2012 Actors’ Renaissance Season
2012 Spring Season
2012 Summer and Fall Seasons
2012 Actors’ Renaissance Season
2012 Spring Season
2012 Summer and Fall Seasons
2011 Actors’ Renaissance Season
2011 Spring Season
2011 Summer and Fall Seasons
2010 Actors’ Renaissance Season
2010 Spring Season
2010 Summer and Fall Seasons
2009 Actors’ Renaissance Season
2009 Spring Season
2009 Summer and Fall Seasons
2008 Actors’ Renaissance Season
2008 Spring Season
2008 Summer and Fall Seasons
2007 Actors’ Renaissance Season
2007 Spring Season
2007 Summer and Fall Seasons
2006 Summer and Fall Seasons
The OCS Theatre Camp is in its 17th summer, and our first session of 2014 began yesterday. We’ve been counting down the days to camp with our OCS 38 Days / 38 Plays Challenge, during which campers and Blackfriars Playhouse patrons alike posted and shared quotes, photos, and music inspired by one Shakespeare play per day. Our Session 1 Challenge winner was Matt Gieseke and the runner-up was Rachel Hubble!
In the months leading up to camp, we spend hundreds of hours planning, preparing, and waiting with sheer excitement for the arrival of our campers. They come from all over the United States and beyond to work for three weeks, training, rehearsing, and preparing to perform the plays in each session. As you can imagine, we’ve been very busy preparing for both sessions. The best way to appreciate the joys of camp is to come and be a camper! If you’re not between the ages of 13 to 18, then you can still enjoy the campers’ free, public performances on July 13 and August 10 at the Blackfriars Playhouse. To give you some more insight into just how great the OCS Theatre Camp is, I’ve broken down some of our important camp numbers for you. Drum roll, please!
These numbers doesn’t even include the many hours that campers will spend rehearsing and performing their own pre-show and songs, gaining college-prep experience in discussions and seminars, researching college programs with the help of our counselors, seeing performances at the Blackfriars Playhouse, observing rehearsals for our resident and touring troupe shows, participating in special events like our masquerade ball, and enjoying fireworks and s’mores on the Fourth of July!
These numbers can’t quite capture how much camp means to so many people, but one thing is certain: We are off to the start of an amazing summer filled with joy, friendship, and great theatre. You can follow along with updates and photographs all summer at the Camp Blog.
Thanks so much to the dozens of you who participated in our #OCS38Plays challenge! This was a wonderful chance for us at the OCS to see what it is that draws so many people in to Shakespeare’s plays in different ways, and it opened up some wonderful conversations both here in the office and online.
Our 38 Plays / 38 Days winner is: Alexi Sargeant! Alexi diligently participated throughout the 38 days of the contest, sharing photos, quotes, and personal recollections from productions he’s been in. He’s also an OCS Theatre Camp veteran several times over! He wins a pair of tickets to an OCS performance, and we look forward to welcoming him back to the Blackfriars Playhouse.
We also congratulate the winner of the Session 1 camp contest, Matt Gieseke, and runner-up Rachel Hubble.
Projects have a funny way of infiltrating one’s thoughts and setting up their own domain in the mind. I think this may be why research institutions want their faculty showing the product of their labors (read: publication). By encouraging faculty to invest time in something–research, an experiment, a paper– they facilitate new solutions, innovations, connections. The project on my mind this summer is our No Kidding Shakespeare Camp, for which Cass and I (collaboratively) selected the theme of collaboration. As I’ve been planning for it, it has tickled my brain about all of the work we do and how it connects (or, sometimes, doesn’t) to that one word.
I was lucky enough to meet a scholar who is new to town for coffee yesterday to discuss some upcoming projects and to see if we could work together. I’d been giving a lot of thought to our work in the Education Department even before this meeting, in which, as we were trading tales and getting to know one another, my colleague asked “What do you do at OCS?”
Most of the time, when I answer that question, I tend to start with our divisions — College Prep, Educator Resources, Research and Scholarship, Life-Long Learning. I talk about the programs in each, what they mean to me. Depending on the day, one or the other may be my favorite.
But the programs we run are not, really, what we do. We bridge a lot of territory here in our little world — or, as we often say, we wear a lot of different hats. Kim and I are administrators, wrestling with budgets, staffing, communications. Cass and I are curriculum developers: we worry with Common Core, clear instructions, and quelling ShakesFear. All of us write and market and edit and network and schedule and (some days it feels like more than anything else) answer emails. Each of us have been performers at various point in our lives, and we still enjoy the aspects of our jobs that entail performing and putting together scenes and plays. We don’t get to act so much at the office or day-to-day like our colleagues a block away at the Playhouse, but we do get to teach — and in a way, that is the most collaborative and rewarding kind of performing.
We talk a lot about collaboration in theatre, but not so much in the classroom. It is a buzzword in one part of my job because the folks in the arts need to be collaborators in the most essential sense of the word: from the OED (you know it is a good day when I get to open that baby up) col- together + labōrāre – to work.
