Beautiful Chaos

Beautiful Chaos
Автор книги: id книги: 1575396     Оценка: 0.0     Голосов: 0     Отзывы, комментарии: 0 2010,5 руб.     (20,12$) Читать книгу Купить и скачать книгу Купить бумажную книгу Электронная книга Жанр: Управление, подбор персонала Правообладатель и/или издательство: Ingram Дата добавления в каталог КнигаЛит: ISBN: 9781931404167 Скачать фрагмент в формате   fb2   fb2.zip Возрастное ограничение: 0+ Оглавление Отрывок из книги

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"Beautiful Chaos is an extraordinary journey of Carey Perloff and her theatre, ACT. Their continued evolution and ability to define and re-define themselves with courage, tenacity, and bravery allow them to confront what seem like insurmountable odds. This continues to shape and inspire Carey and those who work with her."–Olympia Dukakis, Academy Award-winning actress"Carey Perloff's lively, outspoken memoir of adventures in running and directing theatre will be a key document in the story of playmaking in America."–Tom Stoppard, Playwright"Carey Perloff, quite literally, raised a vibrant new theater from the rubble of an old one. This refreshingly honest account of her triumphs and misfires over the past two decades is both a fascinating read and an invaluable handbook for anyone attempting such a labor of love."–Armistead Maupin, author of Tales of the City"Carey Perloff's marvel of a book is part memoir of a working mother, a passionate artist, a woman flourishing in a male-dominated craft- and part lavish love letter to theater. It is as lively, thoughtful, and insightful an account I have ever read about the art form. This one is for any person who has ever sat in the dark and been spellbound by the transformative power of theater."–Khaled Hosseini, author of The Kite Runner"Carey Perloff is a veteran of the regional theatre wars. Beautiful Chaos is her vivacious account of her ambitious work commanding San Francisco's American Conservatory Theatre (ACT). The book exudes Perloff's trademark brio: smart, outspoken, full of fun and ferment."–John Lahr, author of Tennessee Williams: Mad Pilgrimage of the Flesh"This is an engaged, engaging, deeply intelligent, and passionate account of why the theatre matters and how it works in a city and in a society. It is also a fascinating and essential chapter in the history of San Francisco itself, as well as the story of a committed theatre artist's determination and vision."–Colm Toibin, author of Nora WebsterCarey Perloff, Artistic Director of San Francisco's legendary American Conservatory Theater, pens a lively and revealing memoir of her twenty-plus years at the helm and delivers a provocative and impassioned manifesto for the role of live theater in today's technology-infused world.Perloff's personal and professional journey—her life as a woman in a male-dominated profession, as a wife and mother, a playwright, director, producer, arts advocate, and citizen in a city erupting with enormous change—is a compelling, entertaining story for anyone interested in how theater gets made. She offers a behind-the-scenes perspective, including her intimate working experiences with well-known actors, directors, and writers, including Tom Stoppard, Harold Pinter, Robert Wilson, David Strathairn, and Olympia Dukakis.Whether reminiscing about her turbulent first years as a young woman taking over an insolvent theater in crisis and transforming it into a thriving, world-class performance space, or ruminating on the potential for its future, Perloff takes on critical questions about arts education, cultural literacy, gender disparity, leadership, and power.Carey Perloff is an award-winning playwright, theater director, and the artistic director of the American Conservatory Theater of San Francisco since 1992.

Оглавление

Carey Perloff. Beautiful Chaos

Preface

Chapter 1. The Beginning

Chapter 2. What Do You Have for Free?

Chapter 3. The Postfounder Era

Chapter 4. Urban Archaeology

Chapter 5. The Issue of Children

Chapter 6. Annus Terribilis

Chapter 7. The Geary Campaign

Chapter 8. The Core Company

Chapter 9. Who Are We Training and Why?

Chapter 10. The Question of Aesthetic

Chapter 11. The International Connection

Chapter 12. The Yale Detour

Chapter 13. Telling My Own Stories

Chapter 14. The Quandary of Too Many Hats

Chapter 15. San Francisco Stories

Chapter 16. Twitter and Me

Chapter 17. Canons to the Right, Canons to the Left

Chapter 18. Small Experiments of Radical Intent

Chapter 19. Serving and Subverting: Theater and Community or “How Do You Open the Doors?”

Bibliography

Index

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Beautiful Chaos

A LIFE IN THE THEATER

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It should be said at the outset that the recruitment process that led to my hire was anything but transparent. The board handled the search internally with great care, but very few people outside the small circle of the board had any say in my appointment or any knowledge of me or my work. When Producing Director James Haire, who had been with the company almost since its inception, was asked to give me a tour of the theater while I was in town for one of my interviews, he had no idea who I was or that I was a candidate for the artistic directorship of his own theater until Joan Sadler called him later and inquired, “What did you think of our girl?” To which Jim replied, “What girl?” The person most opposed to my appointment was supposed to be my closest colleague, Managing Director John Sullivan. I discovered halfway into my negotiations that during the search process John had proposed a new organizational scheme whereby he would be named general director and supervise two stage directors (Anne Bogart and Robert Woodruff), who would report to him. The board had considered but ultimately rejected his proposal. John had chosen to stay on as managing director regardless, a disastrous decision from my point of view, and probably from his. He was, perhaps without quite knowing it, deeply invested in my failure, and my year’s “collaboration” with him was among the hardest of my professional life.

Without giving me any real guidelines, Sullivan announced at our first meeting, in November 1991, that I would have to have the following season announced and budgeted by January. If I had been less naïve and compliant I would have refused; it takes at least six months to understand an organization and its culture well enough to begin to make remotely informed decisions about the work ahead. But I said yes, and made every mistake I could possibly have made.

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