Mikhail Goldenberg discussed the experience of interacting with the play, The Children's Hour, by Lillian Hellman
Interview Summary
The participant chose to talk about a play they were a part of during high school called The Children’s Hour, because of how impactful it was for them. Originally, they were going to act in the play but due to scheduling conflicts, they became an assistant director. The interaction took place in Fairfax, Virginia during the fall of 2019 and it included their teacher, director, managers, and actors. At the beginning, they were excited and full of emotions, towards the middle of the interaction they felt confident about what they were doing, and at the end they felt overwhelmed, found themselves overthinking their decisions but managed to regain their confidence and become motivated to pursue other projects. The participant mentions having a high point when they had the opportunity of directing a scene by themselves, a low point when they felt overwhelmed by the play, and a turning point when their friends and peers looked at them as an authority figure. From the interaction they learnt the importance of observing and gained more confidence in themselves. They believe that the artist meant to affect others by representing those who are falsely accused, LGBTQ+ matters, and what a lie can do. This put into perspective how small things can have a big impact.
Learning from the director, reinforced how they like to lead and helped them realize that to be a good leader they needed to be a good listener. They felt as if being a part of this experience was an act of fate or destiny but claim to not know if there was any ultimate meaning. Lastly, during the interaction they felt as if their grandfather who used to direct movies was there with them.
Interview Transcript
Introduction
Interviewer: In this interview. We are interested in asking you to tell us about interacting with an artwork created by another artist. We're going to ask you to describe this experience in detail. Do you have any questions?
Participant 41: is it going to be.... Wait Sorry. Repeat it one more time.
Interviewer: in this interview. We are interested in asking you about interacting with an artwork created by another artist. We're going to ask you to describe this experience in detail.
Participant 41: Yeah, all that sounds good.
Interviewer: We'd like you to focus on your interaction with a particular artwork that someone else created. This may be a famous artwork or a work that's not well known. It can be an artwork created by anyone other than you. The artwork could be from any of the following domains: painting, drawing, sculpture, stained glass, installation and music, songs, dance, performance art, film, literature, theater, fashion, mixed media, architecture, plastic arts, or any other art form we have not mentioned. The artwork does not necessarily have to be the most important to you, but it should be meaningful and emotionally salient. It helps if your memories are more vivid, but you don't have to remember everything. Please choose your artwork and tell me what it is.
Participant 41: Okay, wait. I'm, confused as I was to bring the artwork.
Interviewer: If you don't have it, you can just describe it.
Participant 41: Okay and it can't be mine. Correct?
Interviewer: Correct, it's somebody else's.
Participant 41: Somebody else's, okay. So, I guess I’ll pick theater because that's my background. All throughout high school I was an actor but then recently. Towards the end I went into directing, and so a piece of artwork. I don't have a video of it, unfortunately, but was the fall show that we did that my teacher put on in his directing style, and he allowed me to shadow a little bit kind of like as his assistant director. But it was really his piece, and we put on a play called The Children's Hour, and it had to do with 2 headmistresses of a school who it was, it was put on in the around the 1950s, I believe. And basically, there is this evil child per se, and she tells a lie that the 2 mistresses are together, and the show revolves around all the controversy that comes from that lie, and their perceptions with one another kind of managing what's reality and what's not, and something that I really admired about that piece of art, especially the way he directed it was the pictures or the free shots he would create. So, it had all to do with the angles of the piece. So, the way people were sitting like if you literally took a picture of the show, just the body of movement, and the way they were positioned told you so much about the scene and I feel like there was so many like hidden layers to it. I, is that detailed enough? I can go into more detail.
Interviewer: No, that, that's fine.
Participant 41: Okay, I kind of misinterpreted what I was supposed to bring. I do have a piece of my own, but if it needs to be about someone else. Unfortunately, I do not have a recording of that show.
Interviewer: Hmm yeah. I think I have to stick with the interaction, since that was.
Participant 41: Sorry about that.
Interviewer: It's okay.
Why did you choose this one? (Specialness)
Interviewer: What made you choose this one to talk about?
