Friday, July 26, 2013

Worth a Look

Here are a few posts from last week's Greenpage that might be worth your time:

The Paradox of Devised Theater on the Twenty-First Century Stage

HowlRound: For about a year now, my theater company, The Krane, has been working on a piece of devised theater called The Underground. During this period, we have, appropriately, been living in a kind of metaphoric underground bunker of ideas wherein what we are doing, in essence, is building a ladder to the surface of the contemporary stage. This ladder to the surface is complex. Our intent is that, once we come out from our den of creativity, we are able to reach a broad audience, while, at the same time, remaining true to the “underground” nature of the form.

Nickelodeon Computer Graphics Artists Overwhelmingly Ratify Union Contract Newly organized computer graphics artists have ratified a contract negotiated between the Animation Guild, IATSE Local 839, and Nickelodeon Animation Studios, the union announced Friday, with a Yes vote from 90.1% of the bargaining unit’s 61 employees who voted. (9 employees out of the 70 member unit didn’t vote.)

Why does the shadow in this unedited image cast a future action? This image hasn't been photoshopped or digitally altered in any way. So why is the shadow so out of sync with the frisbee thrower's action?

How Are Artists Getting Paid? How are artists who have been systematically denied fair wages and access to basic services like healthcare and unemployment protections gaining access to those things today?

Setting the Stage for a New Regional Theater

HowlRound: The budding identity of American regional theater is fresh ensembles creating devised work. Restructuring the conventions of traditional venues or reimagining the presentation of performance, these companies, such as Progress Theatre (Houston, TX), New Paradise Laboratories (Philadelphia, PA), Nature Theater of Oklahoma (Long Island City, NY), or Teo Castellanos D-Projects (Miami, FL), are breaking the proscenium and thrusting their work out towards the audience. They’re creating new structures of collaboration, story, casting, touring, outreach, and inreach. Working collaboratively, they have returned to the initial regional theater acting company model, where, as Zelda Fichandler once noted, actors have a home of artists that are rooted in a community. And like Fichandler’s early Arena Stage or Nina Vance’s early Alley Theatre, these new companies—while still being rooted in their respective homes—exchange their work with other communities across the country, and even the world.

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