Tuesday, July 25, 2006

 

air berlin

so much of what you decide to do depends on what you hope to get in return.

we looked at the performance space we have tentitvely scheduled for saturday night. the cast has gut instincts about not doing the play in that gallery venue, but there still seems to be some rational resons for doing the the show there despite the feelings and insufficent organization. enough that it is very unclear what to do about the situation.

where is the line between personal satisfaction, and satisfying someone else's expectations?

as theatre workers, we accumulate a certain amount of social stigma from our profession, and we are used to treatment that some other professions would not put up with. most of the time that treament ends up affecting the genuine love we have for the work.

a couple of senior artists will not fly in the cheapest way to get to australia because they feel they should have to do that anymore. he's 80, and she's 60.

the meeting today revealed that we are not established artists. so at what point in your development are you permitted to start asking for the different flight?

Comments:
It's also about hidden treasures, or 'gifts' as I call them: how can you know in advance what you might get in return. Neil Postman suggests the term 'columbusity' for missing the true discovery, hoping to find something else; looking for India, he finds 'Indians'. America remains invisible. Perhaps entitlement is not what it's about, but rather a state of passing, of seeing, of rippling.
 
thanks for the response, garry.

any other thoughts out there?

dh
 
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