We can’t have actors talking at the same time now can we? Harmony/together? No, not always. I’ve been in ensembles where there was a Diva (me! called one lovingly).

Not nuetral, not gray. I’ve worn ensembles that were not very together, one item (maybe shoes, maybe top) out shone the rest.

Is there always a favorite character or actor within the ensemble? Yes maybe, but individuals will vary on which they deem their favorite.

Somtimes one particular actor carries the weight of other members. There are members of Steppenwolf’s ensemble that are well known or ‘favorites’ of the public eye. That doesn’t necessarily mean members that are not as well known are not as talented or as gifted.

Oh! I better stop I’m totally confused.

I’ve always thought of an ensemble as a group of equals working together for a common goal. I know that when I say that the show I’m in is an “ensemble piece” I mean that no one person is especially important. Every cast member has equal importance. So that is how I think of an ensemble. Equality.

A company, on the other hand, I see as more competitive and self-centered. If you think of how the rest of the world thinks of the world “company”, you’ll think of business. A hierarchy. People working maybe more for the money than the art. That’s how I think of a company. People looking to advance their individual positions, not necessarily for the greater good.

I think that Steppenwolf is a very good example of an ensemble. It seems like everyone is working together for their art, not personal interest.

I think it’s so fantastic that we have companies in town like 500 Clown and The House Theatre Company that are exploring the dynamics of interaction and play with the audience while creating really exciting work. Check out their websites to learn more about them.

http://blog.thehousetheatre.com/2006/02/political_theat.html

It’s a conversation on the House Theatre blog, that toward the end has some interesting responses from audience members regarding their feeling of inclusion in respect to the House ensemble.

Now, here’s my thing:

The view that during performance the audience is a partner is very exciting to me. We use it at an extreme level in 500 Clown, and companies like the House and the Hypocrites use it in varying degrees as well. All three work with the awareness that the audience is there, which makes the audience/actor relationship clear. Great “fourth wall” theatre is similarly inclusive, even though there’s no onstage acknowledgement of the audience’s presence.

Having a strong, communicating ensemble with a clear shared vocabulary is a great step toward great work. Including the audience INTO that vocabulary opens up the possibility of a more intimate relationship. If we keep the delicious “ensemble energy” candy all to ourselves, the audience feels less included, and in my view, less stimulated by the performance.