~GES

FOR IMMEDIATE RELEASE CONTACT: Mira Hirsch or Faye Allen (404) 522-0911

Legendary Theatre Artist Joseph Chaikin continues collaboration with 's 7 Stages as ANGEL WORKS opens March 19th

ANGEL WORKS, three short plays featuring heavenly creatures, reunites legendary actor/director Joseph Chaikin with Atlanta's 7 Stages. Chaikin will direct the ANGEL WORKS series which includes: The War in Heaven by Joseph Chaikin and , featuring Del Hamilton; The Sandbox by Edward Albee; and a new work being developed by Chaikin and the ANGEL WORKS ensemble. This marks Chaikin's third residency at 7 Stages, a union that will likely continue for years to come, giving Atlanta audiences the rare opportunity to experience a number of works involving one of America's most gifted and influential theatre artists. Says 7 Stages Artistic Director Del Hamilton, "I think Joe will be returning here often. He likes Atlanta very much, and enjoys the artistic climate at 7 Stages."

ANGEL WORKS opens Friday, March 19 and runs through April 18 with previews March 17 and 18. Performance times are Wednesdays through Saturdays at 8 p.m. and Sundays at 5 p.m. Tickets are $8- 14 and may be reserved by calling #(404) 523-7647. 7 Stages is located at 1105 Euclid Avenue in Little Five Points.

Highly-acclaimed, Obie-award-winning theatre artist Joseph Chaikin is best known for founding and directing New York's celebrated, experimental Open Theatre. In 1984, Chaikin suffered a stroke which left him with aphasia - an impairment of the ability to use and comprehend language. However, this condition has not impaired Chaikin's ability to direct spellbinding theatre, as Atlanta witnessed last spring, when he directed 7 Stages' critical and popular hit, Waiting for Godot. This riveting production broke box office records at 7 Stages, and was a tremendous success at the Festival in The Hague, The Netherlands.

(More)

1105 Euclid Avenue Atlanta, GA 30307 USA Admin.: 404.522.0911 Box Office: 523.7647 Fax: 522.0913 CHAIKIN AT 7 STAGES, page 2

Waiting for Godot featured Del Hamilton as the thoughtful tramp Vladimir in a performance enhanced by a strong actor-director relationship. That· exciting artistic union will reoccur as Chaikin directs Hamilton in The War in Heaven, a play which, until this time, has been exclusively performed by Chaikin himself. This will be Chaikin's first experience directine- the lyrical monologue about a lost Angel being held captive on earth. Popular Atlanta musician Klimchak will compose and perform the play's live percussive score.

While Chaikin and Sam Shepard (the Pulitzer Prize-winning playwright and well-known Hollywood actor) were writing The War in Heaven, the two friends and long-time collaborators produced a wealth of material that was not included in their final script. This writing, which also incorporates themes of angels and m i.splaced persons, provides the launching point for a new company-developed work being created specifically for 7 Stages' ANGEL WORKS project. For the first time since his stroke, Chaikin will workshop and direct an ensemble play - a form of theatre which he helped define and perfect through a decade of work with . The casts of The War in Heaven and The Sandbox will comprise the ensemble for this yet-to-be-titled piece.

The Sandbox, Edward Albee's absurd classic about an old woman awaiting the Angel of Death receives a rare professional production under Chaikin's direction. Don Finney (Estragon in Waiting for Godot) plays whiney Daddy, while Jill Jane Clements portrays the practical Mommy. Minette Meyer is Grandma, Charles Orange is The Young Man, and violinist Chip Epsten portrays The Musician in this hilarious drama.

*** JOSEPH CHAIKIN

Joseph Chaikin, director of ANGEL WORKS, is one of the icons of the American theatre, a man who has made, and continues to make, a tremedous impact on 20th century theatre. He has won six Obie (off-Broadway) awards, including the first Lifetime Achievement award; has two honorary PhD's; has been given two Guggenheim fellowships; and was awarded a National Endowment for the Arts Lifetime Contribution Award.

