San Francisco Theatre Scene (TM)

Pandemic

noreply@blogger.com (Barbara A. Brewer) — Sun, 28 Mar 2021 22:28:00 -0700

Acting feels futile during a pandemic even though some brave attempts have been aired on Youtube-- Zoom performances patched together into an odd mix. Editors are the true creators of acting performances in films and television shows, but not for stage performances, yet that is all we have now.

Still I wanted to work. An actor acquaintance once told me that Uta Hagan wasn’t very good in the roles she played. I had not seen her performances so could neither agree or disagree. But reading her book, her exercises seemed quite good. Reading them, they sounded good as were her reasons for creating them, solo exercises filled the gap between roles working on acting between roles, devising exercises that mitigated acting problems.

I borrowed a DVD of Uta Hagan’s acting class from the public library. It is a DVD of some of her exercises along with some scenes her students performed. It isn’t the first time I viewed the tape. I saw it a few years ago and thought it was good. But this time I sat with an actor friend who has a much more critical eye than I. With him, I realized the scenes were terrible and the exercises little more than an attempt to get laughs from the audience.

The exercises, four that I can remember, were the following: waiting, creating the fourth wall, talking to yourself, and creating a period piece through costume. Waiting was straight forward. The individual waited on what seemed like a subway platform. He might have even had luggage of some type. Afterward Uta congratulated him and went up onto the studio stage, explaining to her students that nobody just stands someplace, that we all do things. We look in the direction of the train. We look at the other people, the advertising, the clocks, the computerized signs that tell when the next train is coming. That exercise was simple enough.

The next exercise was an actor finding something she lost. But here the problem was that although the actor looked at all of the objects she brought from home, she knew where the lost object was. As my acting colleague said, somebody else should have hidden the object in a place she was likely to have misplaced her object, but a spot unknown to her so that she really searched for the item.

Other exercises were creating a fourth wall and talking to oneself, which Hagan claimed we all do. As actors performed their exercises, the audience laughed while Hagan explained that we laugh because the exercise has occurred to us in life. But the actors played for laughs. They chose exercises that they could make funny and not necessarily particularly honest work. Honest work probably wouldn’t entertain an audience but are good practice for concentration and attention to detail.

In my opinion, the only authentic exercise was one in which the actor dressed in an 1880’s costume in front of the audience. She dressed as if the clothing-- bustle, laced up corset and shoes—were something she wore everyday.

The scenes performed were worse. Hagan only allowed five minutes of performance because as she said, if a scene goes on longer than five minutes, the actor is directing him or herself instead of interacting. But the actors in these scenes were not interacting. They either stood in their places and yelled lines at each other or after her intervention, got caught up in business so again they weren't interacting.

In the future, I will be more scrutinizing when I read acting method books.

Theatre in San Francisco mainly has been spectacle, much like Uta Hagan’s DVD, broad playing that is about laughs or it is technical effects and innovation. But neither will persuade a younger audience to embrace theatre, and now with the Internet as the main attraction, stage actors have a large bill to fill.

Norman Gee--Part 8 (4:12)

noreply@blogger.com (Barbara A. Brewer) — Fri, 8 Feb 2008 20:38:00 -0800

Advice to the Young Artist: Make the Most of Every Opportunity
Part 8 - Very Close to CD-Quality MPEG-4 (Broadband) (5.6M)
Part 8 - High Quality MPEG-4 (ISDN) (3M)
Part 8 - Highest Quality MPEG-4 available for Dial_up (1.5M)

Norman Gee--Part 7 (3:58)

noreply@blogger.com (Barbara A. Brewer) — Fri, 1 Feb 2008 19:48:00 -0800

Learning Directing Techniques Teaching Children
Part 7 - Very Close to CD-Quality MPEG-4 (Broadband) (5.6M)
Part 7 - High Quality MPEG-4 (ISDN) (2.8M)
Part 7 - Highest Quality MPEG-4 available for Dial_up (1.8M)

Norman Gee--Part 6 (3:26)

noreply@blogger.com (Barbara A. Brewer) — Thu, 24 Jan 2008 21:20:00 -0800

Central Works Theater Ensemble of Berkeley is referenced in this segment.

