Incite/Insight Winter 2019 FINAL Incite Insight Winter 2019 - Page 17

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