Mittwoch, 29. Juni 2011

A 1945 Code of ethics for the Theatre Workers


While appearing on Broadway in her Tony-nominated role of Jeanette in The Full Monty in August, 2001, Equity member Kathleen Freeman died of lung cancer. Equity Councillor Jane A. Johnston, a longtime friend and executrix for Ms. Freeman’s estate, later discovered among Ms. Freeman’s papers a document containing A Code of Ethics for Theatre Workers. Ms. Freeman was a daughter of a small time vaudevillian team. Her childhood experience of touring with her parents inspired this Code of Ethics, Ms. Johnston writes. She also notes: “What is particularly interesting about this list of dos and don’ts for the theatre is that it was written in 1945 when Kathleen was establishing one of the first small theatres in Los Angeles and she was 24 years old. I wish I had been told some of ‘the rules’ when I was a young actress instead of having to pick them up as I went along.”
The theatre was the Circle Players (with Charlie Chaplin among its backers), which later evolved into the Players’ Ring. Although there is no record that either company used an Equity contract (they certainly pre-dated the 99-Seat Code in Los Angeles), Ms. Johnston confirms that all the participants were professionals.

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.”

Kommentare:

  1. Weiß man auch, wann der wieder verloren ging...?

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  2. Weiß man auch, wann der wieder verloren ging...?

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  3. Leider nicht. Ethik und Stadttheater sind ungemütliche Nachbarn, oder?
    Sage mal, kann man Deinen Blog irgendwie abonnieren? Oder wie heißt das noch.

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  4. Jep. Ich formuliere mal vorsichtig: der Code macht Sinn, er dient der Sache, er sorgt dafür, dass die Dinge reibungslos, enthusiastisch und idealistisch funktionieren. Nun ist es aber so, dass alles, was funktioniert wenig Aufmerksamkeit bekommt. Et läuft ja. "Künstler" wollen aber Aufmerksamkeit. Zu "Künstlern" paßt es auch gegen alles mögliche zu rebellieren, sie sind ja sensibel und ganz und gar nicht konform. Verbindet man diese beiden Effekte bekommt man eine etwas unethische Begünstigung des ungünstigen. In dafür geeigneten Systemen können sich solche Effekte verselbstständigen und verstärken. Übrigens der Grund dafür, warum ich diese scheinbar unzeitgemäße Demut am Theater überhaupt nicht kitschig finde und auch völlig zeitlos angebracht.
    Und es gibt noch eine weitere sehr unangenehme Nebenwirkung. Diese ethische Demut wird oft von Schauspielern praktiziert, die ich sehr talentiert, begabt und gut finde. Günter Junghans hat mich dadrauf gebracht. Er war mein Mackie Messer und er war so irre gut und brachte so viel mit... aber er war bescheiden wie ein Schauspielschüler, er probte so uneitel, so geduldig, so höflich, respektvoll, gutlaunig und an der Sache 'dran - irgendwann habe ich ihn in der Kantine dafür mal ziemlich mit Komplimenten überschüttet. Er grinste wie ein kleiner Junge und meinte, er habe in seinem Bühnenleben schon mit vielen namhaften Kollegen gearbeitet, die besten davon seien frei von Eitelkeit, Showgehabe und "Künstlertum" gewesen. Das habe ihn was gelehrt. Und weil er diese Lektion intus hatte, hat er widerum mich was gelehrt.
    Wenn aber die besten wenig Zusatzaufhebens um ihre Person machen außer durch Leistung und in einem System untergebracht sind, das Zusatzaufhebens mit Aufmerksamkeit belohnt... dann droht Qualitätsverlust, ein ganz schmerzhafter Qualitätsverlust.

    Themawechsel. Hab' mich schlau gemacht...ja, den Blog kann man abonnieren. Entweder kann man wohl bei Mozilla ein dynamisches Lesezeichen setzen oder Du nutzt diesen RSS-Feed http://renate.theaterblogs.de/?feed=rss2.

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