In April of 1992, Chaikin directed 7 Stages' highly-acclaimed production of Beckett's Waiting for Godot. More recently, in November of 1992, he directed another Beckett play- Texts- at New York's Public Theatre. The production, wHich featured actor/new vaudevillian Bill Irwin, was lauded by critics as one of the most exciting plays of the entire New York theatre season.

Chaikin began his professional career as an actor with and soon after, in 1963, founded the Open Theater. When his work earned him the Lifetime Achievement in 1977, the judges called him "the only logical choice." He has directed both new and classic plays at major theatres throughout the country. Chaikin has also received acclaim as an actor for his performances in Man is Man with the Living Theatre, Woyzeck at and Tongues and Savage/Love (written by Chaikin and Sam Shepard) at both the Public Theater and LA's Mark Taper Forum. He has performed Beckett's Texts in London, Paris and New York.

In 1984, Chaikin suffered a stroke which left him aphasic. His recovery process . has been the source of inspiration for several theatrical pieces, including The Traveler by Jean-Calude van Itallie and Night Sky by Susan Yankowitz, which is currently in production at 7 Stages through the end of February.

Since 1984, in addition to his work as a director, Chaikin has continued acting, giving radio performances of The War in Heaven and Is This Real? (a piece about aphasia), and stage performances of Struck Dumb and The War in Heaven at various theatres throughout the world. §j{AGES

FOR IMMEDIATE RELEASE CONTACT: Mira Hirsch or Faye Allen at #522-0911 PULL DATE: APRIL 18, 1993

Public Service Announcement

** 30 SECONDS 7 STAGES PRESENTS ANGEL WORKS, THREE SHORT PLAYS FEATURING HEAVENLY CREATURES. LEGENDARY NEW YORK THEATRE ARTIST JOSEPH CHAIKIN DIRECTS THE ETHEREAL PLAYS WHICH INCLUDE EDWARD ALBEE'S ABSURD COMEDY THE SANDBOX, AND THE JOSEPH CHAIKIN I SAM SHEPARD MONOLOGUE THE WAR IN HEAVEN, FEATURING DEL HAMILTON. MUSIC, HUMOR, POETRY AND DRAMA MAKE ANGEL WORKS A HEAVENLY EVENING OF THEATRE. ANGEL WORKS RUNS MARCH 17th THROUGH APRIL 18th AT 7 STAGES IN LITTLE FIVE POINTS. FOR RESERVATIONS AND INFORMATION, CALL 523-7647. THAT'S #523-7647.

** 20 SECONDS 7 STAGES PRESENTS ANGEL WORKS, THREE SHORT PLAYS FEATURING HEAVENLY CREATURES. DIRECTED BY LEGENDARY THEATRE ARTIST JOSEPH CHAIKIN, ANGEL WORKS INCLUDES EDWARD ALBEE'S THE SANDBOX AND THE WAR IN HEAVEN. AN ANGEL'S MONOLOGUE. ANGEL WORKS RUNS MARCH 17th THROUGH APRIL 18th AT 7 STAGES IN LITTLE FIVE POINTS. FOR RESERVATIONS AND INFORMATION, CALL #523-7647. THAT'S #523-7647.

** 10 SECONDS 7 STAGES PRESENTS ANGEL WORKS, THREE SHORT PLAYS FEATURING HEAVENLY CREATURES. ANGEL WORKS RUNS MARCH 17TH THROUGH APRIL 18TH AT 7 STAGES IN LITTLE FIVE POINTS. FOR RESERVATIONS AND INFORMATION, CALL #523-7647. THAT'S 523-7647.

