The growth of an ensemble theater company involves constantly refining and developing the group’s philosophy and its process for building work.
Articulating the ensemble’s aesthetic and the larger hows and whys of what we find important in the theater is a formidable task, crucial to defining and re-defining our group perspective.
Discussions on the subject in OYL are accepted as organic in nature – allowing for shifts and growth with us as individuals and as a group.
Over the next several months, we will be using this blog to publish excerpts of this larger artistic conversation, and invite your responses. Concurrently, our acting ensemble will be posting about on-going rehearsals and readings.
Our goal is to include you, our audience and supporters, in the discussion and to offer a deeper level of insight into the artistic aspirations of OYL.
Below is an introduction to the conversation, from Ianthe Demos.
All our best,
Ianthe and Nick
Artistic Directors, OYL
If our humanity is predicated on our ability to perceive beauty then the theatrical act is based on this gift – it shows us what could be, both beautiful and horrific.
Theater reminds us that we are not alone, that our similarities outweigh our differences, and that in the art of watching and being watched we learn what we are capable of.
Ours is a theater that uses the recognizable to build a new and extraordinary circumstance. We begin by exploring a familiar condition from multiple angles.
Story, time, place and perspective are all juggled as we create a unique moment theatrically suspended.
As the company at large walks alongside this new moment constructing it through shifting elements of narrative, time, space and points of view, so too does each actor walk alongside his or her character generating a unique being that can only exist in this new theatrical circumstance.
In our theater the actor conducts a search for the absurdist elements within the character, those outside the grasp of our immediate perception of reality. It is a dissection of sorts – a cheerful and almost childlike discovery of concealed facets of the character which will then be exploded or distilled. In equal part the actor explores his or her visceral reaction to the character and harnesses those elements into traits.
What follows is a coming together of these various discoveries to create a unique being. It is important to note that this new person is created for this moment alone – to further inform whatever human condition or situation the work at large is exploring. He or she is not meant to exist outside the world created.
To accept this is to embrace a creative freedom that forms the cornerstone of One Year Lease’s work.
Our goal is to create a unique moment theatrically suspended, challenging our audiences’ perception of what humanity is capable of and uncovering beauty in unexpected places.
-Ianthe Demos
Monday, September 26, 2011
Sunday, August 14, 2011
Sunday August 14th - Sameerah Luqmaan-Harris
The Beginning At the End
Collaboration. It’s been one of this week’s buzzwords. It’s tricky, it’s certainly not always easy, but it is something to strive for. The end result can be quite brilliant. Point of fact, the 2011 Apprentice Company’s village performances. So much sweat and love, frustration and laughter went into the making of ‘Midsummer’. There were many obstacles thrown in their path—3 directors, each with their own unique vision, performing an English play in front of a Greek-speaking audience, re-blocking the show down to the last second. Despite all that was thrown in their path, they banded together as an ensemble, they took the notes, and they made it work. It was thrilling to watch. More than just allowing them to grow as artists and to form impenetrable bonds, this collaboration also brought art to folks who don’t have the Met and Broadway right down the street. The audiences were beaming with warmth and good vibes. I am always struck to my core when I see art bringing a community together. It seems a simple thing that we do sometimes, funneling real life into the artifice that we call theatre. But I truly believe that holding up a mirror to life can have a profound effect. I saw it firsthand change the energy of an entire village. Congrats to everyone involved!!
So today is our final day. We have wrap up meetings to attend and packing to do and
goodbyes to say. Endings tend to be quite tricky for me. Usually the sadness of leaving a place that I love overwhelms my senses. This year, however, I am experiencing a new sensation. Joy. It feels odd to feel such bliss at a time like this, but I am so happy and grateful. The people I’ve met and the sights that I’ve seen are now branded into my soul.
I am particularly gleeful about some of the amazing work that the OYL acting/directing team were able to get accomplished in this short month. We laid the groundwork for a new reading series, a commissioning project, and found a couple of terrifyingly amazing playwrights. My favorite upcoming project is called Shifting Baselines. We have taken on the challenge of devising a play based on immigration, using just our bodies and hearts and minds as inspiration, instead of an existing text. Participating in this piece has enlivened the company’s spirit. I am really proud to get to collaborate with such a brave and creative group of people. Even though we are finishing up here in Greece, there is much to be accomplished and so far to climb in this coming year. We are ambitious and hopeful about the future. We hope to see you there!!
