To: puptcrit-AT-puptcrit.org Date: Sun, 12 Jul 2009 10:35:52 -0400 From: puppetpro-AT-aol.com Subject: Re: [Puptcrit] how to consider boundary="--------MB_8CBD11530DE53D0_BD8_12044_WEBMAIL-DG09.sim.aol.com" ----------MB_8CBD11530DE53D0_BD8_12044_WEBMAIL-DG09.sim.aol.com Thank you for beginning this discussion, Robert. It's always been a question in my mind.=C2=A0 These answers you all have been offering up are great! =C2=A0 Hobey's description of Clive Hollifield's command performances with foxfire and fireflies! WOW! =C2=A0The point of publicity (postmortem, or =C2=A0pre-mortem, it's still publicity) has no stake there at all -- =C2=A0it is rather at the source of puppetry's art -- a creative act that is a conjunction of various forms (visual, musical, movement, etc.). Most of us recognize how much we don't know -- and can not know anything at all about all of it...part of it will always be the highest kind of folk art. I've mentioned before some of my proudest moments have been private performances. I had one this week. I have to confess, the manipulation probably was not my best -- the performance probably could never have played "the palace" -- but it was a drink of water to a thirsty man. And, at some place where all things are being equalized, perhaps I earned some points for the team. =C2=A0 Rolande=C2=A0 =C2=A0=C2=A0 =C2=A0 =C2=A0 -----Original Message----- From: The Independent Eye <eye-AT-independenteye.org> To: puptcrit-AT-puptcrit.org Sent: Sun, Jul 12, 2009 12:11 am Subject: Re: [Puptcrit] how to consider But here's the question (and=2 0maybe it doesn't matter): why is it that, when it comes to puppetry, the work of professionals, hobbyists, enthusiasts, or whatever you want to call them, are often given equal consideration (some amateurs are better than some working stiffs), while this is not the case in other performing arts disciplines? =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 It's similar in other fields that either I or people close to me have been part of:=C2=A0 independent radio producers, comic book artists, experimental theatre, poetry.=C2=A0 There are a few people who are relatively well known, and who may be making a living solely at their work.=C2=A0 But the vast majority, whether they consider themselves "professional" or not -- and many do even though they're making almost nothing at their craft, -- either have an entirely different day job, or as happens with many well-known poets, teach. =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 I recently did some interviews with woodworkers (for a play I'm writing), and several (professionals) said that the best woodworkers in America, in their acquaintance, were amateurs.=C2=A0 Why?=C2=A0 They could take all the time in the world to bring a piece to pefection. =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 Unquestionably there's a level of skill, experience, commitment and e ndurance that we associate with professionalism.=C2=A0 But obviously it's no guarantee against shoddiness or superficiality.=C2=A0 Amateurism is also rife with shoddy superficiality, indiscipline, etc. etc.=C2=A0 Both arenas contain intensely committed and skilled artists.=C2=A0 I think a better classification might be "committed" artists and "recreational" artists. =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 A good friend of mine in Philadelphia is an ER physician working full shifts, also teaching in a medical school and publishing research.=C2=A0 He's also a vocalist, and at last decided to take it seriously and get a top-notch vocal coach, with the modest goal of getting good enough to audition for the Philadelphia Singers (of a class to sing often with the Philadelphia Orchestra).=C2=A0 No hope to get in, just to audition.=C2=A0 Well, he's now been singing with that ensemble for five years, practically bouncing off the walls with his schedule but loving it intensely.=C2=A0 He's had a chance to move upward to more prominent parts, but declined because as a soloist he'd automatically become more expensive and would be used less, and he doesn't want to miss one of those 20 concerts a year, standing in the midst of Mahler or Beethoven's 9th.=C2=A0 If he were a pro, he'd be nuts not to push for that career path upward; as it is, he gets what he wants.=C2=A0 It just means coming home at 10 pm after a long shift in the ER and starting to=2 0study the new score. =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 For ourselves, we earned our entire living in theatre (mostly off-beat alternative stuff) for 38 years, by hook or by crook, before moving to California 9 years ago and leaving most all our income behind -- managing to survive on Social Security, savings, some income from some property, some royalties, and occasional paying gigs=C2=A0 - working as hard as we've ever worked, but for very little money. Were we professionals before and amateurs now?=C2=A0 The terms begin to blur like an unkempt beard in a fogged-up mirror the morning after. Peace & joy- Conrad B. -Scrambling madly to get ready for Atlanta. _______________________________________________ List address: puptcrit-AT-puptcrit.org Admin interface: http://lists.puptcrit.org/mailman/listinfo/puptcrit Archives: http://www.driftline.org ----------MB_8CBD11530DE53D0_BD8_12044_WEBMAIL-DG09.sim.aol.com
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But here's the question (and maybe it doesn't matter): why is it that, when it comes to puppetry, the work of professionals, hobbyists, enthusiasts, or whatever you want to call them, are often given equal consideration (some amateurs are better than some working stiffs), while this is not the case in other performing arts disciplines?
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