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
Audacity Theatre Lab is a platform for the imaginations of a collective of individual theatre artists. 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.
HERE'S THE DEAL
1. 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 Artist's make stuff. Each artist has his or her own unique vision 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 watch and experience the production in order for it to even happen. It serves the community simply by existing. To insist more is just rhetoric. Support the Artist first and foremost, then every other entity benefits, too.
2. 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 the interpretive artist 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.
3. It is called Play for a reason
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 to "entertain", 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.
4. Cheap is actually the goal
So is small. We believe in a theatre that is created inexpensively and is relatively inexpensive to see. Our pricing policy runs between $5 to $20 for most shows - sometimes even free. We sometimes work on a suggested donation system. This is not a hippie thing. We think profit is a fine thing. It is not that we don't value what we make. We do (a lot!). And it is not because we couldn't somehow raise/earn what we need. It is 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. The money side of things is a source of stress and is usually the cause of the downfall of most otherwise worthwhile endeavors. Listen, we know that the theatre company must make money in order to continue, but it is the theatre, not the money, that supplies the livelihood. Therefore, our aim is not to keep the company going to make money, but to make money so we can keep the company going. See the difference?
5. Every theatre artist at ATL is a multifunctional instigator
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. 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.
Audacity Theatre Lab is a platform for the imaginations of a collective of individual theatre artists. 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.
HERE'S THE DEAL
1. 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 Artist's make stuff. Each artist has his or her own unique vision 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 watch and experience the production in order for it to even happen. It serves the community simply by existing. To insist more is just rhetoric. Support the Artist first and foremost, then every other entity benefits, too.
2. 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 the interpretive artist 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.
3. It is called Play for a reason
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 to "entertain", 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.
4. Cheap is actually the goal
So is small. We believe in a theatre that is created inexpensively and is relatively inexpensive to see. Our pricing policy runs between $5 to $20 for most shows - sometimes even free. We sometimes work on a suggested donation system. This is not a hippie thing. We think profit is a fine thing. It is not that we don't value what we make. We do (a lot!). And it is not because we couldn't somehow raise/earn what we need. It is 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. The money side of things is a source of stress and is usually the cause of the downfall of most otherwise worthwhile endeavors. Listen, we know that the theatre company must make money in order to continue, but it is the theatre, not the money, that supplies the livelihood. Therefore, our aim is not to keep the company going to make money, but to make money so we can keep the company going. See the difference?
5. Every theatre artist at ATL is a multifunctional instigator
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. 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.
