Question
Simplify the following in point form
Open-Minded
If we accept that theatre is the most collaborative of all of the art forms, and that the director's job is the most collaborative one in theatre, that raises the question: How do I collaborate? It seems like an awfully basic question, but it's one that we don't often think about, unprompted. In an interview with Arthur Bartow, American director and co-founder of Arena Stage Zelda Fichandler said:
We have to teach ourselves and each other the art of collaboration, 'co-laboring' in order to express a collective consciousness-the fundament of the act of making theatre... It's necessary to do more... to think as ourselves and also as the others, to permit the perceptions and needs and priorities of the others to mingle with our own while preserving our separateness.
Zelda Fichandler
When you approach a project in an open-minded fashion, what you are really doing is, as Fichandler says, allowing the "perceptions and needs and priorities of the others" join your own. Too often, I see students begin a project, get a Great Idea, and then put that idea in a stranglehold and never let go. No matter how many times teachers, peers, or other collaborators make suggestions, they feel like their G.I. is perfect! Because of that, they see any cri-tique as a personal attack and any suggestion for change as an attack against the Great Idea. This attachment to the Great Idea blinds them to other possibilities and serves as a barrier to collaboration, growth, and development. The G.I. can come in many forms: it might be a concept for a show, a casting choice, or perhaps it's a bit of staging. Regardless of the focus of the G.I., directors have to understand that what they do is all about looking at possibilities and making choices. Ultimately, it's not about making "right" or "wrong" choices, but distinguishing between choices that are "better" and "worse."
Let's say you are directing a production of Disney's Beauty and the Beast, and you've come up with a Great Idea for the ending fight between Gaston and the Beast, and the Beast's transformation into the Prince. You've decided that, in the final beat of the fight when Gaston stabs the Beast, their grappling can carry them over the edge of the castle wall platform, and the Prince can emerge from behind it after some nifty transformation lighting effects. Not only have you creatively solved the problem of how to accomplish the transforma-tion, you've come up with a visually stunning ending to the fight. Brilliant! So, while you are staging this G.I. with your fight choreog rapher in rehearsal, the scenic designer (who has been watching rehearsal and taking notes) mentions to you that when she designed the castle set, she specifically visualized the final fight taking place on a different platform on the other side of the stage-one where the sculpting at the top is going to be different and, perhaps, allow for better sightlines for the fight. Now, the director who wants to protect the Great Idea at all costs will immediately dismiss the idea because it's not his blocking-his vision-his Great Idea
Open-Minded
If we accept that theatre is the most collaborative of all of the art forms, and that the director's job is the most collaborative one in theatre, that raises the question: How do I collaborate? It seems like an awfully basic question, but it's one that we don't often think about, unprompted. In an interview with Arthur Bartow, American director and co-founder of Arena Stage Zelda Fichandler said:
We have to teach ourselves and each other the art of collaboration, 'co-laboring' in order to express a collective consciousness-the fundament of the act of making theatre... It's necessary to do more... to think as ourselves and also as the others, to permit the perceptions and needs and priorities of the others to mingle with our own while preserving our separateness.
Zelda Fichandler
When you approach a project in an open-minded fashion, what you are really doing is, as Fichandler says, allowing the "perceptions and needs and priorities of the others" join your own. Too often, I see students begin a project, get a Great Idea, and then put that idea in a stranglehold and never let go. No matter how many times teachers, peers, or other collaborators make suggestions, they feel like their G.I. is perfect! Because of that, they see any cri-tique as a personal attack and any suggestion for change as an attack against the Great Idea. This attachment to the Great Idea blinds them to other possibilities and serves as a barrier to collaboration, growth, and development. The G.I. can come in many forms: it might be a concept for a show, a casting choice, or perhaps it's a bit of staging. Regardless of the focus of the G.I., directors have to understand that what they do is all about looking at possibilities and making choices. Ultimately, it's not about making "right" or "wrong" choices, but distinguishing between choices that are "better" and "worse."
Let's say you are directing a production of Disney's Beauty and the Beast, and you've come up with a Great Idea for the ending fight between Gaston and the Beast, and the Beast's transformation into the Prince. You've decided that, in the final beat of the fight when Gaston stabs the Beast, their grappling can carry them over the edge of the castle wall platform, and the Prince can emerge from behind it after some nifty transformation lighting effects. Not only have you creatively solved the problem of how to accomplish the transforma-tion, you've come up with a visually stunning ending to the fight. Brilliant! So, while you are staging this G.I. with your fight choreog rapher in rehearsal, the scenic designer (who has been watching rehearsal and taking notes) mentions to you that when she designed the castle set, she specifically visualized the final fight taking place on a different platform on the other side of the stage-one where the sculpting at the top is going to be different and, perhaps, allow for better sightlines for the fight. Now, the director who wants to protect the Great Idea at all costs will immediately dismiss the idea because it's not his blocking-his vision-his Great Idea
Answers
GPT-4o mini
### Simplified Points on Open-Mindedness in Theatre Collaboration
- **Collaboration in Theatre**:
- Theatre is inherently collaborative; the director's role exemplifies this.
- Essential question: How do I collaborate effectively?
- **Zelda Fichandler's Perspective**:
- Collaboration requires teaching oneself the art of 'co-laboring'.
- Essential to blend one’s perceptions with those of others while maintaining individuality.
- **Open-Minded Approach**:
- Being open-minded means integrating the perceptions, needs, and priorities of others.
- A common issue: individuals cling tightly to their "Great Idea" (G.I.), dismissing collaboration.
- **Impact of Attachment to the G.I.**:
- Students often see critique as a personal attack against their idea.
- This attachment limits growth, collaboration, and exploration of alternatives.
- The G.I. can be a concept, casting choice, or staging element.
- **Making Informed Choices**:
- Directors should focus on possibilities, distinguishing between “better” and “worse” choices, rather than “right” or “wrong”.
- **Example Scenario**:
- In directing a scene from *Beauty and the Beast*, a director devises a creative idea for the climactic fight and transformation scene.
- While staging, new insights may arise from other collaborators (e.g., scenic designer suggesting a different platform for better sightlines).
- **Common Pitfall**:
- A director fixated on protecting their G.I. may dismiss valuable suggestions from collaborators, hindering a more effective overall production.
- **Collaboration in Theatre**:
- Theatre is inherently collaborative; the director's role exemplifies this.
- Essential question: How do I collaborate effectively?
- **Zelda Fichandler's Perspective**:
- Collaboration requires teaching oneself the art of 'co-laboring'.
- Essential to blend one’s perceptions with those of others while maintaining individuality.
- **Open-Minded Approach**:
- Being open-minded means integrating the perceptions, needs, and priorities of others.
- A common issue: individuals cling tightly to their "Great Idea" (G.I.), dismissing collaboration.
- **Impact of Attachment to the G.I.**:
- Students often see critique as a personal attack against their idea.
- This attachment limits growth, collaboration, and exploration of alternatives.
- The G.I. can be a concept, casting choice, or staging element.
- **Making Informed Choices**:
- Directors should focus on possibilities, distinguishing between “better” and “worse” choices, rather than “right” or “wrong”.
- **Example Scenario**:
- In directing a scene from *Beauty and the Beast*, a director devises a creative idea for the climactic fight and transformation scene.
- While staging, new insights may arise from other collaborators (e.g., scenic designer suggesting a different platform for better sightlines).
- **Common Pitfall**:
- A director fixated on protecting their G.I. may dismiss valuable suggestions from collaborators, hindering a more effective overall production.