Observations on a Theatrical Mindset.

I was recently given to ponder on the matter concerning the sort of mental approach and application that it take to produce Good Theatre… or to be more specific … to produce Good Acting or Good Directing? What is the required Mindset that the Actor or Director needs to employ to achieve excellence in his craft?
I wouldn’t like to presume to know what the definitive Mindset might be in this regard … I seriously doubt that one even exists, given the infinite complexities of Mankind and of the Theatre, but certainly, there are a number of common mindsets that can be readily identified.
I will admit, of course, that the following brief sketches are just that… brief, and, sketches… the reality is far more complicated, and one will undoubtedly find a little bit of all five Mindsets existing in any one individual.
The ideal Mindset, I would suggest, has much to do with the way in which these are balanced; too much of one or the other will assuredly create problems for an individual depending on the circumstances he finds himself.

I shall not be so demanding here either as to insist on GREAT-Acting! or GREAT-Directing! as a benchmark, for that is the stuff of legend, and the preserve of that special few, who are privileged to hold the hands of the Gods and fill their lungs with their celestial breath… rather, I simply refer to, ‘modestly’, Good Theatre … you know… that believable, alternative reality into which I am able to be drawn willingly; where my attention remains firmly focused on the story as it unfolds before and/or around me; where I lose sight completely of the actor, the scenery, and the special effects, in favour of the characters and their actions and reactions within the living environment in which they exist, and always, always feeling that sense of excited anticipation for that inspired ‘moment’ that feels likely to happen at any time.

The Hobbyist Mindset.
More than anything else, the Hobbyist is totally in love with the ‘Idea’ of being seen to be associated with The Theatre.
The craft associated with that ‘Idea’, however, matters little to the Hobbyist, for the Hobbyist firmly believes that he has an enormous talent (whether in reality it exists or not) and that that talent is quite sufficient, thank you very much, for him, or her, to render perfectly any role he, or she, is asked to portray.
The Hobbyist is impervious to any suggestion of training (Heaven forfend!) in the techniques of the craft, content merely to exhibit themselves, as themselves, in the interests solely of being ‘seen’ to be an actor. Frequently, Hobbyist actors will find themselves cast, by Hobbyist directors, in roles where they can play themselves, often gravitating eventually into hosting television magazine shows, game shows, or virtual reality offerings, since that means little actual work for them to do; for, to the Hobbyist, acting or directing, or anything else for that matter, should not have anything that resembles ‘work’ attached about it. The Hobbyist believes that acting and directing are things that you just ‘do’… for fun… if it is not fun, or requires work, or ceases to be solely about them, they are inevitably inclined to remove themselves, or make excuses as to why it all cannot be done.
The Hobbyist is most often the one who insists on having a dramaturge engaged on the production…so he doesn’t have to do his own research or analysis of course. The Hobbyist insists on having a Make-Up Artiste engaged on the production…so he doesn’t have to do his own make-up; similarly with his hair, his costumes, etc., etc.. The Hobbyist is also the one most likely to say to his director; “I don’t think my character would say that.”, or, “I don’t think I should play Scrooge as a miserly man, because my audience may not warm to me.”, or to the Stage-Manager, “ I really can’t attend rehearsals on Saturday because I have get ready for a special date.”, or, “… because I have to take my mother shopping.”, or, “… that’s when I have my yoga class.”
Although the Hobbyist most often perceives himself as an ‘Actor’ (for there the Hobbyist gets to do that which he or she most loves doing… ‘Performing’), he, or she, can be found in virtually all areas of the theatre industry.
In simple terms; the Hobbyist is an apprentice solipsist, and unfortunately, elements of this insidious mindset can often be found in conjunction with that of other Mindsets.

The Amateur Mindset.
(Not to be confused with The Hobbyist.)
There is absolutely nothing wrong with Amateur Theatre (or Community Theatre). I have seen some quite wonderful productions staged by amateur theatre companies which could often rival
some of the best found on the professional stage.
The Amateur Mindset to which I refer has nothing to do with money, and can be found anywhere in the world of theatre; yes, even amongst the most hardy veterans of the professional stage and screen.
The Amateur is NOT in love with Theatre per se; the Amateur is primarily in love with the social associations and networking activities that surround the world of Theatre. The Amateur achieves greater satisfaction and enjoyment in the après-show party than in the performance. The acting stuff, or the stuff of whatever function he or she undertakes on a production, features quite low in the Amateur’s list of priorities. Oh, of course, the Amateur will do the work that is asked of him, and may even be inspired to produce some excellent work from time to time (usually by accident), but the main thrust of his presence in the theatre is to entertain himself through the extra-curricula activities rather than through the production itself. The work of the Theatre is to the Amateur, an inconvenience that must be endured rather than enjoyed for its own sake.
The Amateur will be at his most happy when able to tell the Director, Producer, or anyone else for that matter, what his, or her, involvement in the production will be and under what conditions he is prepared to do it; from what part he or she is prepared to play, right down to what days he will or will not be prepared to rehearse or perform , and if that results in his having only a perfunctory connection with the production, then so much the better… it allows more time for social engineering and partying; perhaps even a perceived elevation to the position of UTPO! (Unofficial Theatre Party Organiser)… such Bliss!!

