Theatre Design & Technology - Spring 1991 - 42

techniques ftom the business world.
What is needed is Management by Tao.

MO, when it is uttered by the
mouth,
Is so bland it has no jlAVOI:
When looked at, it is not enough
to be seen.
When listened to, it is not enough
to be heard.
When used, it is inexhaustible.
- Tao Te Ching, Chapter 35 '
Taoism is thought to have been introduced into China by Lao Tzu between
300 and 600 B.C. The basis of Taoist
philosophy, the Tao Te Ching (the
"Classic of the Way and of its Power") is
thought to be written by Lao Tzu,
although there is much dispute over this.
Some scholars believe the Tao Te Ching
was added to and altered by other
authors as the philosophy developed. For
others, authorship of the MO Te Ching
does not seem to be as important as the
meaning of the text itself, since evidence
of Taoist thinking was pervasive in
China throughout this period.
Taoism is still a popular Eastern
religion, although the original Taoist
writings are thought to have no religious
connotation. Modern day Taoist religion
incorporates idol worship, prayer and
mysticism, and is a synthesis of the
philosophies of Taoism, Confucianism
and Buddhism. In contrast, the
philosophy of Taoism is more of a
guideline for living and being and offers
no salvation or reward at the end of one's
life.
Literally translated, the word Tao
means "way," "road" or "path." Therefore, the Tao of Stage Management
means the way of stage managementthe strategy used to successfully manage
the stage. However, there is a much
deeper meaning of the Tao as a management strategy. There exists a parallel
between the philosophy of Taoism and
the theatrical experience.
The Tao strives to encompass all of
life and living. It often escapes accurate
definition, despite the many books that
attempt to do so. Likewise, the theatre is
equally as elusive. Theatre is a reflection
of life and living. It is a dynamic
experience that momentarily connecrs
audience to artist.
From this observation, a management sryle based upon the philosophy of
Taoism and the experience of the theatre
can be developed. The production is
viewed as an entiry: the company, the
crew, the management, the lights, sets,
sound and crickets in the corner. Ot
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only the tangible but the intangible-the
words, dance, music, and the feeling.
From casting to touring, rehearsals to
performances, and from load-ins to loadouts, it is this experience that is Taoist in
nature.

The Principle of Wu-Wei
There are two fundan1ental concepts of
Taoist thought that are applicable to the
management of the stage. First, the Tao
embodies the principle of lUI/-wei. U7z,wei, roughly translated, means "not
striving," "no-acrion" or "non-being."
Lao Tzu describes it in a poetic sense:

Thirty spokes share one hub to
make a wheel
Through its non-being, there is
the use ofthe carriage.
Mold clay into a vessel
Through its non-being, there is
the use ofthe vessel.
Cut out doors and windows to
//lake a house
Through its non-being, there is
the use ofthe house.
Therefore in the being ofthe thing
There lies the benefit
In the non-being ofa thing
There lies its use.
- Trw Te Ching, Chapter \1
At first, the concept of not striving seems

to contradict any notion of productiviry.
By "not doing," common sense might
indicate that nothing would get done.
However, 1U1/-lUei means not striving to
get things done.
Work is accomplished, according to
Taoist thought, by what is natural. By
acting according to what is natural, the
Taoisr sage does not do what does not
need to be done. The sage refrains from
any conscious effort. The sage seeks the
most congenial path, one that offers the
least resistance. In this way, wOtk is
accomplished, and the natural order of
things is not disturbed.
Lester Bittel unknowingly describes
lUu-wei in management terms in his
book Management by Exception. Bine!
defines Management by Exception as "a
system of identification and communication that signals the manager when his
attention is needed; conversely, it
remains silent when his attention is not
required.'" According to Bine!, the
advantage of Management by Exception
is that it discourages over-management
in favor of managing only certain
problems as they arise.
Therefore, the concept of wU-lUei is
applied to stage management in the
sense of Management by Exception. The
work that is required of the stage
manager is in the preparation of a
production. The production then
follows its natural course; rehearsals lead
up to performances, and performances
continue until the show closes.

To hold andfill a vessel to the
full
It had better not be done.
To temper and shmpen a sword,
Its edge could not be kept long.
To fill the hall with gold and
jade,
There is no lUay to guard them.
To be rich exalted, and proud,
This is to invite bla//le upon
oneself.
- Tao Te Ching, Chapter 9
According to Lao Tzu, the Taoist sage
should shy away from fame and
nororiety. It symbolizes a movement
away from the natural course of things.
This might also prove contrary to the
theatre, for there are certainly "stars" that
shine on Broadway and elsewhere. Upon
closer examination, however, rhe
meaning of flIl/-ll'ei is clear in this
context. It is the pursui t of fame for the
sake of fame that is destrucrive.
Actors that pursue fame for the sake
of fame run the risk of becoming more
famous than talented-the supermarket
Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 1991
