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lillibetAnna 'nother set of interview questions. These from ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
infinitehotel.
1. You're now in a position where your activities are receiving scrutiny from a fairly large audience. How much of how you define success is based upon external validation (reviews) versus internal satisfaction and how do you balance the two?
Well, the external validation comes in a lot of forms other than reviews, but I'll talk about those first. I have yet to be formally reviewed by anyone. Various people have offered their comments--verbally, in email, on LJ, etc.--and I find them all validating in the sense that they all say "hey, I paid attention to what you were doing!" I expect that if I were, say, completely panned by the Globe, I would still be able to say "woo-hoo! The Globe printed something about us!" regardless of my reaction to the content. With regard to the content, a lot of my reaction involves the source--many of the positive comments come from family who are gonna love us no matter what we do. On this particular show, the comments that have been most dear to me are those from people who I'm pretty confident were evaluating the work and offering their criticism honestly.
At the same time, as I keep saying to people: if this weren't fun, I wouldn't be doing it. That actually covers a lot of ground. It is important to me that the other people involved find meaning and enjoyment in what they are doing. It is important to me that my friends have begun to get involved with the group. It is important to me that church members have begun to get involved with the group. It is important to me that while I choose plays that I think have some level of challenge for the audience, we aren't so non-commercial that we actually lose money. It is important to me that most of the members of my casts come away from the experience willing to work with me again. It is less important to me, but very gratifying, that most of them seem to like me as well or better after the show as they did at the beginning. All of these are forms of external validation and I revel in them.
The internal validation is also pretty strong. I think the best feeling of the whole process is not the performances, when other people have a chance to weigh in, but during the rehearsal process when I have the sense that we are in the zone, that I am communicating with my actors and we are moving forward and finding the ways that they will play this. That's when I feel the most personal satisfaction, I think, and that's why I keep doing it. The fact that, over time, I have more and more of those moments, is my best yardstick of progress.
2. What are your methods for getting to know someone new in a large social situation? (You make eye contact across a crowded room, okay, now what?)
Oh, I'm shameless. I just say something like "Hi--that's a great shirt!" or "How do you come to be here?" or simply "What's up?" I try to strike a balance between offering people the opportunity to talk to me and interrogating them. I offer information about myself and search for common areas of interest. If I think they'll appreciate it, I give backrubs--but those I usually save for closer acquaintance these days.
3. Which sense most strongly powers your attraction to a person?
It seems to be largely visual, but if they smell wrong, they're out of the running.
4. Will we ever see you in front of the lights instead of backstage in a T@F production?
I hope so--I enjoy acting and I think it's important to remember what it's like to be directed in order to be a better director. You cast me, I'll act for you. But I'm tough to cast.
5. If you were running a finishing school for young males, what would be on the curriculum?
Well, mostly the same stuff on the curriculum for young females. There's a lot of lifestyle maintenance that many young people these days have to figure out for themselves--cooking, cleaning, laundry, checkbook balancing, scheduling, car maintenance, simple sewing and household repairs, etc. Knowing how to do all of these things makes life easier for everyone--and having a capable partner is a great blessing to any relationship.
But if I were really doing a "finishing school" in the sense of turning out perfect husbands, I think the curriculum would focus more on communication and thoughtfulness. "It's OK to be Wrong: How to Apologize", "Romance: Perfect Dates and Playful Times", "Flowers, Chocolates, Silk and Diamonds--What Matters and When Does It Matter?", "Decision Making: Involving and Delegating", "Sympathy: How Much Is Enough?" "Active Listening" and other similar subjects would definitely be on the syllabus, although gourmet cooking, basic wine knowledge, and advanced foot massage would also be right up there.
Thanks for some very fun questions. Anyone else?
infinitehotel.1. You're now in a position where your activities are receiving scrutiny from a fairly large audience. How much of how you define success is based upon external validation (reviews) versus internal satisfaction and how do you balance the two?
Well, the external validation comes in a lot of forms other than reviews, but I'll talk about those first. I have yet to be formally reviewed by anyone. Various people have offered their comments--verbally, in email, on LJ, etc.--and I find them all validating in the sense that they all say "hey, I paid attention to what you were doing!" I expect that if I were, say, completely panned by the Globe, I would still be able to say "woo-hoo! The Globe printed something about us!" regardless of my reaction to the content. With regard to the content, a lot of my reaction involves the source--many of the positive comments come from family who are gonna love us no matter what we do. On this particular show, the comments that have been most dear to me are those from people who I'm pretty confident were evaluating the work and offering their criticism honestly.
