My current play, which I will soon be presenting in various theatres, deals in part with this new point of view. I hope that it will be produced and broaden the thinking of theatre artists and audiences. (And just as Mamet is known as the “most real” playwright, I hope to become known as the “best” playwright at some point!) I remember a few years when I was literary director/playwright at Arena Stage and my boss David Dower asked me a similar question: “Can you make a list of conservative playwrights/plays”? He asked me, knowing full well that I was a political/religious/social conservative. And I had similar problems finding people and games to fill my list. BACKSTAGEThe part of the stage and theater that is out of sight of the public. The service areas of the theatre, behind, next to or under the stage. Also refers to the staff who work in the technical departments who work alongside the actors and musicians on the creation of the performance. Playwrights who are more interested in making money will go to Hollywood, where the money is supposed to be earned. Writers who are interested in other things will go to the theater, it`s a less commercial form. Less business, more craftsmanship. Theatre is collaborative, theatre is often democratic, theatre is fundamentally about sharing spaces. These are progressive and inclusive values. It would be nice if the Conservatives funded something or other really seriously funded artists from “The Right.” But many of them tend to be illiterate themselves, this is no coincidence.
For my part, I do not give up. The right message is always a sublimated voice. Art is always on the margins, and conservatism does not necessarily lend itself to it. But if there is a right-wing theater, I would probably refer to musicals. However, as with many other leading practitioners, there is now something inherent in the good drama—or their version of it—that forces him to come from the left. “Theatre is a collective act,” says Michael Boyd, artistic director of the Royal Shakespeare Company, “so you already have a political agenda, a programme that does not worship the individual.” Sir Peter Hall sees it in terms of narrative dynamics. “I don`t think drama is necessarily about conflict, but it`s always a confrontation that leads to change,” he says. “If you write a play where you say nothing should change, you could celebrate the law, but that would make a bad drama.” CONTROL ROOMRoom at the back of the auditorium (in a stage theatre), from where lighting and sometimes sound are operated. Known as BOOTH in the United States.
The stage manager who calls the signals is very often on the side of the stage (traditionally on the left), but in some places he may also be in the control room. The control room is usually soundproofed from the auditorium, so communication between operators cannot be heard by the public. A large viewing window is of course essential, as is a show relay system so that performance can be heard by operators. Of course, when the sound is mixed, the operator must be able to hear the same thing as the audience, so some control rooms have sliding or removable windows or a completely separate room for sound mixing. Whenever possible, the sound console is moved to the auditorium so that the operator can hear the same thing as the audience. Also known as BOX. “In theatre, we always talk about radicalism,” says Blouin, “and it seemed to me that producing conservative plays would be the most radical thing we could do.” Dirty Dancing? I think right-wing theater would be something that would completely avoid any political statements – maybe sentimental stories or stories about personal growth or family. The traditional role of theatre has been to provoke and offer debate and change the status quo, so it is not surprising that theatre is essentially liberal.
While religion shouldn`t be confused with conservatism, there can be a fine line, admits Linda Nell Cooper, who heads the theater department at Liberty University, a Christian college in Lynchburg, Virginia, founded by evangelical pastor Jerry Falwell. Many of Liberty`s students were homeschooled and come from politically conservative families whose policies they reflect, if not monkeys. “Political” theatre tends to challenge established norms. Some see theatre as inherently subversive. Conservatives are inherently conservative and are not interested in that. But those of us on the left, we appreciate it. But all work is political in one way or another, and if it`s not “political” and challenges the establishment, think of it as support for the status quo: that`s where you`ll find most of your “conservative” votes. What strikes me most about the discussions I have is an almost total lack of imagination when it comes to understanding what a right-wing game might look like. We have no problem openly naming left-wing plays or their playwrights: names like David Edgar, Caryl Churchill, Trevor Griffiths and David Hare easily enter into conversation.
On the other hand, it is apparently impossible to define, let alone identify, an openly right-wing piece. “I don`t know why it`s so difficult to identify a right-wing element,” says Sir Peter Hall. “I guess the play on the right would have slight confrontations that don`t make good theater.” To be fair to Sir Peter, he extends this to the concept of political theatre itself, whatever the agenda: “Political theatre is simplistic, whatever its wing.” There is something fascinating about being on this side of the spectrum. I often have the experience of being in meetings, rehearsals, festivals, and conferences where comments or statements are made with the assumption that everyone around you believes the same thing as you. I`ve had conversations with those on the field who look at me like I`ve sprouted a third head (or at least lost 100 points in my IQ level) when they learn my religious beliefs. I`ve seen theatrical performances where the subject has nothing to do with religion or politics, but where burning jokes about my beliefs are inserted to get a cheap laugh. Have we closed the doors to people who don`t think like us? How could such a loving and open-minded community deny someone their right to express their opinion, whether they agree with it or not? I think it would be fascinating and motivating to see a conservative playwright face to face with someone like Tony Kushner – maybe a David Mamet/Kushner debate? After all, people of all political statuses have a creative sensibility. Wouldn`t it be nice to leave a theater to have a conversation about a political point of view that you didn`t take seriously before? Founded by David Hare, Max Stafford-Clark and David Aukin, the company was co-owned and produced a generation of politically engaged playwrights. Cancelled in 1989 due to cuts in funding to the Canada Council. Curiously, the person most willing to argue that there is a vibrant conservative theatre in Britain is the very person who started the whole debate in the first place with his passionate plea for a mischievous right-wing play: Nick Hytner of the Royal National Theatre. He admits that overtly political work tends to come from the left. “Pieces that expose injustice and identify with their victims tend to be identified as left-wing,” he says.
He admits he still hasn`t received this vicious right-wing game since his remarks. CARPET CUTHinged Trap stretches across the width of the stage, as far as it is convenient to attach the front edge of a lacquered floor canvas or carpet. The other three sides of the floor cloth were “stapled” downwards to avoid tripping. Major companies (e.g. the Royal Ballet) have laid a floor canvas for each number. A machinist with a spade or shovel worked around the floor fabric to “finish” the pins that held the fabric in place. It was then folded so that it was ready to go into the carpet cut for the next show with the edge of the stage. The floor cloth was always first cut from the carpet, then removed firmly by the crew and tied again. (obsolete term) First of all, a “conservative worldview” does not mean playing it safe.
It means the aristocratic vision of life, a Promethean vision of life – not necessarily heroic, but dignified, skeptical and civilized – but at the same time complex, intellectual, profound. I despise—and I mean despise—the “left” monopoly on the arts, especially in theater, and this general view that one must have a sexual occupation, come from a dysfunctional family, hate life in general, or simply be another proletarian love affair with a minority that disguises itself as “relevant.” Those who, in this comment forum, have said that there are conservative tendencies among many playwrights today must be living on another planet. A conservative artist is NOT interested in showing secular family values and writing Little House on the Prairie for the stage. That`s not the point. It is about reaching a much higher aesthetic level while showing the intellectual power of certain timeless values. But I can`t stand the idea of a right-wing artist in the name of.. I don`t know. Republicans, Mussolini, General Franco or Baptist churches.