howrey thesis proposal

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THESISPROPOSAL

Joh Howe DYNAMIC MEDIA INSTITUTE

MASSACHUSETTS COLLEGE OF ART AND DESIGN



THESISPROPOSAL

Joh Howe DYNAMIC MEDIA INSTITUTE

MASSACHUSETTS COLLEGE OF ART AND DESIGN



TABLE OF CONTENTS

Ae o Iees . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . .1

Wh? . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . .7

Te Se o he A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

STEPPENWOLF THEATRE

AMERICAN REPERTORY

THEATRE

SIGNATURE THEATRE

SECOND STORY

SMALL DESIGN

M Wok So F . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . .27

KILLING GAME

MUSICAL THEATRE MAP

COMMEDIA TOY THEATRE

GHOST LIGHT

BARD BEAT DOWN

GHOST LIGHT: A PLAY

Poe Pojecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Pojec Copoes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Tess Asc . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . 50

Seghs d Wekesses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Resouces. . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . .. . . . . 53

Poposed Bogph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54



My mother tells everyone that she knew I’ d be a musically-inclined guy rom an early age. She uses this picture as proo. Only recentlydid we all realize that I’m holding the ukulele backwards.

01



AREA OFINTEREST



Secod gde. S. M Goe

Choc Schoo. Ago, es.

Te schoo cho ws pu o

usc he sue d he

cho deco (d po

eche), M. Dz, ws hd

he o gos. I he sue

o he decded h ou

eee schoo ws ed o

Ge d Suv’s Te Mikado.

Lookg ck I’ve ws oud so s—he uu

goup o eee schoo kds peog ope-

e. Eve hough I ws jus pg e Jpese

he chous, he ee epeece ws gc.

Whehe ws he ceu pped sc oes

eoe he cu o he h o he ppuse I do’

kow, u hs s whee he hee ug oud e d

ched o o de e.

I hve oud h hee d desg e u o p-

es. Fo sce, ped ove desk s s o

cg ves. Whe I’ suck o pojec I c ee

o h s d e he c o ogo/pose/wese

My headshot. Age .

2



(above) You’ll nd me in the back o this photo rom a production o Evita. (be-low) In summer 2011, I directed a production o Te Mystery of Edwin Drood or Stoneham Teatre’s Young Company.



Although this energy fows chiefy rom perormer to audience

the perormer is rendered impotent unless he or she receives

in return a charge rom the audience. Tis can be laughter in

a arce, a shared sense o awe in a tragedy and even a physical

reciprocity to the achievement o dancer or actor. Te energy

must fow both ways so that the two orces use together tocreate an ecstasy which is comparable only to that experienced

in a religious or sexual encounter.

THEATRE & AUDIENCE HELEN FRESHWATER

desg s cg eecse. Wh s ojecve

hs “scee”? Wh ccs w I use o ech hs ojec-

ve? Ts hs oe goe e ps whe pgepc epsodes. I c, I oducg sophooe

pogph css o hese pes o coceps he

skech wok.

Te o hee es he hds o hose he ses

d hose o he sge, he wches d he wched.

As he c o hee-gog ecoes ess d ess p

o ou cuue, he o wchg s quck ecog

os o. Wh oe c dc ed p

hepg udeces ecoe ee wches? How c

dugs use dc ed d desg o ech

he udece? How c kees ke dvge o

hs ew ed o egge ew udece o e

esg oes? How c hese hgs hgs e cco-

pshed o gh udge, eg ccesse o

se hees? Wh pe o eggees woud e

o ees o udece? How uch eg s oo

uch o udece who s hee o e eeed?

Tese e he es h I’d ke o esech d epoe

hess.

A peoce does’ hppe vcuu—he

eoshp o sge o se s soue eces-

s. Bu s hee-gog hs ecoe ess p o he

se we hve posse os soe o he o “wch.” Wchg p s o ecess he se

hg s wchg sco o oo ge o

ove, hough ech he ws e os o hee.

