渐进行动主义的步骤

E. Osborne
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引用次数: 0

摘要

在《绿色新政的承诺:一个21世纪的联邦剧院项目》中,我认为,重新构想的联邦剧院项目(FTP)是对该领域面临的多重危机的必要回应:1)跨种族、性别和地域的资金持续缺乏公平性;2)种族主义、厌女症、残疾歧视、跨性别恐惧症和其他造成持续伤害的偏见;3)虐待和剥削劳工的做法;当然还有4)2019冠状病毒病对剧院的广泛破坏。[…它将作为专业、社区和学术剧院的交流资源中心,从而使我们能够与其他剧院、社区、宗教和民间组织共享信息和资源。[…我绘制了一个沟通和支持结构的初步计划,展示了从危机言论转向渐进行动主义的潜力。专业的有偿领导,包括至少一名全职的专业导演或经理(由一人或多人担任)严格追求戏剧形式的证据;每年至少15周的艺人工资活动或每年至少50场演出对排练过程的承诺,主要制作活动的排练时间至少为30小时,至少有一年的专业制作组织的存在,并具有运营的连续性。社区活力,由当地、州或国家的资金来源证明。当地媒体报道和/或社区奖励或其他对剧院工作价值的认可
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Steps in Incremental Activism
In "The Promise of the Green New Deal: A 21st-Century Federal Theatre Project," I argued that a reimagined Federal Theatre Project (FTP) was a necessary response to the multiple crises faced by the field: 1) ongoing lack of equity in funding across race, gender, and geography;2) racism, misogyny, ableism, transphobia, and other forms of bias that cause ongoing harm;3) abusive and exploitative labor practices;and, of course, 4) COVID-19's widespread devastation of the theatre. [...]it would serve as a communications resource center for professional, community, and academic theatre, thus enabling us to share information and resources with other theatres and community, religious, and civic organizations. [...]I map a preliminary plan for a structure of communications and support that demonstrates the potential of a shift from crisis rhetoric to incremental activism. Minimum operating expenses of $50,000 in most recently completed fiscal year Professional paid leadership, including at least one full-time paid professional director or manager (filled either by one individual or shared) Evidence of rigorous pursuit of theatrical form, as shown by artists' payroll activity of at least 15 weeks per year or by a minimum of 50 performances per year A commitment to the rehearsal process which is demonstrated by at least 30 hours of rehearsal time for primary production activities Minimum of one year's prior existence as a professional producing organization with continuity of operation Community vitality, as evidenced by local, state or national funding sources, local media coverage and/or community awards or other recognition of the value of the theatre's work Diversification of funding sources
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