Michael S. Eddy, SD Editor
Michael S. Eddy, SD Editor

We Are Connected

Kathy Eddy

This month it is all about connections. Connections to each other as theater artists, between each other as citizens, between today and history, between ourselves and our experiences. We all are aware that to work well with others in theater, we need to develop and hone our collaboration skills. Freedom to express opinions and critique ideas is essential to that communication; to be able to have conversations openly and without reservations. Work in theater happens at a rapid pace, we don’t have the time to not get right to the point. There is an exchange of ideas; ‘will this work? If not, then what’s the next step or what’s a better solution to this challenge?’ There can be no fear in expressing yourself; trying to get your ideas across in a clear and precise way, we trust our collaborators, as they do us, to know that disagreement is intended to be constructive, not personal. This is how ideas in theater are honed into creative, innovative production elements. This is how new works are developed, new techniques are refined and how we all grow as artists.

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Affecting Effects

Michael S. Eddy

In the May issue, we look at special effects for the theater. When you look closely, there are special effects in almost every production of one sort or another. Sometimes they are right out front—or over your head—and sometimes they are subtler—a key prop or a small bit that an audience might take for granted like a champagne bottle or a hidden weapon, a clever costume element, a bruise on an actor’s face, but when integrated well they have an emotional impact, a narrative resonance. 

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