A few observations:
1) Know, when you're doing a festival or workshop, what the aims are of the institution. Is it to do a big re-work of your script? To showcase your script for a local or national audience? To get to know you and your work? It could be any of these or more.
2) It's a lovely thing, and an important thing, for everyone in the room to recognize that the playwright is the expert on his or her play. Even if the playwright knows she will learn as much from her director, actors, dramaturg -- you never wanna walk into a room where you feel like you're at the service of the director, an actor. You are there in service of your work. Which means listening hard to everyone and doing what needs doing. Lisa/Meg are great with this.
3) Embrace the director who asks questions of the play and her actors. Find one who keeps telling them/you what to think, and you might wanna run. I'm not saying a director should never lay it on the line, just that you want to make sure there's at least as much Opening Up going on as shutting down. You'll learn more. Lisa Portes is great at this.
4) Don't be afraid of big changes.
5) Try to welcome everyone into the room. Flatten the heirarchy where you can. Good ideas can come from anywhere. That ASM? She's an expert on contemporary literature, and your main character's a writer. If you don't make space for it, you can't use it.
1 comment:
4:24 am? Isn't that when people sleep? Aren't pretty much only robots awake at that time? Not even bakery people are up that early. Hope you're having fun and aren't too stressed.
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