1105 Euclid Avenue Atlant:-., GA J0307USA Admin.: 404.522.0911 Dox Office: 523.7647 Fax: 522.0913 7 Stages presents Angel Works

directed by Joseph Chakin

The Sandbox by Edward Albee

Grandrna...... Minnette Meyer Mommy...... Jill Jane Clements Daddy...... Don Finney Musician ...... Chip Epsten Young Man ...... Charles Orange Orginal Music Composed by Chip Epsten

Angel Fragments Performed and Created by The Ensemble

Based on letters & Texts; 1972-1984 by Joseph Chakin and Sam Shepard

Dramaturg Walter Bilderback

The War in Heaven By Joseph Chakin and Sam Shepard

Angel...... Del Hamilton Musician ...... Kllinchak Orginal Music Composed by Choreography Klimchak linda Caldwell

Set Design lighting Design Costume Design linda Burgess Eric Jennings Joanna Schmink Production Team Production Manager...... Faye Allen Technical Director...... ~ ...... Unda Burgess Stage Manger...... Ronald Dean Martin Production Assistant...... Cleteus D. Smith

February 19, 1993- Friday

I. "War in Heaven"

- "War in Heaven"- Joseph Chaikin: "Keep simple - clear." -This is very process. Constantly experimenting. Constantly trying new things untill it feels right - untill it grouves - untill it hits the mark - you just feel it. It may not happen this rehearsal or the next one, but you just need to have an open mind and willingness to try - and the rest will follow. -Chemical substance that ignites our brain cells. -The costumes are very important to Joe. Del Hamilton (Angel) would like something comfortable. No wings or halo. Maybe an all white suit and a long white coat, maybe a duster. Angel bussiness wear. Klimchak (Musician) would like comfortable clothing as well. Klimchak suggested that he wear no shirt or just a undershirt since he has to place musical instruments near his body. "I'm not sure now how I fit where I fit exactly

I know there were those above me and those below but I'm not sure now where I fit ... " The wonder of being lost BEIWEEN both worlds - Heaven and Earth. Tibeten Monks. "Majjhima- patipada" =between or the middle path. -Klimchak takes ordinary household items and plays them musically. He keeps playing with these items - exploring - hitting - rubbing - thumping - untill it's right. I would never had thought that some of these sounds would be coming out of these items. -Words and music both work so close. One influcing the other. Certain sounds for certain things. I close my eyes and I picture the sounds. -Regarding the visibility of the instruments. ((Not obscurring completely and not revealing completely. Not exactly hiding but not putting to much focus on them as well." -Research the film, "Wings of Desire." - ((Sometimes it's true it is grief and grieving and grief both changing ... " Joe: ((Grief is deep. It's the worst." -Regarding this experimential process. Del: "I forgot how theatre of the abstract can be so intriging. It's as if I wished I had of just learned the lines. Now (since this one rehearsal) I have learned so much. This ones hard." -Regarding movement for Del. Joe: ((Can talk, play later." - ((Take me back

I'm hovering above myself looking for a way back in I'm all around this body waiting Turn me loose Every second I'm weakening Turn me loose... " Del: "The angel is like a ballon that is running out of air - weakening - the longer I stay the less air I have." What a great metaphor for this. -Regarding a young Nun he heard on the radio. Joe: ((Each human learns to live like light - like God. Light of living. God is important - is not important. God is the shinJ{ing star in each of us." On the same subject, ((Each of us are the living God. Fish are also God. We are animals." -I read ((War in Heaven" last night and I found it very difficult to understand. It seems like a long poem of fragmented words. Words that sometimes connect and often don't. Maybe it's just me - maybe it's all over my head. I laid it down before I went to bed and dreamt about the trapped angel. When I woke, I still didn't get it. After today's rehearsal, I found I could grasp it alittle better- but still have a long way to go. I still can not believe that I am working with Joseph Chaikin. It's as if this was a dream. The legend that I was taught about in college is now our director. I try to take in every thing he says - soak it in - breath it in. This being my first time working with Joe I find it difficult sometimes to understand the context of his words. He is so intelligent th,at it often takes me a while to process the thought of what he is saying. This difficulty is also increased with the language barrier. It's as if there was this giant brick wall between us and we both desperately want to tear it down. Everything he says is well thought out, sometimes complex - sometimes simple, and few in words. "Almost clear, but not clear ... good work, good start."