Audece ouech s o ew hg o hee, u

oe desg s oveooked.

4



(top) My camp students at Stoneham Teatre greet me beore their Musicality Workshop. (middle)

In my vocal class at exas Arts Project, I like to give students the oppor tunity to dance it out on a

regular basis. (bottom) With the pit band or Craz y For You at Stoneham Teatre.



Tis lobby display for a production of Venus by Susan

Lori Parks is well intentioned but horribly designed.

I’m sure a lot of passion is there, but as a designed

experience it is atrocious.

02



WHY?



Sesh, I w o coe ps-

sos o hee d desg. Fo he-

e, hs esech w cee ew

os o udece eco, oh

deepeg esg eoshps d

hepg cee ew oes. Fo desg,

hs esech coud s udg

ew cosuec— ew ce se—

d hep us udesd he udece

epeece oe.

A o o hees e g o do o dsps whou

sc epeece desg sks. Decos, poduces d

dugs c e ses o eecve coucod soeg o ehd he posceu u do’

g hose sks o p he copee epeece o

vsg he he. Ts s o due o ck o ce o

coce, u s usu spo o he ck o ud-

g d suppo o o-po s ogzos. I

ou d o desg o show w pc hve

ee doe he s ue vouees o e-

es o he hee s whose ohe esposesup he sk hd. S he soc ewokg

d ohe oe ecos e gee hded

ow-eve epoees o es—oe ecuse he e

oug d oe ouch wh h echoog.

8



Sd, hese peope e’ we equped s soees o

epeece desges. Coseque, we ecoes

pce o pue ewee coguo sees opos ks o posve evews. Fceook s oe pce

o pooe cke dscous o spec oes. Eve sd-

de, he wese s usu ohg oe h dg

veso o he show’s pog wh coo phoogphs.

I’s o ecuse o dec egece hees

whee ou ws hve ced gh oks og

dge ehd he scees. Te chege s h o

eough peope e ookg hese ew os o co-

uco d cosdeg wh’s he es w o

ce poduco o ogzo o use he.

Tees eed gudce, edg owd ew pdg

o sevce desg he hee. Eve he spc-

o he queso “Whe does he p eg?”

e eough o ge he og o soe. Fo os,

hough, ce deed seges d sucueecoedos w e ke o ge deveope.

A specc s o equpe eeds s se o os

so o eco woud e w o s. o e-

couge hees o d oc ss d desges

o wok wh s ohe. I so e h hees

eed o e eded o he poce o he o

o he udece epeece. M esech shows,

oo, h ovve dc ed s see s ue “gc” h coss oo uch d kes oo

uch e. Ts esech shoud go og w owd

evsg h opo.

9



Steppenwol Teatre

American Repertory Teater

Signature TeatreSecond Story

Small Design

03



THE STATEOF THE ART



STEPPENWOLF THEATRE

COMPANY LOBBY DISPLAYS

“o build this deeper relationship with its audience, Steppenwol has launched an on-

going dialogue around the process o creating theater. Audience members take part

in nightly post- show discussions, attend special thematic events, and enjoy a rich

selection o online content—including multiple videos, pod- casts, blogs, articles,

and slide shows—in which the artists discuss their work rom multiple perspec-

tives.” STEPPENWOLF THEATRE

Seppewo eds he w udece ouech wh sgc oe epe-

eces d deed, ch o dsps d spec hec eves desged o

ech d o ech p.

12



AMERICAN

REPERTORY THEATER

“During its 3-year history, the A.R.. has welcomed many major American

and international theater artists, presenting a diverse repertoire that includes

premieres o American plays, bold reinterpretations o classical texts and pro-

vocative new music theater productions.” AMERICAN REPERTORY THEATRE

Te A.R. s oe o he edg ego hees he Ued Ses.Foes hs ee ecogzed o poducg goud-ekg, hough-

povokg wok. Tough he o desgs oe e, he c h he

ke ep hs eed o oe esech o how es o pes-

e oo o he udece.



