A response to the Editorial, ITA Link
Sun, 14 Nov 1999, 04:49 pmWalter Plinge19 posts in thread
A response to the Editorial, ITA Link
Sun, 14 Nov 1999, 04:49 pmHaving just perused the Link, I have been moved to make a few comments on
some topics raised in David's editorial.
Firstly, let me clear up a slight misapprehension that a number of people
have about "Riders to the Sea". The very intense twenty minutes that we
performed at the festival was NOT an excerpt. That's the play, just that
twenty minutes and no more! That was the script that Synge wrote, that was
the script that I got hold of, that was the script that Ralph
Vaughan-Williams set to music (in about twenty years I may have the guts to
do the opera at Dramafest). The fact that such a short piece can gain its
reputation as one of the seminal classics of Irish Theatre is a testament
to the genius of Synge.
That aside, let me add my weight to David's cry to encourage more of the
classics. David and I may be part of a biased and exclusive club. I can't
remember any other time a 'classic' has won either the Finley or the
Dorothy Barber. An understanding, or at least appreciation, of the past is
vital to any art form. How can we be expected to create new and vibrant
work if we cannot learn from the successes, and failures, of the past. It
may perhaps just be a side effect of living in a society that has no
history.
In fact, I may go even one step further than David, not only would I like
to see a few more of the 'classics', I would heartily welcome more of the
'foreign' classics. Apart from the odd Moliere or even Chekhov's 'The
Bear', when was the last time anyone in Perth did one of the European
'classics'?
What is it about the Perth scene that we are so damned Anglocentric?
Why will no one even try something in translation?
As far as I can see, the Perth Amateur repertoire consists entirely of
plays written:
a, in the last fifty years,
b. in the English language,
c. by authors who are either English, American or Australian.
The very occassional Shakespeare and Moliere are exceptions that tend to
prove the rule.
Why us this so?
This is my challenge to everyone out there who reads this, tell me, why is
it so?
Paul Treasure
some topics raised in David's editorial.
Firstly, let me clear up a slight misapprehension that a number of people
have about "Riders to the Sea". The very intense twenty minutes that we
performed at the festival was NOT an excerpt. That's the play, just that
twenty minutes and no more! That was the script that Synge wrote, that was
the script that I got hold of, that was the script that Ralph
Vaughan-Williams set to music (in about twenty years I may have the guts to
do the opera at Dramafest). The fact that such a short piece can gain its
reputation as one of the seminal classics of Irish Theatre is a testament
to the genius of Synge.
That aside, let me add my weight to David's cry to encourage more of the
classics. David and I may be part of a biased and exclusive club. I can't
remember any other time a 'classic' has won either the Finley or the
Dorothy Barber. An understanding, or at least appreciation, of the past is
vital to any art form. How can we be expected to create new and vibrant
work if we cannot learn from the successes, and failures, of the past. It
may perhaps just be a side effect of living in a society that has no
history.
In fact, I may go even one step further than David, not only would I like
to see a few more of the 'classics', I would heartily welcome more of the
'foreign' classics. Apart from the odd Moliere or even Chekhov's 'The
Bear', when was the last time anyone in Perth did one of the European
'classics'?
What is it about the Perth scene that we are so damned Anglocentric?
Why will no one even try something in translation?
As far as I can see, the Perth Amateur repertoire consists entirely of
plays written:
a, in the last fifty years,
b. in the English language,
c. by authors who are either English, American or Australian.
The very occassional Shakespeare and Moliere are exceptions that tend to
prove the rule.
Why us this so?
This is my challenge to everyone out there who reads this, tell me, why is
it so?
Paul Treasure
Walter PlingeSun, 14 Nov 1999, 04:49 pm
Having just perused the Link, I have been moved to make a few comments on
some topics raised in David's editorial.
Firstly, let me clear up a slight misapprehension that a number of people
have about "Riders to the Sea". The very intense twenty minutes that we
performed at the festival was NOT an excerpt. That's the play, just that
twenty minutes and no more! That was the script that Synge wrote, that was
the script that I got hold of, that was the script that Ralph
Vaughan-Williams set to music (in about twenty years I may have the guts to
do the opera at Dramafest). The fact that such a short piece can gain its
reputation as one of the seminal classics of Irish Theatre is a testament
to the genius of Synge.
