Staving off the Wolves: The Development of Local Theatre, Even in Times of Trouble

When one turns on the radio or television news, one cannot escape news of the "economic crisis," "the slowdown," or any other euphemism that is being used for the economic troubles currently facing the United States and world at large. And, almost as widespread, are the continual lamentations that the arts have been one of the primary sufferers (see this piece in the Miami Herald: Why the arts matter...)

Bitterness about how entire arts organizations have budgets smaller than particular television celebrities aside, it really is a difficult pill for artists to swallow that that beloved disciplines are on the chopping block. And while it is fairly easy to snark and snipe about banks and investment houses sinking things, responsible artists must also realize that it is incumbent upon an arts community to help support and sustain itself, particularly when times are tough.

The real value of a healthy artistic community, aside from certain demonstrated economic values and upward pressure on a city's Q.O.L. index, is also the opportunity for related civic engagement. Harvard-based political scientist Robert Putnam opined in his book Bowling Alone: The Collapse and Revival of American Community that activities such as bowling leauges, community enrichment courses, and (though not mentioned explicitly but hinted at on page 96 of the paperback edition) community-based theatres provide an optimal outlet for civic education and engagement by the average citizen. There is a real opportunity to build social capital in the arts.

Extended through Putnam's arguments are the ideas that there are two forms of such capital: bridging and bonding. The latter is the building of connections between demographically similar people. While this is natural and inevitable, there is also a need for bridging capital, where connections are built between demographically dissimilar people. Huntington further illustrates that these forms actually do build off one another, to the benefit of all. As such, we at the Savannah Dramaturgy cannot help but applaud recent productions such as Savannah Cultural Arts Theatre's production of The Wiz, which spanned demographics while also helping to consecrate a love of musical theatre. We cannot help but think that Dr. Putnam would also approve.

In essence, there is a responsibility on the part of an arts organization to engage with their audience in order to ensure their continued ability to grow. New York University Professor Richard Schechner outlines two different types of audience in his book Performance Theory. The first, and possibly most "normal" audience is the accidental audience. This is a potential audience member who has seen some advertising, or heard about a show, and decides to come and see. The other form is something known as an integral audience, and audience who is, in some form, a part of the event and somewhat compelled or obligated to come. In this case, active coercion is not the case, but instead the fact that the audience in question is integral to the event... they are somehow part of it. Work by our local arts groups should truly focus on cultivating this particular sector of people.

To draw from another discipline, that of historic interpretation, the key is to build a desire for stewardship. Freeman Tilden, in his book Interpreting Our Heritage, writes that interpretation is an art form with an eye towards inspiring a sense of ownership in the casual visitor. Though, in the case of Tilden, he speaks of National Parks, Memorials, and their ilk, the same holds true for our community-based theatres. The establishment of a sense of communal ownership, "This belongs to us and we belong to it," is one very real path to take in times when the dollar is tight.

Perhaps the heart of the matter is best summed up by local actor Darwin Hull in his rallying cry, "Support local awesome." The road runs, in essence, two ways. Support must be local, because otherwise the sense of stewardship can only be felt and exercised in the most abstract of terms. Further, the local product must be of quality (the "awesome" part), and must engage the audience.

Though our sympathies here at The Savannah Dramaturgy are most definitely with those arts organizations struggling to make ends meet, we cannot help but point out that there is obligation on all ends. Comparison, such as that made in the above Herald article, between Ryan Seacrest and a local dance company is, unfortunately, akin to comparing apples with baby goats. Solutions for locally-based groups must be developed locally, whereas Mr. Seacrest or Goldman Sachs simply exists on another plane alotgether.

Support LOCAL Awesome, Create LOCAL Awesome. It can be done, and is probably the best route to success.

EDITORIAL BULLETIN:
Shortly after finishing this editorial, I stumbled across this post on Douglas McLennan's blog, Diacritical. It talks about the importance of community here in the "Attention Economy." The message is much the same, but with a tack more closely related to straight economics.