Showing posts from May 27, 2007


This is the second part of my expansion of my interview on "Theatre is Territory," and as with the first part, I will use responses from others as a way to extend the conversation.

In response to the question, "What do American theatre educators need to do better, generally?," I wrote "Teach students to value, above all things, innovation, creativity, thinking outside the box, questioning the status quo, taking big risks, failure...Let students fail! Give higher grades for risk takers who really make a huge flop!" In the question that preceded this one, which concerned any unifying theories of the role of formal education for theatre artists, I made what I think was an important differentiation between what I believed was the priority of education and those who are "trying to create replacement parts for the current creaking theatre machine."

Ian, the Praxis Theatre interviewer, wrote that he felt this statement "seems like an argument in fav…


As I promised a few days ago, I would like to take advantage of my own blogspace to elaborate on some of the items that appeared in my recent interview that appears on Theatre is Territory blog. There are several remarks that have been commented on, and I would like to use them as prompts.

The question that seems to have attracted some initial attention was in response to the following:

7) If class issues are preventing theatre from being a more vital voice in American culture, who’s responsible and how do we fix it?

I began by discussing my belief, shared by Dudley Cocke of Roadside Theatre (see his passionate and intriguing article "Art in a Democracy"), that theatre audience has become homogeneous and rich (80% of the audience is comprised of the upper 15% of the economic pyramid), and that to some extent Tyrone Guthrie's hijacking of the regional theatre movement, which substituted productions of European classics for support of indigenous playwriting, created the cond…