SIGNATURETHEATRE

“Signature is the rst theatre company to devote an entire season to the work o a single

playwright, including re-examinations o past writings as well as New York and world

premieres. By championing in-depth explorations o a living playwright’s body o work,

the Company delivers an intimate and immersive journey into the playwright’s singular

vision.” SIGNATURE THEATRE

Sgue kes s sso seous d uses o dsps o uhe he ud-

ece’s udesdg o ech pwgh. Te ew Geh-desged spce ws ce-

ed wh hs sso d d eues o o poe pos o pevous

sesos’ pwghs u so houses ge ouch scees o seso-wde d show-

specc dugc wok.



SECOND STORY

“We create media experiences that harness deep sources o content and tell com-

pelling stories. We start with content and concepts and build stories that guide

people through a journey o their own choosing.” SECOND STORY

Secod So ged e ede. Skg vsu dsps o o-

pos h e euu o ook d e skg he ecos.Cocepu sog d eoo copeg, he e edes he

wod o epeece desg.



SMALL DESIGN

“In making inormation accessible to people, it is necessary or designers to

rethink current design paradigms. By taking advantage o the ability o the com-

puter to display dynamic, fexible, and adaptive typography and imagery, we

can invent new ways or people to read, interact with, and assimilate inorma-

tion. Likewise, the combination o innovative visualization with architectural

space and well-designed physical interaces puts potentially limitless spaceswithin a human context.” SMALL DESIGN

Te ecos e houghu wheve sce o edu he e pe-

seed . pogphc de, eshec ce d echoogc svv

coe o p o e-chgg ecos.



04



MY WORK SO FAR



KILLING

GAME RADIOEugee Ioesco’s Killing Game s he coc e o

pgue-dde ow. Ioesco s ess coceed wh

deh se h wh hppes o hu egs

soce h peceves se ude he. He s epo-

g how es hu eedos e coposed d

pued e. Kg Ge Rdo s ec-

ve ojec h shoud e epeeced he o o

hee dug poduco o Killing Game.

Bsed o equeces oud o he d 1953

Ds, es, hs do woks d souds jus ke

o do. Med og souds oe gh hve

hed he—pop usc, ejo, cou, jzz—hee

e ohe cued sos whch c sese o deh

d dkess. Eve sog s he hegh o eo-o—hpp, sd, eu, eoseu. Wh he

30 ue oop hee e ews epos o he pgue

sweepg he o. I he Asuds do, oe

o he ews epos povde useu oo. Jus



whe he e ou o e ou how o e se o

whee he vus hs sped, sc kes ove d edes

he oo useess.

Wh woud ou do pgue wee cog? How woud

ou ec? Wh ou coud ge o e oo?

How w ou eedos e coposed d pu-ed e? B vg he udece o cosde hese

quesos eoe d e, sde d ousde he udo-

u, we c ehce he epeece o he p.

Ts hs ee good epe o he peope I’ve ked o

ou hess. Fs, povdes spe d ge

epe o ew kd o o eco. I so s

good epe o how udge-ed (oe d e) poposo coud e. I hee pus e eo

o udg sucue o oos, he cos o hs

su coud e . (Te do cos e $25 he soe,

u hee gh hve pued oe o pop soge.)



MUSICALTHEATRESUBWAY MAPTs p ws desged s oo o hep sudes e

ou usc hee hso. A s I wed o

cee dse o sogs h woud hep udoes

d good udo sogs. You woud ee oo

ou he p ou e g ou o d woud e-

u sogs h e ppope. (See Io Ach pojec

ou udo sogs.) I esed he de wokshop

whch I woked wh sudes o deveop epeoe

o udo es, skg he quesos ou

wh ps he woud w o p d he gvg

he ppope sogs sed o ce. Bu wh

I ezed ws h whe he sudes e wh e-

sue ches o sog choces, he dd’ cu e

how o pck sogs o heseves. Rhe, he jus

sked e o e he d dd’ e o wchg

e pck o he.