San FranciscoBay Area Theatre: A Portrait of Myopia and Its Consequences
Part 6 - Very Close to CD-Quality MPEG-4 (Broadband) (4.9M)
Part 6 - High Quality MPEG-4 (ISDN) (2.5M)
Part 6 - Highest Quality MPEG-4 available for Dial_up (1.5M)

Norman Gee--Part 5 (6:28)

noreply@blogger.com (Barbara A. Brewer) — Thu, 17 Jan 2008 18:52:00 -0800

In this segment two performing arts companies are referenced; Word for Word and Thick Description, as is The Bay Area Playwrights' Festival. Also referenced is the children's book, The Wind in the Willows.

The Future: Hosting and Regionalism
Part 5 - Very Close to CD-Quality MPEG-4 (Broadband) (9.1M)
Part 5 - High Quality MPEG-4 (ISDN) (4.6M)
Part 5 - Highest Quality MPEG-4 available for Dial_up (2.9M)

Norman Gee--Part 4 (7:05)

noreply@blogger.com (Barbara A. Brewer) — Thu, 10 Jan 2008 19:46:00 -0800

In this segment, Gee talks more about breaking out of stereotypes. He talks about producing Thorton Wilder's The Long Christmas Dinner. He also references August Strindberg, Henrik Ibsen, Noh Theatre and Suzan-Lori Parks 365 Days/365 Plays.

Breaking Out Of Stereotypes
Part 4 - Very Close to CD-Quality MPEG-4 (Broadband) (10M)
Part 4 - High Quality MPEG-4 (ISDN) (5.1M)
Part 4 - Highest Quality MPEG-4 available for Dial_up (3.1M)

Norman Gee--Part 3 (6:14)

noreply@blogger.com (Barbara A. Brewer) — Thu, 3 Jan 2008 17:02:00 -0800

In part three, Gee starts by explaining the impetus for starting the Oakland Public Theatre. Next he tackles the thorny issue of ethnicity in theatre in the Bay Area. He mentions Shotgun Players, California Shakespeare Company and African American Shakespeare Company.

Part 3 Ethnicity and Theatre
Part 3 - Very Close to CD-Quality MPEG-4 (Broadband) (8.8M)
Part 3 - High Quality MPEG-4 (ISDN) (4.5M)
Part 3 - Highest Quality MPEG-4 available for Dial_up (2.8M)

Norman Gee--Part 2 (6:56)

noreply@blogger.com (Barbara A. Brewer) — Thu, 27 Dec 2007 23:20:00 -0800

Introducing other authors whose works will be read during the performances, Gee explains their relationship to Wright. Gee references Richard Wright's, Black Boy and Native Son, James Baldwin's Notes of a Native Son, Chester Himes an author, Ollie Harrington, a cartoonist, and Harrington's book of essays titled Why I Left America.

Part 2--Richard Wright: Audience and Message
Part 2 - Very Close to CD-Quality MPEG-4 (Broadband) (9.8M)
Part 1 - High Quality MPEG-4 (ISDN) (5M)
Part 1 - Highest Quality MPEG-4 available for Dial_up (3.1M)

Norman Gee--Part 1 (6:39)

noreply@blogger.com (Barbara A. Brewer) — Fri, 21 Dec 2007 00:19:00 -0800

Norman Gee, is the originator, artistic director and producer of Oakland Public Theatre in Oakland, California. As an Oakland actor and director he saw a need for a theatre whose mission was to serve the people of Oakland. Hence he created Oakland Public Theatre many of whose productions are performed in public spaces such as colleges and libraries. In honor of Richard Wright's hundredth birthday, he and Richard Talaveras, a local playwright, have initiated the Richard Wright Centennial Project, a series of ten readings that include Richard Wright's as well as other African American writers whose lives intersected Wright's life. The third reading of the series was performed at the San Francisco Public Library on Sunday, December 16, 2007. The series continues through the Spring and Summer 2008 at various locations.

