Theatre Design & Technology - Summer 1993 - 15
THE
9 9 3
u S
T T
KEYNOTE
ADDRESS
E
AT
T
E
MA
here is something
very sensual abou t
a pen poised over
clean white paper
-In the moment
before writing, all
possibility exists.
Then comes the moment when a pen
poised over paper needs to start work.
Exit possibiliry. Enter panic. Why was I
excited about the chance to speak to you?
What is it exactly that I wanted to share?
Why does all of this matter to me and, I
hope, to you'
To the rescue came an old friend of
mine with whom I have had an on-again,
off-again love affair since college. Bertolt
Brecht said, "Every art contributes to the
greatest art of all: the art of living." This
is the beginning and the end of my
speech, for what else is there to say? And
yet, as Sam Donaldson said about
Clinton's economic plan, "The devil is in
the details."
\Vhy have I chosen to give my energy
and commirment to the thearre? \Vhen I
was a kid of five, theatre entered my life
in rhe form of elocution lessons. \Vhen I
was six or seven or eight, I began producing plays in my backyard. The sets were
blankets hung on a clothesline, the actors
were my brothers, sisters, and cousins
pressed into service, the costumes were
boxes of Halloween costumes and discarded clothes from parents and friends.
The ticket price was five cents. High tech
and high finance it wasn't. It was, however, grear fun. I loved the idea that I could
be someone different with no limir on
the whos and whats involved.
\Vhen I was in high school I saw
Vincenr Gardenia as Eddie Carbone in
Arthur i\liller's A View From the Bridge.
The feeling thar [ had as I watched
Catherine kneel over Eddie's body at the
S
end of the play has stayed with me to this
day. That image and the feeling it evokes
have been my companions, coming to
my mind at odd moments, pushing me
to think about that man and his life.
Since then I have been conning and
cajoling people to go on the adventure of
theatre with me whether as audience or
artist. ow others work wi th me to do
far more than a blanket on a clothesline
and a flashligh t for special effects could
ever do. But I am still drawn to theatre
for rhe same reason: It is a ticker to any
time in history, to any place in the world,
to any person I can conjure in my imagination.
I am (she said, without actually mentioning her age) now significantly older
than that little girl. My time is especially
valuable to me because I have come to
realize in a very intimate way that once a
momenr of my life has passed, it will
never return. Bluntly put, time has eternity. I do nor. This fact of life wasn't
imporrant to me at the age of 16 or 25 or
30. Then I believed, I assumed-whether
I articulated it or not-thar [ was
immortal. As I have become older, [ have
GU~R~LD.
TD&T
1993 SUMMER
13
Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1993
Contents
Theatre Design & Technology - Summer 1993 - 1
Theatre Design & Technology - Summer 1993 - 2
Theatre Design & Technology - Summer 1993 - 3
Theatre Design & Technology - Summer 1993 - Contents
Theatre Design & Technology - Summer 1993 - 5
Theatre Design & Technology - Summer 1993 - 6
Theatre Design & Technology - Summer 1993 - 7
Theatre Design & Technology - Summer 1993 - 8
Theatre Design & Technology - Summer 1993 - 9
Theatre Design & Technology - Summer 1993 - 10
Theatre Design & Technology - Summer 1993 - 11
Theatre Design & Technology - Summer 1993 - 12
Theatre Design & Technology - Summer 1993 - 13
Theatre Design & Technology - Summer 1993 - 14
Theatre Design & Technology - Summer 1993 - 15
Theatre Design & Technology - Summer 1993 - 16
Theatre Design & Technology - Summer 1993 - 17
Theatre Design & Technology - Summer 1993 - 18
Theatre Design & Technology - Summer 1993 - 19
Theatre Design & Technology - Summer 1993 - 20
Theatre Design & Technology - Summer 1993 - 21
Theatre Design & Technology - Summer 1993 - 22
Theatre Design & Technology - Summer 1993 - 23
Theatre Design & Technology - Summer 1993 - 24
Theatre Design & Technology - Summer 1993 - 25
Theatre Design & Technology - Summer 1993 - 26
Theatre Design & Technology - Summer 1993 - 27
Theatre Design & Technology - Summer 1993 - 28
Theatre Design & Technology - Summer 1993 - 29
Theatre Design & Technology - Summer 1993 - 30
Theatre Design & Technology - Summer 1993 - 31
Theatre Design & Technology - Summer 1993 - 32
Theatre Design & Technology - Summer 1993 - 33
Theatre Design & Technology - Summer 1993 - 34
Theatre Design & Technology - Summer 1993 - 35
Theatre Design & Technology - Summer 1993 - 36
Theatre Design & Technology - Summer 1993 - 37
Theatre Design & Technology - Summer 1993 - 38
Theatre Design & Technology - Summer 1993 - 39
Theatre Design & Technology - Summer 1993 - 40
Theatre Design & Technology - Summer 1993 - 41
Theatre Design & Technology - Summer 1993 - 42
Theatre Design & Technology - Summer 1993 - 43
Theatre Design & Technology - Summer 1993 - 44
Theatre Design & Technology - Summer 1993 - 45
Theatre Design & Technology - Summer 1993 - 46
Theatre Design & Technology - Summer 1993 - 47
Theatre Design & Technology - Summer 1993 - 48
Theatre Design & Technology - Summer 1993 - 49
Theatre Design & Technology - Summer 1993 - 50
Theatre Design & Technology - Summer 1993 - 51
Theatre Design & Technology - Summer 1993 - 52
Theatre Design & Technology - Summer 1993 - 53
Theatre Design & Technology - Summer 1993 - 54
Theatre Design & Technology - Summer 1993 - 55
Theatre Design & Technology - Summer 1993 - 56
Theatre Design & Technology - Summer 1993 - 57
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Theatre Design & Technology - Summer 1993 - 60
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