A Job + A Love

Last week I had two very different experiences with acting, neither better than the other per se, but both interesting to me. The first was

an industrial with Lancer Insurance

, a company with which I've worked once before, the other

a surprise staged reading of

Our Country's Good

, by Timberlake Wertenbaker. As you might imagine, the first one paid (rather well) and demanded virtually no emotional depth, and the second I did for free and take my word for it: very rich with emotion. It's funny, but emotions can get rather short shrift in an analysis of acting. Critiques rarely mention them directly, and actors are discouraged from "playing emotion," as well they should. Still and all, it's an essential ingredient, and in one way what we're all there for. I think we're a little embarrassed by that, frankly, and that it contributes to our approaches to emotion. Yes, of course -- the actor must live the moment and play intention, not merely synthesize specific emotions. Yet we all seek that connection, that direct emotional interplay that only occurs between two people sharing the same space.

The industrial involved trekking out to Trenton and lingering in a parking lot behind a strip mall for most of the day. There Lancer had constructed a bus accident, hired on a couple of other actors, plus a group of their own employees to play passengers. I was fortunate enough to recommend one of the actors,

Jason Carden

, and so I had something really cool to do with the inevitably ample down time: chew the fat with a friend from college. To my great surprise, the other actor there was one

Jason Griffin

-- with whom I had worked on a completely other industrial, gained through completely other means, with no discernible connection. (To my even greater surprise, I actually recognized him.) The shoot involved a long period of waiting, followed by a short period of very brisk, camera-in-hand shooting. As I mulled over my position as an insurance adjuster, I thought how similar a position he's in at such a scene. He arrives at something that's a really big deal for others, where the stakes are high, yet is expected to make rational decisions and, ultimately, it's just another day's work for him.

Sunday's reading was another reunion of sorts, as all the friends of one

Cynthia Hewett

who could be found surprised her by being the fellow actors and audience in a reading on her day-of-birth behalf. There is this network of folks who were involved in the founding of

The Metropolitan Playhouse

(now under different management) of which both Cynthia and

David Zarko

are members, and it seemed they were all there that night. This meant that I was the youngest of the actors involved (an experience I haven't had in a while) and relatively outside the dominant social network. I knew one or two others, though, and it was a great reading. The play is full of humor and pathos and interesting characters, and working on it (however briefly) with such pros made the thing crackle nicely. Plus, every person was there for Cynthia. It must have been one of the most open and involved audiences I've ever had the pleasure of performing for. It was one of those acting experiences that reminds me of why I love it like I do.

It shouldn't be all that difficult, bringing together the work we do out of love and that we do out of necessity. I'm inclined to believe, in fact, that the separation is not only artificial, but of our own making. Subconsciously, perhaps, I

like

having the two separate, because it makes me inner world simpler to imagine acting as more pure, money-making as more virtuous by merit of it involving discipline. If you asked me, of course I'd say immediately that I'd like the two together, please. But just maybe some part of me has an interest in preserving that dichotomy. My hope is that acknowledging that possibility is a help in learning to overcome it a bit more.

Because buses or the colonization of Australia, gratis or paid, I really do love this work.

In Defense of la Commedia dell'Arte

A disclaimer: I do not claim to be any sort of authority on the art and history of the traditional Italian commedia dell'arte.

An opinion: No one is, really. Not anymore. There simply weren't enough written records kept (indeed, this contributed to the genre's definition) and the oral tradition is -- by its nature -- subject to evolution in any and all aspects.

A philosophical theory: Commedia dell'arte theatre exists as we make it, and is defined by a method and process more than by specific style elements or traditional strictures. It is in essence a living tradition, one that influences and is influenced by the life and art that surrounds it.

Allora. I feel that there exists in my community here in the United States (and possibly all over the western hemisphere, but I write to what I know) a prejudice against the commedia dell'arte. Perhaps it's futile to address this possibility, given how small a percentage of the population has any idea what the commedia dell'arte is, even in concept, but I'm a theatre artist. Futile pursuits are what I was born to pursue. Plus, it riles me somewhat that the people who are aware of the commedia dell'arte are somehow unaware of its nature. (Just look at this riling on my forearms. And that's only the part that shows!) The Cd'A (went there - for the Twitter crowd) has gotten a bad rap.

Rep? Rap. Rap? A rep, rap, the reppie the reppie to the rep rep rap and I don't stop.