I we ck o sque oe d eeced o how I ws

e o pck sogs. Wh ce dow o ws 2 hgs:

I’ we-vesed usc hee hso d

he c o choosg good udo sogs ce dow o

dwg coeco ewee he show ou’e ud-

og o d he sog ou choose o sg.

I ooked oe o he s quesos I sk se whe

choosg udo e: wh ohe shows dd heseceos wok o? Oe wes hve s

So, he pojec chged couses d ecoe ou

eg he hso s sees o coecos.

26



COMMEDIATOY THEATREEpoo o soeg v pojeco-eed o

hee. Tough he sock chces o Coed

de ’Ae, uses e ved o use he povded sdd

soes o Coed o ke dvge o he od

ge o posses wh hese opes. Movg he

gues o d o he sge cuses chges ghgd soud o coespod wh he chces’ deg

s. Spe pops d se peces w gge scees.

Uses c choose o jup gh d pu o show,

use he povded scps s oues o he co

o choose o ee ehes o oe dced d

descpve epeece.

29



GHOST LIGHTTe ghos gh s gh e o he hee e he ohe ghs

hve ee ued o. I s ug whe he s peso eves d e-

s whe he s peso ves he e d. Tee s cosc

he hee; soehg s ws gog o.

Te eso o ghos gh s cu uoc—’s he

pcc o soehg wh such eeg ue. Hsoc ,

hees gee do o hve gh swches sde he doos—espe-

c hose o e whou eecc. Oe woud hve o wk

cksge o ge de o u o he ghs. A ghos gh

de sue h oe woud o o ope p o up o sepeces. I hs espec, ghos gh s segud.

I hs ke o che eg, hough, s pece o hec ok-

oe. M peope hk s hee o couce wh he ghoss o

he hee. Te hk keeps he ghoss o hg he sge

gh o, ee, keeps he ghoss cop whe eveod hs

e.

M cos ee ve cose o he peope who hve ped he oes

he ps. Hamlet, o sce, hs ee ped housds o c-

os d ech o he eves e soehg o heseves ehd.

Ech gh ou p oe, ou ke ou k d eve hee s

p o he sp o he udg. I s h sp h he ghos gh

s hee o coo d ed ou o. Te ghos gh seves s he

eo o he hee, edg ou o wh hs ee e ehd.

So I wed o hk ou whee we sped o o ou e d

whee we uwg eve k. Wh we coud see es

o ou ps seves? I chose o coe hs wok o suw. M o

us sped o o e dow hose ues. I decded o cee

epeece o des o he mbta suw sse. O he ws op-

pose he pos he w e e o see eecos o he pevous

24 hous. Te e spe shouees, eecg he cos o he

po 24 hous eoe. I ddo hee w e vgue sees

d osevos ou he pevous d. Usg d coeced hough

he cpue, we w cee osevos copg esed d

od. Fo sce, s, “Moe peope e weg ck od

h esed” o “Peope e wkg se od”.

30



FEAR NO MORE

SHAKESPEARE UNCHAINED

BARD BEATDOWN 1.0o esse he e o Shkespee usg huo s

e po. Ped os ow ou o eve peso-

zed Shkespee su o ed o ee. A chg wese ows uses o espod wh he

voe sus, she ges d use he uoed

su geeo o sed je o ed.

32



3.

ACT [1]

SCENE [1]

GIELGUD

I'm telling you, it comes from an Icelandic noun.

Amlooi. Meaning fool.

(Looks at Booth.)

BURBAGE Absolutely not. We knew it from some common Irish

tale. The character was stark raving mad. Always

screaming about something... you know the Irish...

BERNHARDT

Amlodhe. Amlaidhe.

BURBAGE

Exactly. Willy loved listening to those stories.

OLIVIER

He stole from the best.

GIELGUD

You would know, bloody lush.

OLIVIER

Blow it out your ass, fairy.

BOOTHGentlemen! There are ladies present.

BERNHARDT

Where?

OLIVIER

(points to Gielgud)

Right there.



