Fake Violence Can Still Be Traumatic

by:

Joe Patti

Via Artsjournal.com is an interesting article on how actors deal with inflicting violence on one another. Even though it is simulated, the very personal, brutal actions the performers replicate can have a psychological impact on them.

Acting Comes Between Us
I have been involved with two productions of Extremities, a play in which a woman is attacked in her home by a man intent on raping her. She gains control of the situation and takes her revenge on him. The actors get physically close to enacting the rape and when the tables are turned, the would be rapist is half blinded, tied up in a fireplace with his intended victim threatening to burn him. In both productions I have been associated with the two primary actors had to take showers afterward to cleanse themselves of the psychic and emotional baggage of the show. People who were close friends found an uneasiness crept into their relationships during the production. They had to reassure and reconnect with each other after every performance to essentially ground themselves.

I know much of this because rape as a subject matter lent itself to many outreach and audience talk back sessions. On one production one of my responsibilities was to make extra sure that family and friends didn’t make their way backstage before the actors had an opportunity to reoriented themselves.

Hopefully No Wrong Ideas About Method Acting
As far as I know, no one went out and engaged in violent behavior in order to prepare for the performance. I think what disturbed each person so much wasn’t that they had so much simulated violence directed at them as that they found something to tap into within themselves to fabricate a credible portrayal. Knowing that the potential for that sort of thing exists within you and your friends can be pretty unsettling.

Coping Mechanisms for Violent Acting
As I read the NY Times article about how the how London actors insulated themselves from their actions, I wondered if that sort of strategy was widely used by actors. It certainly didn’t seem that way with the highly charged productions I have been involved in. I also wondered if theatres who produce these types of shows make alterations to their normal practices and give the performers extra time and dedicated spaces to wind down after performances.

I would be interested in hearing about other people’s experiences either in the comments section or by email.

Where Is The Love?

by:

Joe Patti

Where Is That “Yes, We Can Spirit?”
Well, whatever optimism people may have felt about Obama becoming president-elect, it apparently wasn’t enough to offset pessimism over the economy. Not only did the Dow drop 480 some points but I got two separate calls about problems with some tours. Even though the difficulties occur after the performers leave my venue, the whole situation reverberates up the line in the form of inquiries about how flexible I am on a number of matters.

Where Is My Partner?
Then I get a call from one of my partners about a third tour. Given everything that has happened until now, I thought her organization might cancel on a tour too. My fears were compounded by the fact I can’t reach her all morning and suddenly her phone is ringing busy for hours on end. Has she left the phone of the hook so she doesn’t have to tell me the bad news? (Then why did she call me?) Imagine my relief when I realized there was a problem with entire organization’s phone system that was causing it to ring busy and when I learned she had misplaced her copy of the tour contract I am lead partner on and had a simple question.

Where Is This All Going?
When I wrote about the possible impacts of the economic downturn a few weeks ago, I half imagined I wouldn’t have any practical interaction with any of the consequences I was mentioning. If anything, I thought it would be me negatively affecting other people–though there is still plenty of time for that to come to pass.

Where Is the Money!
One semi-positive occurrence this week. The amount the state arts foundation grant panel elected to award us was more than we expected. The bad news is that I found out at 4 pm Monday that the revised proposal was due this Friday. So there was a little bit of a rush since there are two layers of bureaucracy which must review my proposal before it could be submitted and the didn’t work on election day. Of course, the whole process is embraced by the caveat that I may get no reward for my expeditious handling of the paperwork if the governor decides to defund the state foundation.

I also have the sneaking suspicion that the larger than expected grant award is based on the assumption that few will be able to meet the fast deadline and if there is any money to disburse, there will be fewer people to split it between.

Lasting Influence of Superlative Volunteers

by:

Joe Patti

Late last week, I received news that a superlative volunteer at an organization I was once employed had died. The news shocked everyone given that she was only in her mid-fifties. Even though I no longer work at the organization, I wanted to use the forum of my blog to do honor to her on the day of her wake to acknowledge the place she had in my life and so many others.

Beverly Dodge was not, to my knowledge, related in any way to Geraldine R. Dodge but on a local level she contributed as much to the arts in her community as the Dodge Foundation. She proved the adage about there being no small roles, only small people. Even in the most passive sense, people’s lives connected with her’s. Her family had a long history in the small town where she lived. One of the staff of my former employer lives in the house Bev grew up in. Although the general store which Bev’s parents once owned closed for a number of years after their deaths, the woman who bought it kept the Dodge name in acknowledgment of it’s history in the town.