Participant 41: Yeah, I think this is one of the most impactful pieces that I saw my teacher put on because around that time is when I started to learn more about directorial things in that vein of theater and I think that because I had such a strong connection to the show with obviously my peers being the actors, and I just got really invested it's something I will keep with me forever. But I think also it was kind of the first time our theater department ever you know we tend to do more comedies. But this is the first serious drama that we did, and I think it really challenged a lot of people emotionally, but also just technically. And I think it was really a really good piece that we put together. And another thing that really stood out to me was kind of the differences between directing a comedy or a musical, or even, you know, a drama musical versus a drama play, because with a play the like with a musical there's so much you can do with song and dance, but with a play there's really no masking behind that. It's so real and so authentic. And something, so we do these like trips to New York as a group and we do like, we did this like acting class, and something that really stuck out to me that I feel like we applied to that show was grounding yourself and keeping it authentic, because like acting, is just reacting in the sense that you're playing real life people just with different stories than your own. And so, I think that observing my director, my teacher and how he was trying to convey, or like how he painted the picture to the actors to play the show was really meaningful, and he was just like showed so many, so many different perspectives that I think really sunk in with everyone. Yeah, yeah, I like the way you put that about. You know, when you play a character, what goes into it.
Process of Creation
What led up to the interaction? What motivated you to explore this piece?
Interviewer: Now, please tell me about the experience and process of interacting with the work by answering the following series of questions: what led up to the interaction and what motivates you to explore the piece?
Participant 41: Yeah. So, so that, so when we're doing this show, I expressed to my teacher and my director that I was really interested in joining the project. Unfortunately, I couldn't attend all the show dates, so my original plan was to act in it, but I've since the longest time had always wanted to direct like that's just something I wanted to do forever. So, he took me on as his assistant director. What was the second question to that because I know you asked how I got into it.
Interviewer: What motivated you to explore?
Participant 41: It's just something that I've always wanted to do, and you know, when I first heard the show. I looked into it, and I was watching some scenes online from like other departments and I was like this is a really incredible piece of work. So, it's really glad that I, I could be a part of it.
When and where did the experience happen? Who was involved besides you (if anyone)?
Interviewer: When and where did the experience happen? And who was involved beside you?
Participant 41: Yeah, so, the show took place in Fairfax, Virginia. What year was it? I got to think back. It was my junior year of high school. So, this was, fall of 2019. Obviously, my teacher, my director was involved. the stage managers, and then the actors. The cast was really small. I want to say like 15 or less. I can't even remember.
What were you thinking and feeling at different times throughout the process of interacting with the artwork?
Interviewer: What were you thinking and feeling at different times throughout the process of interacting with the work? For example, the beginning, the middle, and the end.
Participant 41: Yeah. So that's actually really interesting question, because it definitely shifted in the beginning, when I was tackling, directing the piece, I was super motivated. I was super. I don't want to say I lost motivation, but I’m super excited to jump into the process. Maybe that was just me being a little naive because the content was so dark like it does take a, I don't want to spoil it for you, because if you ever want to watch it, but it does take a really big twist at the end, which is very emotionally taxing on people, and it definitely took a toll on me, and the actors, and even the management team. But so, yeah. So, in the beginning, super emotional like, like always when you start your production, and then towards the middle, I think that's when it kind of shift... I had more confidence when I was looking at the material, and I was you know, like it just I felt more confident in some of the decisions I was saying, and my perspective on the show, like I probably reread the show like a 1 million times like I had it so ingrained that, like you could tell me something, and I could tell you the page number on what it was happening. So, it would just like became a part of my life. And then towards the end. And this is a sentiment that wasn't just a good it wasn't just by me, but it was echoed by everyone like it was emotionally draining like going over this show and like what's the word like? Pinpointing all every small detail, because there is so multifaceted. you know, I think towards the end is really rough, and we did have Thanksgiving break before performances. So, it was really nice to just even have that small of a break to kind of disconnect from the piece, and I'm really fortunate that you know, before and after every rehearsal we kind of settle in. We wouldn't go straight into it, and I think that was very, very important. But I would say towards the beginning, you know I was a little bit more timid, more shy. Towards the end I definitely gained my confidence, knew I was doing, and it propelled me to take on other projects in the future.
Can you describe any high points, low points, or challenges, or turning points along the way?
Interviewer: Can you describe any high points, low points, or challenges, or turning points along the way.