FEAR NO MORE

SHAKESPEARE UNCHAINED

GHOST LIGHT,A PLAY Fve cos who ous poed He he

ees hep oug hgh schoo sude s he es

hs hd he oe. Wh od o o Soppd, hspwg eecse ceed wodeu oppou

o cosde wh es o e o he ps s we

pepe o he uue.

Whe sgc pojec s ow gh, hs so

ps p he Fe No Moe pojec, epog

wh es o ppoch Shkespee oe d

how we c p o he psso o ech o hs ps.

35



05



POTENTIALPROJECTS



4N+!6()N3 // SUMMER 2012

OBJECTIVE: Peo Antigone o we.

IDEA/CONCEPT: Wh e soe ws o peoce

o ech eod he udou d hee ws?

Wh does peoce o we ook ke?

FINAL FORM: wees

BARD BEAT DOWN 2.0 // SUMMER 2012

OBJECTIVE: Cee wese wh ew ecos.

IDEA/CONCEPT: Isu geeo wh soud d

o.

FINAL FORM: Wese, Moe App

LOBBY DISPLAY FOR PROFESSIONAL

PRODUCTION // FALL 2012

OBJECTIVE: Wok wh poesso hee he

ceo o dc o dsp o cu

show.

IDEA/CONCEPT: Specc de/cocep deped o he

poduco d guded he deco o he hee

s. Howeve, us e geue, ccesse, dve coe d eggg. Many projects in one.

FINAL FORM: Med

DRAMATURGICAL CAMPAIGN FOR LOCAL

PROFESSIONAL PRODUCTION // FALL 2012

OBJECTIVE: Wok wh oc poesso hee

o cee oe dugc cpg o

pcu poduco.

IDEA/CONCEPT: Wok wh hee h s usg soc

ed we o se ckes d see how dugc

ouech c e used o egge he udece.

FINAL FORM: Soc Med, Med

In 1968, Peter Brook insisted in Te Empty Space —a text

that is now a well-worn touchstone in theatre studies —that

he could “take any empty space and call it a bare stage’,

observing: A man walks across this empty space whilst

someone else is watching him, and this is all that is needed

for an act of theatre to be engaged.”

38



SHAKESPEARE CLASS // FALL 2012

OBJECTIVE: Oseve d ec o he owe eve

Shkespee css mit.

IDEA/CONCEPT: Wok wh Poesso D Hedeso

o ce ce-ekg eecses o hs css hs de o sudes eu o Shkespee o o

cooe wh he guge.

FINAL FORM: Eecses, Wg, Osevo

LOBBY IDEA BOOK // SPRING 2013

OBJECTIVE: o ecod d skech o dsps

coceps o vous shows.IDEA/CONCEPT: ke coo poduced shows o

hgh schoos d cope des d skeches o

esouce-ded o dsps. Te ook w

o A esouce o o dsp pccoes d

povdg poo o cocep. Eve he sghes peces

c hve eggg dsp o cpg.

FINAL FORM: Book, Skechg, Wg

SO YOU WANNA MAKE A LOBBY DISPLAY

// SPRING 2013

OBJECTIVE: o cee spe ce d ough gude

o he ceo o successu o dsp o

schoo o cou hee pogs.

IDEA/CONCEPT: kg wh I’ve eed o he cs

o esech d kg, cee quck d es gude

o educos o wok wh he sudes o cee

copeg d dc dugc dsps o

he schoo poducos.

FINAL FORM: Wg

8:30, ALWAYS // SPRING 2013

OBJECTIVE: M gee sees ou whe he

peoce egs d how eve eds.

IDEA/CONCEPT: A c o co. ogh 8:30 s o

oge he o. Now we’e #evedk wod

d eed o ve ou udeces hous, o jus

whe we w oe o he.

FINAL FORM: Wg39



06



PROJECTCOMPONENTS



Tee s o oe-sze-s- swe

o hs queso whe coes o opc. Wh wok o oe

poduco o wok o -

ohe. I w go hough coupe o

epes d u he queso

oud o e oe swee.

