top down side side

Some of the recent conversation comes out of the observation that some heavily funded theater systems still promote stardom, especially among directors, and also squeeze out the writer. I don’t know England at all really, but it seems like a circumstance where there’s vertical funding (state subsidy) and a culture that still goes to scripts for ideas to frame up the broader cultural hubbub… but like I say, don’t really know.


The questions I’m trying to get at –


What conditions broadly need to maintain in order to support a collegial/domestic organization of authority (a struggling vocabulary; I’m inclined to it, but I know that the idea of home, if not precisely defined, brings in, well, patriarchy, for example) as apart from vertical force. I’m wondering if that which comes from verticality tends to be vertical – as top-down, with every copy bearing forward systems of oppression with less and less access (even unequal) to the balm of money.


What can we come from, in order to be horizontal? Or are we (grassroots) an origin of power?


And what are the relationships between vertical culture and writing? How do writers hang onto immortality and stardom, while writing plays that will only ever see the light of day through grass-roots cooperation?

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