That aside, let me add my weight to David's cry to encourage more of the
classics. David and I may be part of a biased and exclusive club. I can't
remember any other time a 'classic' has won either the Finley or the
Dorothy Barber. An understanding, or at least appreciation, of the past is
vital to any art form. How can we be expected to create new and vibrant
work if we cannot learn from the successes, and failures, of the past. It
may perhaps just be a side effect of living in a society that has no
history.
In fact, I may go even one step further than David, not only would I like
to see a few more of the 'classics', I would heartily welcome more of the
'foreign' classics. Apart from the odd Moliere or even Chekhov's 'The
Bear', when was the last time anyone in Perth did one of the European
'classics'?
What is it about the Perth scene that we are so damned Anglocentric?
Why will no one even try something in translation?
As far as I can see, the Perth Amateur repertoire consists entirely of
plays written:
a, in the last fifty years,
b. in the English language,
c. by authors who are either English, American or Australian.
The very occassional Shakespeare and Moliere are exceptions that tend to
prove the rule.
Why us this so?
This is my challenge to everyone out there who reads this, tell me, why is
it so?
Paul Treasure
some topics raised in David's editorial.
Firstly, let me clear up a slight misapprehension that a number of people
have about "Riders to the Sea". The very intense twenty minutes that we
performed at the festival was NOT an excerpt. That's the play, just that
twenty minutes and no more! That was the script that Synge wrote, that was
the script that I got hold of, that was the script that Ralph
Vaughan-Williams set to music (in about twenty years I may have the guts to
do the opera at Dramafest). The fact that such a short piece can gain its
reputation as one of the seminal classics of Irish Theatre is a testament
to the genius of Synge.
That aside, let me add my weight to David's cry to encourage more of the
classics. David and I may be part of a biased and exclusive club. I can't
remember any other time a 'classic' has won either the Finley or the
Dorothy Barber. An understanding, or at least appreciation, of the past is
vital to any art form. How can we be expected to create new and vibrant
work if we cannot learn from the successes, and failures, of the past. It
may perhaps just be a side effect of living in a society that has no
history.
In fact, I may go even one step further than David, not only would I like
to see a few more of the 'classics', I would heartily welcome more of the
'foreign' classics. Apart from the odd Moliere or even Chekhov's 'The
Bear', when was the last time anyone in Perth did one of the European
'classics'?
What is it about the Perth scene that we are so damned Anglocentric?
Why will no one even try something in translation?
As far as I can see, the Perth Amateur repertoire consists entirely of
plays written:
a, in the last fifty years,
b. in the English language,
c. by authors who are either English, American or Australian.
The very occassional Shakespeare and Moliere are exceptions that tend to
prove the rule.
Why us this so?
This is my challenge to everyone out there who reads this, tell me, why is
it so?
Paul Treasure
Walter PlingeSun, 14 Nov 1999, 10:35 pm
RE: A response to the Editorial, ITA Link
Don't recall The Importance Of Being Earnest being written in the past 50 years, more like 100 wasn't it?
Walter PlingeSun, 14 Nov 1999, 10:38 pm
RE: A response to the Editorial, ITA Link
Could it be we live in an Anglocentric society? Look at it this way: how many amateur German theatre companies perform translated Australian works?
What about Chekov?
And why is it so? Well, a company needs to attract an audience... and I doubt any of these other sort of works would attract an audience that would warrant putting the production on.
What about Chekov?
And why is it so? Well, a company needs to attract an audience... and I doubt any of these other sort of works would attract an audience that would warrant putting the production on.
Grant MalcolmSun, 14 Nov 1999, 10:57 pm
Another response to the responses
Hi Michael,
> Could it be we live in an Anglocentric society?
Should our theatre reflect an inward and insular outlook?
> Look at it this way: how many amateur German theatre companies perform
> translated Australian works?
Your point?
I thought i read somewhere that a survey of american high school students showed a high portion could not locate the australian continent on a world map. Should we stop teaching geography here in Australia?
> And why is it so? Well, a company needs to attract an audience... and I doubt any > of these other sort of works would attract an audience that would warrant putting the > production on.
mm... better tell that to all the foriegn companies headed over here for the Perth International Arts Festival ;-)
Clearly there is a market for this type of work - it just may not be the same type of people that will turn up to see re-runs of Charley's Aunt.