She never married but she did have many children. For many years she hosted Japanese exchange students for a year in high school. Some of them returned to live with her when they came back to the U.S. for college. I never heard any of them call her anything but Mom. A couple even brought boyfriends back from Japan to meet Bev.

Bev was the volunteer coordinator at the local hospital and was a primary force in the community fair the hospital held every year. She had a real service orientation in her life. In addition to volunteering for Appel Farm, where I worked, she was active in her church. A couple years ago for her 50th birthday she asked that instead of buying gifts, attendees bring cash that would be donated to Heifer International, an organization that buys livestock, birds and plants to enable people to feed and support themselves.

Of course, she also volunteered for Appel Farm and was the primary hospitality entity that interacted with many groups. For small groups, I took care of hospitality needs but when it came multiple groups or larger events, she was the go to person. She was highly organized, attentive, resourceful and calm in the face of frantic or demanding artists. These are all crucial traits for a hospitality person to have. But she was also patient in the face of long periods of down time and that is something I haven’t found in a volunteer since.

There is a hurry up and wait element in some presenting situations. There is a rush to get everything set up correctly and get food set out and coffee made. Then when the artist arrives there are bus drivers to run to hotels, clothes to be pressed and ironed. But then, you wait….and wait…and wait some more. This is a sign that everything is okay in most cases. People who haven’t done this before feel like they are useless. They have been asked to come in six hours before the curtain. There was a lot to do and now, there is nothing.

But they aren’t useless. I have a lot run around to check on. Other volunteers to meet. Security people to check on. Artists and technicians whose progress I need to monitor. It is a great relief to me that I don’t have to worry about making coffee, icing down more water, running unanticipated errands. When all the little quick jobs aren’t being done, they add up. It’s isn’t just the jobs themselves, it is wiping up the loose coffee grounds, throwing away used plates and crumpled napkins to maintain a pleasant appearance in the green room. Done all at once these things take a lot of time you may not have if you are dealing with thousands of other details.

It is tough to find someone who recognizes that like Bev did and who plans to bring a book and knitting to do. She would introduce herself, quietly withdraw into a corner and then step forward when it was apparent that there was a need. If having good front of house staff is crucial to audience relations, good hospitality staff is crucial to making the performers comfortable, happy and prepared to put on a great show.

There were also occasions where she would have the artists over her house for dinner. It wasn’t terribly often. A lot of people are wary about ending up obligated to remain in the same room as a potentially overbearing fan. But there are a couple people who took a chance or heard good things who welcomed the opportunity for a home cooked meal in the middle of a lengthy tour. Those who didn’t eat at her house became her friend and engaged in lively chatter with her. Even those artists who tended to be reclusive and reserved warmed up to her –or at least what passed for warming up in the context of their normal behavior.

One of the biggest hospitality services Bev provided was during our annual outdoor music festival. Having deep roots in the area, Bev had a lot of cousins. Some of them helped us out on other events, but pretty much all of them got pulled in to the Festival. Fortunately, Bev was sweet tempered because it could have gone badly for us if we got on her bad side. As it was, there was a wedding in the family on the same day as the festival one year and we lost the half of the family that felt closer to the bride than the other half. (Though loyalty still ran high as some of them skipped out of the reception to come to the festival.) I am hoping with her death one of her trusted lieutenants will take charge of the area.

If you have ever volunteered on a music festival, you may know that it can be difficult to get one of the more prestigious assignments. In some cases, this is good because you want trusted, tested people on the crew. The problem with some places is that the crews become very insular and political in a less than constructive way. We tried to prevent this from developing through the general low key environment we cultivated and the process by which people could volunteer. Given we were trying to get 500 volunteers a day, we did depend on crew chiefs to do a lot of the recruitment, but we also introduced people we were trying to develop as future leaders so there was always new blood.

I tell you this to illustrate the trust we had in Bev when I say we never worried about this happening in the artist hospitality area. Part of it I think was due to the fact that she and many of the people she recruited were much more involved with the organization on a year round basis. Even though she was the volunteer coordinator at the hospital, she drew on very few of them. As many cousins as she had in the area, it wasn’t all family either. Many of them lived locally and I guess intuitively understood what we needed from them—and then they would go an extra mile.

