Theatre’s Outlying Elements

2011-01-05T04:54:16.000Z

The more I think about theatre, the more I find myself asking what theatre truly is. I am more and more sure we will only know this when we understand the scope of what theatre, truly, can do.

Essentially, theatre must tell a story and that story, using as many senses of the human imagination as possible, must carry an audience into its depths and heights while, at the same time, reminding them that those depths and heights are within themselves as well.

So, with this in mind I ask: what is theatre? Today, in 2011, what is the purpose of creating this type of work? When I look at what most excites me about the projects we did in Florence and the work we strive to create under The GTP umbrella I realize that ‘theatre’ is both the final product AND the outlying elements which surround its development. Equal in significance is the individual experiences that are formed in its creation as well as the stories and catharses, that are fashioned as a result of beginning the journey of artistic inquiry. Theatre is so potent that, as mentioned in my previous post, it can be considered highly dangerous to political and social powers. But it can also be a curative for what aches within us: expression of our own story-telling natures. Whether that is the narrative of our life or the narrative of our emotional pain or joy we, all of us, must tell our stories. Nowhere is this more apparent then in the use of theatre in prison rehabilitation.

In his story on NPR Bringing The Bard Behind Bars In South Africa, Anders Kelto reports on a program which uses theatre at The Bonnytoun House in Capetown as an effective outreach program. Dennis Baker, the manager of that facility for 25 years says about the staff who work with these boys “You can almost see the light go on when they see that same boy, in a totally different light, with a tunic on, pretending to be some kind of warrior, you know? And they say, maybe this boy can change.” What I believe is that not only can that boy change, but those around him as well. The ‘outlying elements’ I mentioned above includes the correctional system which allows for the possibility that by including theatre there can be a shift in predictable outcomes. Those boys experience themselves as individual expressions. And, as a result, are now seen as what they really are: individuals. They are seen as individuals by individuals throughout the process and presentation of this story telling. This, I believe, is a central aspect of what is theatre.

My colleague, Dominique Cieri begin_of_the_skype_highlighting end_of_the_skype_highlighting, lead Teaching Artist and Playwright Fellow of New Jersey has developed many vital programs in this field. Particularly what comes to mind is her work with the boys at Greene Correctional Facility in New Jersey. She has worked with very violent, and ‘dangerous’ kids. And it has not been a cakewalk for her each year as she entered the room with a new group of defensive, angry boys. But weeks later she enters a room of ‘actors’ and ‘writers’ who not only are working together but are playing together. Does she change the world? If she guides one kid out of 30 to understand their full value then, yes, she does.

How does all this relate to The Global Theatre Project?

As I listened to the story on NPR I realized that it would be wrong of me to not take into account that there are thousands of American youth in jails and correctional facilities here in the states that are working with professional theatre artists such as Dominique. Why not put them in collaboration with artists like The Independent Theatre Movement South Africa or Armando Punzo’s Teatrale nel Carcere di Volterra in Italy, and others abroad who are doing the same work with thousands of incarcerated individuals?

If we delve deeper into this aspect, with all the power of our professional lives, artistry, experiences and knowledge and create an international collaborative inquiry…. I wonder what type of theatre would result from exploring these ‘outlying elements’. I wonder what kind of international relations would be developed. And I hope, someday, to create a project that allows us to find out.

originally posted at The GTP Blog: www.theglobaltheatreproject.org

The Launch of The Global Theatre Project

2010-11-29T20:47:26.000Z

Michelangelo said: “The greater danger for most of us lies not in setting our aim too high and falling short; but in setting our aim too low, and achieving our mark.”

I thought about Michelangelo a great deal these past five years. It was hard not to since I was living in Florence, Italy where so much of his influence was felt everywhere you looked and one of his homes was just down the street from my apartment. I had the utter pleasure and enormous lesson of living in the city of the Renaissance. Renaissance means ‘rebirth’ and it is a city which draws many people to it who, consciously or unconsciously are looking for that change in their life. I had no real idea why I felt so strongly that I should go to Florence, but I followed the voice in my heart and did. I didn’t know anyone, the culture, the language. I am not even of Italian origin. And I had no idea what I would do when I got there. But I went.

In gratitude I have to say what I did while I was there was co-found and run Florence International Theatre Company. It was, without a doubt, the hardest thing I have ever done in my life. It was the largest risk I ever took and, although much of it bore no resemblance to ‘Under the Tuscan Sun’ or ‘Eat, Pray, Love,’ I wouldn’t change a moment of banging my head upon The Renaissance stones of the Palazzo Vecchio, trying to explain the benefits of ‘community outreach’ (of which there is no Italian equivalent) to Italian officials or to slamming into an abrupt awakening with regards to the U.S. presence abroad both through our government and our study abroad students. What I learned as an artist, as a mentor, as a human being and as an American is the treasure I discovered in this Tuscan city and which guided me in developing FITC and in, ultimately, transforming that work to the larger vision of The Global Theatre Project based here in Los Angeles.

In Florence I learned a great deal which is found at the core of The Global Theatre Project. What became
clear is that we – and by ‘we’ I mean Americans – are not aware enough of how we are dealing with the world on a daily basis. Rightly so we are concerned about health care and economy. However, unless you live abroad you will likely not come to understand how deeply important our relationship is with our international neighbors. I learned by observing and engaging that we DO have an active relationship abroad, albeit an unconscious one. We send our students to countries, hundreds of thousands of them a year, and we have no idea of their affect on the local population or on the personal decisions about ‘Americans’ made by the residents of those cities who have to deal with these kids. And if they don’t have contact with our students, the decision of our character can be decided from exported American television and film which was declared the best representative of our culture 20 years ago when our government shut down all American cultural institutions and libraries world-wide and put a moratorium ‘on any cultural directive.’

This is where The Global Theatre Project comes into its mission and purpose. From my experience I now believe in theatre as possibly the most relevant of all art forms for developing true community in this growing time of globalization and technology, and I also believe in how much could happen to our relationship abroad if we put a directed intention on two things: connecting our professional theatre artists and students with international theatre artists and students in projects and productions that reaches out to the community they are working in.

Another great Florentine master, Dante Alighieri, said ‘The secret of getting things done is to act!’ The Global Theatre Project wasn’t something I was looking for when I went to Florence five years ago. It found me. If we could create a community, through The Global Theatre Project productions, programs and initiatives that allows us to truly know each other we would, actually, be working toward finding a way to live together on this planet in respect and love. Because we would have first hand experience of one another. Can theatre do this? I believe it can. I spent almost all my time in Florence taking the advice of Michelangelo and Dante: to raise the vision high and to act upon that high vision. We may not make it, but we will open doors to new relationships and opportunities and, who knows, we might create a bit if a theatrical renaissance in towns and cities around the world and, maybe, here at home while trying.

Bari Hochwald is President and Artistic Director of The Global Theatre Project.. You can contact her at info@theglobaltheatreproject.org or through visiting the website www.theglobaltheatreproject.org

Bari Hochwald's Posts - TheatreFace

Theatre’s Outlying Elements

The Launch of The Global Theatre Project