Campaigning (Cory)

 

Poster campaign at the Uni

Poster campaign at the Uni. (Photo: Cory Tamler)

I’m seeing a lot of text on this blog…time for some pictures. We’ve had some days off of rehearsal, and we’ve spent them plastering campus with posters. They look damn good. We hope we have the money for equally snazzy advertising in Pittsburgh.

Tomorrow we start selling tickets in the Cafete. Panoptikum always does this for their shows and we think we’re going to try it in Pittsburgh, especially the week that school starts again — in places highly trafficked by freshmen. Towers Lobby, here we come…

 

Julia makes a wonderful squirrel.

Julia is a highly committed squirrel. (Photo: Mary Heyne)

We’ve had some great rehearsals, too. With my play, we’ve done some more in-depth animal work. With Nora’s, we’re really starting to try to get to the emotional heart of the characters. Actors are using scripts less and less, in preparation for off-book day on Monday, and when scripts are out of hands, it’s time to play for real.

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One thought on “Campaigning (Cory)

  1. OK, I’m going to jump in for a second and introduce another element to the discussion. Theater is not just about actors and directors and writers and techies. Kind of like the 10th player on a baseball team — you need the audience, or it’s not theater, it’s just a group of people role-playing in an empty room. And unlike you artistic people putting this on, we audience members only have one shot, at getting the jokes, understanding the characters, following the plot, figuring out motivations and subtext, feeling the highs and lows, buying in intellectually and emotionally. And some of us are not that smart, or talented, or committed as the rest. And yet, if we don’t laugh it’s not funny. If we don’t cry, it’s not poignant. Lines that work so well in rehearsal probably often fall flat on stage; “sleeper” lines steal the show because the audience loves them. So how does this bilingual, crosscultural adventure work for us? Does it work best only for people who speak both languages? Is there a way for the audience to bridge the divides, to share the experiment? Will the program help? You have mentioned exploring real differences between German and American actors/writers/directors. I would guess there are substantial differences between German and American audiences, based on experience, expectations, attitudes, the differences in our collective subconscious — even because more Germans know some English and more about America (thanks to us ramming our culture down the rest of the world’s throat; and thanks to how fascinating we are) than Americans know German and about Germany. So of course you are taking us into account in your process. How? And can we contribute (aside from just cold hard cash)!

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