I mean, I would take 12-14 artist riders and make a shopping list. We would fill up three flatbed carts at Sam’s Club and then three vehicles to get it all back to the office. Then we engaged a caterer to make food for the artists and volunteers. The amount of food Bev and her cousins brought themselves, you would think we were scheming to starve the performers. There were pots and pots of stuff they had been making for weeks. And Bev would have copies of all the riders so she could make sure to set aside any special requests specific groups had so she knew exactly what I was getting.

Other than being concerned about breaking an overloaded axle on the drive back from Sam’s Club, we never had to worry about artist hospitality on Festival day. Bev would borrow tables from the Ladies Auxiliary and get the room set up days in advance. All we had to do is pile up the food we bought, the stuff to eat it off of and provide plenty of trash bags to haul it away.

I know that there were other people who were involved in organizing the details on festival day. They know the process Bev used. They know the list of things to be done. Even though I am gone, I am still worried about what this year’s festival will bring. At the very least, there will be a lot of rechecking to make sure nothing Bev usually does has been overlooked.

In the near term, as the holidays approach, her absence will be felt keenly. Every year she would get a humongous tree for her living room and invite family and friends to decorate it. I lived half a block away so I would always go. I would also help undecorate it. There were a lot fewer people at that party. The decorating party was a tradition for many people. People would drive in from hours away and renew friendships with those they met at last year’s party.

Bev has been on my mind a number of times since I left Appel Farm. Some times it was wishing she was volunteering for me at the time. Other times it was just wondering how she was doing. Other times it was thinking that I should send some of the Japanese snacks so readily available here but not as much in South Jersey to her for the Japanese students. I have seen her a couple times since I left so I have no regrets about our partings, only about not having the opportunity to meet again.

If you are moved in some way by this story and want to help her continue her legacy, donations can be made in her name to the following organizations:

Appel Farm Arts and Music Center– (856) 358-2472
South Jersey Healthcare-Elmer Hospital– 856-363-1000
She also listed her church as a recipient, but I need to double check on the information and post it.
The Church of the Good Samaritan, Paoli, PA – Freedom and Christ Scholarship Fund (610) 644-4040

Fear Of The Fundraiser

by:

Joe Patti

Hat tip to Seth Godin who reproduced Sasha Dichter’s Manifesto in Defense of Raising Money which begins “I’m sick of apologizing for being in charge of raising money.”

It seems to me a must read for anyone who is in the position of raising money which includes pretty much everyone in an organization since theoretically everyone must be part of the organization’s narrative. As you read, don’t get side tracked with thoughts about how his cause is so much more worthy of donations than your own. There are many elements that contribute to personal and societal health.

Dichter basically feels people approach fund raising from the wrong perspective seeing it as a chore rather than an opportunity to evangelize about the change you want to effect. For me the third point he makes after asking why people are so afraid to ask for money seems the most salient.

“…wealth is associated with power, and not having wealth can feel like not having power. So going to someone who has money and saying, “You have the resources, please give some of them to me” doesn’t feel like a conversation between equals.

How about this instead: “You are incredibly good at making money. I’m incredibly good at making change. The change I want to make in the world, unfortunately, does not itself generate much money. But man oh man does it make change. It’s a hugely important change. And what I know about making this change is as good and as important as what you know about making money. So let’s divide and conquer – you keep on making money, I’ll keep on making change. And if you can lend some of your smarts to the change I’m trying to make, well that’s even better. But most of the time, we both keep on doing what we’re best at, and if we keep on working together the world will be a better place.”

One of the other points Dichter makes is that storytelling is more a skill than a talent and I think communicating the sentiment in an effective manner would take cultivated skills. There are already organizations using this approach except they are saying, you make money, you keep giving me the money and don’t pry too much about what I am doing with it.

It occurs to me that if you are approaching fund raising as evangelizing rather than as a necessary evil, you aren’t waiting for people to ask but rather reporting back before being asked. I am certainly in a better mood when I am writing to our donors about our successes than I am filling out the final report forms for a foundation. The format of the first allows you to tell people what events you perceive as progress. The format of the second forces you to try to recast your success according the the criteria by which the foundation is measuring progress. Something tends to get squeezed and lost when you try to stuff your excitement into the box provided.