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Rachel Grossman on Activating Audiences in DC

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Activating Audiences in DC by Rachel Grossman

April 8, 2012 | BY Rachel Grossman

We didn’t found dog & pony dc to shake up the audience’s experience, but the impulse was lying dormant in the backs of our minds—waiting to be activated like an undercover agent’s secret mission. Besides wanting to apply collaborative processes and movement-based approaches to theater making, Wyckham Avery, Lorraine Ressegger and I were getting bored with theater as it was being produced in DC. Don’t get me wrong: I love theater. I love the DC theater community. But overall DC produces and consumes theater within the traditional, established paradigm of audience members sitting in the dark, watching an imaginary world unfold in front of them.

We three longed to activate the audience experience and wanted increased collaboration between all the players in the theatrical production: producers, artists and audience. We felt it would not only create stronger, more complex productions, but it would amp up the intensity and immediacy of shows in performance.

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vintageblackglamour:

Marian Anderson, singing during an Easter Sunday concert on the steps of the Lincoln Memorial on April 9, 1939. The concert was broadcast on the radio across the nation and the integrated audience of 75,000 including members of the Supreme Court, Congress, and President Roosevelt’s cabinet. The concert was organized after the Daughters of the American Revolution refused to allow Ms. Anderson to sing to an integrated audience at Constitution Hall in Washington, D.C. solely because of her race. Photo via The Library of Congress.