Integral Theatre

I've been considering of late the question of how to create an Integral Theatre.

To understand where I'm coming from, you should understand that I went to graduate school in playwriting only to have the head of the program take early retirement, leaving me the choice of finishing the three-year degree in a nominal program, apply elsewhere, or transfer into the M.A. program in performance studies.

Finding myself in such a crisis impacted me deeply.  For one thing, it altered my perception of the theatre as a profession, undermining my desire to pursue it for the purpose of making a living.

Theatre remains for me a medium with the potential to be incredibly powerful.  So back to the question: how does one go about creating an Integral Theatre?

I'll throw out some questions to (hopefully) get this ball rolling:

1.  Theatre fundamentally begins within a context of what we understand ourselves to be as human beings.  Since the Integal model points out that there are minimally as many understandings if who and what we are as there are perspectives, and each is valid from within its own context, can we infer that the dramatic arc of the play, in its subtlest sense, should be concerned with the Integral development and evolutionary progression of its characters?

2.  Following from question one, above, should not also the producers (in the broadest sense) be similarly concerned with their own development?

3.  There are a growing number of examples, and much new writing on the subject of Integral business and management.  One would only assume that these will happily apply to the business of theatre operation and business management.  What would some of the particular aspects of the business of Theatre be, and how would the Integral model apply to them?

4.  Quadrant III:  The “We” of an Integral Theatre: 
There are various cultural collectives inside the Theatre, but what are the relationships with the community of the Theatre in the actuality of it's cultural context(s)?  Which are charged with potential and which are outmoded?  How can we best go about creating a powerful audience while participating and giving back to the community?

5.  The financial model:
Traditionally, most Theatre companies operate on a not-for profit basis.  Some succeed in going for-profit.  What is the best balance for these in an integral sense?  Also, what is the best way, from a sustainable and integral model, to go about the business of establishing a viable Theatre, one which can pay it's practitioners a living income, build itself financially and prosper, while maintaining loyalty to its artistic vision and mission?

I'll start with these five (a good number I think) and see what responses come along….

- Michael Craig
(an artist developing his vision)