In Sync?
For American ensembles, questions come first - then creativity (cont'd)

4. How do we avoid burnout?

Plain and simple, ensemble work is hard. It is less about "putting on a show" than it is a sort of cultural mission. Add to this the fact that the American ensemble theatre movement is largely undocumented, and until recently had no forum for companies to meet and share experiences. Each new ensemble reinvents the wheel, every time, from scratch. The NET will provide an invaluable resource for ensembles, but the uphill struggle continues. After years or decades, ensemble resilience can flag. BTE's Laurie McCant says, "It's really hard. Over the years we've had times when we're just so tired. But you get through them. You get rejuvenated - there's a new person or a sign that you are needed or a new project."

BTE members take leave, too. "We had to get over the feeling of abandonment if somebody left for a little while and see that it was actually a very good thing." says McCant. James Goode points out that one of the advantages to being in a close-knit ensemble is that " when you're feeling burned out, you can take it easy and let someone else take the lead until you get inspired again."

Roadside members have found a way to renew themselves while continuing the work. "Right now we're documenting our work over the past decade," says Dudley Cocke. He and his collaborators find that "documentation serves the function of renewing." Writing books, papers and reports and archiving the work of the theatre creates a landscape of reflection in which the sustaining spirit can be revitalized. Also, because of the ensemble's commitment to this documentation, their work is widely published, and their performances are recorded in a variety of media.

There is an additional activity that Roadside finds renewing, says Cocke. "Helping other communities to do what we've done clarifies what we do and strengthens our own work." To this end, all of Roadside's methods, approaches and results are made available for other theatre makers. And Roadside does multiyear residencies in communities around the country that want establish their own ensembles.

At first it seems ironic that the ensemble theatre movement would flower in an era that has so devalued the ensemble ideals of patient craft, collective community and tradition. On the other hand, perhaps it is because we live in the simulacrum that the authenticity of this work keeps audiences coming back. Or perhaps ensembles have just plain earned their luck.

I asked James Goode if he feels he's changed the world in some way, and he said, "There are kids growing up in Bloomsburg now who've had access to a professional theatre their whole lives. It's as easy for them to come here as it is to go to the mall. If changing part of the world changes the whole world, then my answer is yes.

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