This item has been making the rounds in the blogosphere over the last week and a half. I saw it last week, but didn't get the chance to post it for my local readers. Dating back to 1945, it still resonates today. Now, probably more than ever in my experience. The manifesto was written by actress Kathleen Freeman, who died in 2001 when she was appearing in The Full Monty (her number in that show, by the way, is my very favorite musical comment on showbiz, and I want to develop it for a musical audition piece). She was only 24 years old at the time of the writing and she was establishing the the Circle Theatre in Los Angeles.
In the last few weeks, topics of conversation about local professionalism have been a theme in my theatrical life. I know that it may seem like an oxymoron "local professionalism". Most local actors are not theatrical professionals. They have jobs and to many of their family members and friends, theatre is an all-consuming "hobby".
But the fact is that whenever your hobby OR your livelihood depend upon so many people working in congress together, a code of ethics and professional behavior is absolutely necessary to get the job done. Without it, the periphery feelings muss up the whole picture-- thus emphasizing the importance of rule number 8: "I shall forego the gratification of my ego for the demands of the play."
But even where ego isn't involved, sometimes the need for such a list comes from the bad habits and juvenile approach to the work of some actors (and directors, and designers. . . ). I was lucky enough to have come across a book in my second year in the theatre department at College of the Sequoias, "An Actor Behaves" by Tom Markus. I still reread the book regularly and pull from it for my cast contracts.
But most other young or new actors to the scene don't have someone outlining this stuff for them. They don't understand how the lack of a professional code of ethics diminishes the show and their appearance in it. If they ever do come to understand, it may be too late.
So I say to all of my local readers. . . please take what Ms. Freeman had to say seriously. Consider this list. Order a used copy of An Actor Behaves. Then start making your own code of conduct for your productions. It may seem like you're putting restrictions on something that is supposed to be "fun". But the fun in theatre doesn't come getting to do what you want-- that's what vacation is for. The fun in theatre comes from putting on exemplary, compelling work filled with professionalism.
Props to Geoff Short for the article find.
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A 1945 Code of Ethics for Theatre Workers Surfaces
Foreword to the Code
“A part of the great tradition of the theatre is the code of ethics
which belong to every worker in the theatre. This code is not a
superstition, nor a dogma, nor a ritual which is enforced by tribunals;
it is an attitude toward your vocation, your fellow workers, your
audiences and yourself. It is a kind of self-discipline which does not
rob you of your invaluable individualism.
“Those of you who have been in show business know the full connotation
of these precepts. Those of you who are new to show business will soon
learn. The Circle Players, since its founding in 1945, has always
striven to stand for the finest in theatre, and it will continue to do
so. Therefore, it is with the sincere purpose of continued dedication
to the great traditions of the theatre that these items are here
presented.”
The “rules” follow:
1. I shall never miss a performance.
2. I shall play every performance with energy, enthusiasm and to the
best of my ability regardless of size of audience, personal illness,
bad weather, accident, or even death in my family.
3. I shall forego all social activities which interfere with
rehearsals or any other scheduled work at the theatre, and I shall
always be on time.
4. I shall never make a curtain late by my failure to be ready on time.
5. I shall never miss an entrance.
6. I shall never leave the theatre building or the stage area until I
have completed my performance, unless I am specifically excused by the
stage manager; curtain calls are a part of the show.
7. I shall not let the comments of friends, relatives or critics
change any phase of my work without proper consultation; I shall not
change lines, business, lights, properties, settings or costumes or any
phase of the production without consultation with and permission of my
director or producer or their agents, and I shall inform all people
concerned.
8. I shall forego the gratification of my ego for the demands of the play.
9. I shall remember my business is to create illusion; therefore, I
shall not break the illusion by appearing in costume and makeup
off-stage or outside the theatre.
10. I shall accept my director’s and producer’s advice and counsel in
the spirit in which it is given, for they can see the production as a
whole and my work from the front.
11. I shall never “put on an act” while viewing other artists’ work as
a member of an audience, nor shall I make caustic criticism from
jealousy or for the sake of being smart.
12. I shall respect the play and the playwright and, remembering that
“a work of art is not a work of art until it is finished,” I shall not
condemn a play while it is in rehearsal.
13. I shall not spread rumor or gossip which is malicious and tends to
reflect discredit on my show, the theatre, or any personnel connected
with them—either to people inside or outside the group.
14. Since I respect the theatre in which I work, I shall do my best to
keep it looking clean, orderly and attractive regardless of whether I
am specifically assigned to such work or not.
15. I shall handle stage properties and costumes with care for I know
they are part of the tools of my trade and are a vital part of the
physical production.
16. I shall follow rules of courtesy, deportment and common decency
applicable in all walks of life (and especially in a business in close
contact with the public) when I am in the theatre, and I shall observe
the rules and regulations of any specific theatre where I work.
17. I shall never lose my enthusiasm for theatre because of disappointments.
In addition, the document continued:
“I understand that membership in the Circle Theatre entitles me to the
privilege of working, when I am so assigned, in any of the phases of a
production, including: props, lights, sound, construction, house
management, box office, publicity and stage managing—as well as
acting. I realize it is possible I may not be cast in a part for many
months, but I will not allow this to dampen my enthusiasm or desire to
work, since I realize without my willingness to do all other phases of
theatre work, there would be no theatre for me to act in.”
All members of the Circle Theatre were required to sign this document.
And they must have—because the theatre, and the group into which it
evolved, was successful for many years.
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