February 20, 1993 - Saturday

I. "War in Heaven"

-A table full of instruments. Klimchak has gathered the most unusual instruments ranging from a symbol, snare drum, tamborine, brimbow, slide whistle, musician's cow bell, wood blocks, to a string of seated white pods, a large metal bowl full of water, two blow up planet beach balls, a battery operated toy that sounds like a mixture of a spaceship and an insect, an empty pint bottle, rocks in assorted sizes, wine glasses, and plastic horns. A child would have a field day playing with these instruments - come to think of it, Klimchak has a pretty good time with them too. -Del to Klimchak: "Does your mother know you are to do this for a living?" -Joe began rehearsal by asking what page we left off on yesterday. He seems to have no concept of numbers or time. When we are finished we are finished, when we break we break. Is this due to his stroke during his third open heart surgery which rendered him aphaisic? Do numbers play a part in this or does he simply have a truer understanding of time? "Beach time" comes to mind. When your'e at the beach and refuse to wear a watch- you simply live without time - knowing when to eat, work, and to sleep. "Since then there are no days there is no time I am here by mistake... " ~ -This is a process. A process of creating theatre an~xpl.

February 21, 1993- Sunday

I."War in Heaven"

- "I have a partner the partner is me the partner has a partner in me ... " Who is the partner? I'm having problems finding out who and what this means! -As an actor, I still have so many questions and thoughts regarding this piece. What does this mean? Why is this worded that way? It seems like a poem that is constantly in motion- Poetry in motion! - "Incidentally, each of you should see a Disney movie production within the next month, because thats really where they want us to think it's at." - Joe, from The Presence of the Actor -1 can't get over how well Del and Joe work together. Del is the type of actor that connects with Joe. He even helps Klimchak decipher Joe's notes. -Del and Klimchak are starting to click together as actor and musician. They are starting to fuse into each other - no longer separate, but just an extention of one another. One tends to focus on Del while the music becomes an intrical part of the performance. Text and music, at times come together well - other times not. Can see - hear - feel the difference. -1 believe Klimchak struck upon the perfect instrument for the grief section. Klimchak wets his thumb and slowly circles the snare drum. A dull moan begins to rise throughout the air. Aches, moans and screams lift out from the drum. -Joe: "I know a professor ... teaches math ... very tired, exhausted ... numbers." - "War in Heaven" was directly related to Chaikin's recovery. After his stroke he couldn't speak, write or read. Everything escaped him. Shepard helped bring Chaikin back by using this piece. What's so ironic is that they came up with the idea of "War in Heaven" before his stroke. Sam even wrote him this letter concerning this subject : Joe, Somethings been coming to me lately about this whole question of being lost. It only makes since to me in relation to an idea of one's identity being shattered under severe personal circumstances - in a state of crises where everything that I've previously identified within myself suddenly falls away. A shock state, I guess you might call it. I don't think it makes much difference what the shock itself is - whether its a trauma to do with a loved one or a physical accident or whatever - the resulting emptiness or aloneness is what interests me ... -Sam Shepard, from Letters and Texts - Is Chaikin still in between - in between living and dying. Does Joe still feel this way? I know that he had a very successful! recovery. But does he direct this from his horrifying memories, the long and painfull recovery or as a triumph over aphasia? I believe Joe tried to express his pain of alienation through his loss of language. Is Joe still this angel? -Everything open- Del and Klimchak extremely open. Both wanting to do well. Constantly changing. Nothing's set until it feels right for all. A sense of vulnerability - experimentation - growth. Change is constant in this process. A true rehearsal in every sense of the word.

February 23,1993 -Tuesday

I. "War in Heaven" -Language is conceptual - relative. -Joe brings simplicity to each rehearsal. Joe told Klimchak: "To busy ... build slowly. Keep sound clear." He tells Del: "Different story ... not same story." He wants it clean, simple -visually clear. This reminds me of his principals in the Open Theatre- just the bare essentials. -It's mind blowing to think that this man's life has been centered around communication and nine years ago he had to totally reinvent his way of communication. Its as if he has to apply what he told Klimchak: "To busy ... build slowly. Keep sound clear." Think of the process he has to use in order to communicate. Each sentence has to be distilled down into a couple of words. He is now a man of few words- most times abstract, complex and precise. Yet in those few words the distilled message is so clear. Joe: "On the wind ... on the air rather than beginning over and over ... reincarnation is the core." He is brilliant.