My $0.02.
Cheers
Grant
> Could it be we live in an Anglocentric society?
Should our theatre reflect an inward and insular outlook?
> Look at it this way: how many amateur German theatre companies perform
> translated Australian works?
Your point?
I thought i read somewhere that a survey of american high school students showed a high portion could not locate the australian continent on a world map. Should we stop teaching geography here in Australia?
> And why is it so? Well, a company needs to attract an audience... and I doubt any > of these other sort of works would attract an audience that would warrant putting the > production on.
mm... better tell that to all the foriegn companies headed over here for the Perth International Arts Festival ;-)
Clearly there is a market for this type of work - it just may not be the same type of people that will turn up to see re-runs of Charley's Aunt.
My $0.02.
Cheers
Grant
Walter PlingeMon, 15 Nov 1999, 10:48 am
Also a response to the responses
Josephine,
Earnest is the exception that proves the rule.
How many other plays do you know that were written last century and are
ever performed in Perth.
No, rephrase that, how many other plays written last century do you even
KNOW!!!
Michael,
I thought that we were supposed to be living in one of the world's most
multicultural societies!
Why is it we aren't reflecting that?
And as to audiences not willing to go to Non-Anglo plays, well that is just
a load of absolute tripe!
Roleystone had a decent turnout for Mary Stuart when they did that, and you
don't get much more German than Schiller!
Have you ever been involved in a non-Anglo play?
If not, how do you know they are "Box Office Death"?
This is my point exactly, how do we KNOW that European plays are BOD when
no-one ever does them?
It's like the old myth that 1Act play seasons are BOD.
And anyone who is involved at Marloo knows exactly how WRONG that
particular myth is.
One last bit,
Yay, something to get our teeth into rather than Omnibus!!!
Paul Treasure
PS Don't forget to come and see Blak Yak's 'Give A Dog A Bad Name' at the
Don Russell Performing Arts Centre.
November 17, 19, 20. Bookings 9493 4577.
Those there on opening night would have seen noth Leah Maher and Catherine
McStravick (among others) in their beautiful frocks.
Thanks to everyone who frocked up for the night.
LabrugMon, 15 Nov 1999, 02:50 pm
Request for response
Hey Paul. I auditioned for your show but never heard from you. What happened?
Jeff "Lost" Watkins
Jeff "Lost" Watkins
Walter PlingeMon, 15 Nov 1999, 04:44 pm
RE: Another response to the responses
If there is a market as you say, then the obvious answer is: you're just not marketing yourselves well enough.
Walter PlingeMon, 15 Nov 1999, 04:50 pm
RE: Also a response to the responses
Garrick has done Ibsen in the past.
There are other Wilde plays that have been performed in Perth - Salome was done at the Actors Centre not so long ago.
Do you count KADS production of Frankenstein? The book was written a few centuries ago.
There are other Wilde plays that have been performed in Perth - Salome was done at the Actors Centre not so long ago.
Do you count KADS production of Frankenstein? The book was written a few centuries ago.
JoeMcMon, 15 Nov 1999, 08:46 pm
RE: Another
OK - Paul you have an axe to grind - go for it, enjoy - find a club to do it?
Most clubs, I have found, do not step outside themselves (4 little walls and a roof), this would be far too daring and never done - especially down here! If you have the audacity to suggest something other than their normal "stock 'n trade", Coventry can be a comfortable but a very lonely place?
You must have seen the show listings, I think if you checked out the past seasons, they are the same as the present or even future seasons.
Most of the small theatres tend to rely on Directors re-doing their old grab bags of previous shows, they know it and have done it to death or have been in it - it's much safer.
There again for any committee to be asked to put resources into an unknown venture - " is a total risk" and they don't want to make that bet - that's why they cover their backsides with a steal plate, it protects from kick-ups.
But at the end of the day - unless these souls can be convinced otherwise! - This is probably why we vote them in, because we are not prepared to do it or fill a space - we are only left with bitching about it!
Enjoy you cruisade!