Participant 41: Yeah, so I want to repeat too much. But I think the height points were my, I would say in that specific process, was when I first got to direct my own scene by myself. So, even though it was, you know, it got edited by my teacher. Towards the end he did assign me to direct one whole piece by myself, so that was really exciting. I also think other high points would be just like me being able to observe more things, have more perspective about the show as we went along. Like you know my my director like kinda on the side we'd be sitting together, and he'd be explaining why he's choosing to do certain things, and why he's staging in a certain way, and it, like, everything has a purpose like it's incredible how it works. But You know I've seen other directorial styles which are like they tell the actors exactly what to do, but that's not the way he did it. He did it in the way where he had an end goal, and he let the actors get there by themselves, so that it became more authentic. They would understand as well, so he would ask questions. It's all about asking the right question, and the actor will get there at the end, like they'll come to the conclusion by themselves. So, I think learning that process was really a high point. Some low points it was probably just the content, you know, like there's some days where you just take an exam, and like the last thing you want to do is like, yeah, I think everyone has had that type of experience. And then I would say for the part that changed me, or like a moment where I feel like it changed me. I would say, probably maybe halfway into the process. You know I think it was also interesting, for, like my peers or my friends, to look at me as more of a I don't even want to say authority figure, but it's just like a different dynamic if that makes sense like where I would be asking them the same questions my direct my director teacher would be asking them, and you know it was just watching them. How they responded to him. Give a similar response to me. I felt like. Okay, now, now, I kind of get it. You know what I mean. So.
Let's talk a little bit about the impact of the artwork on you and your life. What did you learn from the process of interacting with the artwork? Did you learn anything about yourself?
Interviewer: yeah, definitely, let's talk about the impact of the artwork on you and your life. What did you learn from the process of interacting with the work? And did you learn anything about yourself?
Participant 41: Yeah. So, what did I learn from the artwork. Well, I feel like I learned so many things. I think perspective is like the biggest, you know. When you look at any theater piece like there's so many different backgrounds from the characters, and like, I think, that really, really extended in this show in particular, because of the way it's set up like you don't know the full story until towards the end, like you learn bits and pieces, but the actors do too. It's, it's really important. When I was watching them perform, I was watching my teacher direct is really important to see what they did and what they didn't say and what they would reveal versus what they didn't reveal. So, I think I apply that to my real life in the sense that you never know what someone's doing or like if they're doing it because of other experiences or like kind of just treat everyone like you don't know what someone's going through basically, so I think that's it really changed me. And I also think another thing that I really took from this experience was just confidence overall. You know I was really nervous coming into this environment specifically, because I had like very minimal experience in the directing or before going into it. But I feel like I learned a lot, and it was like almost like a one-on-one class with my director and teacher, and they really, I really appreciate them, taking the time, but just like confidence and my ability to put on a good show.
Do you think that the artist intended the work to affect others or the world in any particular ways?
Interviewer: Do you think that the artists intended for the work to affect others or the world in any particular ways?
Participant 41: Yeah, he when he told us why he picked the show it's like a show that is really pressing in our society right now. It's about people being falsely accused. It's a show about LGBTQ matters. You know it's a show about what a lie can do, and you know, like that is extremely prevalent in our time. And this show happened right before Covid and you know, so it was like, it's like hard to even think about that time. But there is just so much happening, and it was just really important for that story to be told.
Did your experience with the artwork affect your understanding of others or “the world?”
Interviewer: Did your experience with the work affect your understanding of others or the world?
Participant 41: Yeah, I mean, I think kind of based off of what I said in the last question, and I think it really put into perspective on all these different things, or like cause, like the main plot of the show is that one of the school girls tells a lie that basically ruins people's, lives and like, I guess the how small things can snowball and I think that really, you know, put into perspective about how detrimental things are when people say them, and if what might seem like a small thing could really be a bigger thing, if that makes sense.
When some people think about themselves, they see some parts of themselves as deeply true, real, or authentic.
If this idea resonates with you, did you learn anything about your true nature during the process of interacting with the artwork? Did you have any insights about your own authentic (or inauthentic) self?
Interviewer: When some people think about themselves, they see some parts of themselves as deeply true, real, or authentic. If this idea resonates with you, did you learn anything about your true nature during the process of interacting with the piece? Did you have any insights about your own authentic or inauthentic self.
