Audacity Theatre Lab is a scappy, fiercely independent and purposely small 501(c)3 not-for-profit theatre collective based in Dallas, Texas. Started, in its current iteration, in 2008 Audacity has developed its own non-glitzy, intimate, subversively sophisticated, all-original approach to creating and presenting works on stage. The members of the theatre write and perform their own original stories that are often small in scale, but epic in scope. Sometimes bizarre, sometimes dark, sometimes silly. The plays created by the artists of Audacity are all produced with simplicity, determination, and honesty. Using an economical means of production for a variety of original projects, the aim of the company has evolved to one clear goal: to make personal and engaging, rather than larger and larger, works for the stage.
audacity - 1: the quality of being audacious. 2: intrepid boldness. 3: recklessly daring: Adventurous. 4: bold disregard of normal constraints. 5: marked by originality and verve.
OUR MISSION
Since 2008 Audacity Theatre Lab has served as a platform for the imaginations of a rotating roster of individual theatre-makers. The artists of ATL are empowered to use the company as an outlet for the creation of new theatre projects, be they bold re-imaginings of existing works or the incubation and exploration of completely original works for the stage.
WHAT WE DO
ATL presents a portion of its productions at theatre festivals and venues around the country each year, but can also be seen once or twice annually on an area stage in the Dallas-Ft. Worth area. From time to time, Audacity offers workshops conducted by ATL artists. The company is also putting together a publishing wing so that the work developed "in the lab" can go on to have a life on other stages for years to come.
HERE'S WHAT WE VALUE
ARTISTS
The Artist comes first. Not the company. Not the community. The Artist. We are turning our back on any sort of Unifying Company Aesthetic. Audacity is not a brand. It is not an ensemble. It is a place where individual Artists make stuff. Each artist has his or her own unique vision, perspective and personality. ATL is made up of these personalities. We won't bend an artist's point of view to fit it in some intangible, amorphous "house style." Here, the individual artist is not watered down. As for the public and the "community," the problem answers itself. Theatre, by definition, is a public art form. Someone must be there to watch and experience the production in order for it to even be an act of theatre. It serves the community simply by existing. To insist more is just rhetoric. Support the Artist first and foremost, then everybody else benefits, too.
INVENTION
New works rule! At ATL, we believe the theatre needs new voices, new ideas, new everything. We might just attain immediacy that way. We will leave the plays of the classical canon to other members of the cultural community - academia, community houses, larger repertory and LORT companies. These plays are great for the education of young artists, for supplying a background on where these works fall in the history of the Theatre, but our concerns are with the here and now. Museum works "as they are" are for interpretive artists and should be left to them. For the contemporary creative Theatre Artist, these plays should only be a catalyst for immediate "re-imaginings". The notion of a Theatre Artist "playing covers" (to borrow a musicians reference) his or her whole life is ridiculous when there is so much new ground that needs to be explored, so many new works to be created.
PLAYFULNESS
Theatre must entertain. No message, truth, or idea can be conveyed to an audience that is not engaged. If we fail at this, we fail at everything. This is crucial. Since we are a laboratory for new works and new ways of working, we experiment. But we will not forget, the word "Experimental" is but a modifier for "Theatre." The first priority, like that to all Theatre, must be "enjoyment", not simply to "experiment". Experimentation for the sake of itself is self-indulgence. Joy, excitement, celebration - in short, Fun - is an infinitely worthy goal. Fun to make for the artists, fun to experience for the audience.
QUALITY
We value artistic excellence, even virtuosity, and we aim to produce high-quality professional productions. Small doesn't mean shoddy and inexpensive doesn't mean cheap. We believe in a theatre that is created inexpensively and is relatively inexpensive to see. We take a practical, entrepreneurial approach to an artform that has become financially unwieldy and for no practical reason. There is no reason that, if we, the artists, are creating and in control of the projects, that the projects should cost a fortune. Keeping our projects centered on the content more than the fancy presentation of that content is the key. We stay fast and nimble by staying small. Low overhead means low ticket prices. This might make us the "little guy" as a company, but rest assured we punch way above our weight.
NARRATIVE
We believe theatre does two things as good, or better, than other artforms. Theatre asks great questions and it tells great stories. In fact, we believe stories are fantastic vehicles for contemplation, for reflection, for developing empathy for one another.
