I don’t know if anyone regularly commenting here cares about the punishment of the acting student for his politically incorrect choice of words in an improv exercise as much as Curmie (above) and I do, but we care about it a lot. As with the Ethics Alarms baseball ethics posts, the various theatrical ethics posts here sink quickly in readership, which, I’m afraid, speaks to a regrettable narrowness of vision. Ethical issues are seldom restricted in their applicability to the specific area in which they arise. I’m especially sensitive to ethics issues others might miss in certain areas where I have a lot of experience and expertise. The same is true, obviously, with Curmie.
Incidentally, I again urge readers to check on Curmie’s blog routinely. He has been through a light writing period of late, but when he speaks, as they once said of E.F. Hutton, people listen, or should. And maybe we can get him writing more again. I know of no more thoughtful, fair, and eloquent blogger, regardless of the topic.
See Curmie? The pressure’s on now!
Here is Curmie’s Comment of the Day on the post, The “Unacceptable Word” Fiasco: OK, Now I Really Want To Know How Many Progressives Seriously Endorse Stuff Like This?:
I am not an acting teacher by trade, but I have taught about two dozen sections of various college-level acting courses over the years. I’ve also taught directing maybe 15 times, and I’ve directed about 40 full-length plays (and a bunch of one-acts)—I’ve used improv techniques in the classroom and in rehearsal many times, although perhaps fewer than some of my colleagues of equivalent experience may have done.
It is remotely possible that the professor, Craig Rosen, imposed some restrictions on the exercise. I’ve done this. For example, if a student is working on a period piece and the language is, shall we say, less explicit than that of a work by David Mamet or Neil Labute or Sarah Kane might be, that young actor may be having trouble finding the anger a character feels if the verbal expression of it seems mild by 21st-century standards.
I’m reminded of working on a book chapter about an Irish version of Chekhov’s Three Sisters. The translator/adapter had Masha, one of the title characters, refer to her sister-in-law as a “bitch.” I happened to have access to a good friend and native Russian speaker, who also happened to be a scholar of dramatic literature. No, she said, Masha’s expletive doesn’t really translate that way… but for her expression of class-driven disgust to have the same effect on a modern audience that Masha’s line would have had in Tsarist Russia, she’d have to call Natasha a “fucking shopkeeper.” Continue reading