A ve po cosdeo wh desg o hs pe

s h he epeece shoud coe o he coe.

Fo soe poducos, que epeece wok.

Fo sce, poduco o Te Glass Menagerie woud

ee oe o ospecve o epeece

skg he po o eec o he eo-

shps. Aee, A Streetcar Named Desire gh w

o puge ou o he ghe o New Oes wh ese u d vsu kedoscope.

Te pes o epeece hee e o ou he w he

e de. Rhe, he e codus o he udece’s

d—echg o hep he ech ou dug

he peoce. Te wos posse hg woud e

o hve copee opposed epeece—uess

supsg juposo s wh s ced o. I oewee o go see do poduco o No Exit d

wee peseed wh ock coce he o, he

pepo woud e coec cocepuzed.

42



Williams at odds:

(above) Te delicacy

o Te Glass Menag-

erie versus the raw

brutality o (below)

A Streetcar NamedDesire.

A metal band would

not necessarily be

the natural compan-

ion or a production

o Sartre’s No Exit.



Tee e eed o copee esve pe-

show epeece—oe h ees ke de h

o. Ige poduco o Te Rocky Horror Show.

I ou cke ws puchsed eough dvce ou

gh eceve weddg vo o Bd dJe. I ou e ou eceve ews epos ou

sge hppegs he cse o he h. You coud

so choose o oow he Mge’s we eed o ed

soe o R-R’s og. Te gh o ou schedued

peoce, ou ge wehe es: so s p-

pochg d e gh vees, espec oug

ewweds, shoud e e cuous. Eeg he

o ou d ouse weddg ecepo ohe oeeoed coupe. Movg uhe ou

dscove he u o D. Fk--Fue’s cse. You

e suouded odd d supsg gdges, sud

poue d ohe e o he show. Tee

s soud, pehps usc o he show o e ohe

hgs h e sped he cocep ehd hs

pcu poduco. Movg ges e o dsp:

sees o secu ce sped oud he heeog he sse h Fk hs se up hs

. A jo kew hs o s h ou hve

chce o e ou he hso o Rocky Horror s

ou pck up ou udece pcpo g d e

eg oesed he cs s “Rock vg.” Te

o s ucous d hoough eggg. A ushe

eds ou o ou se jus eoe she egs sgg

“Scece Fco: Doue Feue.”

A coupe o ohs e ou u ckes o poduc-

o o Rodges d Hese’s Oklahoma. Ts

poduco hppes o e hu epoduco o

he og. You ough cke o ou dughe d

eceve eg vg ou o spec eve

he oc chde’s useu h ocuses o oe

woe. Mewhe ou oce he hee’s wese

hs og o he duge ou he pocess o

hu eceg he og Bodw poduco.

Tee s evew wh he e suvvg ee

o he og cs. I ws he s Bodw show

d she es o he jo o h opeg gh. You e

44



ved o su see ou he s e ou

we o he hee. You choose o ecod vdeo usg

sse o he se h ccesses ou wec. F-

’s he eveg o he peoce. You d ou

dughe ve he hee o d hee dsc o-

dsps. Fs s ge o eo o Okla-

homa’s og u. Tee e phoogphs d og

cosue peces seu ged. I ohe e s

spe dsp o scees dspg he esposes o

he wese. You dughe ghs up whe she sees ou

vdeo ppe. F, hee’s seco coeo-

Example o a pre-show fow or a production o Te Rocky Horror Show. Notice that you can

choose exacrly what you’d like to participate in.

45



Sketch o an experience o Oklahoma. Much simpler and quieter than the one or Rocky, but no

less engaging and thought-provoking. Again, notice that you can choose exacrly what you’d like to

participate in.