Joe McCabe
Most clubs, I have found, do not step outside themselves (4 little walls and a roof), this would be far too daring and never done - especially down here! If you have the audacity to suggest something other than their normal "stock 'n trade", Coventry can be a comfortable but a very lonely place?
You must have seen the show listings, I think if you checked out the past seasons, they are the same as the present or even future seasons.
Most of the small theatres tend to rely on Directors re-doing their old grab bags of previous shows, they know it and have done it to death or have been in it - it's much safer.
There again for any committee to be asked to put resources into an unknown venture - " is a total risk" and they don't want to make that bet - that's why they cover their backsides with a steal plate, it protects from kick-ups.
But at the end of the day - unless these souls can be convinced otherwise! - This is probably why we vote them in, because we are not prepared to do it or fill a space - we are only left with bitching about it!
Enjoy you cruisade!
Joe McCabe
Walter PlingeTue, 16 Nov 1999, 12:02 pm
Response as requested
Jeff,
"Hey Paul. I auditioned for your show but never heard from you. What
happened?"
Well, if you want the real answer it boils down to one thing...
ARRANT COWARDICE!!!
As an actor of a specific body type, I have a loathing for directors that
cast according to looks not talent/ability.
Unfortunately, with this play that is exactly the way I ended up casting.
I hate ringing up people and telling them that they didn't get a part
anyway, but how do you tell an actor who gave what was quite possibly the
best audition of the afternoon that you haven't cast them because they
wouldn't have "looked" right with the rest of the cast.
Sincerely [and I mean this] Mea Culpa, Mea Maxima Culpa!
Don't hate me
Paul
"Hey Paul. I auditioned for your show but never heard from you. What
happened?"
Well, if you want the real answer it boils down to one thing...
ARRANT COWARDICE!!!
As an actor of a specific body type, I have a loathing for directors that
cast according to looks not talent/ability.
Unfortunately, with this play that is exactly the way I ended up casting.
I hate ringing up people and telling them that they didn't get a part
anyway, but how do you tell an actor who gave what was quite possibly the
best audition of the afternoon that you haven't cast them because they
wouldn't have "looked" right with the rest of the cast.
Sincerely [and I mean this] Mea Culpa, Mea Maxima Culpa!
Don't hate me
Paul
Walter PlingeTue, 16 Nov 1999, 12:06 pm
More Responses
Josephine,
It's obvious that you don't agree with my analysis of the Perth Theatre
Scene,
either that or we are working at cross purposes.
ONE production of Ibsen about five years ago!
ONE production of 'A Woman of No Importance' last year!
ONE production of 'Salome' at the BLUE ROOM!
THAT'S MY POINT EXACTLY!
I will admit, I made a big generalisation in my analysis, and there are
exceptions...
BUT I think you will find that most of those exceptions involve a small
handful of directors who have the literacy, the tenacity, the vision, or
maybe just the stubbornness (I think it may actually just be the latter) to
do plays outside the Anglocentric POV that I'm talking about.
It would be interesting to do a proper analysis of the Perth Amateur
Repertoire, and if I had net access (instead of just email) I would.
It would be interesting to do a proper analysis of the Perth Amateur
Repertoire, and if I had net access (instead of just email) I would.
But my contention is that if you extract as few as five directors from the
equation, you would end up with practically no exceptions.
And that small handful covers a very broad cross section of styles as well.
I'm not griping at the theatres. I've directed plays in translation at four
theatres now: Marloo, Roleystone, Garrick and Marloo. All four of them
were happy to do the plays that I submitted.
My gripe is with my fellow directors...
I think Ailsa Travers has done plays in translation at Stirling,
Then there's Grant Malcolm, Jason Seperic, David Crewes, Phil Harris,
Trevor Darge...
And suddenly my brain runs dry!
And most of these people have done, what, maybe 1 foreign play?
AND THIS IS IN THE LAST TEN YEARS!
I think I must have the highest foreign content ratio, 40% of the plays
I've directed have been 'foreign'.
Where are the rest of you?
If I make this my crusade for the two months I've got off before I start
'Salome', should I just, for simplicity sake, concentrate on the last Five
years, or the last Ten years?
Expect the results early next year people...
Paul "About to Storm Byzantium" Treasure
It's obvious that you don't agree with my analysis of the Perth Theatre
Scene,
either that or we are working at cross purposes.
