HowlRound Theatre Commons: In this moment (can we even call it a moment, when it’s been more than half a year with no real end in sight?) of collective crisis, many theatre companies are scaling down to bare-bones administrative staff, seemingly hunkering down in hopes of waiting it out and emerging in the same form in the future. Others, though, are using this pandemic pause to investigate the old ways of operating and dismantle the aspects of “business as usual” that no longer serve us in favor of new, more just, and ultimately more sustainable ways of creating theatre.
3 comments:
I think this article takes a very important stance that more people need to recognize as true: artists create jobs for more artists. Investing in playwrights and investing in new works will give jobs to other emerging artists. And I think the best thing we can do for theatre is to invest in emerging artists. New works are what will create the future of theatre and that is what we need. I don’t think anyone wants to only see the same shows forever, as much as we may like older shows we need to recognize that there must be room for new ones. As well as room for new shows and new emerging artists there needs to be funding given to them to develop their work and pay for the artists. I think what NPRP is doing is great and it seems like they have been making a difference for these artists and so many other artists as well.
I really like this idea of helping the collective of playwriters, not only because of this idea of collaboration that is seen between collaborators, but also because of how important it truly is to continue creating works. I know that our industry has been at a standstill at this time. I know so many people are struggling to get by with lack of pay. Supporting creators who not only give back to other artists through collaboration, but also give back through creating new works that then can then be continually cycled and used in other works and productions. Supporting writers is also a way to foster stronger relationships between the team of collaborators as work is generated. Finding ways to keep theatre alive and going is important in the now. Investing in theatrical endeavors in any way we can make them happen is important in the now. Finding the best way to keep creating and moving forward in a time where all signs point to us being stagnant is the best course of action.
I think this is a great article that really touched on a lot of important things that are so exceptionally relevant to the pay structure within the theater industry, especially how it applies to playwrights. One of the most compelling points about why this program, the National Playwright Residency Program, is so critical and positive is the fact that playwrights are never paid at the beginning for the progress and process of their work. Instead they wait, sometimes even for years, for compensation for their process and product. I think the National Playwright Residency Program is tackling a lot of the issues that surround the lack of support for career playwrights, while also allowing playwrights to reinvest funds back into the industry to individual artists. While obviously this specific format requires a significant amount of funding, I am extremely excited and curious to see what future iterations of the NPRP might offer.
Post a Comment