Participant 41: Can I ask for a little bit clarification on that?
Interviewer: Just like authenticity like things you found out about yourself like your true nature, that you may not…
Participant 41: That makes sense, you know, I, I guess this you know, experiencing my director how he directed and even giving me a little bit of opportunity to jump in there, you know it kinda, it kind of reinforced how I like to lead. I've seen that in a couple of other instances like being on exec boards for clubs, or, you know, just like being the one to organize plans, you know, but I think it really reinforced that nature in me, and but I think it it's like so much more than that like, in order to be good leader, it's to be a good listener, and you have to listen to your actors and your management team, and there's so many different components so like working within a team. So, when I would watch him interact with everyone, I would really admire that, and I think that reinforced how important that is for me to be successful in anything in my future. So yeah.
Some people believe in ultimate meaning. This is defined as deep, underlying meaning that transcends subjective, personal meaning. It is about the nature of existence and identity, and it may include ideas about the significance of suffering, as well as spirituality.
If this idea resonates with you, did you learn anything about ultimate meaning during the process of interacting with the artwork?
Interviewer: some people believe in ultimate meeting. This is defined as deep underlying meaning that transcends subjective personal meeting. It is about the nature of existence and identity, and it may include ideas about the significance of suffering as well spirituality. If this idea resonates with you, did you learn anything about ultimate meaning during the process of interacting with the work?
Participant 41: Do you mind repeating that one more time.
Interviewer: Some people believe in ultimate meaning. This is defined as deep underlying meaning that transcends subjective personal meaning. It is about the nature of existence and identity, and it may include ideas about the significance of suffering as well as spirituality. If this idea resonates with you, did you learn anything about ultimate meaning during the process of interacting with the work.
Participant 41: Yeah, I think with this play there was, you know, there's a lot of I can't say that word, subliminal messages, and I think it really, I don't even think just for me, I think, for everyone it kinda meant something different for them, you know. As for spiritual or religious meetings. I don't know, I think just interacting with the piece for me. It was just like. I guess maybe even fate or destiny, like everything lined up where I did get to be part of this experience. But then, as for the piece itself, like you know, I don't. I don't know If I could say there was any ultimate meaning. I'm trying to think right now.
Interviewer: it's okay. If there isn't like it's totally fine.
Participant 41: I mean, yeah, I don't. I don't think so.
Some people believe or perceive a reality beyond the physical or material world. This may include religious beliefs/experiences (such as perceived interactions with God) but also may include mystical or transcendent experiences, or interaction with spirits. Did you have any of these kinds of experiences during the interaction with the artwork?
Interviewer: Some people believe or perceive a reality beyond the physical or material world. This may include religious beliefs or experiences such as perceived interactions with God but may also include mystical or transcendent experiences or interactions with spirits. Did you have any of these kinds of experiences during the interaction with the work.
Participant 41: I don't think so.
Interviewer: Even if you did not have an experience like this, you may have felt some sort of inspiration, guidance, or encouragement from the non-physical or supernatural? Or you may have felt some sense of presence or connection. Did you have any kind of these experiences during the creation or, sorry the script has the interaction with the work.
Participant 41: Yeah, I definitely felt like my support system, was guiding me through this whole process and I think when observing my director direct, you know I felt like I don't know it was like how do I explain it so, very complex question, and I’m trying to wrap my brain around it. Yeah, I mean my grandpa. He used to direct movies. Oh so. I don't know I felt like all of him was with me. I don't know if that makes sense. But I don't know. I just feel like there is a lot of my friends in particular. Were really pushing me to like, try this out, and especially when it came down to show time. and we got to see the full piece together, like their support, was definitely with me throughout the entire experience, and of when observing I know I kind of keep flip flopping between, like the actual play being my piece of artwork versus like the directing, but I think it's intertwined in a way just as theater in general. So, I think, when interacting with this show in particular, like I felt a lot of support for my family and my friends, and even from past experiences in my life, that it's just like kind of a hard part thing to explain, but like they are definitely with me. in the back of my head definitely cheering me on when I felt like I didn't know what I was doing. But deep down, like I had a feeling that I could do this.