ONE production of Ibsen about five years ago!
ONE production of 'A Woman of No Importance' last year!
ONE production of 'Salome' at the BLUE ROOM!
THAT'S MY POINT EXACTLY!
I will admit, I made a big generalisation in my analysis, and there are
exceptions...
BUT I think you will find that most of those exceptions involve a small
handful of directors who have the literacy, the tenacity, the vision, or
maybe just the stubbornness (I think it may actually just be the latter) to
do plays outside the Anglocentric POV that I'm talking about.
It would be interesting to do a proper analysis of the Perth Amateur
Repertoire, and if I had net access (instead of just email) I would.
It would be interesting to do a proper analysis of the Perth Amateur
Repertoire, and if I had net access (instead of just email) I would.
But my contention is that if you extract as few as five directors from the
equation, you would end up with practically no exceptions.
And that small handful covers a very broad cross section of styles as well.
I'm not griping at the theatres. I've directed plays in translation at four
theatres now: Marloo, Roleystone, Garrick and Marloo. All four of them
were happy to do the plays that I submitted.
My gripe is with my fellow directors...
I think Ailsa Travers has done plays in translation at Stirling,
Then there's Grant Malcolm, Jason Seperic, David Crewes, Phil Harris,
Trevor Darge...
And suddenly my brain runs dry!
And most of these people have done, what, maybe 1 foreign play?
AND THIS IS IN THE LAST TEN YEARS!
I think I must have the highest foreign content ratio, 40% of the plays
I've directed have been 'foreign'.
Where are the rest of you?
If I make this my crusade for the two months I've got off before I start
'Salome', should I just, for simplicity sake, concentrate on the last Five
years, or the last Ten years?
Expect the results early next year people...
Paul "About to Storm Byzantium" Treasure
Walter PlingeTue, 16 Nov 1999, 08:53 pm
RE: More Responses
Has anyone thought of asking the audience what they would like to see? And if they don't want to see a foreign play, isn't up to you to perhaps change there reasons for not wanting to see it?
LabrugWed, 17 Nov 1999, 09:43 am
Director's Dilemma
Paul Treasure wrote:
-------------------------------
Well, if you want the real answer it boils down to one thing...
ARRANT COWARDICE!!!
-->I'm familiar with that ;-)
As an actor of a specific body type, I have a loathing for directors that cast according to looks not talent/ability. Unfortunately, with this play that is exactly the way I ended up casting.
-->Actually, I quiet understand this feeling (even tho' I have not directed myself) as I have sometime thought that certain actors would look good in a certain part (or at least better than the one chosen.) From a driector's point of view, you have to work with what you're given and (as I recall) your choice wasn't extensive.
I hate ringing up people and telling them that they didn't get a part anyway, but how do you tell an actor who gave what was quite possibly the best audition of the afternoon that you haven't cast them because they wouldn't have "looked" right with the rest of the cast.
-->Heh he - Know that feeling in other capacities, and it's possibly one of the nicest "Thanks, but no thakns" replies I've had Paul. You work with what you get, that's the director's dilemma. If you get TOO many auditioning - Great - Pick and choose - If you don't get enough - What do you do? Work with what you've got.
Sincerely [and I mean this] Mea Culpa, Mea Maxima Culpa!
Don't hate me
-->Can't do that, you're too nice to hate ;-)
Jeff "Can't Hold a Grudge After That" Watkins
-------------------------------
Well, if you want the real answer it boils down to one thing...
ARRANT COWARDICE!!!
-->I'm familiar with that ;-)
As an actor of a specific body type, I have a loathing for directors that cast according to looks not talent/ability. Unfortunately, with this play that is exactly the way I ended up casting.
-->Actually, I quiet understand this feeling (even tho' I have not directed myself) as I have sometime thought that certain actors would look good in a certain part (or at least better than the one chosen.) From a driector's point of view, you have to work with what you're given and (as I recall) your choice wasn't extensive.
I hate ringing up people and telling them that they didn't get a part anyway, but how do you tell an actor who gave what was quite possibly the best audition of the afternoon that you haven't cast them because they wouldn't have "looked" right with the rest of the cast.
-->Heh he - Know that feeling in other capacities, and it's possibly one of the nicest "Thanks, but no thakns" replies I've had Paul. You work with what you get, that's the director's dilemma. If you get TOO many auditioning - Great - Pick and choose - If you don't get enough - What do you do? Work with what you've got.
Sincerely [and I mean this] Mea Culpa, Mea Maxima Culpa!
Don't hate me
-->Can't do that, you're too nice to hate ;-)
Jeff "Can't Hold a Grudge After That" Watkins
Walter PlingeWed, 17 Nov 1999, 04:37 pm
RE: Director's Dilemma
How can you tell them because they don't look right? Perhaps tell them when they ring about auditions about what you are exactly after...
LabrugThu, 18 Nov 1999, 09:32 am
RE: Director's Dilemma
Todd Hill wrote:
-------------------------------
How can you tell them because they don't look right? Perhaps tell them when they ring about auditions about what you are exactly after...
Jeff says;
It's not as easy as that. A director may have a particular vision for whom he may see in the part, but sometimes has to see what turns up before he decides what he can use.
You work with what you get, you don't restrict yourself by setting conditions first off. You never know, you may find something better than you thought or you may have to alter what you want to match what you have, etc.
This is the dilemma - What the Director wants to what the director has.
Jeff "Not like that, like that" Watkins
-------------------------------
How can you tell them because they don't look right? Perhaps tell them when they ring about auditions about what you are exactly after...
Jeff says;
It's not as easy as that. A director may have a particular vision for whom he may see in the part, but sometimes has to see what turns up before he decides what he can use.
You work with what you get, you don't restrict yourself by setting conditions first off. You never know, you may find something better than you thought or you may have to alter what you want to match what you have, etc.
This is the dilemma - What the Director wants to what the director has.
Jeff "Not like that, like that" Watkins
Walter PlingeThu, 18 Nov 1999, 04:43 pm
RE: Director's Dilemma
You are always restricted with any part from the beginning - a fat person can't play a POW, a 70-year-old can't play a young bachelor, so that argument is spurious.
LabrugFri, 19 Nov 1999, 11:28 am
RE: Director's Dilemma
Todd Hill wrote:
-------------------------------
a fat person can't play a POW, a 70-year-old can't play a young bachelor, so that argument is spurious.
I say -
Is it? I don't think so. I have seen scripts re-structured to allow for such events you described above. What can a director do when the turn out at auditions is not what he/she might have prefered. You simply work with what you have or Cancel the show altogether, and not many are prepared to do that. Not wanting to cast any harsh light on any selection process of course, what one prefers and what one gets may be equally as good as each other, just different.
This is why many Directors tend to ask certain people to audition for a show so as the ensure that they at least get something they are familiar with. This is why Pre-casting exists. It's not a case of favouritism (although that can play a part) it's a way of covering your #$$ if the Auditions are not crash hot.
Regarding somethign you mentioned earlier :
>Perhaps tell them when they ring about
>auditions about what you are exactly
>after...
Most shows are advertised through Group Newsletters and the ITA. In these advertisements, it is listed (briefly) what is being looked for in terms of Age, Sex and sometimes general character description as well. This does not always help however when it comes to the actual audition.
In the example that started this who discussion, it is very likely that I would have fit one of the parts very easily. Why I didn't get a part was because I did fit with those others that auditioned and got parts. If a larger selection had auditioned (or even a different selection) I could have been cast. Giving a good (or even the best) audition is not always enough. Fitting the part and matching the rest of the Cast also play important roles in the selection process. A stage show is not just people on-tage telling a story, it is also a work of art and all the elements must work together both physically and visually.
Jeff "Artist at Work" Watkins
-------------------------------
a fat person can't play a POW, a 70-year-old can't play a young bachelor, so that argument is spurious.
I say -
Is it? I don't think so. I have seen scripts re-structured to allow for such events you described above. What can a director do when the turn out at auditions is not what he/she might have prefered. You simply work with what you have or Cancel the show altogether, and not many are prepared to do that. Not wanting to cast any harsh light on any selection process of course, what one prefers and what one gets may be equally as good as each other, just different.
This is why many Directors tend to ask certain people to audition for a show so as the ensure that they at least get something they are familiar with. This is why Pre-casting exists. It's not a case of favouritism (although that can play a part) it's a way of covering your #$$ if the Auditions are not crash hot.
Regarding somethign you mentioned earlier :
>Perhaps tell them when they ring about
>auditions about what you are exactly
>after...
Most shows are advertised through Group Newsletters and the ITA. In these advertisements, it is listed (briefly) what is being looked for in terms of Age, Sex and sometimes general character description as well. This does not always help however when it comes to the actual audition.
In the example that started this who discussion, it is very likely that I would have fit one of the parts very easily. Why I didn't get a part was because I did fit with those others that auditioned and got parts. If a larger selection had auditioned (or even a different selection) I could have been cast. Giving a good (or even the best) audition is not always enough. Fitting the part and matching the rest of the Cast also play important roles in the selection process. A stage show is not just people on-tage telling a story, it is also a work of art and all the elements must work together both physically and visually.
Jeff "Artist at Work" Watkins
Walter PlingeSat, 20 Nov 1999, 08:33 am
RE: Director's Dilemma
Todd, I don't think you get the picture.
Jeff was on the right track, but not quite the whole way there.
Any play can be performed with a thousand different permutations of casting... Any good actor should be able to perform almost any part at least adequately.
When I talked about someone looking 'right', I was NOT talking about their looking right for the part in an objective sense, I was talking about their looking 'right' as compared to the rest of the
cast...
You cannot cast a character in isolation, when you cast you have to cast EVERY character in relation to EVERY OTHER character... An actor could be perfect for a specific role, but, when put next to the other actors, could look totally wrong. Yet with a different group of actors could be exactly what is needed. [I don't know whether I've made my point clearly or not...]
And a director should NEVER limit themselves BEFORE an audition. I have known auditions where the director has walked in with one interpretation of the play, and then, on the strength of one audition, totally rethought the play, the production and their entire interpretation of the text to mean something entirely different. How do you KNOW before an audition who is going to turn up, what opportunities are going to present themselves?
Theatre is, above all things, a COLLABORATIVE art form, and a director is not a god (High Priest maybe, but not god).
Paul "Don't mention the lights" Treasure
PS Todd, was that comment about the POW a personal attack?
Yes, I know I was horribly, horribly miscast, but we were short of
available men, and I did try my hardest.
Damned Suspension of Disbelief!
Jeff was on the right track, but not quite the whole way there.
Any play can be performed with a thousand different permutations of casting... Any good actor should be able to perform almost any part at least adequately.
When I talked about someone looking 'right', I was NOT talking about their looking right for the part in an objective sense, I was talking about their looking 'right' as compared to the rest of the
cast...
You cannot cast a character in isolation, when you cast you have to cast EVERY character in relation to EVERY OTHER character... An actor could be perfect for a specific role, but, when put next to the other actors, could look totally wrong. Yet with a different group of actors could be exactly what is needed. [I don't know whether I've made my point clearly or not...]
And a director should NEVER limit themselves BEFORE an audition. I have known auditions where the director has walked in with one interpretation of the play, and then, on the strength of one audition, totally rethought the play, the production and their entire interpretation of the text to mean something entirely different. How do you KNOW before an audition who is going to turn up, what opportunities are going to present themselves?
Theatre is, above all things, a COLLABORATIVE art form, and a director is not a god (High Priest maybe, but not god).
Paul "Don't mention the lights" Treasure
PS Todd, was that comment about the POW a personal attack?
Yes, I know I was horribly, horribly miscast, but we were short of
available men, and I did try my hardest.
Damned Suspension of Disbelief!
JimMon, 22 Nov 1999, 09:33 am
RE: A response to the Editorial, ITA Link
>As far as I can see, the Perth Amateur repertoire consists entirely of
>plays written:
>a, in the last fifty years,
>b. in the English language,
>c. by authors who are either English, American or Australian.
I agree.........and I was surprised and delighted to see that The Old Mill Theatre in South Perth are currently staging a play written by well known IRISH playwright and observer of the fragile human condition.....Bernard Farrell............
>plays written:
>a, in the last fifty years,
>b. in the English language,
>c. by authors who are either English, American or Australian.
I agree.........and I was surprised and delighted to see that The Old Mill Theatre in South Perth are currently staging a play written by well known IRISH playwright and observer of the fragile human condition.....Bernard Farrell............