
However, today we celebrate the beginning of a new season.



May your houses by full, 
your reviews be excellent
& all of your endeavors be filled with joy!


HAPPY NEW SEASON! 






Sunday, May 1, 2016

12 NYC Theatres recieve Gender Parity Seals of Approval


Check out this great article from American Theatre about the League of Professional Theatre Women granting Gender Parity Seals of Approval to 12 NYC Theatres.




Cal in Camo produced by Rattlestick

CONGRATULATIONS TO ALL!

Saturday, April 30, 2016

Dramaturgical Practice Is Not a Theoretical Endeavor…but a quirky, subjective process of listening and responding.

By Karen Lee Ott

I wonder why I start by saying what it’s NOT. Because it is so often misunderstood?


I wonder how theater--inherently conservative, cliché- and type-based--can still be mined for truth? 

I wonder how a director bends and reshapes a piece of material to make me sit on the edge of my seat and almost stop breathing (Ivo von Hove’s direction of a Miller play)?

These are not new questions for the form, but still I am curious to understand how a well-made play can be left behind and something else can erupt to capture our attention and create an as-of-yet undiscovered path toward meaning. Leave the structured, illustrative painting for expressionist gestures that still cohere. Rather than leading the audience through a logical plot, how does a new form of play carry them along—what are the touchstones? What is a play without character? 

Paula Vogel once said to a small room of playwrights that the play is a journey, which is a highway. There are on and off ramps that are analogous to a play’s digressions, but it holds together only if the audience has the signage to get off and back on without becoming irreparably lost. Elinor Fuchs, parsing Aristotle, explained that the Action of a story is the Mountain; the plot is the Path (of the skier, in her example) the protagonist takes to ski down it. So, there are many potential plots but only one Action. 

I wonder what questions are useful to the playwright, the director, or the actors? How should we be framing the piece? Why are we doing this? What is the world of this play? And refining the questions, so they continue to serve the process.

Anne Bogart’s physical approach, which starts with Suzuki training, an almost militaristic form that puts actors in their bodies, is one example of how one can move down to the roots of the culture that forms us by first transcending the intellect. 

The paths to life as dramaturgy come from deep within and began developing unconsciously. My introduction to modern art was through French language class in high school. That’s where I first glimpsed the fragmentation, juxtapositions, and absurdities that characterize Dada and surrealism. Art and architecture are inherent components of European culture, not separated studies of elites. The old world encompasses history whereas the new one forgets it in favor of innovation. Yet look to the innovative design that shows up in certain truly progressive countries to integrate the new with the old. I think it’s a myth that America is shiny and new. It is rusty and old in many ways, and not keeping pace with the planet’s needs. The shortsightedness of decision makers who accumulate funds for projects at hand is counterproductive to the long-term planning necessary to make America function for all.

I remember the first time someone told me about formal dramaturgy. I had been stage managing at the Ridiculous Theatrical Company for a season. We were standing on a subway platform after a rehearsal for a very intentionally silly new musical. The director was telling me about his experience in the dramaturgy program at Yale. Mostly I remember it all sounded fascinating and the variables endless, unlike in stage management where after a few seasons you’ve dealt with it all and fixed it all. To be a dramaturg is to be a lifelong student of representation, text, form, and reception. For a supremely visual and verbal person, the theater offers the locus for the potential integration of all of these aesthetic elements plus the visceral, human aspect. 

There are plenty of life lessons to be learned from the backstage, too. The most important thing I learned in a tech booth was to forgive myself immediately if I made a mistake. I’m talking about a light cue. If you missed one, and panicked, you were going to miss the next one as well. I think every single person who wants to create theater should stage manage first. Joe Papp notoriously picked up a broom during his first job. The halls of academe don’t prepare one for life on or off stage, but the other thing every single person in theater needs to do is to read. Read things other than plays, I mean, alongside all the plays.

