For there is much at risk. A denial of critical, professional or academic preferment; the horror of penury (the greatest, perhaps, in both of the post-capitalist geopolitical and personal spheres); similarly, the increasing difficulty of securing the wherewithal to produce the work one envisions; the fear of being thought intellectual and cold; the fear of allying oneself with the abject or the ridiculed; the terror of the communitarian, solitary, with silence as his only companion; the suspicion that there will be no compensatory laugh to undermine the tragic recognition; and, of course, one wants to be well-liked and fears the disapproval of the community. Risky behavior becomes suspect in the panopticon, subject to scrutiny, ridicule and punishment. And yet, what deeper experience and recognition can explore our entire condition if we do not take those risks? And what kind of art will be produced if, so tentative and frightened in merely our discussions of theatre, we are – and why shouldn't we expect this, given our fearful behavior and expression in the public arena – similarly tentative and frightened in the theatre we produce (ex cathedra, as it were)?
Friday, August 07, 2009
What's At Stake?
George Hunka talks up a panel on Risking Innovation: