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2004-2005 - Beatriz Pizano
Final Report to the Youssef-Warren Foundation
I would like to thank the Tarragon Theatre and the Youssef-Warren Foundation for giving me the opportunity of spending a season as an emerging writer/director in residence. Having been part of this warm family of theatre makers has not only provided me with the knowledge and experience to continue growing in my chosen fields, but it has also opened new doors to other professional opportunities.
I'm pleased to report that during the residency I had the chance to learn from others and to apply this knowledge directly to my own work. The quality of the artists and the productions at the Tarragon Theatre inspired me to create a large amount of material in a short period of time. In addition to my work at the theatre, during these eight months I also completed three drafts of my new play entitled Madre and began work on yet another script, The Communion. The later went on to be produced as a fifteen minute radio play for the CBC. In addition, I directed a successful production at the Summerworks Festival called Capturing Freedom.
Last September I began work as a Script Coordinator for the developmental workshop of Care with Diane Flacks and Richard Greenblatt, directed by Eda Holmes. Observing these writers/performers develop their material through improvisation was an enriching experience that gave me very concrete tools that I later applied to my directorial work in Capturing Freedom -- a one woman show where the writer was also the performer, and where the script was being developed during the rehearsal process. I was able to help this artist find the multiple characters she was creating and to clarify the story by working on our feet.
In late November I was the assistant director in Bea's Niece. This was one of the highlights of my residency. Working with Mr. Rose taught me about directing and about the role of an artistic director. This was extremely important to me for I am the Artistic Director of an emerging company called Aluna Theatre. I was invigorated by Richards' pursuit of excellence in every aspect of creation. Also, he always gave me time and attention, making sure I was following and understanding his process. When he asked for my opinion and valued my suggestions, he made me feel like a colleague. His careful attention to technique, to the text, and the performers showed me an invaluable approach to structuring the director's job. Also, it taught me very important lessons: each director must find and develop his/hers own method and technique; the command of the rehearsal hall and of the production as a whole stems from the belief in one's choices and the ability to back them up with concrete examples. The strength and success of a show depends on how strongly a director believes in the material and his/her own artistic choices.
Next, I worked on Goodness, (by Michael Redhill, directed by Ross Manson). This project was further ahead in development than Care. Working on both plays allowed me to observe two very different directors through a phase of experimentation and exploration. I gained much from their approaches to creation and to the structuring of these workshops. I believe this experience was instrumental in helping me succeed with this year's grant applications for the developmental phase of Madre, which I wrote and structured following the processes I had witnessed.
In late January I helped organize the readings for the Playwrights Unit. I enjoyed it very much, especially because I had the chance to see fellow writers going through the experience of preparing for the public readings. While working with Andy McKim I discovered how important it is to pay careful attention to those organizational and seemingly menial jobs. Learning to keep good pagination of a script- in- process has become an essential and invaluable skill to have as a writer. Recently, I was commended by a director on how well I kept track of my re-writes and page numbers! It allowed us to work fast and efficiently and therefore concentrate on creating.
Last but not least, I completed my residency working as an assistant director/script coordinator for Alice's Affair directed by Eda Holmes. Since this was a new script, I witnessed the challenges experienced by the writer, director and performers as they prepared towards the production with a script that was still undergoing major changes. Again, it prepared me for directing Capturing Freedom at Summerworks where we experienced a similar situation.
I can't thank enough the Tarragon Theatre and the Youssef-Warren Foundation for choosing me as the 2004-2005 Urjo Kareda Emerging Artist Grant recipient. This year has truly been the most important year in my career as a developing writer and director. First of all because it gave me - mentally - the space to be an artist. The grant allowed me to focus, to concentrate. The success of my residency is a direct result from the fact that I came to the Tarragon with an open mind and one goal: to learn as much as I could. In that sense every project was valuable in its own way and made me grow as an artist.
This residency was and is a gift for an artist. I sincerely hope that the Tarragon Theatre will be able to continue offering opportunities such as this one to the many other theatre artists struggling out there. From day to day, from project to project, I keep discovering the many personal and professional gains resulting from this wonderful experience.
Sincerely,
Beatriz Pizano
For further information about the award, and application procedures, contact Andy McKim, Associate Artistic Director, by email: andy@tarragontheatre.com or by phone at 416.536.5018 x230.
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