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June 21, 2006


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Abe Goldfarb

The words of a gentleman and an artist. I think that constantly WORKING towards trust is what breeds the hateful "I'm-okay-you're-okay" fug. Exercises of such a nature during the rehearsal process leave me irked and in bad form. I walk into a rehearsal room with the notion that I'm there to be employed in the creation of work intended to be good and worthwhile, or at worst profitable. We owe trust to our colleagues, and we are in no way owed it. That is why trust is a gift. Amen, sir.


Well said Sir.

I would even go further as to say , if one is not capable of instant trust , one is not capable of instant vulnerability, hence one is not capable of acting.

Hear hear.


I fear your wrath.


Insightful post. And innovative indeed! Two thoughts/questions... First, I think this idea as one is immersed in a process is very productive. I know that when I have held salaried psotions in the past at businesses and such, working in an office or whatever, my being hired for the job assumed a trust, and I was therefore always trusted until proven untrustworthy, why should the theatre be any different? Lest we furthur seek to marginalize ourselves.

My second thought is more of a question and related to the first, I am wondering how this idea of assumed trust relates to how people are selected for projects. Producers and directors hire people based on who they know and trust to do good work. Those they have worked with before and have built some sort of existing relationship with, god knows how it started, is there any relvancy in examining this issue with regards to your (Isaac's) thoughts on trust?

Lucas Krech

And along with that is the assumption of talent. It is frightening. Working with someone for the first time, you have no real idea of who they are and what they might do, yet you must trust them completely, as people and as artists.

You start with trust, then build a relationship. Anything less is fragmented from the start.

John Branch

Isaac, I read four paragraphs of your post and found myself thinking "It's not about building trust--you have to assume it from the start," then I found that you said the same thing in your fifth paragraph.

One thing that has always appealed to me about theater work is a consequence of this trust you're talking about: it's that, past a certain point, you simply submit to someone else's judgment. You can suspend doubt; you can put an end to questions about whether you should be doing something more, or less, or different. This can be very...consoling. Maybe that's because it approximates the condition of childhood, in which one (more or less) trusts the decisions of one's parents. Maybe it's because uncertainty is woven into most of what one does as an adult. In any case, it feels good to put one's trust in someone else.

Usually. You might get a more provocative post from asking for thoughts or experiences on the issue of what you do if you think your trust is misplaced. In my somewhat limited work in the theater, I can't recall anything like that myself. There was a time when I spent days creating a sound montage suggesting the history of ballet up to The Rite of Spring (as a prelude to a one-man play about Diaghilev), which the director decided to cut; being as vain as the next person, I was sorry to see it go, but I'm not sure he was wrong. Maybe someone else would have more to say on this.

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