Unify the Stage

 This is a fun watch: https://tedxsydney.com/talk/what-is-theatre-capable-of/

 An incredible director and teacher passed away recently.  Mary Zimmerman remembers him, and some of what we can all learn from him as directors, in this article: https://www.americantheatre.org/2023/01/09/frank-galati-passionate-enthusiast-and-philosopher-king/ Also this article is amazing: https://chicagoreader.com/arts-culture/in-the-room-with-frank-galati/?fbclid=IwAR2wXAO1YBNUYTFedkkIiGRrOFWzJ2RayNRM6_Y8pnrKqUOsoJXtMcGjyuM

The Theatre of Thomas Ostermeier  is my latest favorite directing book. I've been a fan of Ostermeier's work for a while (though I've only seen two productions live), and as an American director who loves this work but is struggling with a lifetime of training based in psychological-realism, it's hard to find my connection to it. The truth is, I like psychology, and want it to be part of the work, I think it's more interesting that way. Our job is to find humanity, right?  But, we live in a society, and the society has issues, we know that. And plays are often in conversation with our larger societal predicaments. And the characters in plays are often in response to those. And their responses may be psychological, and they may effect what they want from the other characters, but they are deeply effected by the truth of their society.  Psychological realism, I believe, runs the risk of living in the myth of individualism. We live amongst each other, and to deny that

 The esteemed Margaret Webster, amazing woman theater director ahead of her time, interviewed by Studs Terkel in Chicago in 1961. She is so wise about Shakespeare. A great listen. https://studsterkel.wfmt.com/programs/margaret-webster-talks-studs-terkel

 I mean, not by American standards...but:  https://www.nytimes.com/2022/04/21/t-magazine/ivo-van-hove.html

I just read this blog post in the Guardian from this summer about the secret lives of freelance directors having day jobs.  This is a problem in the US as well. If you're not financially backed in some way, it's almost impossible to be a freelance director. Many of us take many more jobs than we should have, instead of focusing on one project at a time, leading to some less-than-artistically-amazing work. I sometimes ponder what a wonder it is that any spectacular work happens in the theatre. I left my last temp job about five years ago. I was teaching Mon-Thurs and answering phones at an accounting firm on Fridays. The small bump in my monthly income was significant to me at the time. Me and most of my friends have day jobs as college teachers, or on artistic staffs. My mentor, Anna D. Shapiro basically told just those were our options, "name me one director who just lives off of their freelance directing." she challenged me and my grad school cohort. Ther