Cui Bono? A Critique of the Conscripted Audience, and Perforce, a Manifesto
"It is not enough to demand from the theater mere perceptions, mere images of reality. The theater must arouse our desire to perceive, it must organize the fun of changing reality. Our audience must not only hear how the chained Prometheus is freed; it must also school itself in a desire to free him.” —Bertolt Brecht, A Short Organum for the Theater
If theater cannot exist separate from its audience, then participation of its audience has to be engineered and motivated, otherwise there is little chance for theatrical vitality or continuity. In this article for HowlRound, I propose that theater educators must attend carefully, even erotically, to their audiences, otherwise theater shall not survive the paradigmatic shifts of twenty-first century culture.
What If…Traditional Theatre Training Were Replaced By A Multi-Disciplinary Approach?
When I worked for Walt Disney Imagineering, I marveled at their instinct for weaving together myriad disciplines into one cohesive project. In advance of the Theatre Communications Group 2011 National Convention, I made a plea for synthesis and synergy in theatre education.
My Approach to "Study Abroad"
In a short profile featured on "Inside CSULB," I describe my philosophy of transporting students abroad.
“What I found was that Paris is a combination of Washington, D.C., New York and Hollywood. To visit a bistro is to discover a mixture of politicians and artists all in one place. That creates a tension. That tension becomes energy and that energy is irresistible. It is very hard to deflect even if you try to bury your nose in a guide book. Our students may not know it, but the culture of Paris is working on them.”