Collaboration. It’s been one of this week’s buzzwords. It’s tricky, it’s certainly not always easy, but it is something to strive for. The end result can be quite brilliant. Point of fact, the 2011 Apprentice Company’s village performances. So much sweat and love, frustration and laughter went into the making of ‘Midsummer’. There were many obstacles thrown in their path—3 directors, each with their own unique vision, performing an English play in front of a Greek-speaking audience, re-blocking the show down to the last second. Despite all that was thrown in their path, they banded together as an ensemble, they took the notes, and they made it work. It was thrilling to watch. More than just allowing them to grow as artists and to form impenetrable bonds, this collaboration also brought art to folks who don’t have the Met and Broadway right down the street. The audiences were beaming with warmth and good vibes. I am always struck to my core when I see art bringing a community together. It seems a simple thing that we do sometimes, funneling real life into the artifice that we call theatre. But I truly believe that holding up a mirror to life can have a profound effect. I saw it firsthand change the energy of an entire village. Congrats to everyone involved!!
So today is our final day. We have wrap up meetings to attend and packing to do and
goodbyes to say. Endings tend to be quite tricky for me. Usually the sadness of leaving a place that I love overwhelms my senses. This year, however, I am experiencing a new sensation. Joy. It feels odd to feel such bliss at a time like this, but I am so happy and grateful. The people I’ve met and the sights that I’ve seen are now branded into my soul.
I am particularly gleeful about some of the amazing work that the OYL acting/directing team were able to get accomplished in this short month. We laid the groundwork for a new reading series, a commissioning project, and found a couple of terrifyingly amazing playwrights. My favorite upcoming project is called Shifting Baselines. We have taken on the challenge of devising a play based on immigration, using just our bodies and hearts and minds as inspiration, instead of an existing text. Participating in this piece has enlivened the company’s spirit. I am really proud to get to collaborate with such a brave and creative group of people. Even though we are finishing up here in Greece, there is much to be accomplished and so far to climb in this coming year. We are ambitious and hopeful about the future. We hope to see you there!!
Wednesday, August 10, 2011
Wednesday August 10th - Nick Corda
Sunset. Every sunset in these mountains has seemed unreal. As though this place is crafted of dreams and the best we can do is hope to grasp such beauty. Tonight, Apollo created an incredible world for us to play our little comedy in. Timed perfectly, the sun drifted down throughout the performance, and gave us a perfect twilight for the finale: “Lovers, to bed. Tis’ almost fairy time.”
An incredible start to our undoubtably magical run of the bard’s A Midsummer Night’s Dream, tonight’s performance in the small town of Vikos was an absolute joy for all members of the company. Excitement was rampant and we drew the largest and youngest audience to an apprentice performance in the town ever.
How do we explain these magical moments on stage? How do we define them in our mind’s eye? Or, is their truth illuminated in the moment, for a fleeting second, and then gone forever? How long is a moment, a second, a year, a millenia?
Maybe, this beauty lives on within us, becomes one with the soul, and eternally celebrates the wonder of life?
Just a thought.
And thoughts are nothing in the face of the moment. Life is the moment.
Now go out and live.
An incredible start to our undoubtably magical run of the bard’s A Midsummer Night’s Dream, tonight’s performance in the small town of Vikos was an absolute joy for all members of the company. Excitement was rampant and we drew the largest and youngest audience to an apprentice performance in the town ever.
How do we explain these magical moments on stage? How do we define them in our mind’s eye? Or, is their truth illuminated in the moment, for a fleeting second, and then gone forever? How long is a moment, a second, a year, a millenia?
Maybe, this beauty lives on within us, becomes one with the soul, and eternally celebrates the wonder of life?
Just a thought.
And thoughts are nothing in the face of the moment. Life is the moment.
