LIMB FROM LIMB

Similarly, in terms of space, we acknowledge that we are not in the same space now. The actors are in their actual homes, you are in front of a computer. We are not in some anonymous void, we’re in this space, this house, and it has walls, and doors, and lights, and it’s made out of materials and textures and colors. Simultaneously, we’re in this invented place, we’re a world that is similar to ours but in the future, which has its own qualities. The electricity that gets generated by two different things being simultaneously true, that’s always exciting to me. 

Getting back to the imagination, everything we see onstage is fundamentally an act of the imagination. We invite the audience into a collaborative act of the imagination. I actually get insulted sometimes when I go to see a play and I’m not being asked to use my imagination when everything is spelled out. I think, “Am I not allowed to imagine where we’re going? Imagine this world?” I’d like to think that the act of theatre is an act of the imagination for everyone. Not just for the actors, the director, and the designers, but also for the audience.  

An act of theatre can not happen unless there is an audience. Until then it is a rehearsal. It is only the possibility of theatre.  The audience is that last integral part of the show that is needed. So we as a company are vitally interested in the audience’s experience and their take away.  

The Theatre of Others believes the play watches the audience. The audience is necessary and they are witnesses to what happens. 

We want an audience, -not, however, a casual here-today-gone-tomorrow audience that visits the theatre when there is nothing better to do; but an audience sincerely interested in plays that reflect the contemporary human comedy, the passions, and problems of our world today. We want an audience that will consciously follow our efforts, observe our development, encourage us, enjoy us, and if need be, criticize us. If we can succeed in creating such an audience, we will be doing in the best sense exactly "what the audience wants." 

We want to open the curtain to our creative process in hopes that not only will we excite and engage the audience but that we might be able to have a dialogue about the subject matter as well. Please join our mailing list, join our workshops, and listen to our weekly podcast

Steven Gaultney

Playwright

Steven is a Brooklyn-based playwright. His plays include A Thousand Ships at the Bottom of the Sea, Limb from Limb, Negligence, and Adam’s Dream. He is the resident playwright and dramaturg for The Theatre of Others, which has produced two of his plays. His work has also been developed by Chautauqua Theatre Company and Theatre for a New Audience. M.F.A.: Columbia University.

Instagram: @stevengaultney

Adam Marple

Director

Adam Marple is Co-Artistic Director of The Theatre of Others

Adam has directed over 50 productions and interdisciplinary works Regionally and Off-Broadway in the Americas, in Europe, and across South East Asia. He has been on the faculties of the School of Dance and Theatre at LASALLE College of the Arts in Singapore and was Senior Associate Professor of Theatre at Universidad de las Américas Puebla (UDLAP) in Mexico.

He has been practicing and teaching The Viewpoints for over twenty years having worked with its founders Mary Overlie, Anne Bogart, and Tina Landau. His research centers on the expansion and testing of The Viewpoints as an Interdisciplinary and Transcultural pedagogy. Published: The Viewpoints as Transcultural Pedagogy in Western Theatre in Global Contexts: Directing and Teaching Culturally Inclusive Drama around the World (Routledge) and Applying the Viewpoints to Multimedia Performance (Global Performance Studies)

Instagram: @boots_and_sunglasses