I've had two profound experiences with the genre and its practitioners in the past year, and both have fueled my desire to set the record a bit straighter, but especially the latter. First, in January we began two months' work on a commedia dell'arte and clown production called The Very Nearly Perfect Comedy of Romeo & Juliet. In this production we worked with two Italian artists, Angelo Crotti and Andrea Brugnera, and learned much about how the commedia dell'arte informed all of their work. Most recently, our study-abroad, cutural-immersion extravaganza, In Bocca al Lupo, concluded its 2009 program, in which the students received training from both these artists as well as we members of Zuppa del Giorno, and performed an original Scala scenario, semi-improvised, in Italian, in two Italian towns. This program is one that always yields surprising, dramatic results; this year, for me, it proved to be tremendously inspirational.

The problem with some people's perception of the commedia dell'arte is, in my opinion, that they perceive it to be juvenile, gross and pandering to the public. There are other factors involved that typical western audiences can have trouble digesting -- the use of masks, the lack of script -- but primarily the problem seems to lie in the commedia dell'arte being stuck with a stigma of being the lowest common denominator in theatre . . . both in terms of content and execution. And, worse yet, this perception is perpetuated by numerous well-intentioned(?) artists. I recall a performance I saw a couple of years ago in which a prop of fake linked sausages was performing with more truth than almost all of the other actors. Shakespeare suffers from similar widespread abuse -- people basing their work on their experience of the form rather than on an understanding of the function. The difference is, with commedia dell'arte theatre there's no one reminding you and insisting that it's really quite good when done well. Well, there's me, today, and there's this guy, pretty much always. And many others, but nothing like the masses of famous Shakespeare scholars and advocates.

We had a diverse group of students for In Bocca al Lupo this year, just as we did the first time we ran the program, in 2006 -- from undergrad theatre students to middle-aged non-actors, and even one professional actor who was close to my age (but even she is from Australia, where absolutely everything is strange and backward and strange). As if sadists, we threw them into intensive classes the day after their plane arrived: hours of Italian immersion class and then they were introduced to Angelo Crotti, who promptly worked our bodies so hard that the next day you couldn't help but feel that you were somehow being punished, perhaps for being so complacent a human being as to not regularly imitate the walk of an alligator for at least ten minutes every day. Heather and I attended all these classes with the students (though we had trained with Angelo extensively before, how could we turn down the opportunity to do so again?) and experienced first hand their struggles and responses. As we began to see, from the very first day, this was not a group that shrunk from challenge.

After intensive physical training and an introduction to the characters and mask work, Angelo ended his (too) few days with us by creating an on-the-spot scenario. It was a little like taking a trip inside his brain, and I know I was often struggling to keep up, so I can only imagine what my fellow actors thought of it. It was fascinating, though, because we got to superimpose Angelo's years of experience on our own relative ignorance, and try to reconcile the two. Watch as gli studenti -- Maureen Arscott, Beth Burkhauser, Marti Cate, Gemma Cavoli, Brian Jones, Becky Lighthizer, Carolyn Ruggiero, Heather Stuart and Addam Wawrzonek -- learn from a master:

Forgive our efforts at acting and mask work (for most of us, it is the first time for both or either, and everyone's just trying to do as they were asked here) but, more importantly, watch the glimpses of Angelo's work the lesson affords. The only thing lacking here is him in mask, which is an incredibly effective thing. It works when he does it because he can be believed. With all the artifice and style and for all the funny fun he's having, he can be believed. Angelo is not, perhaps, the most gentle of teachers. Yet as we reached the end of our time with him, the lessons he repeated were less to do with Arlecchino's stance or needing to put more energy into it, and more and more to do with a repeated imperative: "You must believe in what you are doing."

Angelo's other big axiom, oft repeated while we were working on R&J, is "all is for the audience." This is one that I tend to shy away from a bit, because I've been trained on some instinctive level to perceive working for the audience as pandering. What's interesting is the way in which this axiom can easily be perverted in the same way the commedia dell'arte style can, by putting emphasis on form over function. Ergo, pandering. Of course, as with most things, we have to practice the form over and over again before understanding the function. My understanding of what Angelo means, as far as I've gotten with it, is that the actor must be absolutely generous with the audience in this work. The form is to keep the mask presented forward; the function, to not only maintain the connection with the audience, but make that connection as strong and inclusive as possible.

