{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://uoregon.aviaryplatform.com/iiif/td9n29r325/manifest","type":"Manifest","label":{"en":["Interview with Lee Strasberg, Actor's Studio [1/4-in. magnetic audiotape], June 27, 1964"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","metadata":[{"label":{"en":["Description"]},"value":{"en":["1 sound tape reel : ips; 3 in. (Physdesc)"]}},{"label":{"en":["Format"]},"value":{"en":["1 sound tape reel(s) (analog)"]}},{"label":{"en":["Identifier"]},"value":{"en":["Coll 458 (Collection Call Number)","JB0060 (Digital Object ID)"]}},{"label":{"en":["Date"]},"value":{"en":["June 27, 1964 (Creation)"]}},{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://scua.uoregon.edu/repositories/2/archival_objects/345433"]}},{"label":{"en":["Agent"]},"value":{"en":["Strasberg, Lee"]}}],"summary":{"en":["1 sound tape reel : ips; 3 in."]},"provider":[{"id":"https://uoregon.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["University of Oregon Libraries"]},"homepage":[{"id":"https://uoregon.aviaryplatform.com/","type":"Text","label":{"en":["University of Oregon Libraries"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/029/original/uo-logo-hires.png?1580744881","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387","type":"Canvas","label":{"en":["Media File 1 of 2 - Coll458_jb0060_Strasberg_01.mp3"]},"duration":3701.10694,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/387/original/Coll458_jb0060_Strasberg_01.mp3?1739227175","type":"Audio","format":"audio/mpeg","duration":3701.10694,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0060_Strasberg_01.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Done by the actors more realistically and by the director. Lopez may be an odd contradiction. But in other words. And even when we came. At the end. There. My urge. Trying to find something at the beginning. When the people come in. They should see something set up which literally, you know, should stop and then shot them. No. I felt that the atmosphere that had to be created in the set was a curious, kind of very strange time, not only in the world and not only in the things that we gave them, but the the people themselves should come in as real people as to show not just to people. Kind of.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=4.68,56.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e I wanted to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=57.63,57.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Suggested that way with a little bit to some people, said the chief. I have tried to seek a much greater kind of handling the activities in which the people are simpler and more. Well, Joanne and Paul had to begin with learning the scrolls themselves and different kinds of things. So that appealed to us all, this kind of thing. That's some other way. I seen it as a result of my reading of the original. It had become a little bit in the play, and the one that is now more of a tongue in cheek approach to the thing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=61.93,101.23"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Well, that all the way that's arrived at by the author.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=103.54,107.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But someone saw that beyond a certain point.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=108.73,111.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And we write our opinion and we try to get certain some things done with your job.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=112.21,119.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And that which we felt didn't help a passion. But I'm sharing.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=120.31,124.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e With you the power. Come on.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=125.32,128.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Blues again was.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=130.699,131.8"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Very technical problem.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=135.58,136.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e From the very beginning, you were dealing with an unusual encounter. Okay. Making an effort is the first long play. The Broadway play itself was something that kind of compelled me. I come in and I had to say only what he wanted to say, not what I of someone else wanted to say. The sensitivity that is involved and the personality. What Goldman represents is certainly something that has to be respected. It's made for very difficult kind of situations.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=137.08,182.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e However, they have to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=191.18,191.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I feel that the organization proved its value because, for instance. The third act, which in a way is the actual speaking and directing the act. I would say, without taking anything away from the author, is nonetheless the result of the collaboration on our part with the author in something in which we hope the author did come to that vision. It was not part of the original vision, which is much simpler and much more ordinary, much more than one day and, well, Not quite. Yeah. Complete romantically. As exciting as the final. It seems to me that in these areas, we show that we would function as a theater without, on the other hand, doing the kind of thing that a producer would do, which is to try to nail the play down, to break it down, only to, you know, to make it go, never watch that happen situation. And a lot of the effort to try to keep the author's intention, but at the same time to make sure as much as possible, that the awful tension between the audience and the audience. Would be able to see, and therefore the sheer people who might know that it was. And I think this kind of play was going to have all along. And there again.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=192.95,294.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Because the problem of working with an old man who is not at used to working in the field.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=295.35,304.02"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e A very difficult problem with the cuts which have been foreseen even before we went into the rehearsal, were then essentially made. So Apple must be a little bit late, only because of the fact that we can still make the cuts, but we then cut and do other things that we might have done, have the cuts we made earlier, and had the shape of the production, never been one of the wars, and then additions or so on. Corrections made. One of the things, by the way, which I feel is sadly lacking in the play, which we tried very hard to get, but it's one of the things that, just as you sometimes try to get something from an actor and you just can't get it, or a director knows what he wants and yet can't find. How to do it in the same way. We felt that it was essential that the end of the play should contain a summary of what the play was about. Because without it, we were very concerned that what the play was about would not be clear. And unfortunately, we were told I have seen only two reviews and not a whole lot of papers. And. And which in any way came close to seeing what the play was about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=304.34,394.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e All other reviews, good and bad, by the way, came into.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=396.55,400.93"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The theater. So. Convinced present that they were going to see a play by James Ball. That that is all that they saw. They didn't see the play. They saw a play by James Baldwin. What I mean by that was that the elements of the race contradict the other ideas which Jimmy has in the play. So shucking those, I mean, whatever you want, that be the point of the play. The point that seems obvious in the structure of the play at the same time seems completely to weakness, because the very point that Jimmy is trying to make the play. I think, which is that the racial problem is not just the race problem, that when you bring it down within the sphere where it takes place, there's a relationship between the people there is much wider than just the simple, literal, you know, black and white kind of thing. And that's fine, by the way. I see the reviewer from Washington makes the same mistake. You see the character, for instance, of the boy. Who is killed that says, on the one hand, these wonderfully exciting things is at the same time a little differently. Not so prophetic. Jimmy did that deliberately. That is not on the libretto. He didn't want a conventional hero. He wanted someone that, on the one hand, says and represents things that are right, and yet the person representing it is not necessarily right. It comes out of his own personal motivations and so on. He is not a literal hero when he is killed, he is not killed just because of the obviously direct relationship between him, between the white man and the Negro. Between what he asks of the and and what the Negro asked of him in return, which are not simply on the simplest level. And regardless of what the exact significance of this is, it is obvious by the mere fact of what happens in the third act that obviously there is this deeper search for a deeper intention, for the deeper. Maybe we don't think of it as deeper, but for a different kind of comprehension, because you are getting something noticed by 100 people. But the significance of it only as I say, I haven't seen anyone talking to the whip. Notice that in the last act with Jubilee, you have rights against Rome, quite literally shown in the setup of the trial scene. When you look a little more clearly. It doesn't mean you don't have to look at more intensely to have a look and see what is there, rather than what you come into the theater with. Look at what happens in the act. All the people at the bar, Negro and white, on the witness stand a lot. Obviously, that is not the intention on the part of James Baldwin. Perhaps what he's trying to get it may not be clear, but it is obvious by the very fact that he is reaching out for an understanding, for the very understanding which many of the critics have asked from him. But because it is couched in easy and conventional terms, it isn't college and nice terms which will satisfy either by the white ego, you see, or the side of the Negro for complete fulfillment, and is not noticed by either Negro all white. Unfortunately, that at least I haven't seen it. You see, on the part of any of the people see, they see it only in terms of what they bring in to the theater, rather than what is there on the stage because of that. And because I felt, therefore, that the point might be unclear. We ask from Jimi at the end of the play. I'm not a fan of music. We ask for a summation of Oh. What is all this about? And? Well, they tried to. We could not get. Oh, that was something he said. That was much too obvious for the dog. It was impossible. I have suddenly had the time to see someone coming and threatening to make somebody do just that. See the problem on someone that wasn't a problem, by the way. It was also about the shifting of the scenes back and forth, which will be on the same with no other. The audience was a little confused by it, but bought into it and accepted quite readily and quite easily that this is not the way it should be written. I hardly doubt that the people that say.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=401.2,762.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That are frankly covered in a lot of are not.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=762.46,766.94"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e An expert enough to know what overlay should be. I think that in these areas, as much wise, I believe, especially when you are dealing with a time sensitive board, even when as a result of it you, they say that the lady is with you, but nonetheless you have to perceive what that diffusion comes from. And here again, part of the assumption that, well, it's simply poorly done or badly done is not the answer, because the real problem there was the Jimmy tried to start with the thing as we know the thing as we read it in the papers. This is the thing. Negro boy has killed. We're also put these off just to begin with. Obvious and show based on what most people. So solid. But it's otherwise clear. We start with what we read in the papers, and then Jimmy tried that to begin to open up the thing and to try to show you what goes on underneath. The flashback technique never seems to make a big part of a vision. Not just all of the experts. Got up and done the other leg, but that is not the vision the other way. Rightly or wrongly. And and and and we have, as you know, any of you that are interested in seeing it go and see it, because it might be changed now. So if you want to see it, you should know in the next few days. Look at what we have read versus the thing and have changed the thing. Have a new model, which is a much more logical in terms of what you ordered and which starts chronologically. And while it seemed much more logical, I'm not sure, frankly, that it is better. Than the Bible think. I haven't seen it, but from the reactions that I get, I'm inclined to think that despite the slight confusion, the other way is to sound a little more dramatic. This is the writer and also the joy of vision from the point of view of what this play is trying to be about. This is a play which doctor with something, you know, and then begins to peel off the layers to show you what the author would like you to know about this. And production, by the way, we went through in that play also with.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=767.22,934.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e All of the problems.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=937.23,937.56"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e When we thought of the play originally, we thought of it as a full fledged production with the sets and so on. You can totally deal with it. Will be trouble with the scenes moves so fluidly and quickly. We didn't quite know how that could be done, but nonetheless, somehow the writing of the play seemed so kind. At the beginning, we thought we would need a certain kind.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=940.17,961.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Of set as we went out. We began to get an.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=962.28,966.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Idea of what it should be, but frankly, it wasn't until we began to think of it in terms of having to build a production with perhaps less money than we had originally intended for. You know, for a large scale production that began at the sink, we're on the way. And that we became that we had. This way of doing it, which why don't we can't do it, by the way, that seemed to be completely derived. We didn't do it that way because of the money, but we thought of it that way. Originally because of the money. That's why sometimes the stimulus to the imagination necessary. Of that the imagination was a little bit about taking the easy road. Had we not had that, we might have.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=967.53,1019.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Gone ahead with a rather overburdened production.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1020.01,1021.96"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And I was bothered by that uncertainty about that, that maybe.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1023.37,1027.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e We wouldn't have got to do that, because the and the fact that we were thinking of people thinking quite a different.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1028.589,1034.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Kind of thing, we were thinking. So it was something done almost with a so something very simple, you have something that will catch and exceed the color of each of the scenes. Frankly, I felt that even in the production, as we have it now, something of that could have been done. I would like to see.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1036.54,1056.82"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e A little bit more color and a little bit more. Specific.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1057.75,1063.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Draw two weeks. See? Here two. By the way, we went through and dealing with the author problem of the director and what you think. We were able to bring on a director who brought to it wonderful vision, wonderful sensitivity, you see, and therefore was able to carry out this idea, I think, by the review, if I say I would like to see all the things, I believe that those things would be better.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1064.75,1099.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Sharing the. Criticism for analysis. And. I think there but.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1102.73,1114.59"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Much of the acting. Much of the performances, for instance, some of the actors did things their scope, continuity.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1116.35,1124.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Interest. But then add a dance. And I think it also helped the play. Despite the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1128.38,1136.72"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Difficulties we went through.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1136.78,1137.89"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e In doing a lot of motion.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1138.13,1141.19"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Certainly that play brought into the theater the kind of excitement which we haven't had in the theater since the theater. And I think that that in itself is enough excuse for everything.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1145.33,1160.81"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That we went through the difficulties and even for the errors of the play, the play can have that. I think it.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1161.2,1171.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Can be excused. These errors. I must say that there are other plays which have no mistakes. And which are highly successful. But I don't think that the theater, kind of a shy kind of kind of lady, is living in an audience with a play which gymnasium brings into the theater each night, where the audience is part of the play as living history, living life. And yet at the same time, does it? Yeah. People shape and form, which adds pleasure and excitement.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1171.52,1217.13"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To anyone's presence.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1218.12,1219.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e You know, one of the peculiar things about the play which we will have to. Think of and concern ourselves with this. The audience reaction to the play. As you know. All right. Well, with all that, with all the early leaks, we're losing weeks despite the exciting notices which we thought would bring sufficient people into the theater to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1225.14,1256.34"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e You know, let go. We didn't want to think ahead, so we wanted a cover. So on the money.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1257.06,1267.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We reduced the prices in order to make it possible for the audience to come and did not seem.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1268.52,1274.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To work out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1277.88,1278.63"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e There was that the problem of whether we should close and simply say we're closing, or whether we should close and say what it was, you know, a difference in thinking about that. But we decided.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1280.55,1292.83"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That first of all, we have to. Run indefinitely.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1294.33,1298.25"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And even though we.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1299.64,1300.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Willing to lose more money practically. But we were afraid.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1300.81,1305.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Of weeks that we remember that strange interlude.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1306.27,1309.15"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e When we lost 10,000 and more a week, and we were afraid to lose that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1309.87,1314.64"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Then we just went out of position if we want to do that now. So therefore we decided we have to announce the closing, but we would announce the reason. We were convinced that there was an audience, but we didn't know why the audience was not. I still don't know probably why the audience would come by. Now. I know why the audience is coming now, but I don't know why the audience people come, and that's one of the problems that we will have to think about of Russia. However, when it was announced what we had hoped for materialized. There was an audience that wanted to see the play, expecting to see it that was behind it, and that somehow was the act of another and making itself felt. And then coming immediately and with the help especially of that other people who worked on this. The show looks now as if we should have a seven year run from the summer. I guess we hope that it doesn't lessen, and that there's a chance that it may not, because the audience that comes to it goes away. Not simply having and see the kind of play that I thought it was going to see. But having had a very wonderful theater evening, enjoyable with that and that excitement outside of kind of the sterile propaganda, which was unfortunately the keynote of most of the reviews and which I feel gives a wrong sense of the nature of the blog. The people who are trying to like, laugh and enjoy themselves. It is an exciting play to see. It is an enjoyable way to see not only what I call a play that you and other people, what you yourself don't go see it as a play now, which I have to see and I'm going to see it. But in the meantime I send everybody else to see it as I. I know that my reaction well to it will be one of respectability, but not of theater excitement. Certainly that's one thing that cannot be said about. With the three sisters we work.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1314.82,1454.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Blessed first of all with the predicament. It was late next season.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1454.9,1457.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We didn't have the money for us because the money coming back, the baby, and it was not enough at hand to cover it. And besides, we were having trouble with the theater in which we had a baby. We couldn't get our money out there for these commercial.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1460.36,1477.62"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e So I'll spare you.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1478.84,1480.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e But the point is that we could easily have the money available. And that was the money that was coming to us, which was abused. So that there was a problem as to whether, on the one hand, it was too late to the production. Especially since we didn't have the money on that. And especially since that there were people that wanted.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1482.39,1510.44"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e To do it. And.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1510.74,1511.07"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The decision was made. And I still think rightly, regardless of what might have happened otherwise, even if the other result of that for, you know it was essential to those places, was now in the same way that it had been essential that no stranger to it, the beginning and not the way to show activity just to encourage other activity. Saying when we felt that this person organizing here would be inadequately represented without a play like Three Sisters, it wouldn't show too much of an over balance above, you know, real classic in it. Like the O'Neill thing, which was at the beginning, with which by the end is almost forgotten, is a and a new place. And it was seemed to us to be essential for some indication of our program to go ahead. But three sisters now, in order to establish the fact that this was part of our Primary vision.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1516.23,1586.92"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Ron. Rene. Fortunately.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1588.09,1591.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We were from that point of view through that right about to play. But even if we hadn't been, we still would have been. We had difficulty and three sisters and getting some of the people that we wanted together. And I want to use that just as an example, not the three sisters, but of general problem that you are involved with and, and. And the plays that we have done, I don't know how much of a sentence you would say it is our active membership. I would say that in our first year we have, you know, a good percentage. Maybe 40% of our active membership, but not more. Total membership, which is over 200. What I will say that it is less than it is 20%. Why do you think we're. Not here. No, I'm a total membership. No, I would say it's about 50 as against all. We used about 50. About 50. Oh.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1593.31,1684.11"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e You said percentage.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1685.26,1685.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Well, 50 of our people percentage wise. If you say if you count the active membership as about 100 or 100, then it is the equivalent of 50% or 40% or thereabouts, If you're comfortable with the membership on the full scale, then 50 people will be about 20%. So I'll just say the total membership.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1687.54,1714.22"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Counting it is 250 or.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1715.36,1717.4"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e 224. Nonetheless, it is a sizable number of people. You see, when you take it against the largeness of the unit that we have percentage wise in woodlands. But when you take it against the numbers of people in a theater, it is fairly representative of theater. Should you as a public company, about 75 people just walking in the house, I think. And as a company and its affiliates, 100 odd people thinking it on those terms. Therefore, it is a sizable stock. The development and progress of it, as you know, I do not think of this as the end result. I think of this as the first steps of a theater, which will find its shape, and its more ultimately in 3 or 4 years from now. I think our theater ultimately has assuming a double shake. On the one hand, a much more cemented unit, which will give us time, much more than the full amount of time each year.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1718.85,1792.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And each year continuously, so that we really.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1794.0,1797.6"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Won't be able then to have repertory going on each year and at the same time, or flexible form, which is able to take advantage of those people that do not give that time quite as fully and yet can be used in separate productions, which then ultimately go into a repertoire that is not entirely. Highly. Disjointed or faulty, as shown by the fact that already in our very first data, without any planning for that, we have about the first year, at least three plays that can now be put into action as a repertoire. We had a strange interlude. We have blues and we have the Three Sisters, which makes it certainly a very interesting set up which could be sent to any city you see. And when we could work it out, some would say, in other words, at the end of next year that we are at that time interested and not just in doing a separate place and showing ourselves as a theater. We would have not only these three plays, but if we got only two plays from the coming season to add to the repertoire and the chances that we would get at least replays. You would literally have too many players. You couldn't send them because 5 or 6 plays have too much more repertory theater to carry unless Congress on the right. Otherwise it's literally too much to cap. But nonetheless, it shows the basic strength of our idea and the challenge we have already, by the way, received invitations, which I'm afraid we will have to turn down, but nonetheless, which we have received for a visit to England is a total of three plays. The only thing is, I don't quite know whether all the other problems that we face on the piano show, when we simply can go to this additional problem of finding the money and getting the people together for that particular occasion, though it might have.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1798.11,1936.99"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Some value Only because of the world wide kind of and know that.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1937.2,1943.53"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We would should see and which has an effect on America the most. And we are much more.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1944.46,1952.71"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Impressed by what our people do abroad in.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1952.92,1958.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The foreign soil than what they do.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1958.23,1961.65"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Here. You see what I think?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1961.92,1965.31"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e So maybe we will be in a position to accept that if we are, we already have the invitations. We already have an invitation from the Royal Shakespeare Company for next year's World Festival. And that would have followed also probably a trip to Paris when we have an invitation, and also to Brussels, to Belgium to see where the invitations are usually forthcoming, and I'm sure in other places once it is announced that we are coming. I think there would be no lack of patience. As I say, I'm only doubtful as to whether we can or should undertake the additional problem. In addition to the problems it now faces. But before I go on to these other problems, getting a little late running this time, I would like to bring to your attention that there were people that turned down the cost, and our way turned down both major blocks and what they thought of as minor flaws in the plans. And for the same reasons, didn't matter what was a major park or whether it was a minor block. The reason was that the board somehow wasn't up to it. So since the place you all know, I think you can make your own evaluation about now that the theater will never force any of its individuals to participate in the theater, or will do anything that the people.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=1965.88,2069.28"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Do not want to do. On the other hand.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2069.58,2072.429"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I should tell you so that you should know that the work that is going on is not just a test of the theater. It is also a test of you, you say, and that at some time or other, the theater will also have to face the problem of whether it wishes to use people, but wish to be used only one way and no other way. If that also was a problem for the theater. This is not a threat that should not be considered a threat. But this is a problem that will have to face the theater. That's why I'm saying that ultimately, I think that there will have to be some kind of your kind of division. Because suddenly, at a certain time, I mean, the theater faces the problem of where. It must repay some people who have participated by giving them the kind of things they want to seek. And that, again, would be at a kind of a certain point, though, because it hurts the other people who are willing to be willing to do whatever is necessary for a theater. On the other hand, just to show you that it is not a one sided proposition. I have been very touched that on several occasions people came in well, willing to play it next to things who are not of extra dimensions at all. All they wanted was they wanted certain understudies. If they didn't play, it was only because that understudy had already been given away and therefore we're going to get it. But they were willing to be explicit if they could show themselves as understudies in certain parts. And therefore, I must say that what I have to share with you, the fact that I have been annoyed at the action of some people one way I have to equally share with you that, on the other hand, there have been people who have shown the kind of concern and the kind of interest which feeds a theater because it must face the fact, ultimately, that a theater is an organization of itself that is not just an accidental conglomeration. And, all right, in our first year, I think you can see it. Look at, for instance, the simple fact, take a play like maybe one a case out of context that does a play on its own. It would have had little value. It wouldn't have contributed to anything. Paul and Joanne wouldn't have gotten anything for doing it except money. So the safe haven, which I don't like as part of a theater. Disregarding the notices. And by the way, I think that did notice it there on the plate is much more interesting. I think the plate is shady. That's right. It is on the and they have put we haven't been asking for a certain degree of clarification, and I've tried to describe to you why I think so, but if this play opened, generally it would have been of no value to the author, to the people involved in it, and would have held only the result would have made money as part of the veto. There is a point. It serves a purpose. The act is coming back. I've done something for the theater. It makes a whole different thing. I don't know. Otherwise it would be only a meaningless They brought back. You see, you make money by this. Make money. So this story here does something for the author. The author is not working out. Something for us has been very invigorated, stimulated by his and by the kind of atmosphere that exists here and an author that needs help in the sense a very talented but horrible emotional individual receives in this environment a certain kind of foundation which supports his own, or rather lessens his own emotional quality and therefore makes it possible for him to contribute to work within a unit that gives him a certain foundation help when it's needed, the right kind of criticism when it's really needed, and therefore it makes it possible for.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2076.15,2347.03"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e People to be there, to work and to work together. At the time, I would go, by the way, that much.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2347.38,2354.57"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e More about these other problems, but they will come up, I think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2354.81,2359.16"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e In the question and answer period. At the moment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2359.97,2366.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e We face one overriding problem. We have shown to a much greater extent, I think, that any of us certainly foresaw when we started that we could work. We have done productions and numbers that we never would have thought we would do. We have three plays running on Broadway at this precise moment, which is as much as any repertory theater would have. And as much as any wonderful producer would have. And yet we do this with very little regard without getting no money makes much of a point about it. We also are not beating drums about it. I think, by the way, that we are remiss about that. We should, but because I think that the person behind the chamber. Both artistically with the wind up, the three sisters and with the new place and with the hopes and intentions which have already been stated by us, are beyond what we would have wanted, not what I would have wanted. I would have wanted more so. But but the theater has a right to ask, and, as I say, compares favorably and much more so with that of any other people. We have shown that we can work. We have shown that we can do the plays on a frustrating level. We have shown that we could work with the author that we are responsive to the new and the young author. That our criticism doesn't come out of the kind of criticism of the ordinary producer, without people really concerned for him with his work and with transmitting this work with the audience. Our people have shown their loyalty and their devotion. And what you have a line up of people which would make the reputation of any producer in one place. If they had done one line up like that, they would be not just one of the points, but I don't know what it is, just one of the plays we have able to we have been able to do that and all of our lines one year on line, up to the top talent and the theater, not only in our own, their members, but to the rest of the theater that the top talent cast. Now pull that top down. I hope you understand that. But. But what they can contribute in the play cast. Not for that name, but for that talent. And yet combinations of talent that literally would be impossible to put into the arena under any other conditions come by us. We have never shown the loyalty and devotion of our people sufficiently to show that this is not a star, that the people want to be part of it, and that if anything, this will only be cemented because, frankly, by the end of the year, I have felt a real feeling of unity rather than lesser feeling. During the year in its way. But by the end of the year, I have felt a much stronger sense of the.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2367.62,2579.78"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Market being on something and wanted to be part of something on the part. Both of those people at the bottom.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2579.89,2586.05"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e And also on the bottom of people outside that wanted to be used, but they want it even more to begin with. Now that they had a at the beginning. We have shown our ability to produce these things in a way, certainly that is professional and top rate. At the same time, with use of the money in these productions, that is more at top rate, because I know a producer on Broadway that produce the production. We have done well the amount of money that we have done them. I assure you that the doubling of it would be a very low estimate. I don't think any producer, the best producer on Broadway, would be able to have done these plays with less than another expense, and any other play we have shown in this area that say we got a second step and a half to go for our coming year. We have ideas of plays that we've already mentioned to you. We have the brand conviction and intention that this year we must do. This coming year, we must do a Shakespeare play. Yeah. We have the hopes and intentions for the next few years. We will find the play, which both as a play and the set up and the people. May be able to receive.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2587.22,2678.87"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e And advance sell.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2681.21,2684.06"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e For 6 to 8 weeks, which would make it a more which will make it possible for us not to open the play for the critics. We are firmly convinced that at some time or another, in principle, we have to do that. Nothing derogation of the critics. I do not derogate the critics, and they open up very essential and new plays and helping the people to come to new plays. I mean, it's a play on the Gilroy play, didn't get the critics and wouldn't get anything. So it is not that I just wait my hands on. On the other hand, there is no doubt. There is no question that at the moment, on many occasions, the critical reaction stands in the way between the A7 professional, a professional who has a right to this convention and then was a writer who has a vision, who is not working just for the box office, and whose opinions may be wrong later. I'm sorry I disagree about that, because of course I know that Paul by now has begun to accept the critical reaction. I don't I still feel that the play is unusually tough, but it is fresh and open. It is a fresh challenge. It is unclear. There is no question about it. Can you say to make this particular play clear would be to do something wrong for the play? I would have hoped that the clarity will be appreciated for what it is because it isn't. I'm frankly not willing to give up my feeling, which is strong and supported by spirit in the theater of knowledge and the theater. And I hope a little bit of talent in the theater, which therefore I feel I have a right to ask the audience to see, regardless of the critics. And I feel that the Actor's Studio today is sufficiently representative of sufficiently talented people so that I can ask the audience to come directly to its productions without needing the intermediary, all the critics. And it's not there for interrogation. Oh, yeah. And criticism of the critics. But in the trial. Only to assert the professionals all right to his own conviction and have the audience see what he has done and not like, but to see it, not to see it through the eyes of the critic and never say, oh, the critic says this, therefore I don't have to say it. This is something which is Rowan Atkinson I knowing how to do the film. No good. I can handle it with.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2685.62,2857.12"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e That attitude on the part of its public must be about the public talk must be brought out.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2857.39,2864.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Of its mouth. Because if we if we try to bring ourselves out of it as we do, we have a right to make the same comment. British, and certainly all the audience. Plays that we have done. Official indication of a certain excellence. Always people that should be seen in it as something that should be seen. And if you never see it the no way say, I don't like it, that's fine. That's what an active audience should do towards a theater that it respects. But to go to see those things that the are that the critics say go and not to see those times that the critics say don't go. That, it seems to me, is not a correct kind of relationship. It's not an honest and true and a healthy kind of relationship between audience and the theater, and therefore this is not a threat. As I say, I hope it is not taken as a negative thing, but at some time another we do hope within the foreseeable future, which in the next two years we hope that we will find a play classic with people in it. Will we feel safe to say, may be able to sell the play. The pool opens and we will then have previews lasting for eight weeks, and when we are ready to close.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2864.47,2950.43"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e We can have an opening night. What?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2950.85,2953.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e The critics are entitled to that. Say good, bad or indifferent. I don't feel that the critics should be the animals. I only hope that a more proper perspective would come from that and all of these areas, or in the first year, as you see, and the lowering of prices for a show, which, by the way, would have gotten by on the higher prices. And see if the it was regular price, the money that we took in with just a couple, it was because we priced that at the low prices that the tape was not sufficient. And we lost money actually for just about literally 20% of the total, but just above have made a difference of having a problem, he said. Now, of course, I feel that the people that are coming down, I help by the low price. Many of these people that are coming now and would not be able to come to the dealer except for the low prices, or come in because they were served on a lot of prices. But the fact remains that they didn't come in the beginning, that we had to lose money in order that they should come. But we have done that in our first year when money was a consideration and what was and what we have based the problem doing a play by the prices. This in the middle of summer, everybody said.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=2958.47,3042.84"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e Wait for the wall. And then. And they will partially Kelly.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3045.21,3051.0"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e As I tried to show or as I tried to share. At the same time, we felt all of these areas we had to partially begin to break through, make to someone who is of that time. But is it really true that the summer should be a time when you can see good theater and love? I think it is just as pop up. You have the summer somehow is the best time of the year. I feel, too, that he had to. There should be. Certainly time plays an occasion for plays like this to be done in the summer. We knew that we were risking, but we did it in the same way. We hope in that sense a challenge many of the conventions of the theater. We will perhaps some time we really won't to down some of that, or if not wrong. I mean, we will challenge that but not be able to succeed. But nonetheless, it seems to me that it is not necessary that in all these areas activity should be done. Now we face the enormous problem that while we are set up, the government will continue the money for it is not available. By which I mean no foundation grant is just for this. They may or may not give it. A short while ago, the implication was that they would not care whether the thing has now changed. We hope, and we continue to hope, because certainly I frankly think it would be. Very disadvantageous, then, for the Ford Foundation not to get the money under these conditions, but there again to go on nation on the right to its own choices and make its own choices. And we did go ahead, I must say, on the assumption that if the year worked out half as well as this year has worked out, that we assume that day that the continuing ramp would be forthcoming, and therefore we'll have a problem when we have first of all, we have no chance of that. So but we will continue to. Try to ask as the man that. What we think.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3051.63,3204.41"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e As a result of the work is no more than right on the data.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3206.36,3212.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e At the same time.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3214.79,3215.3"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eUnidentified:\u003c/strong\u003e By far. No.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3216.5,3220.61"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e No, no contestability at the same time. I must say that we must be prepared to go ahead of any and all considerations. And we have all kinds of plans and progress. Should we get the money from the board people, which I hope very much that we will, because it will be the basic security for the theater. We will not stop these other pavilions. There is too much activity for the theater. Too many possibilities to be limited by the money problem, which even under the fourth grant would still be a. And therefore, we are dedicated to the proposition that we will not be satisfied only with the fourth grant, which we hope will be forthcoming, though there is a good possibility that it will not, and we will try to explore and create other ways which are good, both for the theater and also for the country and for us. We should not be limited. There are plays, for instance, which we have to be prepared to do. Knowing that we will lose the money. There was a play, for instance now, which I think will make one of the most exciting theater experiences for people that are interested in theater. I don't know that the general audience can ever be expected to come sufficiently. To make it possible to do a Broadway. And because of the kind of play it is about to be done on Broadway itself, a heavy production to spend. Money doing that means literally to the bleak your own basic foundation brand, and therefore to hurt the chances of your own company. Therefore, money for a thing like that must be given separately, and we are convinced that it is possible to underwrite productions like that separately by clients like we have when the thing will be underwritten, with the possibility that not a little will come about for it, but but will be underwritten just for that production. And we hope to do that with a number of productions so that the money and the foundation treasury can go on and really become and remain a foundation revolving around for at least the next ten years, say, the next five and ten years, 75. But hopefully more than that by the process that I try to strike. But that in addition to that, those productions that have to be done, knowing that they will bring back nothing, should also be able to be done. Otherwise, the theater was partly remiss and its responsibility in all of these areas. We need help and we need planning, which we will give that we know ourselves, but we need help. We will do it, but also help. In addition to that, by the way, the whole problem of the studio, which is now related to the sea it up, must be faced. While we didn't have the theater, we could give up time to the studio. I and these periodic crisis crises that are upon us right now, we used to be able to pay attention to and to do something about it, while at the present moment there was a crisis. But I don't know who is doing anything about it because we are so concerned with the theater and so on, that we have just not been able to pay special attention to that, so that the work of the studio suppose that the work of the theater side, that is now about time that the work of the studio, which doesn't ask too much, should be supported perfectly and soundly and permanently. And then that should be taken off our shoulders, that at least that should be taken on shoulder and and that you must be helpful. I know that you have complaints, for instance, about simple things like opening night parties, and you assume that they should be given to the studio. While I'm sorry, they shouldn't get into the studio, but there is no money and the money that is available, or that is individually given by people who get the money and therefore can give a certain amount of money and can give more. If you feel that you want it. You must not just elect people to the Members Committee. They must do something about these and other things. They go. This is Hollywood, a responsibility that is generally within just the area of activity, and then you can do something about it, and you don't have to do something about it on a large scale. You can do something about it on a smaller scale. A smaller number of smaller things can add up to a lot. But in all of these areas now, the coming the next three months will be crucial. We will have to find the funding for the continuing operation. We will have to decide on the place for the next year. We have wide choice. We have a choice of many plays, but we will have to decide some of them up a little much. I like production things and so on. So I assume that the grid for a lot of arguments a lot, but also a lot of activity. And if any of you have ideas, so maybe you are anxious to hear about plays and things like that. And so even if we start our shoulders, you should be sure that it isn't going down the rain. We may disagree, but nonetheless, it is taking into consideration that some time ago, and it seems to me on the whole, that the past year has has been far beyond, frankly, what any one of us expected, especially those mind of the three sisters. Has been fulfilled. Many. Not all. And that's just as well. I'm sure that most of all struck me many of the kind of calls that we would have had in mind for our first year. Frankly, we already knew that we were getting foundation money. We wouldn't be very satisfied because we could go on now much more easily and much more carefully planned, not only for the coming year, but for the following year. Plans now have to begin to be better. We would like to set the place two years ahead, so that we can work on that, so that we can get the benefit of the studio work and those plays. I don't have to do production. If, by the way, I have to. I started to speak about places, but then say, well, it's only because I'm going to speak about it in the regular session so I know which one.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3221.45,3671.67"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Well, instead of doing a directed scene, which was already it was my session. It seemed more important people to.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3672.93,3685.08"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Share.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3685.29,3685.29"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e In a discussion with Lee. Whatever they wanted to talk about.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3685.83,3689.52"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e Was scheduled for what next?","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3689.91,3690.9"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The next Thursday.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387#t=3691.17,3691.89"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262387/transcript/76726/annotation/95","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/726/original/trint_Coll458_jb0060_Strasberg_01_transcript.vtt?1740615752","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/076/726/original/trint_Coll458_jb0060_Strasberg_01_transcript.vtt?1740615752"}]}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386","type":"Canvas","label":{"en":["Media File 2 of 2 - Coll458_jb0060_Strasberg_02.mp3"]},"duration":3812.49306,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/public/images/audio-default.png","type":"Image","format":"image/png"}],"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/content/1","type":"AnnotationPage","items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-universityoforegonlibraries.s3.wasabisys.com/collection_resource_files/resource_files/000/262/386/original/Coll458_jb0060_Strasberg_02.mp3?1739227174","type":"Audio","format":"audio/mpeg","duration":3812.49306,"width":640,"height":360},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386","metadata":[]}]}],"annotations":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528","type":"AnnotationPage","label":{"en":["AUTO_TRINT_Coll458_jb0060_Strasberg_02.mp3 [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e It's just to be able to know that there's much too much on the one hand and on the other hand I know a lot about that. There is either a responsibility or a concern or a real investment.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386#t=6.19,16.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Beyond your own, beyond your personal interest. And I do not find at the moment sufficient, except from the heart and your people, of course, that are concerned with the organization as a whole, with its pains, problems, intentions, difficulties, solutions, and so on. Also, Actually, I'm not really ready to give you... We need to get out of here now.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386#t=16.97,51.35"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 3:\u003c/strong\u003e Cool.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386#t=52.51,52.51"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e And I thought it was just as well, as actually I thought that these next sessions would be a way of talking with each other rather than to each other. The next two and three months will for the theater be a very important time for the production board and for the administration of the theater, which in a way also includes the running of the Actors Studio Theater. The next three months are very vital and very important as a result of this first year of activity. We have obviously found out a great deal, we've learned a great deal, done a great deal, satisfied a great deal and so on. All these things remain for us now to be crashed out and there is almost no area of theater. Of the concern with the theater, which also includes a certain basic preoccupation with the studio itself, which will not be gone into and which will be discussed and which should, in one way or another, lead to some kind of conclusion, some kind decision, because there are decisions to be made all along the line. There is one area of our work which will now be subject to investigation Determination and analysis. And anything that I say to the contrary that is any indication of positive approval or of my own feeling in certain matters should not be taken as an implication that we are therefore prepared to stand still in any direction. As we mentioned a year ago, I think this year was for us, it's true, a much more of a year of activity than we had hoped or planned, But essentially, it was also basically a year of investigation, a year of exploration, a year which we literally set for ourselves as a year of organization and the fact that the work was more in a way than we anticipated or expected, not planned, but nonetheless expected. It doesn't change the basic concern the first year, which was really to organize the... Organization, to be able to do the work that a theater has to do. While we did the work, it doesn't therefore mean that we did to organize. We organized in the sense that we are now active and ready to work and have shown our capacity, our readiness to work, the presence of the people and so on, which I will go into in a short time. But the actual process, therefore, of real organization which our experience has shown us will now have to be done on a much more intense, on a larger area, on much wider area for more than the immediate production, for more that the working from hand to mouth which is really what we did this last year where actually we never quite knew which production was going in, and which was going to be done when, even though it nonetheless is true that the ad that we had at the beginning of the year was fulfilled, and we did do the productions that we planned to do, and that is probably as much as any organization can promise and achieve.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386#t=55.25,279.27"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 4:\u003c/strong\u003e They have a built-in solution to their problems. We began two years ago, really, and I would like to remind you of the circumstances, remind you the circumstances of how the Actors' Studio Theater was set up financially with the Ford Foundation. Their approach was that they would allow us to proceed. I'm now reading from minutes taken of the first meeting we had with them. We'll proceed along its plan under the Foundation of Grand Funds for the first two years, and then see how it looks and consider the possibility of further assistance. The way they figured was, a $500,000 revolving fund on top of Box Office revenue, we should be able to do several productions. We will have a good vision of the public and the profession while we're under this spotlight, and that the criteria and the fourth foundation at the end of the first period will be what kind of plays that we put on how, not how many hits in the first season, and not critical reviews or box office receipts. Well. We certainly have proved, in one sense, that we are not a profit organization. Of the $500,000 that we have for this revolving fund, approximately $85,000, strangely enough, these are losses. Approximately $155,000 loss in our computer free. On Dynamite tonight, 31 developers. The administrative costs which date now for two years began September 1st, 1952, I think it is. For approximately $100,000 in expansion. Blues for Mr. Charlie, a production cost of about $55,000, an operating loss up till three weeks ago of $20,000-$21,000 bringing the total loss of blues to about $75,000 and then in the last three weeks with this drive spearheaded by man on the air too. We invest interest of the public in for the last three weeks, the blues has been showing a profit of $3,000 to $4,000 a week. Baby Want a Kiss cost approximately $53,000 and has since its opening. Brought in approximately $120,000, which means that, as of now, it's the basic cost of about $50,000. And there you want to get it. Three sisters, Arthur, correct me if I'm wrong, the cost would be somewhere between $125,000 and $150,000. In Japan, right? No, on the 23rd yesterday. $110,000, all right. And the operating loss in the first two weeks is $6,800. Our situation now is a financial situation. It's that blues, as of last week, was making a profit of between $4,000 a week. Baby Wanna Kiss is making a profit of $10,000 and $12,000 a week, and Three Sisters remains a question mark until the public responds. And we also have still due us about $85,000 in cash from sources which I can't go into. And that sounds rather sad, I suppose, because as you see, we have obviously spent... And gone through this so-called revolving fun enormously. But I would also like to point out, if I may, just something else that's been done. I would just like to read it because I think when we look at this part of the reality, we almost look at another part of reality, but it was written about our first production, which was stranger to you. That one man wrote about it, its collective achievement is something very near perfection. The company gives one of the most beautiful balance, no, the company is one of most beautifully balanced team of actors who's ever seen on the American stage. And its collective achievements is something very near-perfection, rivaling the very best that the Comédie Francaise does when it mobilizes all its resources to play the classics of the national repertory, the summit of the National Style. And that only two nights ago it was written that the Actors Studio talks a good deal about the truth. And last night at the Morosco it nailed, for our lifetime, the right to do so. That's two parts of the truth.