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Carolina Actors Studio Theatre and the Experiential Approach to Production by Davi Carolina Actors Studio Theatre and the Experiential Approach to Production by David Jeffrey Blamy, B.A, M.A. A Dissertation In FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Dr. Bill Gelber, Chair Dr. Linda Donahue Dr. Jim Bush Dr. Michael Stoune Dr. Carolyn Tate Dr. Peggy Gordon Miller Dean of the Graduate School May, 2011 Copyright 2011, David Blamy Texas Tech University, David Blamy, May 2011 Acknowledgments They appear at the beginning of the dissertation, they are the last bit of writing to be included, and they prove to be the most difficult to write: the acknowledgements. How do I properly acknowledge and adequately thank all the people who have supported me through this process and made this dissertation possible? Such a proposition is almost certain to fail, but I will give it my most valiant effort. This dissertation would not have been possible without the generosity of CAST’s experiential pioneer, Michael Simmons. Throughout this process he made himself, and CAST, available to me for both examination and scrutiny. The information he graciously provided through interviews, emails, primary sources, and personal explanation ended up serving as the bulk of the material from which I drew content. The fact that he did it with such a spirit of sincere generosity makes me even more appreciative. My hope is this study, even in its criticisms, provides light to a valuable methodology and a theatrical visionary. I would also like to thank Victoria Simmons for providing so much of the original source material used in this study, as well as the CAST team for their support of this study. How CAST has inspired me. I would like to thank Dr. Bill Gelber, who served not only as the Chair of my dissertation committee, but also as an editor, confidant, and friend. His steadfast commitment to the success of this project has proven to be an invaluable motivator and helped propel me to finish. He consistently guided me with great care, regardless of the inconvenience, and I sincerely appreciate the time and energy he ii Texas Tech University, David Blamy, May 2011 has dedicated to this process. I owe a great deal to Dr. Gelber and can only hope to one day even scratch the surface of reciprocating. I am extremely appreciative of the Texas Tech University Department of Theatre and Dance, its faculty, and staff for their continued support throughout my time in their care and the duration of this study. In particular, I must thank Mary Cervantes Lauderback for her assistance in helping navigate my way through the administrative elements of this process. I would also like to thank my dissertation committee (Dr. Bill Gelber, Dr. Linda Donahue, Dr. Jim Bush, Dr. Michael Stoune, and Dr. Carolyn Tate) for their patience throughout this long, long journey and their careful, yet always supportive scrutiny of my work. And a special thank you to Dr. Donahue—whose simple question provided support and renewed faith in my ability to finish. My gratitude is also extended to Mark Pizzato, professor at the University of North Carolina at Charlotte and theatre reviewer for Charlotte’s Arts a la Mode. Mark served as editor for my dissertation, contributed a valuable interview, and was a stalwart friend throughout the process. (While I am grateful to Mark and Dr. Gelber for their assistance, I must add the disclaimer that any errors in this dissertation in editing or analysis are solely my responsibility.) I would also like to acknowledge the love and encouragement offered to me by my parents, John and Delinda Blamy. Since I was a child, they have been constant champions of my adventures, and their encouragement in this process is emblematic of that support. Their gentle quarterly requests for updates, while at the time seemed perhaps a nuisance, I now embrace for their motivation. I look no iii Texas Tech University, David Blamy, May 2011 further than them and their living examples to learn about genuine selflessness, unmitigated support, and the strength of a parent’s love. Finally, to my wife, Jennifer, and my two daughters, Austyn and Elle, I owe the largest debt of gratitude. There are no words I can suitably string together to adequately acknowledge how grateful I am for the support they have generously given me throughout my studies and during my work on this dissertation. The sacrifices they endured to carry me through this journey are too many to count, but each selfless act served to prop me up just a little bit more. They never gave up on me, even when I had. To Jen, who has traveled with me in every step of this process—sometimes pushing me, sometimes pulling me, but most often walking beside me—I am eternally grateful. Thank you. I proudly dedicate this dissertation, the culmination to my long journey, to my dad, John Blamy, III, Ph.D. iv Texas Tech University, David Blamy, May 2011 Table of Contents ACKNOWLEDGMENTS......................................................................................................... ii ABSTRACT.......................................................................................................................... vi I. INTRODUCTION TO CAST...................................................................................... 1 Mission statement ................................................................................................... 6 Total immersion.................................................................................................... 13 II. A BRIEF HISTORY OF THE AUDIENCE/PERFORMANCE RELATIONSHIP ............. 15 Historical periods.................................................................................................. 16 Richard Schechner ................................................................................................ 26 Environmental theatre........................................................................................... 29 The performance group......................................................................................... 37 Six axioms............................................................................................................. 40 Jerzy Growtowski ................................................................................................. 50 What happened ..................................................................................................... 55 III. CAST’S RESPONSE............................................................................................... 58 Schechner’s axioms .............................................................................................. 58 Growtowski........................................................................................................... 69 IV. HISTORY OF CAST............................................................................................... 72 Simmons history ................................................................................................... 72 Concept/original intent ......................................................................................... 76 Space..................................................................................................................... 80 1998-2000................................................................................................................... 81 2000-2001................................................................................................................... 83 2001-2003................................................................................................................... 87 2003-Present .............................................................................................................. 91 Experiential........................................................................................................... 97 History of the Term ..................................................................................................... 97 Purpose....................................................................................................................... 99 Evolution............................................................................................................. 103 The Subconscious .................................................................................................... 111 Thinking Outside the Black Box ................................................................................ 115 Total Immersion ........................................................................................................ 116 Production history/timeline................................................................................. 119 V. THE 2007-2008 SEASON ..................................................................................... 131 Autobahn............................................................................................................. 134 Omnium Gatherum ............................................................................................. 140 Dracula................................................................................................................ 144 Tuna Christmas................................................................................................... 148 Edmond............................................................................................................... 151 Dark Play ...........................................................................................................
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