Interviewer: Yeah, yeah, that's great. Well, thank you.
The participant chose to talk about a play they were a part of during high school called The Children’s Hour, because of how impactful it was for them. Originally, they were going to act in the play but due to scheduling conflicts, they became an assistant director. The interaction took place in Fairfax, Virginia during the fall of 2019 and it included their teacher, director, managers, and actors. At the beginning, they were excited and full of emotions, towards the middle of the interaction they felt confident about what they were doing, and at the end they felt overwhelmed, found themselves overthinking their decisions but managed to regain their confidence and become motivated to pursue other projects. The participant mentions having a high point when they had the opportunity of directing a scene by themselves, a low point when they felt overwhelmed by the play, and a turning point when their friends and peers looked at them as an authority figure. From the interaction they learnt the importance of observing and gained more confidence in themselves. They believe that the artist meant to affect others by representing those who are falsely accused, LGBTQ+ matters, and what a lie can do. This put into perspective how small things can have a big impact.
Learning from the director, reinforced how they like to lead and helped them realize that to be a good leader they needed to be a good listener. They felt as if being a part of this experience was an act of fate or destiny but claim to not know if there was any ultimate meaning. Lastly, during the interaction they felt as if their grandfather who used to direct movies was there with them.
Interview Transcript
Introduction
Interviewer: In this interview. We are interested in asking you to tell us about interacting with an artwork created by another artist. We're going to ask you to describe this experience in detail. Do you have any questions?
Participant 41: is it going to be.... Wait Sorry. Repeat it one more time.
Interviewer: in this interview. We are interested in asking you about interacting with an artwork created by another artist. We're going to ask you to describe this experience in detail.
Participant 41: Yeah, all that sounds good.
Interviewer: We'd like you to focus on your interaction with a particular artwork that someone else created. This may be a famous artwork or a work that's not well known. It can be an artwork created by anyone other than you. The artwork could be from any of the following domains: painting, drawing, sculpture, stained glass, installation and music, songs, dance, performance art, film, literature, theater, fashion, mixed media, architecture, plastic arts, or any other art form we have not mentioned. The artwork does not necessarily have to be the most important to you, but it should be meaningful and emotionally salient. It helps if your memories are more vivid, but you don't have to remember everything. Please choose your artwork and tell me what it is.
Participant 41: Okay, wait. I'm, confused as I was to bring the artwork.
Interviewer: If you don't have it, you can just describe it.
Participant 41: Okay and it can't be mine. Correct?
Interviewer: Correct, it's somebody else's.
Participant 41: Somebody else's, okay. So, I guess I’ll pick theater because that's my background. All throughout high school I was an actor but then recently. Towards the end I went into directing, and so a piece of artwork. I don't have a video of it, unfortunately, but was the fall show that we did that my teacher put on in his directing style, and he allowed me to shadow a little bit kind of like as his assistant director. But it was really his piece, and we put on a play called The Children's Hour, and it had to do with 2 headmistresses of a school who it was, it was put on in the around the 1950s, I believe. And basically, there is this evil child per se, and she tells a lie that the 2 mistresses are together, and the show revolves around all the controversy that comes from that lie, and their perceptions with one another kind of managing what's reality and what's not, and something that I really admired about that piece of art, especially the way he directed it was the pictures or the free shots he would create. So, it had all to do with the angles of the piece. So, the way people were sitting like if you literally took a picture of the show, just the body of movement, and the way they were positioned told you so much about the scene and I feel like there was so many like hidden layers to it. I, is that detailed enough? I can go into more detail.
Interviewer: No, that, that's fine.
Participant 41: Okay, I kind of misinterpreted what I was supposed to bring. I do have a piece of my own, but if it needs to be about someone else. Unfortunately, I do not have a recording of that show.
Interviewer: Hmm yeah. I think I have to stick with the interaction, since that was.
Participant 41: Sorry about that.
Interviewer: It's okay.
Why did you choose this one? (Specialness)
Interviewer: What made you choose this one to talk about?
