9. Structuring the Work of Revolutionary Theater
Lessons of the 'Troupe 1931' Theater Ensemble
The original author of these essays was Ingeborg Franke von Wangenheim.
Once we had the general direction of our path as a theater ensemble, Troupe31 could begin its work.
The revolutionary, proletarian theater movement is grounded in the creative and organizational forces of the People. As theater-artists, it was our job to bring these creative and expressive forces to life. The artist-collective is still the best means today to express the crisis of the middle-class, the frustrations of the masses, and the suffering of the People.
Whether we’re talking about industrial production or theater production, we see and understand the division of organized, specialized labor. Our own twelve-member Troupe31 understood this challenge: As specialist-artists and hand-workers, we often work alone. The modern theater is increasingly plagued by self-important “stars” — people working in a variety of jobs. As such, these artists see themselves as being above everyone else, or competing with others in the ensemble. How tedious the situation becomes when one actor or writer, crewman or musician — or even the director himself — holds his position or role above the rest of us. It’s very tempting today for some members of the group to feel superior to others in this way….
Troupe31 understood this challenge: As specialist artists and hand-workers, we often work alone. Our modern theater is increasingly plagued by self-important ‘stars’ — individuals working in different jobs….