-Idea: "War in Heaven" = "Night Sky" -Still don't understand partner section. Whats it all about? You got me. -It's wild how much sound can enhance the text. It sets the mood and influences the actor. Chaikin said this about his and Shepard's musical experience of "Tongues": "One of the things which we share, Sam and me, is our intense involvment with music. We're never looking for the dramatic structure. We're looking for (a) ... shape thats musically tenable." -Regarding Del's realization of the text: "Each word is like a telegraph - each word is important." Joe added, "Especially first." - "Sometimes sex sometimes many living in one in an animal sometimes in a bird same between two animals sometimes new nothings different... " Joe: "Animals have different continuity ... Ways animals do it, birds do it, turtles do it ... everyone still doing it ... old and new." -Words are beginning to give life to me. Words I did not understand now make sense. -Joe brought up the collaboration piece to the cast. To see how they felt about it. He then turned to me and just smiled - as if he was asking me my opinion on the subject. I told the group that it was exciting and scary. Exciting because we would be creating something from nothing but also scary because we are. venturing into the unknown. I stopped there. What I truely felt was ... Lets Go For It! "The actor doesn't start with answers about living - but with wordless questions about experience." - Joe, from The Presence of the Actor "The best answers are those that destroy the questions." - Susan Sontag - "There was a time when the light from my eyes was so powerful it would blind the sun Now look no light nothing ... " When Joe performs this does he think back to his younger days? -Regarding rehersal schedule for "War in Heaven." Joe: "Fewer rehearsals ... keep it clear ... good."

February 27, 1993 -Saturday

I. "Collaboration Piece" -We here at 7 Stages are truly thankful for what we are experiencing . Not only do we have the creator of the sixties theater movement directing, teaching, and guiding us- but we are also fortunate to be working with Joe in this type of process - creating a play from scratch with only a a.rt theme or a message, simillar to the way the Open theatre worked. This is Joe's first time since his last stroke on collabortating with this type of process that gained him World fame. -Walter Bilderback, who is the dramaturg for the Alliance Theatre in Atlanta, Georgia, was asked by Joe to come sit in on rehearsals and help collaborate. "Good man ... very intelligent. Both men seem to have a true admiration for each other. Joe told me often uses a dramaturg on all his productions. they help to guide him or to spark new ideas. -What is so challenging and also enriching about Joe's process of theatre is that he depends on everyone- costume designer, stage manger, actors, dramaturg - everyone for the shape of the piece. Important - one should remember that there is a time for everthing - including comments. "The thing I find the most enlivening is collaborting with actors. This is a very essentional part of my experience in the theatre." -Joe, from the documentary, "Going On" -Still thinking about the theme of ghosts. Ghosts = Angels. Are the two linked? Both are spirits - one is just trapped and the other one isn't - or is it - ( "War in Heaven") "In America many people live in their bodies like in abandonad houses, haunted with memories of when they were occupied." -Joe, from The Presence of the Actor -Cast continued to read from Cambridge Workshop selections. Klimchak and Chip both trying new instruments to fit the right selections. Hit and miss. -Didn't understand how Jill Jane's piece fit. Death - Sleeping - Heavens. Jill Jane had this realization at the end of the piece, "I didn't know that I was an angel in the piece. I wasn't thinking before as an angel." Maybe thats the problem. -Don's piece took more life today. Don comes center stage with Klimchak standing upstage directly of him. Don reads the piece as he did before but now instead of playing musical instruments, Klimchak uses Don as the instrument. During the punchlines in Don's monologue, Klimchak uses plastic horns to beat on Don. It was very funny. Walter: "It looks like a Jewish vaudeville routine." Instead of having a traditional vaudeville comic with the faithful! drummer at his side we now have the new and improved comedic version of Don as the comedian being played by Klimchak the drummer. -Klimchak and Minnette had written two very amusing stories of their own. Joe was excited that there was something new added to the rehearsals. -Regarding Minnette's story. Minnette: "I need someone to help me make it sound more like Sam Shepard." -At the end of the rehearsal, we all talked about what we felt worked and what didn't. Klimchak said, "If we decide that we are angels maybe we should wear halos and wings to get the audience going." Everybody laughed. We did all agree that the rhythm and the length of the piece needs to be edited. -Joe sat quietly and listened to everybody speak and finally said, "We can sleep tonight."

