 Yes, we were not a pain in the world. I think we're going to have a long stage. Are you sitting here? I'm sitting, yeah. I'll do the curtains. We should all try to remember to say high door, life is going to try to remember. I think that I saw that they're in a month. I'm going to be using for, I'll let it run. Awesome, yeah. For rubber socks. I love it. Yes, we're talking about, that's coming to fruition. Sunday, right? Sure. There's a bunch of rehearsals. Woo! Good, good. You'll be in the room and see our quiz again after we talk about it at the community. Someone got a haircut. Yeah, yeah, I actually cut it when you took it off. Ashley, that's awesome. She has great hair. Of course she does. If you talk to me about it, I've got a haircut. I just put stuff in it. It's a little more of an electric hair. Great, can you step in front of the camera? Actually, if you can show me how they're getting in. Do you have your gloves? No, I don't. No, I should just bring, I should just bring what she said. Um, because you don't actually hear it. This is our favorite one. This is my favorite one. I don't know what it is. I don't know what it is. I don't know what it is. I don't know what it is. I don't know what it is. Thank you so much for being here. I'm streaming a whole bunch of this festival. And it's very exciting. So, welcome. I'm going to tell you a few things. My name is Dora Eleazar. I'm the associate artistic director of the school spirit theater. Raise your hand if you're in the festival. Raise your hand if you saw anything else in the festival this far. I'm going to. Bill Myers. Okay, cool. Yeah, we have four venues with 30 companies. And 20 of them are doing works in progress. So, you're going to see two of them tonight. So, that means you paid one ticket. You could see two shows. The first one is 20 minutes long. And it's inquire within. And the second piece is 48 minutes long. And it is that ink blot ensemble. And I do want to mention that the video taping for the first piece is with the grant from the Alan Stone Foundation. So, thank you Alan Stone and your foundation. Thanks to somebody right now that you're in the theater. And that you are so excited to be at the Fury Factory that you really want to have them come see a show. So, feel free to do that right now while I'm talking. I'm going to talk for maybe 30 more seconds. Then I'll tell you to turn off from away. But we really encourage people to tweet. You'll notice signs. This is a no-tweet zone. It's really important for us to start integrating. We even have a social media coordinator. Lois Beckett, who we love. Who this fancy head comes on. She's great life strikers. And anyway, so, an hour of auditions. I know, the legs just keep, I'll just keep talking. The legs are still here. Okay, let's see what else I want to say. The fire exits through this door and also out the back. The way you went for the bathroom if you went there. If you didn't go through those two double doors. Please don't stay here if there's a fire. Also, want to make you aware of the fact that we're not just putting on a bunch of shows. We're giving a venue such as this evening for these works in progress. And the works in progress are a real opportunity for ensemble theater companies who make work together over a long period of time to put out a few minutes of their work. Put out, you know, a first iteration of their work. And it's super important that you now become part of the process of their devising. So the feedback that you might give them after the show and after both pieces, there will be a talk back. So please stick around for the talk back. It's only 10 minutes long for each one. It's very directed. And it's really a big part of how their work will continue and grow. So we thank you so much for staying for that. The other thing we do in terms of process and ensemble is we host workshops. So we have two more workshops that are available and open, which is the 18th. Raging ensemble is doing a teaching the teacher workshop. So if you're interested in learning more skills or if you are an educator or you just want to learn more about how to work with teens, that's on Saturday. The following Sunday on the 26th is Ink Boat. I'm going to be confused with tonight's performance. Ink Boat, Shinichi Iowakoga doing some amazing movement and theatrical work. Boat got three hour workshops open to the public for anybody. So if you want to talk to me about that later, you can do your show. Great. I think we're ready. Oh, thank you so much, Allison. I'm Maddie Drouchin. You have a long white piece of paper. It's so important to fill out your survey. We need to have demographics and information so that we know what you want in the future and who you are now. And we can visit you in your dreams and give you the best festival we can in 2013. And so that our funders will continue to fund us. Yes. So, yeah. And those are just the bare heart of that. So, great, Ink Boat. Thank you so much for speaking up. Awesome. Get her to the survey. Everybody else get a survey? Okay, great. Thank you for speaking up. And all the pencils are plenty. There will be a short 10 minute changeover where you can fill out the survey. And then come back in and see the second show. Thank you so much for being here. We're moving from 11 to 7 and 11 to 7. Reporter. And from 12 to 8. And 12 to 8. I am a bodybuilder. My spare hour. That's all bananas. Oh, there's a rule. It's yellow. Between us here and those in the middle there. That's his body building, I guess. The bodybuilder is working on strength and the person with the spare set of tie has taken off with a round balloon. 