Fast forward now, through two weeks' continued training and rehearsal, through more Italian lessons and great exercises from Andrea in character development and creation, through innumerable personal experiences (good and bad [sorry: helpful and less-helpful]), through even an initial performance of our scenario (The Two Faithful Notaries) in which we hit all the important plot points with clarity, yet somehow failed to create actual theatre. Fast forward to our second and final performance, in Orvieto. For whatever reason, we had an audience of five adults, one toddler. We held the curtain for about thirty minutes in hopes of more (not unexpected, that: Italy, after all), which is a tough time for actors in general, but especially difficult prior to an intensely physical, comic performance. At last we parted the curtains for our tiny audience.

You know that question about trees in forests and the existential quandary of an unwitnessed fall?

It was a brilliant show. Brilliant. I venture to say everyone of us learned from it and surprised ourselves. It felt to me more like the work that we set out to do with Zuppa del Giorno than even many of our own shows have. There's video of it, but I don't have it and I suspect it's pretty terrible (yes, even worse than my handheld digital camera work) and besides, video always leaves out the best thing about live performance: the direct, real-time communication with an audience. So you'll just have to believe me about how everyone, across the board, ultimately found the show together, and brought characters to life instead of simply getting them "right," and improvised golden bits of true comedy, and lived all the wants and needs and instinctive responses out loud, and on a grand, beautifully physical scale. You have to believe me because it's true, and because that belief is what I've been carrying around with me since I returned to the US of A, and it will make you smile like I do just to think of it.

At its best, the commedia dell'arte offers all the most enjoyable parts of theatre, dance, stand-up, circus (and a little you-name-it, always) in a format that is utterly inviting and inclusive. There's two sides to every coin, of course, and as one of the first recorded commercially motivated theatre genres it can be terrible. We can make it formal beyond repair, or pandering to laughter and coinage, or simply a mess. That's very easy to do. When we make it great, however, there's nothing like it. There are many contributing factors to such greatness. Lots and lots of technical work and training ought to go into any performer taking it on. It's a very difficult form, in my opinion, and as with circus part of the trick is in making it look easy. Most important of all of that, however, is belief. Believing in what you're doing and feeling, the audience's belief in you and your belief in them, and believing in the commedia dell'arte itself.

My point? Just to draw a little attention to what I consider to still be a rather neglected and abused form. Maybe also to say: Make gooder art, everyone. The things we create aren't always magic, but on those occasions when they are . . . hoo-boy . . .

An Event

I'm fascinated by accounts of the theatre and opera as places where people went to be seen, to make important deals and carry out vital communication. They seem to me rather like revisionist history, so biased am I to the notion that theatre is of itself the purpose of going to the theatre. I read about some important assignation that took place in the opera house and immediately think, "Oh come now, Author -- being a bit dramatic with the staging now, aren't we?" Yet I have to acknowledge that such meetings were a vital part of what kept the theatre alive in its glory days. Imagine a world without Twitter (it's easy if you try) or even phones -- to see and be seen was the only way to exist in whatever social strata you lived or aimed to live.

Whilst in Italy we sat down with Hanna Salo of

Teatro Boni

fame, and had a discussion as to what we could bring with us next year in terms of a production. The discussion turned to a trading of agreement about the frustration of getting audience these days, be it in Italy or the US or, I don't know, Istanbul (

not

Constantinople). We had just had the inauguration of their refurbished outdoor

anfiteatro

, which had the feeling one wants every theatrical event to have -- one of a community coming together to meet each other anew and have a good time doing it. In the wake of this, I suggested that shows should be orchestrated to be more like events somehow. Events are what make people leave their places now-a-days. Events are exciting and promising and lend themselves to word-of-mouth advertising.

My notion was met with underwhelming enthusiasm, but the underwhelmation (is SO a word) was both well-intentioned and earned. Hanna and David Zarko have been struggling with the bizarre ups and downs of creating an audience for years now, on the front lines. Events come and go, and sometimes they even result in big groups, but repeating it is a different trick. Repeating it with any consistency is yet another. And here's the kicker: How does one keep it theatre, and genuine, while event-ing it up? No, my idea was not the solution for which we are searching.

And yet. I keep thinking about it. Some things I've remembered, and that have come up recently to feed this nascent fire:

• Wife Megan gets really, really excited by rock concerts, and I sometimes wish I could bottle that and infect people with it to get them to come to theatre shows. Music concerts don't have to advertise all too hard. People know what they're getting, but don't know, at the same time. There's both familiarity and the potential for surprise.