At the same time, as I keep saying to people: if this weren't fun, I wouldn't be doing it. That actually covers a lot of ground. It is important to me that the other people involved find meaning and enjoyment in what they are doing. It is important to me that my friends have begun to get involved with the group. It is important to me that church members have begun to get involved with the group. It is important to me that while I choose plays that I think have some level of challenge for the audience, we aren't so non-commercial that we actually lose money. It is important to me that most of the members of my casts come away from the experience willing to work with me again. It is less important to me, but very gratifying, that most of them seem to like me as well or better after the show as they did at the beginning. All of these are forms of external validation and I revel in them.
The internal validation is also pretty strong. I think the best feeling of the whole process is not the performances, when other people have a chance to weigh in, but during the rehearsal process when I have the sense that we are in the zone, that I am communicating with my actors and we are moving forward and finding the ways that they will play this. That's when I feel the most personal satisfaction, I think, and that's why I keep doing it. The fact that, over time, I have more and more of those moments, is my best yardstick of progress.
2. What are your methods for getting to know someone new in a large social situation? (You make eye contact across a crowded room, okay, now what?)
Oh, I'm shameless. I just say something like "Hi--that's a great shirt!" or "How do you come to be here?" or simply "What's up?" I try to strike a balance between offering people the opportunity to talk to me and interrogating them. I offer information about myself and search for common areas of interest. If I think they'll appreciate it, I give backrubs--but those I usually save for closer acquaintance these days.
3. Which sense most strongly powers your attraction to a person?
It seems to be largely visual, but if they smell wrong, they're out of the running.
4. Will we ever see you in front of the lights instead of backstage in a T@F production?
I hope so--I enjoy acting and I think it's important to remember what it's like to be directed in order to be a better director. You cast me, I'll act for you. But I'm tough to cast.
5. If you were running a finishing school for young males, what would be on the curriculum?
Well, mostly the same stuff on the curriculum for young females. There's a lot of lifestyle maintenance that many young people these days have to figure out for themselves--cooking, cleaning, laundry, checkbook balancing, scheduling, car maintenance, simple sewing and household repairs, etc. Knowing how to do all of these things makes life easier for everyone--and having a capable partner is a great blessing to any relationship.
But if I were really doing a "finishing school" in the sense of turning out perfect husbands, I think the curriculum would focus more on communication and thoughtfulness. "It's OK to be Wrong: How to Apologize", "Romance: Perfect Dates and Playful Times", "Flowers, Chocolates, Silk and Diamonds--What Matters and When Does It Matter?", "Decision Making: Involving and Delegating", "Sympathy: How Much Is Enough?" "Active Listening" and other similar subjects would definitely be on the syllabus, although gourmet cooking, basic wine knowledge, and advanced foot massage would also be right up there.
Thanks for some very fun questions. Anyone else?
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no subject
Date: 2004-11-17 10:36 am (UTC)no subject
Date: 2004-11-17 12:39 pm (UTC)1. If you were offered a great job--exactly what you'd like to be doing, more money than you think you're really worth, enough stress to keep you motivated without making you crazy--that required you to wear a suit and tie every day...would you take it? For extra credit: what would that job be?
2. You're being put into hypersleep for an interstellar journey. Along the way you have the option of learning anything you want in your sleep. You already know everything you need to know about your destination and what you'll do when you get there--this is just for personal satisfaction. What would you like to have in depth knowledge of that is currently more or less a complete mystery to you.
3. What do you think is the best thing since sliced bread?
4. Do you consider yourself "a grown-up"? If not, when do you think you will? What age or event or development defines this idea for you?
5. OK, you've achieved world domination. What's your first move?
no subject
Date: 2004-11-17 07:14 pm (UTC)no subject
Date: 2004-11-17 09:46 pm (UTC)2. What's your favorite sandwich?
3. There's a transporter accident and you are all mixed up with another person, with no chance of ever being separated, such that even your personalities are merged. With whom do you think the accident would be a happy one, resulting in a better person? (The answer could be either a specific individual or a collection of traits.)
4. How many dead people do you know? Which do you miss the most?
5. Is there anyone alive today that you would willingly kill, given the opportunity, but no assurance that you would escape any subsequent consequences?