Beautiful Chaos
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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
Отрывок из книги
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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