Now go out and live.
Wednesday August 10th - Karlee Fomalont
Wednesday was opening night of our little production of midsummer in Vikos. We had no idea what to expect for a few reasons, one of which is the year round population of Vikos is 7, and we had never performed in a town square before. The show turned out better than I could have imagined, regardless of the fact we had an audience of about 10, (mostly of Greek children who spoke no English!) Everyone who came laughed and participated and allowed us to have as much fun on stage as we did. The energy was contagious. It was incredible to watch the kids talk to each other as the show was going on to further clarify the story and make sure they were all still on board with us!
After, a few of us stayed in Vikos for some snacks and drinks after the show, and a group of kids who watched the performance came over to our table with paper and pens asking for our autographs! It was an amazing feeling knowing we had made an impact on these kids and showed them a world of magic and comedy they never see in their small village. It was a night that will definitely stay with me forever and remind me why I'm doing this. Making connections not only with my scene partner on stage, but truly with the audience is an experience so hard to come by, and I'm so grateful we were all able to be so present and open to allow the show to be such a success.
After, a few of us stayed in Vikos for some snacks and drinks after the show, and a group of kids who watched the performance came over to our table with paper and pens asking for our autographs! It was an amazing feeling knowing we had made an impact on these kids and showed them a world of magic and comedy they never see in their small village. It was a night that will definitely stay with me forever and remind me why I'm doing this. Making connections not only with my scene partner on stage, but truly with the audience is an experience so hard to come by, and I'm so grateful we were all able to be so present and open to allow the show to be such a success.
Tuesday, August 9, 2011
Tuesday August 9th -Amanda Culp
Tomorrow is the opening night of the 2011 Apprentice Company’s production of A Midsummer Night’s Dream. Two weeks ago they hadn’t even been cast, yet based on the strength and energy of this morning’s run through, you would never know it. They are courageous and dedicated, taking risks and trusting one another in a way that can only be forged in this kind of environment. I have always said that one of the magical things about OYL is that because we live together, work together, eat together, play together for these weeks each summer, we know each other, trust each other in a way that transcends a company dynamic—we are family. As I’ve watched this summer Apprentice Company work over the past few days, it has become apparent to me that that same Papingo magic that feeds our company has also gotten to them.
Four weeks ago they were, for the most part, complete strangers, but by dinner our first night together in Athens they were getting on like old friends. The bravery that takes—to leave home to spend a month in a foreign country where you don’t speak the language with people you don’t know—is, in my opinion, the defining characteristic of this group. From the moment they arrived, they have always and only responded to a challenge with, ‘yes.’
Yes! Let’s go out and explore Athens together. Point us in the right direction!
Yes! I’ll be the first one into an improv scene even though improv terrifies me to my core.
Yes! I’ve never hiked a mountain before, but I’ve got a water bottle and sneakers and I’m ready to go.
Yes! This is an entirely new way of working that I’ve never done before…but I’m learning so much from it.
I am so proud of and excited about the work being done on Midsummer. It is full of all of these wonderful ‘yes!’s: full of a summer full of new experiences and living outside of our comfort zones. The more I think about it, the more I am certain that it is these essential qualities that continue to draw me to theater—watching it, teaching it, making it. When I share a space with bodies on stage who are bold and daring and so committed to life that they are in fact taking on more life in addition to their own, I am challenged to interrogate and really engage in every moment of mine.
On that note, working with this summer’s Apprentice Company has reminded me in so many ways of my first summer here in Papingo, as an intern on OYL’s production of Ariel Dorfman’s Widows. Though I regard that time in my life as a month of unparalleled bravery and growth, in the months and years that have passed—and in the many subsequent stays in Papingo—I have perhaps grown a bit complacent, a bit comfortable in my skin, and a bit jaded by the simple facts of life and of growing up. I arrived this summer feeling like some of that spirit—that woman I knew myself to be in the world, who I had found here—had faded somehow. Sharing in the Apprentice Company’s time here this summer has been the greatest gift I could have asked for. Watching their courageousness has reacquainted me with my own capacity for bravery. Darrell has a rule that he introduced to us in his first days, which is to: “let the little one drive.” This does not mean to let children operate motor vehicles. It means to let that voice in you that always wants to say ‘yes!’ drive, and to put the adult voice—the pragmatic and cynical and judgmental voice—on mute for a little while. Amy, Daniel, Ira, Karlee, Liana, Liliana, Mora, Nick, Ryn, Steven and Vicky are certainly not little ones, but it is their spirit and energy that have driven my summer. And as the house fills with voices after our evening rehearsals, and the porch is illuminated with the rosy glow of sunset, I can say nothing but: I must be the luckiest woman alive.
