Another week, another blog from the performance side of theater. This week--talking about everything but the performance side of theater.

I realized the other day that a big part of the reason I love theater is its collaborative nature. In the world of art, many art forms are rather solitary pursuits. Writers slave away in front of computer screens locked away in studies for months at a time; painters and sculptors work with their mediums in isolation; musicians live in tiny practice rooms, working endlessly at honing their craft. Yet theater is an incredibly social art form, one where each branch and division is dependent on the others.

In undergrad, all theater students regardless of focus were required to take courses in all aspects of theater. I remember at the time being rather impatient with this requirement; I was there to be a playwright, and MAYBE act a little, why did I have to run tech crew or take design classes?

Since then, my appreciation for learning a little bit about all the aspects of theatrical production has only grown. Learning how sound design works or the basics of stage management not only helped me appreciate the work my colleagues put in, but also helps me as an actor and playwright. By learning enough about other disciplines to understand and be knowledgeable about the basic elements, I can engage with those elements more successfully on stage.

Here at CalArts, I've gotten to work with the lighting crew as well as reception crew as part of my work study. I now know the basics about common lighting instruments, safety in hanging and striking lights, and am much better versed on where instruments go and the technical set up of the school's performance spaces. From getting to work on the receptions for the shows, I've gotten to meet producers, gained insight into the various paperwork and budgeting needs of shows, and made valuable friends and connections among the people I'm working with.

Learning about roles other than your own as an actor is important, but as a director, I feel it's almost mandatory. As the person whose job it is to unite all the elements, I feel it is extremely advantageous to understand how all the elements function independently. There's the added practicality that if you're a director who understands and knows about various facets of design, those designers are very likely to appreciate your knowledge and attention to their work.

Additionally, given the current economic climate, simply waiting for work with a big company to come along is rarely the best approach. By understanding other roles outside my own, I feel more empowered as a theater artist to create and self-produce. I am comfortable wearing other hats (at least temporarily or for small projects), a comfort that is tantamount and gives a huge edge in the world of small scale and community theater work.

Have you ever been called upon to work on a facet of the show you felt totally untrained for? Often, in the world of educational theater and/or youth theater camps, the director has to act as costume, lighting and set designer. What are all the hats that you've worn in the theater world?