February 28, 1993 - Sunday

I. "Collaboration Piece" -Today's rehearsal was dedicated only to the collaboration piece. I could feel that some type of decesion was to be made regarding whether we were going to attempt to do this (the collaboration piece) or not. No one came right out and said it but you could tell that Joe, Del, Walter, and Faye were thinking about it. To put our necks on the line or would we just be safe and only do the two other shows. I believe that they all want to do it- it's just, well, it's the unknown. ,..But isn't that what 7 Stages is all about? Not taking the easy choices -always attempting to take risks. I know most theatres say that they are different from the rest, but I truly believe that 7 Stages is different from the rest. I say ... Lets not settle for the easy- -Joe started off the rehearsal by saying, "It took Open Theatre year and half to do Serpent ... then year ... next project ... then ten months for Nightwalk ... we have two weeks ... will work pieces ... don't have time to write ... throw out what we don't ... we will talk ... so who has done homework?" I guess I didn't think about that as a factor. We will have about a total of a month to become an emsemble. Where it took them a year and a half to experiment, get to know each other, agree, disagree, love, and hate each other. In college, we were able to produce a play in a "Chaikinisk" style in about a month - but we also shared a common background for four or five years. We knew each other inside and out. We knew what made each other happy and also mad. We slept together, ate together, and lived each other's lives. I understand that our work was probably no where as intense as the Open Theatre's was - but it was the most satisfing type of theatre that we could experience. -Minnette brought in some new material. This again made Joe very happy. It's great that we can be only two weeks away- and we are still adding new material - still searching for the right mixture. Minnette's piece was all about an angel who is a bureaucrat in Heaven.

-Jill Jane came up with the idea that Minnette could be the piece that ties all the other pieces together. She could be the head angel over all of the other angels. -Regarding the use of the word "angel" in the collabortation piece. Joe: "Sam was shy about the word angel."

-Don seems rather ~ant to attempt the piece, "If he wants to cut my piece it is fine by me." e;;r· -Joe would like to ask Walter to become the dramaturg for the collaboration piece. -Everyone was rather open to the idea of all the actors (angels?) being on the stage while, one at a time, each one goes to center stage (?podium?) to address the audience with their "story". -Regarding Joe. Faye: ~nd of persistence." February 24, 1993 - Wednesday

I. "Collaboration Piece"

-Came to rehearsal late due to having to work today at Eat Your Vegetables.

-I'm so upset that I missed the flrst day of the collaboration piece. I had found out that they had an open discussion regarding the theme. Three possibilities were dicussed - Ghosts, Planets, and Angels. Joe then had them do some experimental voice exercies. Ron tried to comfort me by telling me that I had basically already seen this work in earlier rehearsals - but that didn't click with me! I mean how many times do you get the chance to work with this legendary creator? II. "War in Heaven"

-I did get to see "War in Heaven." A section popped out at me today. That I can't believe I hadn't noticed yet -

"We have certain very definite signs that tell us

One of these signs is "the skin of the breath" ... "

Breathing has always been a key factor in Joe's work. During my undergraduate training, we would perform this "Chaikinisk" type of exercise that was centered around breathing. We would flrst start by each of us centering our own breathing. We then would lay down on the floor and place our heads on the person's stomach laying next to you. We then would then begin to concentrate and try to center everyone's breathing - as if we were one centeral core.

