Divided We Write.
COLUMBIA UNIVERSITY
October 17, 1989: United Stage Manifesto
During the late 80's and early 90's, the Directing head of Columbia University's Oscar Hammerstein II Center for Theatre Studies had this open philosophy concerning the direction of new plays on the graduate school level:
"Directors must place their thumbprints in the eye of each production they direct."
That directing style was hammered into the Columbia graduate directing students to the ultimate detriment of the graduate Playwrights.
Beware that "director's thumbprint" philosophy is not unique to Columbia.
That harbinger against serving the playwright's intent in favor of the director's thumb led to the creation of The United Stage.
(Note: The United Stage was not, is not and shall not be associated or sponsored by Columbia University and vice-versa.)
Internationally renowned directors (some were hired to teach directing at Columbia) subscribe to that "thumbprint philosophy" as well. That ideal is even pursued by directors working on new plays!
The United Stage believes Playwrights must NOT allow their plays to be manipulated by directors who seek to place their footprints in the sands of time at the expense of the Play's original intent, desire and structure.
(Note: There are directors who are quite willing to collaborate and work with Playwrights and to assist in the full realization of the vision of the play without taking the "thumbprint attack" to skew new plays. We welcome that aesthetic as Citizens of The United Stage.)
Dialogue
I can't believe my eyes! I found a united collective voice that gave me the incentive to at least try to direct one of my plays in the near future. I'm a newcomer and a late bloomer in this art, I've been a professional musician, songwriter since young age. I do write in Spanish (native language) and that is a liability in the States.
Most regional Spanish theater in my area (Miami) do outrageous adaptations of classical plays like Street Car Named Desire among other more recent ones. Since the living author has no control over their productions and in most cases don't even know their work is been "tampered with," these actor-director-producers rewrite plays at will, sometimes impregnating them with a twisted vision, almost a sick intent.
I said to a friend once that the director of La Casa de Bernarda Alba (a García Lorca's classic drama of matriarch domination) hated the audience. The term "provocative" was taken to the extreme. This same group invited a renown Mexican playwright-Emilio Carballido to the opening of his play, a press conference, cocktail reception party -- "the works." After the opening night performance the humiliated writer went back stage to the director and expressed to his executioner "everything was wrong."
I would like to see a "Whadya think?" category which encourages other citizens to critique raw work as opposed to just reading it. I think this should be a separate category because I might submit one play and not give a damn what anybody thinks but have others for which I would kill to get feedback. Please include me as an aggressive citizen of your universe.
The United Stage Replies:
We're thrilled you found us! You have a home here with us. It is just the sort of frustration you report as a Playwright that drove the creation of The United Stage. Together we can take back the stage and place the responsibility for its life directly where it belongs: in the Playwright's hands.
Hi,
I'm a Playwright and screenwriter in Israel. I wrote and directed all four of my plays. I agree with the United Stage that the most natural way to create a consistent piece is to have an author who is totally responsible of his work.
The first time a play of mine was produced, I directed it because I "didn't find the right director to do it" and then, after I realized that my stage instincts were right, I kept doing it because I found that nobody could do it better than me; not because I'm great, because It's my work. It's like a musician that performs his own songs: Even if he hasn't the perfect voice, he'll still be the best performer of his music as a singer. Directors who are not writers are commonly sinners. There are three major sins (with their variations):
The one who treats the play as it was "the word of God" and don't dare to change a word, even if they don't understand the writer's intentions and keep in garbage that needs to be thrown away.
The one who doesn't care about the writer's work and changes everything he doesn't understand. This is the "frustrated writer that directs." He can't write a word but he thinks he's the best re-writer. (feels that creatio ex creatio is like creatio ex nihilo).
The one who always wants to "interpret" the author. He has to emphasize his view even if it's contradictory with the play. Only a Playwright who also directs his work knows what's critical and what's secondary. A play is a work in process. For me, the work doesn't end when I type the words "final curtain" on the word processor, it ends after the premiere. Some people say that when a Playwright directs, there's a partner missing for the creative dialogue. That's not necessarily true. The same dialogue can be performed between the Playwright and the actors. The play always changes during rehearsals...
When the Playwright directs... it changes in the write direction. Therefore, I'd like to support The United Stage from this side of the ocean on the issue you represent.
The United Stage Replies:
We're glad you found us! Number 2 in your list rings home loudly here. Everyone thinks that since they can write a grocery list, they can write a play. We know it's harder than that. We know that, as Playwrights, we must design the lights, costumes, choose the actors, and set the tone of the piece right on the page before anyone else gets involved.
The natural extension of that written imagination is to self-direct our plays and realize them live and in the complete on stage. We're honored to have your interest from Israel and your involvement transforms us immediately into "The United Stage"... a neutral place for all that isn't bound by country, politics or nationalism. We thank you for writing.
Citizenship
The United Stage's purpose is to force playwrights into taking responsibility for the entire vision of their plays by demanding they direct what they write in the initial production of their work.
Good Playwrights see the play in their minds already... they set the lights... colors... sets... sounds and actors all within the pages of their scripts.
The difficult part of that process is that it only begins once the play is written.
To completely realize the play, the Playwright must take the written page and translate that vision into being on a live stage. It's a great challenge and a great joy to bring the written word to life!
Here's how your Citizenship works for you and anyone can join who supports our cause of purpose:
1. If you are a Playwright who has directed your work, let us know!
2. If you are a Playwright directing your own play, let us know that, too, and what obstacles you've faced.
3. Submit your bio, resume and any other supporting materials that will help us celebrate you!
4. If you are a Playwright who wants to direct, but cannot because you're told "Playwrights write, Directors direct", we will be your repository for moral support and inspiration. We will help you construct an argument for self-direction and we shall bring the weight of the other Citizens to bear in a sustained, proactive action supporting your cause. Usually the best solution to this problem is to start your own theatre, because then you and you alone, call the shots.
5. Please realize that The United Stage's prime concern is with first time productions and Playwrights directing their own work. It's accepted, and understood, a Playwright can't direct every instance of his/her/their play in the world, but since many of those subsequent productions will be based upon that initial production... it's vital that the birth production be self-directed.
6. We believe the Play(wright's) the thing.