Thursday, May 03, 2007
The Lower Depths
we opened tonight.
we kicked ass.
really.
there is a lot of great stuff happening in this show.
come see it.
PERFORMANCE DATES
ALL SHOWS BEGIN PROMPTLY AT 8:00 PM
Weekend Shows: Fri/Sat May 4, 5, 11, 12, 18, 19
Pay-What-You-Want shows - Thursday, May 3 and Thursday, May 10
there is talk of adding a monday pay what you will on the 14th
LOCATION
Freneticore Theater
5102 Navigation
Houston, Tx 77011
TICKETS
$10
RESERVATIONS/INFORMATION
832-283-0858
OR
dccommune@yahoo.com
www.doschicastheatercommune.com
http://myspace.com/doschicascommune
www.DosChicasTheaterCommune.com
we kicked ass.
really.
there is a lot of great stuff happening in this show.
come see it.
PERFORMANCE DATES
ALL SHOWS BEGIN PROMPTLY AT 8:00 PM
Weekend Shows: Fri/Sat May 4, 5, 11, 12, 18, 19
Pay-What-You-Want shows - Thursday, May 3 and Thursday, May 10
there is talk of adding a monday pay what you will on the 14th
LOCATION
Freneticore Theater
5102 Navigation
Houston, Tx 77011
TICKETS
$10
RESERVATIONS/INFORMATION
832-283-0858
OR
dccommune@yahoo.com
www.doschicastheatercommune.com
http://myspace.com/doschicascommune
www.DosChicasTheaterCommune.com
Sunday, April 29, 2007
IDWEEK: BILL SIENKIEWICZ TALKS 30 DAYS - NEWSARAMA
IDWEEK: BILL SIENKIEWICZ TALKS 30 DAYS - NEWSARAMA
Nearly 99.9% of the time, the particular piece I'm working on will decide the medium and method, in, or by, which it should be done, not vice-versa. Meaning it will do the courtesy, (so to speak), of letting me know what it needs to convey—emotionally, if not technically—what it's trying to say to the reader and the best way to convey it. I'm really more of the conduit, a collaborator, in the production. Any time I've tried to do it the other way around, to decide how I'm going to do any particular piece, to try to force a piece to be something it's not, it ends up in a fight with the piece with the piece usually winning—thereby showing me how little I ultimately know. That said, I do know that the art is at the service of the story, and works with it, occasionally as reinforcement, occasionally as a counterpoint. In the end, it comes down to the piece knowing what its needs are to do just that, and it knows it far better than I. That much, I do know. So that's the answer to your question: to continue to allow that “evolution” you mentioned to continue. To get out of the way in terms of trying to force a result. one can't force oak to be pine. It's a zen thing.
Nearly 99.9% of the time, the particular piece I'm working on will decide the medium and method, in, or by, which it should be done, not vice-versa. Meaning it will do the courtesy, (so to speak), of letting me know what it needs to convey—emotionally, if not technically—what it's trying to say to the reader and the best way to convey it. I'm really more of the conduit, a collaborator, in the production. Any time I've tried to do it the other way around, to decide how I'm going to do any particular piece, to try to force a piece to be something it's not, it ends up in a fight with the piece with the piece usually winning—thereby showing me how little I ultimately know. That said, I do know that the art is at the service of the story, and works with it, occasionally as reinforcement, occasionally as a counterpoint. In the end, it comes down to the piece knowing what its needs are to do just that, and it knows it far better than I. That much, I do know. So that's the answer to your question: to continue to allow that “evolution” you mentioned to continue. To get out of the way in terms of trying to force a result. one can't force oak to be pine. It's a zen thing.
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