Welcome to the DAI blog… where the faculty and artists of Dell’Arte can share their personal perspectives on the work, as well as reflections on our 35 year history. Articles, letters, class notes, and writings-in-progress will be excerpted for this blog, as well as brief postings. We will include links to our website where you can find the full text of excerpts of longer pieces, so that you can investigate further the ideas that interest you. As we approach our 35th anniversary, we are increasingly engaged in the work of transmission. We will be adding new posts weekly, and happy to have your comments.
Joan Schirle, Founding Artistic Director/School Director
“We pursue the ensemble not as strategy for presentation but as the force of a theatrical community … for giving access to greater insight, and force, for inspiration and exaltation.”
-- Ronlin ForemanIn our first blog post, Ronlin Foreman offers a perspective on collaborative creation, or ensemble devising. It seems fitting to start this blog with thoughts about how ensembles create. Our organization has ensemble governance, and for years the Company developed plays collaboratively, In Year Two and Three of our MFA program students devise full one-act plays; Year One MFA and PTP one year training require students to collaborate on thematic assignments weekly, in groups. Heated discussions arise, questions as well as requests for more ‘how to’s’ on collaborating. While we offer guidelines and ground rules for this ensemble work, we do not include specific classes in ‘how to collaborate’. Here’s why:
Training …the way of Dell’Arte
At this point in time (at the beginning at the 21st century, in America) we are taught that the only way to learn is by way of encouragement and compliment, with the least confrontation possible. In many of our fundamental assertions DAI is counterculture; it is also this way when it comes to our educational perspectives – we believe in the efficacy of provocative leading (offering direction with critique that is not a prescriptive solution –from the Latin, pro voce, for the voice). And, we believe in the positive aspects of via negativa, fostering personal responsibility for “physical self-discovery” (subjective knowledge) and “the self-discovered point” – the point at which curiosity, research and discipline convene, creating a source of “primary” knowledge (objective knowledge).
With regard to ensemble devising…
it is true and difficult that here at DAI we err on the side of less formal involvement in the process of ensemble devising. Taking our cue from the Lecoq model, which was implemented as a result of the students’ demand that they have an explorative stake in their own education, this “laboratory work”-- while furnishing a progression of themes-- was to be explored on their own. We offer a few models and encouragements with regard to “agreements,” preferring that the ensembles learn from actually engaging each other. If the group knows that we will intervene if difficulties arise, then there is little incentive to endure / persevere and require / teach oneself to learn from-- to learn in-- adversity. (We willingly assist in last rites, the burying of the dead, and believe in prayers for the resurrection...)
We continue to evaluate our level of involvement in group mediation and techniques for ensemble process. In the end, our love is “the work” done well, not logistics or manifestos or paradigms articulated. DAI is not simply a unique and interesting school for “being taught” ensemble practices and physical theatre techniques. Nor is it a prescriptive training the Actor/Creator. It is a Realm of exploration and investigation … of submission to the road. For some entering, it is an uncharted region that seeks recognition from the student, requiring the person to define/see themselves in reference to “the work” and “the group” over and against what had been/what was then -- because “the work” takes place in the present.
My philosophy with regard to ensemble cohesion and power is: the force of the objective -- the investment of all members toward the goal, i.e. on a soccer field, on a basketball court, in an operation room, in a court room, in a sick room, on the field of battle, in a prayer meeting, in the wilderness…. Cohesion and focus “happen” where self is sublimated in deference to “the other.” Where the risks are high and community necessary-- winning the game, saving the patient, supplanting the enemy, petitioning God-- it is easier to invest personal desire in a common goal. Generally speaking, the “stakes” in creating a piece of theatre in a school environment are lower even than in the society at large because “here” The Work is not about the struggle of the Poet to survive, but my rights and desires for the product versus yours. Except in cultures where Artistry and the Metaphysical are deemed necessary and real by the community, “agreements” and “contracts” are necessary in order to allow for community and the establishment of objectives. As opposed to “skill” or “calling,” the personal agenda--spoken or unspoken-- will fracture the ensemble and undermine community.
This is human nature. To program against it we would have to devote the training to interpersonal relations and group dynamics. We are not a Performance Studies school. Our training deals with the practical application of physical dynamics and alchemical proposals. We are a school of Theatre dedicated to the development of the Actor (animator) as Poet (author) creating not from a literary perspective but from the body in time and space -- characters in situations and circumstances. We pursue the ensemble not as strategy for presentation but as the force of a theatrical community … for giving access to greater insight, and force, for inspiration and exaltation. We study how / why playmaking is important in our world.
--Ronlin Foreman
At this point in time (at the beginning at the 21st century, in America) we are taught that the only way to learn is by way of encouragement and compliment, with the least confrontation possible. In many of our fundamental assertions DAI is counterculture; it is also this way when it comes to our educational perspectives – we believe in the efficacy of provocative leading (offering direction with critique that is not a prescriptive solution –from the Latin, pro voce, for the voice). And, we believe in the positive aspects of via negativa, fostering personal responsibility for “physical self-discovery” (subjective knowledge) and “the self-discovered point” – the point at which curiosity, research and discipline convene, creating a source of “primary” knowledge (objective knowledge).
With regard to ensemble devising…
it is true and difficult that here at DAI we err on the side of less formal involvement in the process of ensemble devising. Taking our cue from the Lecoq model, which was implemented as a result of the students’ demand that they have an explorative stake in their own education, this “laboratory work”-- while furnishing a progression of themes-- was to be explored on their own. We offer a few models and encouragements with regard to “agreements,” preferring that the ensembles learn from actually engaging each other. If the group knows that we will intervene if difficulties arise, then there is little incentive to endure / persevere and require / teach oneself to learn from-- to learn in-- adversity. (We willingly assist in last rites, the burying of the dead, and believe in prayers for the resurrection...)
We continue to evaluate our level of involvement in group mediation and techniques for ensemble process. In the end, our love is “the work” done well, not logistics or manifestos or paradigms articulated. DAI is not simply a unique and interesting school for “being taught” ensemble practices and physical theatre techniques. Nor is it a prescriptive training the Actor/Creator. It is a Realm of exploration and investigation … of submission to the road. For some entering, it is an uncharted region that seeks recognition from the student, requiring the person to define/see themselves in reference to “the work” and “the group” over and against what had been/what was then -- because “the work” takes place in the present.
My philosophy with regard to ensemble cohesion and power is: the force of the objective -- the investment of all members toward the goal, i.e. on a soccer field, on a basketball court, in an operation room, in a court room, in a sick room, on the field of battle, in a prayer meeting, in the wilderness…. Cohesion and focus “happen” where self is sublimated in deference to “the other.” Where the risks are high and community necessary-- winning the game, saving the patient, supplanting the enemy, petitioning God-- it is easier to invest personal desire in a common goal. Generally speaking, the “stakes” in creating a piece of theatre in a school environment are lower even than in the society at large because “here” The Work is not about the struggle of the Poet to survive, but my rights and desires for the product versus yours. Except in cultures where Artistry and the Metaphysical are deemed necessary and real by the community, “agreements” and “contracts” are necessary in order to allow for community and the establishment of objectives. As opposed to “skill” or “calling,” the personal agenda--spoken or unspoken-- will fracture the ensemble and undermine community.
This is human nature. To program against it we would have to devote the training to interpersonal relations and group dynamics. We are not a Performance Studies school. Our training deals with the practical application of physical dynamics and alchemical proposals. We are a school of Theatre dedicated to the development of the Actor (animator) as Poet (author) creating not from a literary perspective but from the body in time and space -- characters in situations and circumstances. We pursue the ensemble not as strategy for presentation but as the force of a theatrical community … for giving access to greater insight, and force, for inspiration and exaltation. We study how / why playmaking is important in our world.
--Ronlin Foreman
Copyright DAI 2008
Dell'Arte International www.dellarte.com
PO Box 816, Blue Lake CA 95525
(707) 668-5663
Dell'Arte International www.dellarte.com
PO Box 816, Blue Lake CA 95525
(707) 668-5663
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