The word seems to be so essential in theatre that I am a little surprised (okay, disappointed) that the OED doesn’t credit Shakespeare with being the first to record it. Instead, it first appears in print a good two and a half centuries after his death,
To work in conjunction with another or others, to co-operate; esp. in a literary or artistic production, or the like.
Shakespeare does record the concept in some of his plays. In A Midsummer Night’s Dream, Puck describes the how the Mechanicals “were met together to rehearse a play” and we see their first production meeting as they discuss the ins and outs of staging Pyramus and Thisbe. But one doesn’t find the same acknowledgement of learning, teaching, or educating together. In Shakespeare, those activities generally occur with singular pronouns — “I” or “you” or “she” or sometimes the royal “we/our.”
On the best days, the Education team gets out from behind our desks and go into a room full of people and we teach. We teach Shakespeare, history, acting, teaching. We do it in a particular way that we learned from watching our boss, Ralph Alan Cohen, when he teaches, and from watching other teachers, who include both faculty in the Mary Baldwin Shakespeare and Performance program and the actors who work on the stage at the Blackfriars. We teach students who are with us for one hour or one week or one semester.
We learn something every time we stand up in front of a group of people. We are lucky that the people in our classrooms, unlike those, say, in a typical public school English/Literature arts class, have chosen to be there. They want to hear what we have to say. We are doubly lucky in that our classrooms have resources that win interest instantly — actors and the stage. We are triply lucky that in our classrooms we have the opportunity to take a collaborative approach to learning. We are not lecturers or authority figures so much as facilitators. We take pride in showing our students paths and helping their navigation and exploration. In raising genuine questions and discussing them. In exploring options and working together to achieve the best result for that moment, that group, that classroom. Knowing full well that the next moment, group, and class may resolve the exploration in a completely different (and exciting) way. That collaborative journey and its different landing points is part of why Shakespeare stays fresh on stage and in the hands of students invited to think like (and given the tools to work like) performers.
Over at the Playhouse, the artistic staff and actors spend time in a room together from the beginning of rehearsals until the closing night. Whether they are closely studying the text in table work, getting up on their feet and blocking it, or taking their curtain call, they are giving space and sharing credit with one another. They discuss the colors of the costumes and the period of the props, the movements and gestures that will unify or create the feel they are looking for from a particular moment. They will try things in different ways and work through challenges and disagreements with conversation. They will, essentially, model an ideal environment for learning and creating: an environment that the best teachers and businesses are interested in making the norm.
In the quote from Othello that forms the title of this post, I see the three essential pieces at the heart of any genuine collaboration: life (experience), education, and respect. I think it is the last one that causes the most problems for teachers and others looking to work in a collaborative way. For some reason, respect is a feeling that is hard to conjure up for some people with a lot of life experience and education. In the recent past I’ve noticed that the ability to collaborate with our students or with our co-workers is inversely related to how much more life experience or education we think we possess relative to theirs–or, in short, to how much we respect what they bring to the effort. Sometimes, those in a collaborative may need to ask: how much effort we are willing to give to showing respect? What will make this collaboration a success?
Collaboration is not easy in the best of situations — as I think the OCS has learned in the act of putting up plays since 1988. At various times, whether while running productions by two to three troupes simultaneously, or because we added new initiatives like our College Prep camp (1997) and the Actors’ Renaissance Season (2005), we have discovered that it takes time and energy to establish the system that will make the collaboration fly. And, it hasn’t always worked right off the bat. Within a system, collaborators have to be willing to acknowledge when something is broken and to work together to fix it. Otherwise they risk, in the words of one of our recent Leadership participants, that “a problem for some can quickly devolve into a problem for none.” If one person alone is not forced to deal with an issue, then it never gets addressed at all, as everyone it bothers will assume someone else will handle it. The challenge for groups working in a truly collaborative way is to show respect for one another by recognizing an issue and bringing it to the group, working on a plan to solve it, and taking steps to do so. Once is not enough, though; newly rising issues require the same approach whether they occur once a month or once a day.
As I watch our partner program experiment with this notion with their new MFA third year, I am learning just how important both the systems and the dogged determination to deal with situations as they arise is to the healthy functioning of a group. And how difficult it is to build truly collaborative work into the day to day tasks we do to DO our work. Our new third year demands collaboration of 11-12 souls for a year of their lives, and has set up some guidelines and tools to make that possible. It is the ultimate melding of pedagogy and art–a model of how to teach collaboration through process. It has taught me that Collaboration needs not just invitation, but also stakes–something that we MUST accomplish together. Something that gets us out from behind the devices and into one another’s space, something that has a deadline and an audience, something that we can feel pride in together.
At No Kidding Shakespeare Camp this year, our study will focus on the collaboration we find evidence of in Shakespeare’s company, the collaboration we engage in daily at the OCS, and the discoveries about collaboration we are making in the MFA third year company. We will experiment with models of collaboration drawn from what we know of Shakespeare’s rehearsal process, explore musical collaboration to see if we can compose something together, and discuss the implications of Shakespeare’s collaboration with other artists. I hope we will find new ways to engage and “work together” that feed our campers when they leave and our organization as we continue to mount productions and learn about the world of early modern theatre. Won’t you join us?