What I appreciate about this compression is that it requires clarity, curiosity, and a distillation of the themes and world of the play… In new play development we have the opportunity to nourish the seeds of a play, to watch it evolve, transform, expand or shed. Each actor and artist that comes into contact with the work contributes to its process.
Read Moren earnest, this play is about a lot of things, and trying to sift through the layers of this play will probably only feel totally settled when we learn how it plays on an audience - which may be different from night to night (part of the added fun)….Catching up with our two ensemble members post-run, to find out what they had to say about the show after getting their first look…
Read More[B]eing in a space where there are easy and surprising laughs holds a SUPER high value. Getting to hang out with this cast - having some trusted time dedicated for us to be able to just…vibe - I find myself inspired not just by their art, but by what absolute kings of and queen of humanity they are….It’s a weird and cool sort of coincidence that we’re getting to experience the sort of connectivity in action that the play is championing... I think you can feel that in the art-making.
Read MoreWhat is art if it’s not shared? Who is a creator if no one is there to receive the creation?…
To love another / for who they are / you must know self acceptance first / & then / for all
Seen. No reflection. First hand witness. / Seen for what I am / not settling for just that / Seen for who I am to become. / Not what you want to see.
Read MoreFor every show that I direct, I write a one page conceptual statement to help guide the work of our cast and production team. One of the gifts of Seat of the Pants’ extended rehearsal process is that I don’t have to come with everything figured out on day one; there’s time for my ideas to change drastically as my collaboration with other artists morphs and transforms my thoughts. This has been especially true on AMERIKIN.
Read MoreI have a dream of starting my own theatre one day and I really appreciate these learning opportunities that let me test the water and safely work through problems and it also allows me to see if I want to make that dream come true.
Read MoreChoreographing fights for the stage is a bizarre and fun challenge. When approaching any kind of choreography (dancing, stage movement, intimacy, etc.) I try to continuously ask myself - and the director whose work I’m trying to support - what’s the story. Knowing the given circumstance of the scene is often enough, but other factors may contribute significantly to the final product. Last night’s rehearsal was a nice example of that.
Read MoreMichael Chekhov’s acting technique offers a wealth of tools to help actors go beyond simple imitation and truly embody their characters. One of his most fascinating concepts is the "Qualities of Movement," a method that helps actors explore how movement can reflect a character's inner life. At its core, Chekhov’s Qualities of Movement involve using physical gestures to convey the invisible aspects of a character. Rather than simply performing actions, actors are encouraged to explore how and why a character moves the way they do.
Read MoreToday we’re taking a look at some of the great work in process by two of our designers for Amerikin: Victoria “Kermit” Mearnini, costume designer, and Alan Costa, set designer. This is Victoria’s first time working with SOTP…
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![ROUND ONE: FIGHT [SLOWLY]!](https://images.squarespace-cdn.com/content/v1/5b7b6bb9c3c16adffa50482c/1740462485629-G85UJ0ACE1UGHK02XF2O/fight+3.gif)