In the first part of the interview, Gee discusses the project, providing background about its origins and it's parameters which includes a brief introduction to James Baldwin, author of Go Tell It on the Mountain.

The interview was conducted on October 7, 2007.

Part 1--The Richard Wright Centennial Project
Part 1 - Very Close to CD-Quality MPEG-4 (Broadband) (9.4M)
Part 1 - High Quality MPEG-4 (ISDN) (4.8M)
Part 1 - Highest Quality MPEG-4 available for Dial_up (3.0M)

O'Keefe Part 8

noreply@blogger.com (Barbara A. Brewer) — Sat, 13 Oct 2007 12:12:00 -0700

Part 8 - The Future (3:10)
In this segment, O'Keefe discusses The Marsh as a venue for reaching varied audiences.
Part 8 - Very Close to CD-Quality MPEG-4 (Broadband) (1.1M)
Part 8 - High Quality MPEG-4 (ISDN) (2.2M)
Part 8 - Highest Quality MPEG-4 available for Dial_up (4.4M)

O'Keefe Part 7

noreply@blogger.com (Barbara A. Brewer) — Fri, 5 Oct 2007 20:14:00 -0700

Part 7 - Walt Whitman's "Song of Myself" as a Performance (11:33)
In this segment of the interview, O'Keefe explicates Whitman's famous poem as he discusses the process of bringing "Song of Myself" to the stage. O'Keefe, like one of his mentors, John Cage, has found inspiration from America's revolutionary poet, Walt Whitman.
Part 7 - Very Close to CD-Quality MPEG-4 (Broadband) (4.1M)
Part 7 - High Quality MPEG-4 (ISDN) (8.1M)
Part 7 - Highest Quality MPEG-4 available for Dial_up (16.1M)

O'Keefe Part 6

noreply@blogger.com (Barbara A. Brewer) — Mon, 1 Oct 2007 18:33:00 -0700

Part 6 - Theatre as a Mind Altering Experience (6:35)
In this section O'Keefe discusses the foundations of his body of work. In it, he references the Christo Running Fence, an art installation in Marin and Sonoma counties from 1972-1976. He also references the abstract expressionist painter Mark Rothko.
Part 6 - Very Close to CD-Quality MPEG-4 (Broadband) (9.1M)
Part 6 - High Quality MPEG-4 (ISDN) (4.6M)
Part 6 - Highest Quality MPEG-4 available for Dial_up (2.3M)

OKeefe Part 5

noreply@blogger.com (Barbara A. Brewer) — Sun, 16 Sep 2007 15:55:00 -0700

Part 5 -The Politics of Theatre (6:35)
In this section, O'Keefe describes how theatre in the Bay Area has become driven by market forces rather than creativity. Among other topics John Lion's contribution to San Francisco theatre is discussed in this section.
Part 5 - Very Close to CD-Quality MPEG-4 (Broadband) (9.1M)
Part 5 - High Quality MPEG-4 (ISDN) (4.6M)
Part 5 - Highest Quality MPEG-4 available for Dial_up (2.3M)

OKeefe - Part 4

noreply@blogger.com (Barbara A. Brewer) — Sun, 9 Sep 2007 11:45:00 -0700

Part 4 Experimental Theatre vs. Straight Theatre- (6:08)
In this section O'Keefe discusses experimental theatre's takeover and demise. The Kitchen as well as P.S. 122 is mentioned as are performance artists; Steve Reich, Philip Glass, Laurie Anderson, Karen Finley, and others.
Part 4 - Very Close to CD-Quality MPEG-4 (Broadband) (8.5M)
Part 4 - High Quality MPEG-4 (ISDN) (4.3M)
Part 4 - Highest Quality MPEG-4 available for Dial_up (2.2M)