Participant 41: Yeah, I think this is one of the most impactful pieces that I saw my teacher put on because around that time is when I started to learn more about directorial things in that vein of theater and I think that because I had such a strong connection to the show with obviously my peers being the actors, and I just got really invested it's something I will keep with me forever. But I think also it was kind of the first time our theater department ever you know we tend to do more comedies. But this is the first serious drama that we did, and I think it really challenged a lot of people emotionally, but also just technically. And I think it was really a really good piece that we put together. And another thing that really stood out to me was kind of the differences between directing a comedy or a musical, or even, you know, a drama musical versus a drama play, because with a play the like with a musical there's so much you can do with song and dance, but with a play there's really no masking behind that. It's so real and so authentic. And something, so we do these like trips to New York as a group and we do like, we did this like acting class, and something that really stuck out to me that I feel like we applied to that show was grounding yourself and keeping it authentic, because like acting, is just reacting in the sense that you're playing real life people just with different stories than your own. And so, I think that observing my director, my teacher and how he was trying to convey, or like how he painted the picture to the actors to play the show was really meaningful, and he was just like showed so many, so many different perspectives that I think really sunk in with everyone. Yeah, yeah, I like the way you put that about. You know, when you play a character, what goes into it.
Process of Creation
What led up to the interaction? What motivated you to explore this piece?
Interviewer: Now, please tell me about the experience and process of interacting with the work by answering the following series of questions: what led up to the interaction and what motivates you to explore the piece?
Participant 41: Yeah. So, so that, so when we're doing this show, I expressed to my teacher and my director that I was really interested in joining the project. Unfortunately, I couldn't attend all the show dates, so my original plan was to act in it, but I've since the longest time had always wanted to direct like that's just something I wanted to do forever. So, he took me on as his assistant director. What was the second question to that because I know you asked how I got into it.
Interviewer: What motivated you to explore?
Participant 41: It's just something that I've always wanted to do, and you know, when I first heard the show. I looked into it, and I was watching some scenes online from like other departments and I was like this is a really incredible piece of work. So, it's really glad that I, I could be a part of it.
When and where did the experience happen? Who was involved besides you (if anyone)?
Interviewer: When and where did the experience happen? And who was involved beside you?
Participant 41: Yeah, so, the show took place in Fairfax, Virginia. What year was it? I got to think back. It was my junior year of high school. So, this was, fall of 2019. Obviously, my teacher, my director was involved. the stage managers, and then the actors. The cast was really small. I want to say like 15 or less. I can't even remember.
What were you thinking and feeling at different times throughout the process of interacting with the artwork?
Interviewer: What were you thinking and feeling at different times throughout the process of interacting with the work? For example, the beginning, the middle, and the end.
Participant 41: Yeah. So that's actually really interesting question, because it definitely shifted in the beginning, when I was tackling, directing the piece, I was super motivated. I was super. I don't want to say I lost motivation, but I’m super excited to jump into the process. Maybe that was just me being a little naive because the content was so dark like it does take a, I don't want to spoil it for you, because if you ever want to watch it, but it does take a really big twist at the end, which is very emotionally taxing on people, and it definitely took a toll on me, and the actors, and even the management team. But so, yeah. So, in the beginning, super emotional like, like always when you start your production, and then towards the middle, I think that's when it kind of shift... I had more confidence when I was looking at the material, and I was you know, like it just I felt more confident in some of the decisions I was saying, and my perspective on the show, like I probably reread the show like a 1 million times like I had it so ingrained that, like you could tell me something, and I could tell you the page number on what it was happening. So, it would just like became a part of my life. And then towards the end. And this is a sentiment that wasn't just a good it wasn't just by me, but it was echoed by everyone like it was emotionally draining like going over this show and like what's the word like? Pinpointing all every small detail, because there is so multifaceted. you know, I think towards the end is really rough, and we did have Thanksgiving break before performances. So, it was really nice to just even have that small of a break to kind of disconnect from the piece, and I'm really fortunate that you know, before and after every rehearsal we kind of settle in. We wouldn't go straight into it, and I think that was very, very important. But I would say towards the beginning, you know I was a little bit more timid, more shy. Towards the end I definitely gained my confidence, knew I was doing, and it propelled me to take on other projects in the future.
Can you describe any high points, low points, or challenges, or turning points along the way?
Interviewer: Can you describe any high points, low points, or challenges, or turning points along the way.