Four weeks ago they were, for the most part, complete strangers, but by dinner our first night together in Athens they were getting on like old friends. The bravery that takes—to leave home to spend a month in a foreign country where you don’t speak the language with people you don’t know—is, in my opinion, the defining characteristic of this group. From the moment they arrived, they have always and only responded to a challenge with, ‘yes.’
Yes! Let’s go out and explore Athens together. Point us in the right direction!
Yes! I’ll be the first one into an improv scene even though improv terrifies me to my core.
Yes! I’ve never hiked a mountain before, but I’ve got a water bottle and sneakers and I’m ready to go.
Yes! This is an entirely new way of working that I’ve never done before…but I’m learning so much from it.
I am so proud of and excited about the work being done on Midsummer. It is full of all of these wonderful ‘yes!’s: full of a summer full of new experiences and living outside of our comfort zones. The more I think about it, the more I am certain that it is these essential qualities that continue to draw me to theater—watching it, teaching it, making it. When I share a space with bodies on stage who are bold and daring and so committed to life that they are in fact taking on more life in addition to their own, I am challenged to interrogate and really engage in every moment of mine.
On that note, working with this summer’s Apprentice Company has reminded me in so many ways of my first summer here in Papingo, as an intern on OYL’s production of Ariel Dorfman’s Widows. Though I regard that time in my life as a month of unparalleled bravery and growth, in the months and years that have passed—and in the many subsequent stays in Papingo—I have perhaps grown a bit complacent, a bit comfortable in my skin, and a bit jaded by the simple facts of life and of growing up. I arrived this summer feeling like some of that spirit—that woman I knew myself to be in the world, who I had found here—had faded somehow. Sharing in the Apprentice Company’s time here this summer has been the greatest gift I could have asked for. Watching their courageousness has reacquainted me with my own capacity for bravery. Darrell has a rule that he introduced to us in his first days, which is to: “let the little one drive.” This does not mean to let children operate motor vehicles. It means to let that voice in you that always wants to say ‘yes!’ drive, and to put the adult voice—the pragmatic and cynical and judgmental voice—on mute for a little while. Amy, Daniel, Ira, Karlee, Liana, Liliana, Mora, Nick, Ryn, Steven and Vicky are certainly not little ones, but it is their spirit and energy that have driven my summer. And as the house fills with voices after our evening rehearsals, and the porch is illuminated with the rosy glow of sunset, I can say nothing but: I must be the luckiest woman alive.
Monday, August 8, 2011
Monday August 8th - Liliana and Mora
On Monday, we took the time to move slowly through the entire show, scene by scene, working out kinks and awkward spots. We worked on fine-tuning the physical comedy and dramatizing the soap opera aspect of the show. It was inspiring to watch how changing one simple movement - a turning of a back or the timing of a line - could enhance the humor and bring a scene to life. It took almost six hours to move through the entirety of the show, which normally runs 45 minutes or less. Ira helped us find the small moments that would normally be passed over, and brought them to the foreground. Something as simple as changing the sound the "male fairies" make when they cast their spells gave a whole new vitality to the section in which Titania and Oberon argue over the Indian boy. Moving the Mechanicals from a straight line into a more dynamic circular position opened up the entire scene and freed up the actors to play to the whole space. Another rewarding aspect of the Midsummer rehearsal process has been the gaggles of various onlookers that occasionally appear at our rehearsals. While rehearsing the hilarious play-within-the-play on Monday, we were rewarded with the laughter of local children and their parents, enjoying the over-dramatic death of Pyramus and Thisbe. Most of the time, you don't know how an audience is going to respond to your work. This one sound gave us the confidence that people would both understand and enjoy our performance and made us look forward even more to our show in Vikos on Wednesday. We can't wait!!!
