"My work welcomes a few 'um hmmms' and 'uhn uhnnns' should you feel the need to use them. Just maybe in moderation... This can be a church for some of us, and testifying is allowed."
Wednesday, November 07, 2018
In the church of Pipeline, testifying is allowed
"My work welcomes a few 'um hmmms' and 'uhn uhnnns' should you feel the need to use them. Just maybe in moderation... This can be a church for some of us, and testifying is allowed."
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I really appreciate theater that welcomes response. I find that the uptight atmosphere of “going to the theatre” can introduce a restriction to the audience that limits their ability to connect with and receive the message in whatever they are seeing. Allowing the audience to react, out loud, allows them to engage further, to immerse themselves and their minds in the story. With shows like Pipeline, especially, shows that are trying to show a clear problem in society that unequally effects it’s different members, it is easier to get your message out when you allow your audience the freedom of reaction. I think it’s very smart how the playwright, Dominique Morisseau, restricted this to a respectful level. By comparing it to Church, she opened up a pathway of unification to audiences beyond those represented on stage in this story while simultaneously laid both the acceptance and limitations upon the audience’s “participation” in the piece. I really appreciate theater that welcomes response. I find that the uptight atmosphere of “going to the theatre” can introduce a restriction to the audience that limits their ability to connect with and receive the message in whatever they are seeing. Allowing the audience to react, out loud, allows them to engage further, to immerse themselves and their minds in the story. With shows like Pipeline, especially, shows that are trying to show a clear problem in society that unequally effects it’s different members, it is easier to get your message out when you allow your audience the freedom of reaction. I think it’s very smart how the playwright, Dominique Morisseau, restricted this to a respectful level. By comparing it to Church, she opened up a pathway of unification to audiences beyond those represented on stage in this story while simultaneously laid both the acceptance and limitations upon the audience’s “participation” in the piece.
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