Participant 41: Yeah, so I want to repeat too much. But I think the height points were my, I would say in that specific process, was when I first got to direct my own scene by myself. So, even though it was, you know, it got edited by my teacher. Towards the end he did assign me to direct one whole piece by myself, so that was really exciting. I also think other high points would be just like me being able to observe more things, have more perspective about the show as we went along. Like you know my my director like kinda on the side we'd be sitting together, and he'd be explaining why he's choosing to do certain things, and why he's staging in a certain way, and it, like, everything has a purpose like it's incredible how it works. But You know I've seen other directorial styles which are like they tell the actors exactly what to do, but that's not the way he did it. He did it in the way where he had an end goal, and he let the actors get there by themselves, so that it became more authentic. They would understand as well, so he would ask questions. It's all about asking the right question, and the actor will get there at the end, like they'll come to the conclusion by themselves. So, I think learning that process was really a high point. Some low points it was probably just the content, you know, like there's some days where you just take an exam, and like the last thing you want to do is like, yeah, I think everyone has had that type of experience. And then I would say for the part that changed me, or like a moment where I feel like it changed me. I would say, probably maybe halfway into the process. You know I think it was also interesting, for, like my peers or my friends, to look at me as more of a I don't even want to say authority figure, but it's just like a different dynamic if that makes sense like where I would be asking them the same questions my direct my director teacher would be asking them, and you know it was just watching them. How they responded to him. Give a similar response to me. I felt like. Okay, now, now, I kind of get it. You know what I mean. So.
Let's talk a little bit about the impact of the artwork on you and your life. What did you learn from the process of interacting with the artwork? Did you learn anything about yourself?
Interviewer: yeah, definitely, let's talk about the impact of the artwork on you and your life. What did you learn from the process of interacting with the work? And did you learn anything about yourself?
Participant 41: Yeah. So, what did I learn from the artwork. Well, I feel like I learned so many things. I think perspective is like the biggest, you know. When you look at any theater piece like there's so many different backgrounds from the characters, and like, I think, that really, really extended in this show in particular, because of the way it's set up like you don't know the full story until towards the end, like you learn bits and pieces, but the actors do too. It's, it's really important. When I was watching them perform, I was watching my teacher direct is really important to see what they did and what they didn't say and what they would reveal versus what they didn't reveal. So, I think I apply that to my real life in the sense that you never know what someone's doing or like if they're doing it because of other experiences or like kind of just treat everyone like you don't know what someone's going through basically, so I think that's it really changed me. And I also think another thing that I really took from this experience was just confidence overall. You know I was really nervous coming into this environment specifically, because I had like very minimal experience in the directing or before going into it. But I feel like I learned a lot, and it was like almost like a one-on-one class with my director and teacher, and they really, I really appreciate them, taking the time, but just like confidence and my ability to put on a good show.
Do you think that the artist intended the work to affect others or the world in any particular ways?
Interviewer: Do you think that the artists intended for the work to affect others or the world in any particular ways?
Participant 41: Yeah, he when he told us why he picked the show it's like a show that is really pressing in our society right now. It's about people being falsely accused. It's a show about LGBTQ matters. You know it's a show about what a lie can do, and you know, like that is extremely prevalent in our time. And this show happened right before Covid and you know, so it was like, it's like hard to even think about that time. But there is just so much happening, and it was just really important for that story to be told.
Did your experience with the artwork affect your understanding of others or “the world?”
Interviewer: Did your experience with the work affect your understanding of others or the world?
Participant 41: Yeah, I mean, I think kind of based off of what I said in the last question, and I think it really put into perspective on all these different things, or like cause, like the main plot of the show is that one of the school girls tells a lie that basically ruins people's, lives and like, I guess the how small things can snowball and I think that really, you know, put into perspective about how detrimental things are when people say them, and if what might seem like a small thing could really be a bigger thing, if that makes sense.
When some people think about themselves, they see some parts of themselves as deeply true, real, or authentic.
If this idea resonates with you, did you learn anything about your true nature during the process of interacting with the artwork? Did you have any insights about your own authentic (or inauthentic) self?
Interviewer: When some people think about themselves, they see some parts of themselves as deeply true, real, or authentic. If this idea resonates with you, did you learn anything about your true nature during the process of interacting with the piece? Did you have any insights about your own authentic or inauthentic self.