18. Hope. So, my question was what human struggles were you able to identify to respond? If not, it's fine. Can you say the question again? Sure. What human struggles did you identify? Waiting. And deciding whether to do something. Okay. Absolutely. Yeah, choice. Yeah. Okay. Another question. Oh, okay. Anything else? Yeah. I'm sorry about that. It seems like the characters were sort of like archetypes. You know, the woman in white was some of the very little I don't know, with the ties and kind of been in struggle with them personally. I was just curious. You had some associations on the table. I haven't had a tea party. I was working for you. How was it working for you? I was interested in the fact that it was empty and it was full. I was very concerned about the mess and the objects on the table. Yeah. So when it flipped into another play that was very intriguing to me. So the objects as they were placed but also like when there was space was interesting to me. I'm refiguring my questions here based on the answers. What do you think the role of audience was in the play? Anybody answer that question? I wonder if with someone being in the audience it goes inviting other audience members to speak up because they're definitely couple moments from then I was like, I want to respond to what she said. I want to say hello. But this is the pay attack. Does anyone feel like the audience had a function in the play? Yeah. We may have been patrons of the man or something. They were. People that they were narrating to was that we were the ones receiving their own narration of their lives. Can you relate to these characters or particular characters? Well, in following what she said the whole concept of like, you know being a watcher within yourself and watching yourself being something you're judging or not judging or anything and how listening to you or you were narrating what we were watching and so I felt like we were watchers of the watcher of the inside voice which was fun and then also I wanted to say about you speaking during the other people's speaking but I was going to remind you when I still kept forgetting that it was you talking and every time I was like, oh, it's somebody talking in the audience. It's a mistake. Then we knew that it's not so that was fun too. Thank you for that. Sure. Yeah. So I don't know if you guys noticed but there were some members in the audience that I passed instruments out to and that they were conducted to play those instruments at certain moments. And I was wondering how, I don't know how many of you here did have instruments but how did it feel to have to interact and like, did you feel willing to do it or did it feel, you know, awkward, you know how does it feel to like be a performer as you know your spectator and at the same time you have to interact and it's not real. Maybe no one here. Maybe just quite right. I kind of wanted to be taken on a journey for them to participate but I like participating because, you know, I mean it's fun but I wanted to be here I wanted to be more with you than with what I had because I wasn't that part of the drum set. So it was new and destructive for me. Did anyone wish they had an instrument? I didn't notice that there were what that happened in the audience. Yeah, I wasn't aware that that was an event. There were particular instruments associated with particular characters. Not so much an instrument but I heard you ask a woman sitting there if she would point out a woman in a red dress and that seemed interesting to me to like, to watch for a specific moment and then get to, you know, it's like, whoa, I saw it. You know, that doesn't require, you know, you don't have to follow along. I was kind of worried that you'd given an audience member that script and the person interacting, like in a large way with an audience member I'm like, oh no. But to be able to like do a little small piece like that and to be engaged in like actively watching for a particular moment was interesting to me and I was watching for you and I didn't get to say anything. So yeah, that should be something we can play with tomorrow. Yeah, we have five minutes left. Five minutes left, yeah. Okay, does anyone have any other comments? Those are all my questions for now. Anybody else have questions? I'm just curious what questions you have. Oh, just kind of following up on the instrument thing. I was given a piece of rope but then it wasn't used at all which I found kind of disappointing. But I expected something once I had the rope. Were you aware that your rope was connected to the table or? Yeah, absolutely. But I didn't feel like I could actually affect the table because there were so many people hanging out there. That was the first person hanging out on the rope and there was a point where I forgot about it and let it go and then it kind of got tangled. I was like running around in the rope. I was supposed to be holding it. So I thought, alright, next to the table. I have a bigger question. I'm a bit curious because I saw in the program it said written by Lisa but then kind of collaborated with the ensembles. I'm wondering what the creation process was like. Was it a script that then was embellished or did all the text come from a workshop? Yeah, we started out with a pretty different script and a different idea as well. And it really evolved through all of the particular skills and talents and interests and the work that I grew up with. I was really able to take, at least explore, character, style, and some physicality in this particular piece. And it's really part of a larger adaptation that's been working on it. But I don't think, not necessarily all this material will be used, but the style seems much better. Yeah, so it was really, you know, I was Skyping in while these guys were rehearsing early on. Well, we, you know, that changed the relationship with the piece and the nature of the piece as well. It's a reality now for a lot of people. So it's interesting we're exploring remoteness and presence in this piece. We're rehearsing around this computer for a lot of it. Move to the side. I can't see the table. I'm left with a very strong impression of how powerful simple images are and where that can go for the audience member when the table was lifted and there was this gorgeous tableau just like all this attention of this decision that had been made. And then of course, you know, when we can't talk any longer, you know, we sing, you know, because it's just like a sense spiritually. We have to go to that plane.