                                ______________________________________________________


Karen Lee Ott (dramaturg/editor/translator) has been company dramaturg with Untitled Theater Company (UTC #61) since its Ionesco Festival (2001). Awards: Presidential Scholarship/Dramaturgy (Columbia University); Academic grant to study/work in Paris (French Consulate); JP Adler Memorial Scholarship (American Jewish Theatre). Usual suspect, NYTW. Board member, UTC #61. Founding member, Nomad Theatrical Company. She was honored to participate in an America-in-Play cohort, led by Lynn M. Thomson and Dominic Taylor. Playwriting Award Reviewer: New Dramatists/Princess Grace; FringeNYC. Studied French literature (University of Chicago); art history/polisci (Sarah Lawrence/Paris); and dramaturgy and translation (CU).

Friday, April 29, 2016

Honesty: Not the Best Policy, But the Clearest

By Natalie Zutter

One of the best compliments I’ve gotten is that my work is very honest. It was also, the first time it was given, a backhanded compliment—a suggestion that maybe I would be wise to scale things back, to not quite “say it like it is.” This is ironic, considering that much of my work is couched in layers of sci-fi and speculative fiction metaphor, that it explores the far reaches of outer space, the space between comic-book panels, the cracks in time.

I don’t like to bullshit; I’m good at it, but when given the opportunity, I discard that shield. Speaking directly and articulating the weird, uncomfortable stuff—especially the weird, uncomfortable stuff—helps. It’s something I do when I’m hit with anxiety; I say my irrational fears out loud because then we’ll all agree how ridiculous they actually sound. It’s the same with my writing, especially when it comes to the power dynamics I can’t help but see in almost every interaction: Let’s shine a spotlight on the difficult dichotomy of wanting to tear down other women and build them up; let’s examine the push-and-pull of a “friends with benefits” relationship when one person treats the other like more of an object than a human.


Sex With Robots. Photo by Kacey Stamats.
I’ve long struggled with my own power imbalance—the desire to tell out-of-this-dimension stories with the obligation to aim more for naturalism. My first playwriting class, I wrote a dystopian thriller set in a world where marriage was outlawed. It probably should have been a screenplay, but instead of telling me that, my professor firmly said, “I don’t get this,” as if that were the final word. For years it was, and I struggled to find interesting stories.



In the New York indie theater community, I rediscovered that sci-fi/speculative lens, through the work of Mac Rogers and Gideon Productions; through involvement with Caps Lock Theatre’s Sex With Robots Festival and The Brick’s Comic Book Theater Festival. Those uncomfortable power dynamics I highlighted found their stories in (respectively) A Real Boy, about a woman sharing her list of sexual partners with her sex robot FWB; and RETCONtroversy, one superhero’s journey through four bodies and various comic-book identities.


RETCONtroversy. Photo by Anton Nickel.
Also, the guys at Law & Order were on to something; I’ve ripped several stories from the headlines and written short plays about Twitter stalkers, Leonard Nimoy’s nude photography, the celebrity nude photos leak, and even the CIA’s secretive Starbucks. These are stories about body image, confusing and unconsciously predatory sexuality, obsession, and the simple desire to know the name of someone you see every day. They’re dark, and sad, and funny; I hope they make people laugh but then give a soft “ohh” of recognition.

The writer friend who chastised me for being too honest never saw any of my plays, and therefore never saw me as an artist. The indie theater community has.

                              __________________________________________


Natalie Zutter’s plays include A Real Boy, RETCONtroversy, Drinks/The Sincerest Form, and Stealthy Starbucks. Her work has been developed/performed at The Brick’s Comic Book Theater Festival, The Tank, The Secret Theatre, True False Theatre, and TinyRhino. Her play Drinks/The Sincerest Form was further developed during True False Theatre’s inaugural The Polygraph Tests residency, and her play A Real Boy was commissioned for Caps Lock Theatre’s The Sex With Robots Festival. She is a graduate of NYU’s Gallatin School of Individualized Study (with a concentration in Serialized Storytelling and Internet Culture) and current member of the EMG Playwriting Workshop. By day, she is a staff writer for the sci-fi/fantasy website Tor.com. You can find her online @nataliezutter and zutsuitriot.tumblr.com, and on the New Play Exchange.