Participant 41: Can I ask for a little bit clarification on that?
Interviewer: Just like authenticity like things you found out about yourself like your true nature, that you may not…
Participant 41: That makes sense, you know, I, I guess this you know, experiencing my director how he directed and even giving me a little bit of opportunity to jump in there, you know it kinda, it kind of reinforced how I like to lead. I've seen that in a couple of other instances like being on exec boards for clubs, or, you know, just like being the one to organize plans, you know, but I think it really reinforced that nature in me, and but I think it it's like so much more than that like, in order to be good leader, it's to be a good listener, and you have to listen to your actors and your management team, and there's so many different components so like working within a team. So, when I would watch him interact with everyone, I would really admire that, and I think that reinforced how important that is for me to be successful in anything in my future. So yeah.
Some people believe in ultimate meaning. This is defined as deep, underlying meaning that transcends subjective, personal meaning. It is about the nature of existence and identity, and it may include ideas about the significance of suffering, as well as spirituality.
If this idea resonates with you, did you learn anything about ultimate meaning during the process of interacting with the artwork?
Interviewer: some people believe in ultimate meeting. This is defined as deep underlying meaning that transcends subjective personal meeting. It is about the nature of existence and identity, and it may include ideas about the significance of suffering as well spirituality. If this idea resonates with you, did you learn anything about ultimate meaning during the process of interacting with the work?
Participant 41: Do you mind repeating that one more time.
Interviewer: Some people believe in ultimate meaning. This is defined as deep underlying meaning that transcends subjective personal meaning. It is about the nature of existence and identity, and it may include ideas about the significance of suffering as well as spirituality. If this idea resonates with you, did you learn anything about ultimate meaning during the process of interacting with the work.
Participant 41: Yeah, I think with this play there was, you know, there's a lot of I can't say that word, subliminal messages, and I think it really, I don't even think just for me, I think, for everyone it kinda meant something different for them, you know. As for spiritual or religious meetings. I don't know, I think just interacting with the piece for me. It was just like. I guess maybe even fate or destiny, like everything lined up where I did get to be part of this experience. But then, as for the piece itself, like you know, I don't. I don't know If I could say there was any ultimate meaning. I'm trying to think right now.
Interviewer: it's okay. If there isn't like it's totally fine.
Participant 41: I mean, yeah, I don't. I don't think so.
Some people believe or perceive a reality beyond the physical or material world. This may include religious beliefs/experiences (such as perceived interactions with God) but also may include mystical or transcendent experiences, or interaction with spirits. Did you have any of these kinds of experiences during the interaction with the artwork?
Interviewer: Some people believe or perceive a reality beyond the physical or material world. This may include religious beliefs or experiences such as perceived interactions with God but may also include mystical or transcendent experiences or interactions with spirits. Did you have any of these kinds of experiences during the interaction with the work.
Participant 41: I don't think so.
Interviewer: Even if you did not have an experience like this, you may have felt some sort of inspiration, guidance, or encouragement from the non-physical or supernatural? Or you may have felt some sense of presence or connection. Did you have any kind of these experiences during the creation or, sorry the script has the interaction with the work.
Participant 41: Yeah, I definitely felt like my support system, was guiding me through this whole process and I think when observing my director direct, you know I felt like I don't know it was like how do I explain it so, very complex question, and I’m trying to wrap my brain around it. Yeah, I mean my grandpa. He used to direct movies. Oh so. I don't know I felt like all of him was with me. I don't know if that makes sense. But I don't know. I just feel like there is a lot of my friends in particular. Were really pushing me to like, try this out, and especially when it came down to show time. and we got to see the full piece together, like their support, was definitely with me throughout the entire experience, and of when observing I know I kind of keep flip flopping between, like the actual play being my piece of artwork versus like the directing, but I think it's intertwined in a way just as theater in general. So, I think, when interacting with this show in particular, like I felt a lot of support for my family and my friends, and even from past experiences in my life, that it's just like kind of a hard part thing to explain, but like they are definitely with me. in the back of my head definitely cheering me on when I felt like I didn't know what I was doing. But deep down, like I had a feeling that I could do this.
Interviewer: Yeah, yeah, that's great. Well, thank you.
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