"Breathing is the key to internal movement. Through its rhythm what we know as experience is expressed." - Joe, from the Open Theatre ttYou can make a fresh start with your flnal breath." - Brecht

Telegram, Los Angeles, May 10, 1984

DEAR JOE MY HEART IS WITH YOU I'LL TRY TO BE THERE IF YOU NEED ME JUST LET ME KNOW TAKE STRENGTH FROM YOUR OWN BREATH I LOVE YOU SAM - Sam Shepard, from Letters and Texts February 25, 1993- Thursday

I. "The Sandbox"

-Joe speaks in silence. His silence is beautiful. He blocked the entrance of Daddy (Don Finney), Mommy (Jill Jane Clements) and Grandma (Minnette Meyer). Joe jumped up and choregraphed the actors without even saying a word. The melodatic tune of the violin from the Musician (Chip Epsten) is undulating through out the air. Grandma is down center stage with Daddy standing directly up stage of her. Words cannot describe this moment. Joe, off to the side, is slowly pushing and pulling Grandma in silence without even touching her. Joe has her swaying in a hypnotic trance with Daddy spotting• swaying bel;lind her. Joe, like a conducter of an orchestra, gracefully glides his arms throughout the air, in silence. Joe is at peace with music. "I have a relationship to music. A kind of intimacy as I have with other people. I have to have so much music per week or I don't know what to do." -Joe, from the documentary, "Going On"

If this is the last image I have of this wonderful man - I will be truly fulfilled! II. "Collaboration Piece"

-Regarding the collaboration piece. Joe: "We have dilema. Could be not so good ... could be good." -Joe read us a passage that he wrote (recently?) I would like to get a copy of it. -Joe: "Who's first?" He wanted any of us to create an instant- improv monologue that could be real or fictional. With little explanation of what we were suppose to do and those two dreaded words, "Who's first"- silence began to fill the room. It felt like the first fifteen minutes of a Jr. High School dance. No one wanting to go. Nervous, palms sweating, and silence building. -Don volunteered to go first. Once one person performed the "Instant Improv Monologue" everyone else then knew what was expected of them. Most of the stories centered around one's family- living or dead.

-I performed mine with a mixture of truth and fiction. I was not quite sure if I was doing the correct thing. What is the correct thing? For that matter, is there a correct way of doing experimential theatre? A right way or a wrong way? Bottom line - Keep it simple, honest, real, and let go. There is no "method" involved here - just be true to yourself nd everybody else . ... I think ... -Del: "We have to be patient enough to discover- to hit and miss." The only problem is we have a limited amount of time. -Kilmchak and Chip are going to experiment with music to accompny the actors. Similar to what Klimchak is doing in "War in Heaven." -What a blast! Here is the man I studied so intensley at Va. Tech. We applied his styles and developed his techniques. I remember countless and hourless conversations in dorm rooms and apartments about this man and his work. Now I am in rehearsal with him. It's a dream! In college, he was always regarded as "The Legend" and now he's an arms reach away. I'm learning so much - information is coming in so fast - trying to retain. -Joe had Del, Jill Jane, and Don read selections from his and Shepard's book, Letters and Texts. "Prevalent Attitudes Toward the Dead and Dying and the General Recognition of the Tragic" - Del. "First Envelope" - Jill Jane. "A Very General Sampling of Our Nation's Sense of Humor and a Few Examples of Typical Jokes" -Don. These three actors were seated and read these selections, occasionaly interacting with one another. Maybe way to explore this? The selections were from Joe and Sam's workshop in Cambridge. They spent a small amount of time trying to develope a piece around the themes on lies and lying which shifted later to the theme of questions and interrogrations. The workshop was concluded without a performance due to more time neede{to developt on this subject and pressing engagements.