• The social event is the thing that nothing else can quite replace. Sure, if you really want to, you can live as an Internet hermit your whole life, but it's not very nice in the long run. People want to be around other people, preferably happy people, and when they are they want to socialize in some respect, whether that's discussing politics or screaming and making archaic hand gestures with great enthusiasm. Theatre repels, I think, in part because it is seen as discouraging participation and socialization. Sit here. Watch this. Don't talk.

• An old acquaintance in DC -- Casey Kaleba -- is making headlines with his production of Living Dead in Denmark, which is a battle-rich fantasy set around classic Shakespeare characters (written, I might add, prior to all this hyper-popular zombie meta stuff of the past few years). I think people respond to this because it sounds like fun, and a unique experience. I know the theatre up here in NYC that premiered it (though I've never seen a single show of theirs) because it's this weird, sort of wonderfully fun idea: Vampire Cowboys.

• The shows I've been a part of that succeeded in terms of audience had many features of an event-ful nature. They involved a number of people from a cohesive community, or had an accessible concept, or incorporated popular elements, or had a limited engagement, or were especially current, or some combination thereof. Many of those that failed in this regard had similar elements . . . but I also daresay we could feel when adequate anticipation had not been cultivated, prior to the event.

• When I was young, the circus literally came to town. They'd set up a huge tent in the junior high soccer field, or occupy the Patriot Center, and for a little while conversation for children and adults would revolve around whether you'd been, or were going, or why you couldn't this year. This happened too with the ice-capades, but to a lesser degree, because you knew that someday you WOULD BE JUDGED. (I'm judging myself right now.) It was regular, annual, and as much an event as anything since.

• At this point, I go to the movies for three reasons: 1) I want to be among the first to see something, to be able to discuss it; 2) I want to experience a particular movie with a group, or on a large screen, for whatevere reason particular to the movie; and/or 3) I want to be out, doing something, and often breaking routine. With all the alternative, affordable ways of seeing films now, these are my reasons. To be part of an event.
•  

• People go to parties for numerous reasons, any of which have the potential for a temporarily happier existence: food, drink, sex, excitement and/or all the emotions and changes associated with social activity. Similar to concerts, parties let you know what you can expect, but hold potential for great surprise. Cover, no cover, social circle, menu, open bar or no, these things are announced. Where you'll be and what you'll be doing at two AM, that's up to you and God.

Now me, I usually have a miserable time at parties. I'm too self-conscious, and the schmooze factor grates on me. I can probably count on one hand the excellent experiences I've had at parties, and they have several factors in common. I knew a good number of people there, we were united in some goal and/or people were more interested in having fun than getting somewhere. If I were good at parties, I probably would be in sales or somesuch, but I'm not, I'm in theatre, and we should be hosting parties, it seems.

The problem is (just one?) once you've identified event potential, and risen to the challenge of meeting it, and marketed your event successfully, and are on your way to repeating it . . . how do you keep what you're doing what you're doing? In other words, how can you invite discussion and participation from everyone without making it into a chaotic talk-show mess? Or feed bodies as well as souls without creating the dreadful dinner theatre? Or make something be perceived as special over and over again without resorting to gimmicks and trickery?

Maybe the answer is that you can't. I don't know. But I'm fascinated by the questions right now, for two reasons. One, I want to be a part of making theatre that is regarded as an event of this kind, even if it doesn't mean any more money or career advancement for me. Two, I am (as is this here 'blog) moving toward more integration in my outlook. (I hate how Microsoft that sentence ended up sounding, through no fault of my own.) That means asking both more of myself, and more from my world in general. I think the world can take it. Me, that remains to be seen. I don't mean to make a big, whoopin' deal out of this.

But I do mean to make it an event.

Adesso.

Dunque.

In Bocca al Lupo is a non-stop program. On their three-week course, the students have only two free days. They also have two days of gita scholastici which add the time up to two full weekends, in which we go see shows and visit towns and regions they otherwise might not, but that's as much as to say that it's a required activity. They need context for their huge undertaking, and we all need that kind of time outside the rehearsal or class rooms to really develop a personal bond. After all, a sense of ensemble is critically essential to the final project.

We had a week to plan and prepare and, quite frankly, relax before they arrived. They hit the ground running, however. The very next day, after their flight got in, they began language classes at Lingua Si and master classes in commedia dell'arte with Angelo Crotti in a converted convent. I can attest to the fact that the language classes are mentally taxing, and as far as Angelo's classes go, well . . . any Crotti class you can limp away from is a good one. They did brilliantly. There were some breakdowns, but no dramas, and by the end of the week, everyone had forgotten their aching gams, bid Angelo a bitter-sweet adieu, and managed to speak enough Italian to make sense of their little world in Orvieto.

