1863 inc.: Workshops

Professional Collaborative Workshop (PCW)

History

The 1863, inc. Professional Collaborative Workshop was

created by Chris Ajemian and Charlie Veprek to support the work of theatre artists and to cultivate the emergence of new artists. Since February of 2002, over thirty NYC area-based artists have participated in the PCW. The first 1863 inc. Student Collaborative Workshop will was held for the the National Theater Institute at The O'Neill Center in March of 2003.

Overview

We use a triangle process. Twelve people randomly divide into three groups. Each group is given a number of hours to

collaboratively write a script inspired by a specific source. Each script is then passed onto another group who in turn creates a performance within a set amount of time, based on that new script. All three rough works are then viewed by all of the

workshop participants.

Benefits

The participants play three sides of the ball. They create a script for others to perform, and then create a performance for an audience. Finally, they practice the art of being a respectful and receptive audience member. They learn about all sides of the theater experience, and in the process are forced to

synthesize their respective tools with the talents of those around them. This situation challenges the limits of one's

collaborative skills, and as a result, one walks away with an honest perspective of the role one plays in the creative field.

Writers, actors, directors, designers, dancers, and musicians have participated in the workshop. Each artist has had an

invaluable role in the creation and performance of the work. The PCW allows for a unique crossing of boundaries between the arts. Artists see what their background can offer to a

diverse group in the throws of the creative process. They learn about the creative methods of another art forms and how it may be different than, but applicable to their own.

The workshop explores alternative ways of creating original texts. There's no time-tested methodology of how to create a script off an unmarked CD that happens to contain seven

minutes of funk/jazz acid-fusion by the Lafayette Afro-Rock Band, as one workshop group did. How do you do that and still maintain the laws of theatricality?

First seeing the piece that you wrote presented, and then

hearing the audience's feedback on the piece that you

performed, asks the questions:

What does the audience need? Have your choices activated this audience's imagination towards your given end?

The entire process of creation, from conception to post-show feedback occurs over a two-and-a-half-day time span, (or the equivalent: three Saturday's or multiple 2-3 hour sessions over a number of weeks). The workshop starts with the initial

excitement of forming the group, is followed by the opening of the secret source material, and quickly moves all the way through writing and rehearsal hours to a final feedback session after the last performance.