(EDITOR’S NOTE: On Monday evening, July 26, Imago Theatre debuts Carol Triffle’s new radio play, “Happy Times,” on Portland’s KBOO-FM 90.7. This time around, Triffle’s quirky, absurdist, and ordinarily highly physical form of theater takes something of a modern-day “Arsenic and Old Lace” twist: Three woman friends throw a party once a year, invite a man to serve as butler, then knock him off and bury him in the back yard. This year, though, something different happens.
剧作家和剧院公司如何为他们的物理方法而闻名,适应在无线电视介质上进行展示?We asked Imago veteran actor Danielle Vermette, who’s in the show as “a rather maniacal party host with a passion for exceptionalism, a hankering for the ‘butler’ she’s enlisted for nefarious purposes, and a slim grasp on reality,” to give us an inside look at what the process was like. Vermette is also a writer who’s contributed stories to ArtsWatch ranging from profiles of poets Kim Stafford and Leanne Grabel to a look at the life and work of Palestinian American embroidery artist Feryal Abbasi-Ghnaim, a literary dive into the global work of Clowns Without Borders, and her own memories of touring the world with Imago in a polar bear costume – all of which help make her an ideal person to tell this tale.)
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任何剧院艺术家都没有迷失在任何剧院艺术家上,这是如此娴熟的媒介,如此娴熟,如此娴熟,探讨人类的艰苦和不确定性在科夫德百现华时陷入了自身存在危机。依赖于近距离聚会的艺术形式在令人障碍状态下发现自己,因为它对社区的价值并不是必不可少的(至少根据马斯洛和他的需求层次)。然而,艺术倾向于培育一个弹性束,并首先害怕肠道水平数字进入整个企业。
尽管如此,仍然抓住了这个新的,特别的害怕充满鼓舞的最佳迹象,带着一个摇摇欲坠的文件,似乎也可以说,“下一个是什么?”和“伙计,这真的,真的很糟糕!”“互相照顾,”读了很多。“保持安全,”阅读几个。有时候,幽默赢得了这一天:“独自家”,“没有任何类型的偶然”。
所以,虽然米泽的遗嘱遗嘱的消息,而Ghostlights参加了中心舞台,而艺术家争论紧急资金,而艺术董事们则考虑了新的平台,并通过申请们讨论了艺术董事,并通过应用程序讨论了恳求他们的案例,一些剧院公司陷入了巨大的未知拥抱像缩放表演的技术。其他,如东南波特兰的Imago剧院,另一条路线探索了无线电戏剧的挑战和喜悦。
自1999年以来,我一直是一名公司成员,当我了解到Imago与Kboo Radio配对创建一系列无线电剧,我觉得公平肯定的冒险会产生有趣的结果。在“普通”时代,Imago的艺术家是运动的主人,非常依赖于空间的整个架构和所有元素。我想知道电台的严格在艺术董事Carol Triffle和Jerry Mouawad的影响。