So we moved them to Aquapendente and took away their language classes.

In Aquapendente our artistic home is Teatro Boni, a beautiful little classical theatre complete with velvet seats and crystal chandelier. Boni is where the students began their master classes with Andrea Brugnera, who emphasizes a more internal approach to character creation and story-telling. It's at this time that we also introduced them to the scenario they would be learning and performing—in Italian—and began that work. The trade-off for not having Angelo's physical demands during this time is that we begin regular “conditioning,” as I've come to call it. At the end of every day, after master classes and rehearsal, for a half an hour, I get to lead the students through strength and endurance exercises. I'd be lying if I said I didn't relish this. Some part of me misses working with a circus troupe, still.

This period is a complex one in many ways. One of the objectives is to encourage the students to learn improvisation as not just a useful skill in dealing with problems, but a preferable one. So, even as we're asking them to memorize a story and do things “right,” we're also trying to encourage thinking (or perhaps more appropriately, feeling) spontaneously and in a spirit of discovery. This ripples through everything we do, including trying to locate parking on a group trip. It's frightening. Everyone reacts differently. Most people struggle to get a grip on something concrete, to get it “right.” They ask for a written copy of the scenario, which we never provide, as it's important to learn the story through one's body and connections with others. They aim for consistency in on-stage exchanges, and we do what we can to shake them out of these. They come to rely on certain routines (such as the conditioning) and we viciously disrupt them.

It's also a complex time because we are becoming an ensemble. Relationships that are akin to a family are nascent, and manifest in both helpful and unhelpful ways (when your priority is improvisation and doing, terms like "good" and "bad" prove decidedly unhelpful). Not only are the students living and working together, and in the process attempting to avoid falling into reality television cliches, but we as teachers are becoming their directors and - in my and Heather's cases - fellow actors. We all have to depend on one another and, even as we're getting past the polite or glamorous demeanor of first encounters, the idea of treating everyone you work with as an inspired poet and artist turns from a nice idea into an essential survival tool.

In the third and final week, I invariably wonder to myself, Can it really have been only two weeks? Yet the performances loom and there seems still to be a million things to decide and discover. People despair and laugh uncontrollably and have personal revelations, and none of it helps us feel any more prepared for our first audience. The students have their second brush-up Italian lesson while we teachers hasten to pay rent on theatres and generally determine what use of rehearsal time will be most useful. And then whoosh, flash, bang: It's over. Over two or three days, all our fruition and reversed expectations. And we part ways. And it seems impossible that we are indeed going to go separate ways, much less that we've known each other for only a few weeks, and not most of our lives.

The students this year were absolutely amazing, and a privilege to work with. I'll have much more write specifically about their work and the particular experience in the coming days. Until then, I simply savor the glow of it all. While working on a show, it often seems impossible, even when it's with a script, and in English. The feeling after you pull it off, especially when you pull it off well . . . well. Suffice it to say the night never feels so refreshing in the piazza, and the gelato never so sweet.

Le Provi Specifica

So. Hi. Sorry for the adamant lapses, but I am at this moment sitting in a tiny piazza in Montefiascone where we have discovered available WiFi. This is tantamount to finding gold, or an Etruscan ruin heretofore undiscovered, hence the long delays. Also, we are busy. Very, very busy, so I can't even pre-write and load an entry all that easily. I could no doubt find a few hot spots in Rome tomorrow during our little trip to see a Plautus show in the Roman ruins, but I'll be honest with you -- I care more about my shoulder hefting about Gracie here than I do about 'blogging. Mi dispiace. I'll make it up to you, I promise.

It goes well with me here. Every day is a new adventure in highs and lows, and everyone has had their little panics, but on the whole the group is amazing and the work is wonderful. We've seen no less than three theatre productions of various sorts (not including tomorrows), learned a lot of Italian, learned a classic Scala scenario, been to the hot springs and an arts festival in Spoleto, had some time at il lago di Bolsena, had master classes with two Italian actors, some great meals, and Friend Heather and I even performed our clown Romeo & Juliet for a crowd of appreciative Italians in a renovated Spanish amphitheater. It goes well with me here.

I miss you all, but I wouldn't have missed this for the world. I'll write more in detail soon. Or later. That's me being very Italian . . .