INSTIGATION
We have no need, at the core of our company, for strictly "interpretive artists". We are interested in Theatre Artists who see themselves as creative in the original sense of the word: to bring something into existence that was not there before. We deal with Theatre-Makers. Their role is instigative. If you do not take the initiative and personal responsibility to create, share, and defend your art, then you are really just going through the motions. You must be active in the creative process and must hold no stubborn loyalties to the old dying ways. The lines between director, playwright, actor, designer, stage management and even administration must be blurred for a more evolved theatre to come into existence.
Since 2008 Audacity Theatre Lab has served as a platform for the imaginations of a rotating roster of individual theatre-makers. The artists of ATL are empowered to use the company as an outlet for the creation of new theatre projects, be they bold re-imaginings of existing works or the incubation and exploration of completely original works for the stage.
WHAT WE DO
ATL presents a portion of its productions at theatre festivals and venues around the country each year, but can also be seen once or twice annually on an area stage in the Dallas-Ft. Worth area. From time to time, Audacity offers workshops conducted by ATL artists. The company is also putting together a publishing wing so that the work developed "in the lab" can go on to have a life on other stages for years to come.
HERE'S WHAT WE VALUE
ARTISTS
The Artist comes first. Not the company. Not the community. The Artist. We are turning our back on any sort of Unifying Company Aesthetic. Audacity is not a brand. It is not an ensemble. It is a place where individual Artists make stuff. Each artist has his or her own unique vision, perspective and personality. ATL is made up of these personalities. We won't bend an artist's point of view to fit it in some intangible, amorphous "house style." Here, the individual artist is not watered down. As for the public and the "community," the problem answers itself. Theatre, by definition, is a public art form. Someone must be there to watch and experience the production in order for it to even be an act of theatre. It serves the community simply by existing. To insist more is just rhetoric. Support the Artist first and foremost, then everybody else benefits, too.
INVENTION
New works rule! At ATL, we believe the theatre needs new voices, new ideas, new everything. We might just attain immediacy that way. We will leave the plays of the classical canon to other members of the cultural community - academia, community houses, larger repertory and LORT companies. These plays are great for the education of young artists, for supplying a background on where these works fall in the history of the Theatre, but our concerns are with the here and now. Museum works "as they are" are for interpretive artists and should be left to them. For the contemporary creative Theatre Artist, these plays should only be a catalyst for immediate "re-imaginings". The notion of a Theatre Artist "playing covers" (to borrow a musicians reference) his or her whole life is ridiculous when there is so much new ground that needs to be explored, so many new works to be created.
PLAYFULNESS
Theatre must entertain. No message, truth, or idea can be conveyed to an audience that is not engaged. If we fail at this, we fail at everything. This is crucial. Since we are a laboratory for new works and new ways of working, we experiment. But we will not forget, the word "Experimental" is but a modifier for "Theatre." The first priority, like that to all Theatre, must be "enjoyment", not simply to "experiment". Experimentation for the sake of itself is self-indulgence. Joy, excitement, celebration - in short, Fun - is an infinitely worthy goal. Fun to make for the artists, fun to experience for the audience.
QUALITY
We value artistic excellence, even virtuosity, and we aim to produce high-quality professional productions. Small doesn't mean shoddy and inexpensive doesn't mean cheap. We believe in a theatre that is created inexpensively and is relatively inexpensive to see. We take a practical, entrepreneurial approach to an artform that has become financially unwieldy and for no practical reason. There is no reason that, if we, the artists, are creating and in control of the projects, that the projects should cost a fortune. Keeping our projects centered on the content more than the fancy presentation of that content is the key. We stay fast and nimble by staying small. Low overhead means low ticket prices. This might make us the "little guy" as a company, but rest assured we punch way above our weight.
NARRATIVE
We believe theatre does two things as good, or better, than other artforms. Theatre asks great questions and it tells great stories. In fact, we believe stories are fantastic vehicles for contemplation, for reflection, for developing empathy for one another.
INSTIGATION
We have no need, at the core of our company, for strictly "interpretive artists". We are interested in Theatre Artists who see themselves as creative in the original sense of the word: to bring something into existence that was not there before. We deal with Theatre-Makers. Their role is instigative. If you do not take the initiative and personal responsibility to create, share, and defend your art, then you are really just going through the motions. You must be active in the creative process and must hold no stubborn loyalties to the old dying ways. The lines between director, playwright, actor, designer, stage management and even administration must be blurred for a more evolved theatre to come into existence.
