17
I n c i t e / I ns i ght
W i n te r 20 1 9
What tensions arose for you
in this process? of the story in an active and
meaningful way.
SP: Many hands make light
work but many brains make
more work. In this process, I
sometimes thought, “Gosh, I
wish there was a director to just
tell me where to put my body.”
Instead what I got was four
other opinions about where to
cross on stage. And while it is
a gift to have so many eyes on
each moment, especially eyes
I trust, sometimes giving that
much brain energy to each
moment is exhausting. AT: We kept redefining how
KW: I felt like the odd person
out at times. Early on we made
the decision to combine the
script’s two narrators into one
character and also give him
an identity that was grounded
in the story. While nearing the
end of staging we realized we
veered away from that choice
and the sisters were telling their
own story while my involvement
amounted to filling in the
blanks. Returning to our given
circumstances allowed for the
ensemble to share their portion
we wanted to give each other
acting “notes,” a task typically
reserved for the director. As
we remounted the piece, we
came together to share how
each of us preferred to be given
feedback and where spaces
of vulnerability existed. We
decided to share feedback
publicly to the group, using
language like “Can I suggest…”
or “Can we try…” to offer
notes. This left us open and
responsiveness to each other’s
ideas.
SP: Each note was an offer to
the group, maybe centered on
one actor’s choice in a moment,
but ultimately an opportunity
for the ensemble to address the
moment. Perhaps that actor
made that choice because
they saw the set up differently?
Maybe there is a joke in the
moment we are missing and
can clarify? How do they see it
differently?
LC: The hardest part about
breaking open a hierarchy
of roles is letting go of ego. I
have an idea and often think
it’s the Best idea. However, in a
collaborative working model,
there needs to be space for five
individuals to simultaneously
have the Best idea as well as
step aside, get flexible, and try
things that we might not have
done if the decision was just up
to one person.
What delighted you in this
process?
LC: It’s been a delight to watch
each of us become confident
in our ideas and confident
that each one of us needs the
other. Making this play has felt
like building a very supportive
co-dependent relationship. As
artists, we need each other.
KW: What has most delighted
me has been receiving
confirmation from our
audiences that our teamwork
has paid off. Collaboration can
be frightening territory because
This Girl Laughs, This Girl Cries, This Girl Does Nothing
with Ally Tufenkjian, Sam Provenzano, Jada Cadena, Kriston Woodreaux and Lina Chambers.
Photo Credit: Kirk Tuck