John Muszynski: A Mentor to All

By Amelia Kmiec, ITA Secretary

 

  Theatre is a selective mirror of life.  Each experience - from early collaborations and rehearsals to performance - mimics the growth and change that occurs in the journey of life, but in a fraction of the time.  Each production cycles through the important stuff- birth, childhood, adulthood, old age and death- and, with each new production, it happens again; and again; and again.  The arduous and yet oh-so-completely-satisfying process of making more and more theatre (because as you all know, we don't just ever stop participating in the theatre process), makes essentially a little bubble- its own little world that so few outsiders understand.  And while, for some of us, being a part of "Theatre Island" often brings us back to the therapists' office each week, the few that often stand out among the rest of us along in this strange little world, are almost like sprites, elves, or, if you will, fairies. Childlike, energetic, ethereal, excited, fascinating- it is impossible not to be captivated by their spirit and wan t to catch and keep a little bit of their energy for yourself.

 

The recipient of the ITA's Anne Thurman Mentorship Award this year once told me that he was not quite sure what he'd be when he grows up.  Perhaps his sense of adventure stemmed from his first broad and accolated journey as an actor, director and producer of regional theater in Chicago for almost a decade. Tackling theatre in the classroom was the next chapter of his career, and while perhaps he was always young at heart, all the commendations that surrounded him indicated that he was wise and experienced.  He has been honored both by AATE and ITA for his extensive contributions in teaching theater.  He not only participated on several IHSTF committees and directed an All-State, but, he was also a very active President of the ITA. Additionally, he, along with others in NITE (North Shore Theater Educators), a networking group that he helped to create, worked tirelessly to try and implement an AP Test in Theatre. All while, of course, teaching a day full of classes and directing three productions a year. I was in awe.  When did he sleep? From where did this boundless energy flow?  How had this rare and scary world of theatre education not clouded his passion for this art form?   

The answer to these questions lies in his intuitive ability to rely on the strength of those around him.  Not unlike applause to keep an ill-fated Tinkerbell alive, the Anne Thurman recipient this year truly feeds off whatever engagement he receives from his fellow collaborators.  While this is a relatively new award, those who knew Anne Thurman truly understand how large of a shadow she cast on those she mentored throughout her life. In her service to connecting others, Anne was relentless, fearless and, often, incredibly skilled in getting what she believed could only best add to the Theatre community as a whole.  The recipient of her namesake award this year, truly makes what is often misperceived as a stuffy or outdated art form accessible to anyone.  Mentors often carry an air of elitism and can make you a feel a bit intimidated and scared.  When a person that you believe to be so talented and successful tells you, a fearful student teacher, and a group of high school students, confidently, that even he doesn't know what the future holds, but guess what, we're going to do it together, -- how can you help but feel safe?

 

This person is always mentoring everyone around him, and, even better, those who would be offended by the notion of being mentored by a colleague can't be because he does it so well.  A former colleague told me that for this award recipient, a quiet evening at the theatre does not exist, as at least 15-20 people from the audience will approach him.  He once told a shy, new colleague he needed to meet three new theatre teachers at high school theatre festival each year, and he offered to find them for her in an effort to get her to network.  It is impossible to meet a person who is not acquainted with his crew of former students, who once might have been "lost." but have now found themselves as theater professionals and supporters all over the world.   

While he still may not have grown up, he is embarking o n a new, theatre related journey directing and acting in professional theatre, as well as continuing to mentor Theatre Education Student teachers at ISU. So, whether you are excited/relieved to have come to the last installment of the Peter Pa n metapho r, or, like me, you are just grateful to this person for g iving you the opportunity to think happy thoughts and feel like you can fly while doing what you love, please- clap your hands  - if you believe - for this year's Anne Thurman Mentorship Award recipient: John Muszynski.

Mindfulness and Self-Awareness: Engaging the Vessel of the Artist 

By Brenna Cronin, ITA Theatre for Young Audiences Division Representative

 

At this year's ITA Annual Convention, I had the opportunity to ask artists, educators, administrators, and theatre appreciators, "What is one way that you're currently engaging your personal artistic vessel, currently, every day, without hesitation?"   And here are the things I heard:

His creative bank account.  Unbelievable.  And when asked, "What is one way that you would like to engage your personal artistic vessel?"  Here are the things I heard: 

Cash the checks!  Absolutely!  How much preparation do we get stuck doing before we actually get our hands deep into creative work?  How many of us get stuck spending an hour cleaning off the dining room table to run out of time and not start the project?  In my own life, it's the simple ten minute things that don't seem to get done for weeks.  Piling and piling up until it turns into a three-hour long, project-filled afternoon, which feels more like work and less like a creative outlet.  If there's one thing I learned from our Creative Drama and Theatre for Young Audiences conversation at our annual convention, it's that if we artists don't have personal outlets for our creativity, we get stuck.  And strangely tired.  And miserable to be around.  

