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Take our 99-seat Participation Survey!  CLICK HERE.

 
Thinking about reasons that the system exists and thrives...
  1. Keep theatre alive
  2. Services many actors
  3. Create new works
  4. Address community concerns
  5. Promote excellence
  6. Create community
  7. Develop artistic relationships
  8. Learn new techniques
  9. Keep historic plays alive
  10. Maintain cultural standards
  11. Low-cost ticket option
  12. Development of leadership skills
  13. Efficiency of production
  14. Low investment artistry/creativity
  15. Personal exposure
  16. Chance to gain skills
  17. Promote cultural/ethnic ideas
  18. Emotional release - audience
  19. Proliferation of new Plays
  20. New Formats/genres

  1. Integration of new media
  2. Substitute family
  3. Raising the bar on ideas
  4. Raising the bar on performance
  5. Continuity of experience
  6. Competition as prompt
  7. Ground for cultural experimentation
  8. Immediate reaction (late nite)
  9. Pure Entertainment
  10. Lowering the bar as provocation
  11. Developing new directors
  12. Experimenting with sound
  13. Space for rehearsal
  14. Development of companies
  15. Early/Late careers
  16. Develop confidence with repetition
  17. Exercise in collaboration
  18. Economic platform
  19. City glue
  20. Legitimize union presence
 
The struggle to gain the priviledge of 99 came to the fore in 1972. Before that the theatre community [actors, playwrights, and directors] was restricted to 'workshop productions' if using AEA members outside of a regular contract: short runs, small audiences, and no ticket or donation revenuew.
Would love to hear any material about the negotiations, desires, losses and triumphs:  the who, what, where, how - basics and not-so-basics!

What were the negotiations and efforts like outside of the L.A. Times reports?