-After the readings, all of us talked about what we thought - how we felt. Some wanted some type of structure(? Structure= Comfort+ Safety?) Others enjoyed the rawness of it. Having to create- developn on the spot. Creativity flowing. Others felt it should be clean - because if it/was not, then the audiance would get easily bored and have to pay close attention. Hard to follow. And others added that when an audience member comes into the theatre they expect to see a finished product instead of something raw. What's my take on this? I believe that a structure is important and that it also should be rehearsed - rehearsed in a way of constant experimentation and improv. Carefully trying not to suppress anything and continuously searching for questions and answers. I believe that it should involve everyone of these aspects. This is what makes this type of theatre process so wonderful. Life would be incredible if we tried to live each day like this. Never limiting anything - constantly trying everything. "Anybody not busy being born is busy dying." -Bob Dylan

February 26, 1993 - Friday

I. "Collaboration Piece" -Everyone was busily talking- Joe stood up and quitely began to speak, "Dilema... two shows ( "War in Heaven" and "The Sandbox") ... both compliment each other. If we have space and theme... should try comedy." He then said two pairs of words - expressing each pair with gestures and facial expressions, "Hope - Despair ... Love - Sad ... should be with music." Joe sat down smiling and then said, "Who has something new?" Everyone was in a frozen silence. The silence did not last nearly as long as it did yesterday. It was only for that inital moment. Soon the actors were standing up and saying, "I'll try this." "We must be able to go somewhere else - where, we don't know. The danger here is that we will get lost." - Joe, from The Presence of the Actor -Today the cast felt alittle more prepared. Some had written out stories to read while others improv monologues from their memories. Most of the pieces were centered aroundghosts and Grandparents. -The story I told was of a relationship that I had had with my best friend- my dog. I know what it sounds like ... "Oh great, a story about a boy and his dog." It was more than that. It was about a dear, loving friendship that lasted sixteen years untill he died in my arms. I decided to improv this purely from my heart. Letting my heart guide what was to come out next. It was tremendously scary. Not relying on anything but my memories and how they touched me. To let go - truly let go - to dig to the bottom of my soul and let it come forth. Had I gone too far or not far enough? By the end I felt like an exhibitionist• uggh! "The "act" is one of balancing between control and surrender .... During the performance the actor experiences a dialectic between restraint and abandon; between the impulse and the form which expresses it; between the act and the way it is percevied by the audience. -Joe, from The Presence of the Actor

-Monologue + Slight Interaction + Music = Possible Structure. -When I was driving Joe back to the hotel today I asked him what he thought of the collabration piece and he replied, ((See more later ... still to early ... best without explanation ... need more work." II. "War in Heaven"

- "A long line of black limousines barely moving ... " Del makes great use of this line. He relishes every word, drawing them out s-1- o-w-1-y. I have never heard the word limousine spoken quite this way. -Regarding the plastic cheese wedge toy instrument. Klimchak: ('The hardest acting job I have is not laughing when I play that." -Joe directs with questions. Probing questions that get the actor to find every possible choice. Most times not giving the answers. "I don't know ... I think so ... what do you think?" March 1

Joe and Walter and Linda:

Re: the ensemble piece

Joe is directing. Walter is dramaturg. Linda is choreographer. What you all have in common is the problem of creating this short performance piece, based primarily on texts from early Joe and Sam work and two (so far) stories from Minnette -and Klimchak. The actors have expressed a willingness to work hard on this, but we also realize that if you three do not think we are creating a piece which is interesting and challenging, then we should abandon the idea. But we all feel there are great possibilities using the texts we have been working on.

Cleteus has copied the various texts we have been reading from. This can give us an idea of what we are looking at. So far, some issues which have come up:

-does minette's piece fit in? - In Minette's piece, Joe is reluctant to use the word "angel," being consistent with Sam's preference during their work. This could be edited, reconsidered. - does Klimchak's piece fit in? - how do we use Charles? (I copied the questions from the end of the book, pp. 246-48. I thought Charles could do some of them. Also we could divide some of these questions and the various actors could ask them.) -how does music work for this piece? - how does choreography work?

In last rehearsal, we talked about each of the actors/angels being on stage throughout. There would be a central area, maybe a podium, from which most of the presentations are given. Angels would move to the center for each "reading." Direct address to audience. Limited interaction among actors.

Linda will be coming in Tuesday evening. Walter has a performance to attend. We should all meet at the Raddison HOtel sometime between 9:30 and 10:00. Call Joe's room# 1245, or we will be at a table by the pool, if possible. del