\"","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386#t=282.93,636.47"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e Strange Interlude had very little chance of making back its money under the best conditions. In other words, being a production of a true performance kind of thing, which entailed an extra expense in the doing, and which made necessary the six performance week instead of the main performance, it meant that we knew to begin with, that the production might make some money back, but would not, unless it ran for a year or so, repay its cost. We did that deliberately, because at that time, as you know, people outside the studio, and many of you inside the studio felt that the thing would never get over speed to begin with, that whether you had the money or not, no production would ever be done by the actor's studio. And while I didn't think so, I was inclined to agree with you at times. And we all had a little bit of that feeling amongst ourselves, you see. And therefore, when the opportunity came, Ripp and other people insisted and rightly that the... The opportunity had to be taken, that while the production might have that problem, and some of the people questioned whether it was the best of the O'Neill plays to do, and things of that sort, the feeling was that here was the opportunity to do a play by O'neill, a major play, an unusual play, something that would very rarely be done under any conditions, And at the same time, at that time we had no new play ready to do, we would have preferred, as you may remember, to have opened with something like the Adelie play, Junior Wolf, but that didn't work out. And so I must say that we decided, even though there were differences of opinion amongst ourselves, we decided that it was the best thing at that moment to take the opportunity to do that play to try to get our people together, so to say, for that production, in order to start the sense and the feeling and the atmosphere of activity. And by the way, the... The production had repaid more than that. The production had made back, I would say, at least 40,000 on this $100,000 investment. You know, those had repayed. But then, suddenly, the last two weeks, after we moved, you remember, we moved to another theater, and we didn't know until the last minute that we were moving there so that there was no advance. Those last two, not those last two weeks but two weeks before the last week, because in the last two we lost quite a good deal of money in the change. So it took, I would say we lost about $20,000. During those two weeks. Had we been, by the way, producers, we wouldn't have lost that. By which I mean, we made a choice deliberately, as people may remember. We were worried that we would, but we said we have to run the play because of this part of our, the way we function. And therefore, we took that deliberate step, even though we knew that we might be subject to that loss. The other unfortunate, right, which is a matter of a right, because We already had insured via contractual guarantees. Three months before the opening of Marathon, we had between $175,000 or more at banks. By the opening, well, about $200,000. By the beginning, we would have had certainly close to $250,000, or more. When we weren't able to go through with the original idea of using the place that we had, these people stayed with us. They said they will not make any other arrangements. If we can, quickly enough, get another theater and tell them where we're going, because as you know, parties need a long time, two months or whatever the case may be. I must say, this is not holding anything against anybody, but I had thought that the presence of Roger with us meant that we could get a theater anytime we wanted. Well, there again, things don't work out that way at the beginning of the season. Contracts are already made, and therefore by the time we knew definitely, because till the very last day, by the way, And even at that moment, it still seemed as if we would get a license. There were licensing problems in reference to the use of the place that we had found and which we had plans to fit up for the production of Marathon and also for other players in the same way that we've used Anthur, the stage of Anthur not only for Marathon, but for other parts. When we couldn't get a license, for the very last day, People promised, people said yes, I think it would go through, and everything like that. When it finally, and even when we were told no, they said, well, if you want to take it later, if you wanna go further with it, there's a chance that you could get it through, but it has to then be done in all of it. Well, it might have been done in Albany, but it then would mean another two months. And by that time, we simply couldn't afford to wait, and we didn't drop, by the way, the project, because we still felt that the idea of a place of that sort... Of enough theatrical area used up for theatrical purposes had a meaning and a significance for us, which was valuable for many of our plays. But we just couldn't afford the luxury of the time, and it also then takes a certain amount of time to get the kind of seats and so on for that place. The orders have to be placed way in advance and things of that sort. But anyway, when we then didn't go through with that, Had we gotten the theater in the next three weeks, the advance would have stayed with us. And we therefore would have run the regular time without any additional loss, and maybe even making some money back, because there again we have been set up on the whole quite reasonably. Our productions are set up quite well, and at times I'm surprised at the way in which we are able to set up productions which otherwise, you know... For the ordinary producer, almost be impossible, actually, to do with the people that we have and the production that we do. So I would say that these additional things have to be remembered in thinking about the problem of the money. In addition to that, I would that if you consider the money that is coming to us and the Ha ha ha. Money, the monies that were coming from a number of the shows and all the shows essentially are at the moment running at a profit. We don't know yet about the three sisters. I don't whether we'll make money, but we shouldn't be losing money. And the possibility is that it may. It would then, actually, when you put it together, work out what the original idea which we had when we started the whole problem. We felt that the theater had to be capitalized for at least five years. For those five years, it had to been capitalized at least for two million dollars, which meant that you had to get a million dollars from the foundation, which is not too much because it's no more than we got for the organizing period and for a year of actual activity. That's not much at all. 500,000 for a year of activity is not much at all. That means that if we figure on four years, let's say the equipment of having ready 500, you will have $2 million for that summer. Let's say that the thing went as it goes now, and I doubt whether it would ever go worse, so I say that it goes down, only because, as I say, of these things, which we could not anticipate, and therefore not being able to plan, you see, for this thing. Let's that it go this way. You would wind up at the end of four or five years, with half of your money depleted. You will still have half of your money left, and you will have half your money lost. That would mean that you would still then be able to have two more years in which you would lose half of you money, right, so to say? And you would come out at the end of those two years with only 500,000, right? That means it still gives you a year after that in which would do the same thing, so that literally you figure that even if you go along in this way. Worthy capitalize in the original thing, and this is not utopian, this is the way the theater has to be, because otherwise the theater cannot plan. And by plan, I will be honest with you and, let's say, and tell you that there was great concern as to whether Three Sisters should be done now. It was a little too late by the time it was seen. It's a little late. Certainly with the notices that you have now, if you came in at a different time of the year, there would be no question. I mean, if we seem at this moment to sit and say, well, we don't know what to do, It's only because you are dealing with a new situation. No one has ever attempted to open a show like this at this particular time. And this was done as part of a peer program. Had we known that we had the money for the coming years, we would have been very intrigued to put it off because there would have no immediate need to put the show on now. The only problem then would have been whether we were able to keep our people, and I did want to go ahead with these people. That might have decided us to go even now. But otherwise, we had an offer to go to California, you see at the beginning of the season and with even part of the underwriting of the production set we could have made some of our money back there in other words there again financially it would have been much more feasible to put the thing off the only thing is that our organizing program was without three sisters not complete. We had not shown enough of the face, enough of the program, enough, of what we stood for. So that in case, to put it quite bluntly, in case the Ford Foundation did not wish to come through any further, we would at least have used this money to establish the idea of the kind of thing that we stood and therefore on the basis of that seek monies elsewhere. Without the Three Sisters there would have been, I feel, a bad hole, so to say, in the program that we set out for the first year. Fortunately, the reception of the Three sisters, I think, has proven us correct in our judgment, and it has done that for the theater. Certainly with the Three Sister, the sense of what the theater stands for, the kind of things that it wants to do, is much more complete than it was without the three sisters. I only wish, frankly, that we had already been able to include a Shakespearean production or some other classic of that sort, because that, in essence, would have given us, so to say, the kind and basic impetus that we stand for. We insist. Regardless of the difficulties, and we know the difficulties much more than other people do, but we insist that the primary task, the primary responsibility of a contemporary theater is the responsibility to the contemporary organ. And therefore we will not and we cannot give up, so to say the doing of the production of new plays, the rest of the new plays that are available, in order to build up. The sense of the impetus to the American playwright, to the young American playwriter, and to kind of inspire him, if you wish, to motivate him to work for the theater and for a theater such as we represent. It should be, I think you will find, by the way, that if you compare... The first year of our theater, which occurred to me only recently when I saw the photographs on the front page of the thing, when you compare that with the first years of the Rook Theater, of the Muskoff Theater, of any other theater in the world, I think you will find that... Favorable. We did not, we took us three years to do the equivalent of what we did in the Actors Studio Theater, programmatically speaking, in the very first year. So that was one of the difficulties and one of the impediments, so to say, of the problem of the repertoire in the World Theater. Therefore, to me, it is already an indication that we are, in that sense, on a right-of-path, that we're taking the right road, that in the emphasis that without in any way minimizing the responsibility to the American playwright, I only frankly, a cup would have been full had we done a play, let's say like Hadalby's play, or some other play like that, Out, out, out. Intention in terms of the American playwright a little bit clearer perhaps than it is now. But nonetheless, the emphasis on the American plays, the inclusion then of the American repertoire, which means the classic American plays of which the Eugene O'Neill play was illustrative. The inclusion then, of the world classic, of which Chekhov is an And I frankly then would have wished that it would have included one of the classics such as, I mean, what I'm really thinking of is Shakespeare. Had we done Shakespeare play, had we been able to, had we set up, had had more of the money, but then frankly I don't think it would've been a matter of money, we just couldn't have done it the first year. We have done more than enough plays, and so to say, for the first edition. I should also, by the way, here perhaps mention, since there is confusion in perhaps the way we talk and the program or rather the facts as given. That dynamite tonight was not part of our program, of our regular program. It was part of all our experimental series, and that is why I do not include it, so to say, amongst the productions of the Actors Studio Theater, which were put in as part of the act, as part the work of the actors' studio, and the actors studio theater does. But from that point of view, the project, the Cuppet Project and so on was also actually part of that work. And many of the other