46



g he useu eve d ou dughe shows ou

how she eed o chu ue. Te o s que d

houghu. You oce h he hee s s dessed

ke ushes 1949 s he gude ou o ou se. Ae

he show hee e epoes he o skg o

he kds ou how uch he ejoed he s e

he hee. Tese vdeos ecoe p o he o

dsp d e show o he wese

Tese ew epes show how ved pe-/pos-show

epeece coud wok. A poduco o Rocky Horror

woud c o dee pe o epeece h oe o

Oklahoma. Ech, hough, hs he se go: o pepe

ou e, eoo d phsc o he showou e ou o see.

M hpohess s h desges, poduces, decos

d duges who w o ehce he pe-show

epeece shoud ud veo o equpe. A

ved seeco o eecocs d such woud ow o

e ecos o he eeds o ech show. Ts cche

coud cude pojecos d soud equpe o gedsp, s scee o e/soo use, duo

od d ccouees o phsc ecos d

coupe o s ches o hde vous eeds. Aso

o hd shoud e ve o desges, ss d

egees o c o o specc eeds.

Te eeds w v o spce o spce, oo. A se

o ke Te Hugo Tee’s coud o hdehe ow o pos s we s g phsc ec-

ve epeeces. Te Loe D Cee, hough,

hoe o Aec Repeo Tee, hs oo o

spe d coud es hde egossg epeeces

oe useu-eh-ke epeece.

47



ABSTRACT

Te o hee es he hds o

he wches d he wched; s coveso ewee co d udece. A peoce co hppe vcuud hs eoshp o sge o se s soue ecess. Wchg p s oecess he se hg s wchg

sco o oo ge o ove, houghech he ws e os o hee. Bus hee-gog hs ecoe ess p o hese we hve posse os soe o he o wch.

Le, I’ve ee skg se: “Whe doeshe p eg?” Ised o he dgo he house ghs, he epeece o showegs og eoe he cu hs se. I e h he e oe povokes hough.

I so e h he pose desg spes ew pespecve, s coud he c o puchsg cke o eve he de o hehee. A hese eves hve eec oech udece ee.

Moe oe h o, hough, udeces e o s ow devces oce he ckehs ee puchsed. Foowg he

48



peoce, oo, udece s ed ouo he ses d, oo oe, us cve sech o oppoues o coued

epoo d peso dscove. Ousdeo he udou hee e osg geoppou o dscusso.

Tees hve cede sse h soe oveooked s spe sospce: he o. Moe oe h o, o s eed s ohg oe h hw d sepe o oce e s o uchoe h ew. Ad hs o cecoe epded de, echg ousde

o he wed oudes o he peoceudg d ecopssg he eephsc d e joue o d o hehee.

B cog he ees o sevce desg,dc ed d dugc ouechhow c we deepe he udece’s epeeceo wchg p? How ws c weouch po d hep he udesdwh he e ou o see o hve jus see?

How c we eed he epeece o showousde o he hee udou? How che ee pe-/pos-udou eve eee desged?

49



STRENGTHS &WEAKNESSES WHAT DO I NEED TO READ, LEARN?

I w e sudg coceps o o checue heo, he eoshp

ewee udece d sge, d keg eos ew ed. Add-

o I w e eg ou sevce desg d cosdeg how c

p o he hee-gog epeece. F, I w o e oe ou

he phosophes o hee d eshecs wh egds o udece.

WHAT NEW SKILLS DO I NEED?

I eed o ud o pogg sks o e e wh pojec oppo-

ues. I so w o deveop soge udg d cosuco sks

o udg phsc dsps.

WHAT DO I ALREADY KNOW?

I code d cooe wh os specs o vsu desg, soe

pogg, evoe dsps, hee go

50



SELECTEDRESOURCESTHEATRES

+ Aec Repeo Tee, Cdge, ma

+ Seppewo Tee, Chcgo, il

+ Ae Tee, Houso, tx + Sgue Tee, New Yok, ny

+ Hugo Tee, Boso, ma

PEOPLE

+ D Hedeso, mit

+ Je Soeug, mit

+ Dug Pog, art

+ Bev O’G, Hugo Tee

+ C Lows, Soeh Tee

51



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59



Te original source of this book was

created in Adobe InDesign and output as

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