Saturday, August 6, 2011
Saturday August 6th - Amy Lynne Berger
This past week has been pretty incredible! Since beginning our Suzuki/Viewpoints
work, I have found myself being incredibly aware of my body and the space around
me…not to mention being incredibly sore from said activities. :] Today, while
holding different poses, whether standing or sitting statues in Suzuki, we each had
to recite a line or short monologue while holding focus. Meanwhile, whoever else
was on stage with you had to hold their pose for the length of that same time and
vice versa. I quickly realized how important it is to really hit out every single word in a speech or else it loses meaning and sense of value if you are not concentrating on your breath. To end our Suzuki work, we all lined up opposite each other and did a slow walk past each other, keeping aware of the others in our line through our peripheral vision in order to move at the same speed with the same motions. This was something we had done on one of the first few days of our Suzuki work and it was pretty incredible to see, how in such a short amount of time, the group was really able to get in touch with each other and move so beautifully together.
Rehearsal today was pretty laid back. It was fun because instead of working in our
usual space in Megalo Papingo, we decided to just stay in Mikro Papingo and work
where we typically do yoga. It was great seeing everyone adapt to the new location
as practice for how things will need to be shifted depending on where we are
performing at the time. Further, working in a new area gave everyone more freedom
to experiment with their own blocking and seeing if something other than what was
originally directed could also potentially work.
I wouldn’t forgive myself if I didn’t give a brief shout out to where we had dinner
tonight. We were served the most delicious food I have ever had in my life. It began
with greek salad, tsatsiki, and these incredible fried zucchini appetizers and then
was followed by a wide selection of varying entrees. I left very full and more than
satisfied.
All in all, today was pretty spectacular. Since the schedule changed a bit and we
didn’t have to make the walk to and from Megalo in the afternoon, everyone got a lot
of time to just talk to each other, not only about the work, but about life. I’ve said it before and I’ll say it again, I love the people here. There is so much love and support for each and every member on this trip and I couldn’t be more thankful to be here.
work, I have found myself being incredibly aware of my body and the space around
me…not to mention being incredibly sore from said activities. :] Today, while
holding different poses, whether standing or sitting statues in Suzuki, we each had
to recite a line or short monologue while holding focus. Meanwhile, whoever else
was on stage with you had to hold their pose for the length of that same time and
vice versa. I quickly realized how important it is to really hit out every single word in a speech or else it loses meaning and sense of value if you are not concentrating on your breath. To end our Suzuki work, we all lined up opposite each other and did a slow walk past each other, keeping aware of the others in our line through our peripheral vision in order to move at the same speed with the same motions. This was something we had done on one of the first few days of our Suzuki work and it was pretty incredible to see, how in such a short amount of time, the group was really able to get in touch with each other and move so beautifully together.
Rehearsal today was pretty laid back. It was fun because instead of working in our
usual space in Megalo Papingo, we decided to just stay in Mikro Papingo and work
where we typically do yoga. It was great seeing everyone adapt to the new location
as practice for how things will need to be shifted depending on where we are
performing at the time. Further, working in a new area gave everyone more freedom
to experiment with their own blocking and seeing if something other than what was
originally directed could also potentially work.
I wouldn’t forgive myself if I didn’t give a brief shout out to where we had dinner
tonight. We were served the most delicious food I have ever had in my life. It began
with greek salad, tsatsiki, and these incredible fried zucchini appetizers and then
was followed by a wide selection of varying entrees. I left very full and more than
satisfied.
All in all, today was pretty spectacular. Since the schedule changed a bit and we
didn’t have to make the walk to and from Megalo in the afternoon, everyone got a lot
of time to just talk to each other, not only about the work, but about life. I’ve said it before and I’ll say it again, I love the people here. There is so much love and support for each and every member on this trip and I couldn’t be more thankful to be here.
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