 

I'd like to challenge you with beginning a meditation practice.  Allowing my fiery body and brain to sit still for ten minutes a day has had a profound impact on the clarity of my thoughts, the concise nature of my words, and the lowering of my stress response.  During my session at the conference, we explored four ways to bring meditation into your daily practice.  Try setting a timer and see if one of these will work for you.

 

1. Walking: With a different quality of movement than pacing, find a space that you can either walk gently in continuous back and forth lines, or in a circle. Whether this is the ten minutes on your lunch break to get some oxygen or your walk to your next meeting, make it intentional.  Every breath is intentional.  Every step of your foot is intentional.  Finding a simple mantra like "I am walking" or "I am feeling..." can be incredibly transformative.  Don't pick up your phone.  Don't say hello to anyone walking towards you.  It's not being rude - it's taking care of yourself in the few moments you have today.  

 

2. Seated Movement: Perhaps after a walking meditation or on its own, find a comfortable seat in a chair or on a cushion.  If you are used to being in motion and sitting quietly is challenging for you, stay in the challenge.  After a few stretches above your head, side to side, or forward, allow three or four minutes to go by in a completely still seated state.  It will be uncomfortable.  Stay with it.  Notice the things your body is experiencing and gently let them go.  Don't be frustrated by an itch on your left leg.  Over time, your body will soften and lighten towards the practice of "finding your seat." 

 

3. Body Scan: Fully reclined on your back, allow your legs to fall and palms to open at your side.  Take up as much space as feels comfortable to you.  Beginning with your feet and working up to your head, squeeze every bit of tension and frustration into that body part.  While squeezing, take a big deep breath in and release your breath and body.  Allow your mind to "scan" through the different sections of your body - knees, quads, hips, belly, ribs, heart, throat, neck and shoulders, and head.  After squeezing your facial muscles and releasing with an exhale and open jaw, allow the entire body to squeeze into itself and release.  Feel free to stay in this reclined "corpse pose" or savasana as long as you'd like.  

 

4. Written meditation:  With pen and paper nearby, reflect onthese questions:

We are all brilliantly flowing vessels with unlimited potential.  Unlimited potential to create, lead, explore, dance, write, think, move, and be present.  Be present with your kind self today.  Have no reservations, no desire to achieve, and leave competition at the door.  Breathe.  Engage your one and only vessel.  

Shakespeare Whispers Into Your Ear: The Use of First Folio Technique

By Kevin Long, ITA University/College Division Representative

 

I would personally like to thank all the participants and guests who attended the recent ITA Annual Convention this past September in East Peoria. Your presence helped to make the convention a great success and your enthusiasm and positive spirit helped make our time together both productive and fun.  I hope that your experience at the convention was stimulating and rewarding and that you left energized and empowered to do great things for your students and your institutions. It is my honor to serve as the college/university representative on the board and I look forward to my work with ITA this year.

 

At our Convention, I presented my workshop entitled, "Shakespeare Whispers Into Your Ear: The Use of First Folio Technique." I had many requests for the power point that I created for my session and I am happy to share it with you. Click here. Note: You must be an ITA Member to access this document.

What is First Folio Technique?  With the rigorous performance schedule of the repertory system during Shakespeare's day,

 there was no time to rehearse. Therefore, Shakespeare created  a system that quickly and efficiently provided the actor with the entirety of the character. He achieved this by placing essential clues for the actors directly into the text!  Unfortunately, since that time, many editors have removed this vital, intended text and deleted important acting clues in the name of regularity. The First Folio of 1623  is the most authentic manual available to Shakespearean actors today!

 

Through the use of this technique, participants saw Shakespeare in an entirely new light and unlocked the secrets to performing Shakespeare's work.  Using Shakespeare's own methods, participants learned how to interpret text and build a foundation for inspiring performances.  When used, this exhilarating process will result in a production that is extremely tactile, visceral and accessible.  The First Folio method is the foundation of Chicago Shakespeare Theatre, where I also teach.

 

Everyone who loves Shakespeare gains a deeper understanding of the texts and how they work in performance. Action and subtext become clear and performances become exhilarating for both actor and audience.  Teachers in attendance learned new ways to bring Shakespeare alive in the classroom and how to decode the language, spelling, punctuation and lineage preserved in the First Folio of 1623.