O'Keefe Part 3

noreply@blogger.com (Barbara A. Brewer) — Sun, 2 Sep 2007 12:57:00 -0700

Part 3 - Music's Connection to Theatre--the language of poetry (4:09)
In this section, O'Keefe makes references to Homer's ODYSSEY and ILIAD.
Part 3 - Very Close to CD-Quality MPEG-4 (Broadband) (5.8M)
Part 3 - High Quality MPEG-4 (ISDN) (2.9M)
Part 3 - Highest Quality MPEG-4 available for Dial_up (1.5M)

John O'Keefe Parts 1 & 2

noreply@blogger.com (Barbara A. Brewer) — Fri, 10 Aug 2007 21:50:00 -0700

John O'Keefe, playwright, director and solo performer, is one the originators of The Blake Street Hawkeyes in Berkeley, California. He was one of the leaders of experimental theatre in the Bay Area in the early 1970's and has continued leading ever since. He recently performed Walt Whitman's Song of Myself first at the Public Theatre in NYC and during the summer of 2007 at The Marsh in San Francisco where he will continue performing it in September 2007.

In the first part of the interview, O'keefe talks about his origins in theatre at The Iowa Theatre Lab. He references music innovators such as John Cage, Luciano Berio and Karlhainz Shtockhausen as well as theatre innovator Jerzy Grotowski, a Polish theatre director and major innovator of 20th century theatre.

Part 1 - Growing Up in the MidWest (4:51)
Part 1 - Very Close to CD-Quality MPEG-4 (Broadband) (6.7M)
Part 1 - High Quality MPEG-4 (ISDN) (3.4M)
Part 1 - Highest Quality MPEG-4 available for Dial_up (1.7M)

In the second part of the interview, O'Keefe continues his work as a Blake Street Hawkeye. Also mentioned is The Magic Theatre of San Francisco, David Schein and Bob Ernst who were other originator members of The Blake Street Hawkeyes and George Coates who started Performance Works.

Part 2 - Coming to California (7:49)
Part 2 - Very Close to CD-Quality MPEG-4 (Broadband) (10.9M)
Part 2 - High Quality MPEG-4 (ISDN) (5.5M)
Part 2 - Highest Quality MPEG-4 available for Dial_up (2.8M)

Update

noreply@blogger.com (Barbara A. Brewer) — Fri, 2 Mar 2007 15:30:00 -0800

I have been busy rehearsing for the California premiere of PURGATORIO by Ariel Dorfman. For more information about the production go to mysticbison.com
I will continue interviewing theatre personalities after the play closes.

Donna Davis - Part 6

noreply@blogger.com (Barbara A. Brewer) — Thu, 28 Sep 2006 08:10:00 -0700

Part 6 - Acting and Directing Applied to Interpersonal Communication (4:14)
Part 6 - Very Close to CD-Quality MPEG-4 (Broadband) (3.9M)
Part 6 - High Quality MPEG-4 (ISDN) (2.0M)
Part 6 - Highest Quality MPEG-4 available for Dial_up (1.5M)

Donna Davis Part 5

noreply@blogger.com (Barbara A. Brewer) — Wed, 20 Sep 2006 21:17:00 -0700

Part 5 - Directing (5:26)
Part 5 - Very Close to CD-Quality MPEG-4 (Broadband) (5.0M)
Part 5 - High Quality MPEG-4 (ISDN) (2.6M)
Part 5 - Highest Quality MPEG-4 available for Dial_up (1.9M)

Donna Davis - Part 4

noreply@blogger.com (Barbara A. Brewer) — Tue, 12 Sep 2006 18:40:00 -0700

Part 4 - Improvisation and Developing Acting Proficiency (4:11)
Part 4 - Very Close to CD-Quality MPEG-4 (Broadband) (3.9M)
Part 4 - High Quality MPEG-4 (ISDN) (2.0M)
Part 4 - Highest Quality MPEG-4 available for Dial_up (1.5M)