things that were done during the season have been part of the work. What happened with that, but when it was then decided to show it, I was told, and when we said yes to it, we thought that the money was going to be forthcoming through people from the Rakhine people, and others who said yes, we will get the money. After we had said yes to it, it then turned out that the money was not forthcoming. And therefore we were then faced by the problem as to whether we were going to live up to our yes or whether because of the lack of money we were gone to say no. We then decided, since we'd already agreed to do it, that we would then go ahead with money from... Taken from these projects, though actually we had originally assumed that monies for those projects would be separately available and would have to come from monies separate from the monies of these larger productions. I say this only to clarify so you shouldn't think that I'm differentiating because it didn't get the reviews or anything like that. It was part of a different program, we made it clear by the insert, by the way, into the program, where we tried to define for the audience that this is part of something, that this other program, by the way which will continue, if we continue, will often include things to be done. Without charging at all. That is purely invitational performances for which people will have to receive invitations and yet which will be done in the same way as Dynamite tonight was done. That is, of course, quite a matter of reasons with a production, but with monies made available for that separate from the monies made available to the theater as a whole. The response of theater people from whom I had assumed we would receive are at a cold shoulder, especially if we got a little nervous, you know, and they would be jealous, and so on and so forth. The exact opposite is the truth. And theater people and commercial producers and so on have... The word almost has flocked to our banner that has come all the way, and the expressions of a feeling, which I must honestly say has warmed me because I know that it is not the usual thing, and I know therefore that it doesn't represent an ordinary thing. In some strange way, which is not so strange, strange only in the sense that it's difficult to describe and explain. People in the theater do feel that somehow what we are doing, coming out of us, coming out of a large unit, is for the theater as a whole. They do feel that it is not a personal venture on the part of a few people surrounded by ego kind of things or a desire just to be the head of something and so on. But that it does come out of some more widespread feeling, which in some way represents the feeling that they would like to be part of. And I can only hope that they are right in their feeling, because from my point of view, this is what I would like to feel that we represent. I've always felt that the studio... Was in the line of the tradition of theater. As you know, when I speak about acting as someone, I always like to give you the feeling that the problems that we work on, the difficulties that we have, the solutions that we suggest to you, are not personal individual. They didn't come down from heaven and they were not found by some unusually talented individual. That they are nothing more but the sum total of the experience which the best of theater people through the ages have encountered in their work and in their experience in the theater. And that is why sometimes I keep repeating to you the same stories, the same story about the Greek actor, Poulos, and the same the story about King, and the the same about Garret, and the story of Mrs. Simpson, and so on. Only in order to make clear that... Maybe I've been thereby part of my own insecurity, perhaps. But I like to feel that we do represent, and that I represent, nothing more than the passing on to the theater of the day of what often has in the past been lost. By the peculiar nature of the theater, which often has meant that the solutions found by the great individuals in the theater have not then been shared by the people following after them. And the great contribution of Stanislavski. Lies precisely in this, that he tried to define his experience, the experience of other actors, and to put it in a shape and in a form in which it could be handed on and made use of by people who followed. In the same way, I like to feel that in the theater generally, we represent today of the theaters all over the world, And perhaps you may, as a result of the work of the first year, begin to see a little of what I mean. Perhaps if you wish, call it eclectic. I don't call it the eclectics because it is not simply a fishing in every water. What it is, is the effort to find the best that exists, the best and the truth that exists anyways. And it doesn't matter to me whether it's taken from Stanislavski, and it doesn' matter to me whether its taken from Meyerhoff, and it does matter to be whether its taken from Brett, and doesn't where it's taken from. I do not differentiate between the supposedly antagonistic theories, you see, out of which we make some kind of strange oppositions in the theater as if Brechtian then against Stanislavski. Stanislaski against Myhold. It is interesting, by the way, that it was Stanislovski that helped Myhoold and stood by Myhoild and gave him the opportunity to work and encouraged him to work in the early years, not in the later years when it might have been motivated by other reasons. But in the early years, when he didn't agree with his ideas, the night didn't go on. And yet it was me that made it possible for my whole to have the studio and within the Muskoah theater to begin to work out its ideas. This kind of togetherness, this kind of searching for everything that may have value, this kind, I don't know what word to use, it's not non-opposition because it doesn't mean that we do not differ, It doesn't mean that we do not stand for our own ideas, but it does mean that realize that in the theater and in art... The quarrels can be fought out without killing each other. Elsewhere, in politics and so on. When someone wins, someone else dies. In the theater, when someone wins everybody gains. Everybody then has, like in science, access to the same truth and can be impelled by it, can learn from it, can be stimulated thereby, and can therefore find his own role, even if it is separate, still making use of whatever may help him to do what he wants to do with the means that have been suggested by all the people. And I must say, and I must continue to say, don't emphasize. Then if I'm proud of anything, it is more the fact that in my own work, and in my joy, to pass on to you. You see, the work of Brecht, I am as high on as I am on the work Tanger, the word of Meyerhoff, I speak with as much enthusiasm, as much excitement, regardless of whether I differ with it as I do about the work with Stanislavski that has impelled, so to say, the acting work, the approach to the actor, and the work that Kupol, I'm trying to take your... Diverse people. There's almost no name that you could mention, whether it's Hoppia, Craig, Princeton, and so on. Insofar as their work and their ideas represent something that seems to me to be of value and of concern to the theater world, it has been my responsibility and my aim and my effort, and I hope partially my achievement, whatever else my achievement may have been negligible in, to try to pass these truths on to you and thus to the zero world, to keep them alive, to keep the living, to keeping them functioning because too often these very truths which are often Blood lay hidden in books, they're there for everyone, but we're all very lazy and we're all very slothful and we need somehow to revive the concern and the interest in it. In that sense, our theater, more than any other place in the world, I think that can be said quite simply and quite honestly, has been open to the best in everything, which does mean that we're not against certain things. Which doesn't mean, as you know, that we're not very critical of many outstanding organizations in the world because they do not represent what we feel to be a creative approach to the theater. But nonetheless, wherever we do find this creative approach, we have tried to make it part of ourselves, and we try to make a part of the theater genre. And this essentially still is, insofar as the theater has any line, a line which I hope will become apparent more and more as we go on, because it will be not one line up here, but human kind of streams that make up an ocean, and into an ocean many lines go. If you wish only to be a stream, then you can be Montevideo, and a stream when it dries up is no more. When a stream dries up that goes into the ocean, there are many other streams to be in. And that is why the work of someone like Pére Maillot that was very set into an individual shape and form doesn't continue, has not left as much resonance after it, residue after it, as the work of Stanislavski. That can help that it's not as individually confined to the actually tool of the work of Stanislawski, but has left other residences which can then be carried on. When we started, as I say, there was great doubt, and I must honestly tell you again that the doubt I share as much as anyone else, so I thought that we would do something, but there was very great doubt in the mind of people outside and even amongst ourselves whether we would ever get started. I felt we would because I felt that the only thing that could hold us back at that particular time, frankly, was the absence of the money. That we had the means, that we had ideas that had given the opportunity. We certainly would get started regardless of where we would go and where we'd get it. What started, we would get it! And when we started, as you know, we had not the slightest idea of what plays we would do. We haven't had the two or three years of planning or more which has gone, let's say, into a thing like the Lincoln Center project, even though it may not show any results, but nonetheless the time was there for that work to be done. Perhaps, unfortunately, it was not done, but, nonetheless, the time for it was there. We did not have that time. We have to leap in because the money was available and was given for the next two years and we then immediately had to stop on the search for players. Thank you. The first play, as you may remember, that we came across was Virginia Hall. It had already, it already was bought, you see, so there was no possibility of our assuming sold rights to it. But at that time, because of their desire to use some of our people, for a while it seemed as if that was the play we were going to start with. And I personally, and many of us, there again, about any play, there are always differences of opinion, but these differences of opinions are natural to an organization. They're even natural when there's only one person, that one person usually has vital opinions on the same thing. When you get a number of people, there were different opinions, but nonetheless, we worked, we committed ourselves to the play, we were willing to go ahead with the play. In fact, we announced it, as you may remember. We would not have made the announcement if we didn't think that we had said it so-so. Unfortunately, because the play was already owned by other people, and because other factors that began to come in, we couldn't, on the one hand, work out a proper kind of setup. For doing it because of the non-profit status of our organization as related to the profit status of the people that we were working with. Though I think that that was not the decisive factor, I think there were other contributing factors which made the whole thing insipid. At the same time... We then came in contact with another play, which was written by one of our own people, that was Jones Maradar. About that... I would like to speak a little bit clearly. You may remember that on one occasion, I think it was last year, perhaps, when I summarized something, I don't remember, and I summarized something about the plays that we were going to do, I forget exactly what it related to, I made some comment about Marathon. A comment to which the author took great exception, you see, because she felt that even before the reviews were in, before we did the play, I said something about the literary value of the play that while the play might not have literary value, nonetheless, we felt that it made a certain kind of play. And the author was itself. Now. I'm sorry that she would have said that because certainly it was not on my part any effort to insult the play since it was a play that we had expected for production and which we were going to do. So I don't see how you can insult a play if you're going to. The greatest insult I would assume is saying the play is great but we're not going to it. This is the kind of thing that is usually done by most producers, you know. I tell you, oh, this place, of course I can do things to do and so on and so forth. In this case, it