Sunday, January 30, 2011

About NextStage... Part 3: How

The basis of theatre is creating an experience that communicates itself to the audience. The other things that the experience leaves behind – photos, reviews, scripts – pale beside the live experience.
Central to our vision: Community, and peak experience for that community, from playwright to director to cast to designers to technical staff to production support personnel and straight on to the audience themselves. Nothing less than this is Sanctuary:’s goal for its journey of journeys.
How We Do It
A community of actors has been working with playwrights for the past 5 years in voicing new work. Our playwright/producer model determines how work is made - playwrights serve as executive/artistic producers of their own work, with all departments of the theatre aligned with that vision. 
With this model we have produced many works acclaimed by both audience and press.
To expand the performative vocabulary, we have designed a fusion training program for the entire company that will be ongoing for the next phase of the company's growth. The program integrates many types of physical and performance training (instead of practicing just Commedia Dell'Arte, Six Viewpoints, Spolin, Grotowski, Decroux, or Lecoq), and is offered to playwrights, actors, and directors of all future projects. The acting company itself will become an ongoing repertory. 
Theatre trainers fully support our integrated approach. The February issue of American Theatre magazine has an article about it, in fact,  which quotes several of the individuals whose work we integrate: Let's Get Physical: What's Happening Now?

Tuesday, January 25, 2011

About NextStage... Part 2: Where

Where: The Space

Primary to all will be our safe and flexible work and training space where takes place, a place that permits a transformational experience for those who partake of it. The more powerful the attempts, and the more the company totally gets that this is the purpose, totally believing in what they are doing, the better the experience for all participants – playwright, actors, director, technical staff, backstage staff, business staff, and most importantly, the audience.

The Look and Feel of the Space

The space is a cross between a dance studio, circus arts space, and a martial arts workspace. In addition the ceiling with be rigged for circus arts training. These dynamics allow for full flexibility to perform various training methods, the ability to fully explore the dynamics of the human body in performance space, while at the same providing complete OSHA-level safety for the company to work within the physical space.

Sunday, January 23, 2011

About NextStage... Part 1: What and Why

Just sharing in this space what we are saying in another. We will say more probably (isn't a Blog about what you're saying - and maybe some people saying something back?). Anyway, we've been working hard a year to make this happen... and now it will.

Sanctuary: NextStage is an ambitious new live performance company, based in NYC, practicing state of the art theatre work. It is a permanent resident company, producing new work in a hothouse environment, where pressure to deliver new work on schedule will be minimized to allow for work to germinate, take seed and be carefully cultivated.
Sanctuary: NextStage will generate new ideas and metaphors to re-enliven the art of live performance by rooting it in story. It will have a strong emphasis on poetic and metaphoric text, visual, audio, and universal delight. Since this is hard in the connected-but-separate scene of today, we implement a comprehensive & intensive training training program that enables the hard-working performers to fill the gaps.

Why do you love the theatre?

Think back to the moments when you had peak theatrical experiences as an audience member. What do they all have in common? Those experiences are why you love the theatre. What if a company could find a way to make sure the audience always had peak experiences? Theatre can – and must – be a mind-changing, life-enhancing experience that enriches all. If it is anything less than this, it is not succeeding to its real and full potential. It is our job as makers of theatre to be co-authors of its apotheosis.