Donna Davis - Part 3

noreply@blogger.com (Barbara A. Brewer) — Tue, 5 Sep 2006 17:21:00 -0700

Part 3 - In this segment Donna Davis discusses the lineage of the acting that she teaches. Mentioned in this segment are Konstantin Stanislavski, originator of the Moscow Art Theater and the method, a synynom for the then revolutionary techniques used to teach realistic acting and Sanford Meisner, a member of the Group Theatre who started his own acting school. (4:19)
Part 3 - Very Close to CD-Quality MPEG-4 (Broadband) (4.0M)
Part 3 - High Quality MPEG-4 (ISDN) (2.0M)
Part 3 - Highest Quality MPEG-4 available for Dial_up (1.5M)

Donna Davis-Parts 1 & 2

noreply@blogger.com (Barbara A. Brewer) — Sat, 26 Aug 2006 11:36:00 -0700

Donna Davis, actor, director and acting instructor, working in Berkeley California, teaches Stanislavsky's acting method as interpreted by Maria Ouspenskaya and Richard Boleslavsky , both of whom started and ran The American Laboratory Theatre in the early 20th century. Ms. Davis talks about her acting workshops in these segments.

Part 2 - Working Against Type and Character Development (6:18)
Part 2 - Very Close to CD-Quality MPEG-4 (Broadband) (5.9M)
Part 2 - High Quality MPEG-4 (ISDN) (3.0M)
Part 2 - Highest Quality MPEG-4 available for Dial_up (2.2M)

Part 1 - Overview of Acting Workshops (6:49)
Part 1 - Very Close to CD-Quality MPEG-4 (Broadband) (6.3M)
Part 1 - High Quality MPEG-4 (ISDN) (3.2M)
Part 1 - Highest Quality MPEG-4 available for Dial_up (2.4M)

Bert van Aalsburg-Part 5

noreply@blogger.com (Barbara A. Brewer) — Thu, 29 Jun 2006 18:36:00 -0700

Part 5 - Stage Management: (7:36)
Part 5 - Very Close to CD-Quality MPEG-4 (Broadband) (7M)
Part 5 - High Quality MPEG-4 (ISDN) (3.5M)
Part 5 - Highest Quality MPEG-4 available for Dial_up (2.6M)

Bert van Aalsburg-Part 4

noreply@blogger.com (Barbara A. Brewer) — Thu, 22 Jun 2006 17:48:00 -0700

Part 4 - Pragmatic Set Construction(8:10)
Part 4 - Very Close to CD-Quality MPEG-4 (Broadband) (7.5M)
Part 4 - High Quality MPEG-4 (ISDN) (3.8M)
Part 4 - Highest Quality MPEG-4 available for Dial_up (2.8M)

Bert van Aalsburg-Parts 2 and 3

noreply@blogger.com (Barbara A. Brewer) — Fri, 16 Jun 2006 19:14:00 -0700

Part 2 - In this segment Bert talks about his favorite set design designing for QUASIMODO, THE HUNCHBACK, a play he directed with the Performing Artists Group. (4:29) Part 2 - Very Close to CD-Quality MPEG-4 (Broadband) (4.1M) Part 2 - High Quality MPEG-4 (ISDN) (2.1M) Part 2 - Highest Quality MPEG-4 available for Dial_up (1.5M)

Part 3 - In this segment Bert describes setting designing using as an example Mystic Bison Theatre and Dance's production of MURDER AT THE HOWARD JOHNSON'S .(6:59)
Part 3 - Very Close to CD-Quality MPEG-4 (Broadband) (6.4M)
Part 3 - High Quality MPEG-4 (ISDN) (3.2M)
Part 3 - Highest Quality MPEG-4 available for Dial_up (2.4M)