was simply an honest feeling on my part of knowledge and of concern which I cannot hide from the people and which I hope as we go on, you will not ask me to lie but rather to share with you more and more the real attitude and the real feeling. Because in saying what I said, it was not said derogatory to the play. It was only an effort to characterize the kind of play and therefore the kind problem that faced us in the play because if the play is to stand up for not on its literary shape and form, but on the scheme of production on what it offers for the theater to do, then obviously what the theater does is the primary consideration. And this was what I tried frankly to draw attention by perhaps, I shouldn't have said it, but by whatever I'm gonna say. Now, when we did the play... And in the first place, I should also mention that all these plays that we did were surrounded with enormous difficulties. Difficulties that would often have fazed any producer. To be perfectly honest, if I was an individual producer... I don't think I would have been able to do any of the three new plays that we did, not because I wouldn't have wanted to do it, because I think I will have, but I wouldn´t have been be able to live through the... Working with young authors, have ideas, and assist on the ideas is always a difficult thing. Working generally with people is a difficult thing, much more so, of course, under these conditions. The plays were not easy plays. They're not conventional plays, in the simple sense of the word. Neither that, neither the James Custodian play, neither the Baldwin play are plays that fall easily into the conventional characterization. And therefore, they made for an enormous problem, and enormous difficulties. The fact that we were able to finally do the place is, by the way, a credit not to any one individual because it took many back-breaking hours and the heart of many people. In working with the authors, in talking to the authors no one individual could have done it. It's impossible. And when one person got fired, you see, then another person came back and told them that person got hired or something. This, by the way, is part of the strength of the original version, which came through in the work. And I will honestly tell you that without that, and I mean this quite literally and quite simply, that's why I'm stressing it. You may not hear anything more. Plays out there and you're doing what's, what's he, you know, making so much of a point about. Because in all these things, it was a test of the functioning of our organization as an organization. And we were put to the test at every point, at every moment, whether in the choice of the plays, in the doing of the play, and then ultimately in the production. While the basic thing in marathon was achieved. It does not quite represent what I wanted it to be. Originally, when we went into Marathon, we hoped that the contribution of June, which you saw here in the experimental work, would be added to... In addition to our work as a playwright, would be added to the contribution of a director who would then do much other and more detailed work, which I felt would be necessary to do with the people and with each of the scenes, in order that the production should more or less fulfill the need what we saw in it and what we wish to convey to the audience. Unfortunately, because of the problems that come up in the world, we were not able to convince the author to accept the directors that we wanted. And when it became clear that we couldn't, we then, as you may remember, worked out something which was a compromise, it was not really what it should be, which was that June would direct the play and I would supervise. That to me, frankly, was not a satisfactory solution. I still feel it. That it would have been better for the play, or June, that the work, June's work would in no way have suffered because she would have been able to contribute all the things that she did contribute on the play to the production, but that in addition to that, there would have additional, and there should have been additional work both with individuals and on the scenes to create much more of the kind of surrounding life which I had hoped for. Would be created in this way. On the other hand, from the general or theoretic point of view, certainly, not only the comment that Mendy read to you was made on Maricon, it received, as you may remember, a very exciting theatrical reception. But also, some of the avenues that are not too receptive to the studio, that is, they have not given us such wonderful reception. At the same time, went out of their way to point out that in the work that was done in Marathon lies perhaps work for the future. So it shows the path that an American theater can take, and I must say that I personally wasn't. Very pleased, especially by the reaction of many for us. To the play. I felt that most authors would see the inadequacies in the play, that is, the literary, the absence of the purely literary quality in the playing. Instead of that, I must say, that most of the authors that came saw the positive things. They saw what could be done with and through a script. They saw how a different type of event could be put onto the stage, and it made, I think, an exciting and interesting impression on many writers in terms of what theater could offer. On the other hand, from my point of view, while essentially, so to say, it succeeded insofar as some of the vision we were able to put through, Nonetheless, it was, from my point of view, a faulty. Result and you must of course be prepared for the fact that every production of Michael will be.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386#t=644.74,3214.38"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 1:\u003c/strong\u003e I only even want to point out weather falls a lot, so don't think that there's going to be productions which I'm satisfied with.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386#t=3215.46,3225.26"},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003eSpeaker 2:\u003c/strong\u003e The 7th production was maybe... Baby Wanna Kiss, which again started off quite differently. It started off originally as one half of a dual program. It was a one act play of about an hour and five, ten minutes, you see, which was to be done preferably with an other play by that author, Oh by some other material, and to by someone, written by someone else, or other kind. When we announced that, I was quite easy in my mind about it, because... In its original form. It was quite clear, quite precise, was not overlawn, by the way, and I not always could have carried its weight. Was much clearer than it was in its final, the version I'm trying to describe, what I mean by that. Because in addition to that, we already had in mind, if we could not find another one-act play, we already have a one- act play that could be used. You remember, we had this one, which I thought would make a wonderful. To play with that on the same program. If, for some reason, we weren't able to do a biscuit or we wanted to save it for another program, we then had the suggestion about other things to do for the actors. We felt that the program essentially should show all the actors, you see, since this was a two-character, three-characters kind of thing. And that the other material should, if possible, do the same. In Biscuit, there were no bars for those two people. So that meant that if we wanted the program still to be built around the two actors in Baby One Kiss, we had in mind other material. One of it was, you may remember, the Kafka material, called The Lecture to the Academy. And then we have some O'Casey material, which we thought would be very good for Joanne. So that, in other words, the program as a find out, for us was a program in which baby want to kiss was one of a number of things to be done. As they started to work on it, they began to do different things with it, and it became a full length piece. As a full-length piece, it seemed to me to have become, not worse, but more defused than the original was. In the original, there was not as much un-clarity, while the play still had a sense of suggestiveness, which to me, by the way, is part of the essential character of this, a certain un-Clarity which is not unclear, which is suggestive, that is, it moves on a number of levels, as much of modern art tries to move on one level, and therefore, when you try to pin it down, you cannot pin it done. You can't define it that way, of course that's one of the difficulties for the critic because the critic has to define it and he's afraid to define something by saying that this is deliberately unclear. That this is deliberately meant to be taken on a number of levels and to have a number suggestions at the same time. Those of you that may be universally trained or trained from a literary point of view may remember a book that made history, a book by Henson called Something of Ambiguity. Seven Tights of Ambiguity, which was one of the books that first made this idea, and I was going to say popular, but I mean, brought it to the attention of people, that much of art at times... It works on more than one level, and that for real appreciation, for real understanding, you can't pull it down just to one level. You demean it, you lessen it, when you see only the one. That it is actually the resonance of it, the overtones of it. And the over tones which at times cannot be defined, just as you don't know what the over-tones in a piano are, and yet you hear them. So you don't hear just the tone, but the overtones. That's what makes the richness of one piano against the same note on another piano. But at any rate, the deliberate intent in this play, the deliberate suggestiveness. Was more diffused in the larger version when it was elongated, when it was made longer, than it was in the earlier version. In the same way, by the way, it also seemed to me that in the first draft, or rather in the First place, the... Seemed built up to a physical moment on the stage of fantasy. There was a moment on stage, It's a little vague in my heart, I have to re-read it. But remember when something happened to the windows, a whole thing, a whole physical thing literally happened on the stage. And to me, that was very valuable because it told the audience that this was the kind of play that it was. You see, by actually seeing it in a shape and form which the audience could not be unclear about. When that was cut out, and instead of that, interesting things like the reams were brought in. It is true that they were interesting, but at the same time they added to this murky or suggestive quality without at some point the play becoming clear that this was the kind of play that it was. And therefore, it seems to me that in the work done, though the work wasn't. Certainly interesting and valid work. I would say that the original thing suffered in its clarity and in its lineup by the changes, while the changes themselves are perfectly good. It added to the play something that the play could not quite... Support, you see, only because, as I say, I felt that in the shorter version, the lineup of the bit, especially the fact that it led at a certain moment to something happening on the stage, which became fantasy-like, and yet you knew what was happening, it made clear this is the kind of way it is. There's a certain kind of fantasy, and fantasy happened on the stage. Now, none of the fantasy is suggested in almost the physical life, even the physical set that you wish. It's not enough, not all of them, not strange enough, so to say. To support that. Also, as a way of suggesting the work of the organization, since this is what I'm sharing with you, I should tell you, and this is said nine, I hope you realize that these things I'm share with you work activity. I'm not criticizing other people. I would criticize my own production, too, you see. Now, I'm shared with you the work of the theater so that you realize that the work the theater is always in the future. And that as we define our aims to each other and as we clarify our intentions, we go into future work, I hope with greater clarity, so that authors, directors, actors can know that the arguments that we are having are not the kind of ego arguments that usually pass for arguments in the theater and amount to nothing, but the vibe, our attitudes, the choice of the play, the choice of the production, the choice of scheme of production and things of that sort.","format":"text/plain"},"target":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386#t=3234.569,3806.84"}]},{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://uoregon.aviaryplatform.com/collections/236/collection_resources/141809/file/262386/transcript/79528/annotation/9","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/528/original/trint_Coll458_jb0060_Strasberg_02_transcript.vtt?1747070366","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/079/528/original/trint_Coll458_jb0060_Strasberg_02_transcript.vtt?1747070366"}]}]}]}