The Jobber Mindset.
The Jobber is not in love with any ‘Idea’ of being in the theatre profession, he just happens to ‘Be’ there.
The Jobber works at his job; almost obsessively. The Jobber is not averse to learning new things, nor undertaking additional training to develop some specific skill for any particular production. The Jobber may well take on roles in productions that are rehearsing simultaneously with back-to-back performance runs, and at the same time appearing as an MC at the Opening Ceremony of a Washing Powder Promotion, as well as filming a small role in a popular television sit-com.
Sounds good, doesn’t it, but here’s the catch: whilst the Jobbing actor, or director is not lazy; nor disdainful of the need for training in the techniques of his craft, he is only willing to do as much as is necessary to fulfill the tasks asked of him, or her, for the particular production for which he is contracted, and no more! He doesn’t have the time for it.
The Jobber is often perceived as successful, and praised as a workaholic; the misperception being that he is, by dint of his frequent appearances, good at his trade.
However, the Jobber is not interested in being the best at his craft, nor even being particularly good at it; he has an over-riding personal need to perceive himself as an achiever, and he, or she, is only able to assuage this need for achievement by working as much as is possible…
indeed, a case of quantity over quality, which inevitably leads to the dreaded… mediocrity.
Excited young people entering the Theatre-World for the first time, loaded with high aspirations and great expectations often, over the years, develop the Jobber Mindset. He, or she, becomes disillusioned with their failure to achieve quick success, or even to fulfill some of those youthful expectations; their aspirations expire, excitement wanes, and their association with the Theatre slowly devolves into…well… just a job; and there they remain, since they believe that is the only way they have to earn a living.

The Professional Mindset.
The Professional is in love with Theatre and everything that it represents as an creative art form, and seeks to perfect his craft at every available opportunity.
The Professional firmly believes that nothing is impossible if he, or she, applies himself fully to the pursuit of excellence in everything that he is asked to do.
The Professional Mindset is discerning, and will only accept involvement in a production if he believes that the conditions under which he would be working are compatible with his own expectations. Whilst the Professional is always acutely aware of his own worth, pecuniary rewards for his involvement are of a much lower priority than, for instance; the quality and nature of the play or production; the compatibility of creative vision shared by those he would be working with; the abilities of the Producer, the Director and others concerned with the
production; and, very importantly, the rehearsal time available to him to fulfill his expectations.
In times when the Professional finds himself without an engagement… or “resting”, as he is wont to put it… he, or she, is likely to be found in a studio somewhere, practicing his skills to keep them sharp and well-tuned, or developing new ones to broaden the range and depth of his creative palette.
In whatever spare time is available the Professional shall often be found attending performances of productions, or ensconced for hours in a bookshops, libraries, art galleries, or museums, seeking knowledge and insights which will expand and further his knowledge and understanding of his trade.
The Professional will always ensure that he is in a position to be free to drop whatever he might be doing in order to attend auditions, interviews, or meetings that have a bearing on his future in the theatre profession. He, or she, is spontaneous and decisive, reliable and trustworthy, adventurous and responsible, generous and thrifty, in all that he does. You will never find the Professional arriving late for a rehearsal without exhibiting great concern for inconveniencing everybody, and always finds the time to help the less-able and less-experienced of his colleagues.
The Professional is demanding; has high expectations of himself and of those around him; is critical and outspoken; suffers not the company of fools, and is obdurate in his refusal to compromise the integrity of his principles.

The Artist Mindset.
The Artist works in the Theatre simply for the love of creating works of Theatre.
However, the Artist Mindset does not differentiate between Good Theatre and Bad Theatre… there is only… Theatre, and because each work exists as a unique theatre creation in an infinite universe, the question of it’s value to the world of theatre does not arise, since it has no need for justification outside the realm of the Artist-creator himself.
The Artist lives and works within himself and his own, self-created world of theatre. He, or she, believes, like the Hobbyist, that his work is the only work of any real value, and that nothing but his own ideas and his own self can be correct.
The Artist Mindset will, without compunction, allow for the appropriation of the work and ideas of others, which can be re-worked and/or re-modelled according to one’s own whims and fancies.
The Artist Mindset displays minimal or zero interest in the audience playing an active role in the cross-communication of a dramatic idea or moment. An audience is there to receive from the stage, and to the Artist Mindset a performance should be more akin to that of a visitor at an art gallery passively observing a painting on a wall.
Often the Artist will create a work of theatre that is comprehensible only to himself and perhaps a privileged few allowed into his, or her, inner-sanctum, and is frequently disdainful of any audience that finds itself unable to fathom the meaning or objectives driving the work.
For this reason they tend to function, more often than not, as directors rather than actors, and are always more concerned with the ‘Concept’ of the production than of the quality of the performance. “Beware of Directors bearing Concepts!” is the warning that immediately comes to mind when faced with the reality of the Artist-Director.
The Artist Mindset is most often discovered amongst the community of experimental theatre practitioners, where they feel empowered to exercise their inherent self-indulgencies with impunity; arrogantly secure in their own perception that they are at the cutting-edge of the art form and will go down in the annals of Theatre History as having made a vitally important contribution to the development of Theatre.

So how does the shoe fit?

Change of mise en scene.

The original Museofair scribblings from Dr. Emanio at the original address appear to be causing Safari to crash on opening.
Therefore this new, evolved rendition apears in an attempt to circumvent the hassle.
Perhaps this move will enable the good Dr. to release steam rather more often.