READ THROUGH THIS ISSUE OF 'AMERICAN THEATRE' and you'll encounter four stories of the transformative power of theatre and what it can mean to be a theatre artist in America today. You'll find the lyrical, distinct voice of Lisa D'Amour, who conjures America, from the Texas Panhandle to New Orleans. You'll learn about Naomi Iizuka's community-based work on Hamlet, transposing the play to drug-afflicted Oakland, Calif., a project in which both the play and city are "complicated, living organisms that invite you to wrestle with them. They demand it."
You'll find yourself in the soggy but joyous bleachers after a rain-drenched performance of Mother Courage and Her Children at the Delacorte in Central Park, concluding with thunderous applause for Meryl Streep, Kevin Kline and the cast, who in turn thanked the audience.
And you'll share in the entirely improbable adventure of Suzan-Lori Parks's 365 Days/365 Plays, at first "an intimate thing between her and her muse," that will this year be produced through the partnership of more than 700 theatres and performing groups in what is certainly a new model of artist-inspired work.
These are only a few of the many glorious stories of theatre artists at work today. And yet, as artists and managers know all too well, events of the last decade, beginning with the 1996 Congressional elimination of most direct federal support for artists, have resulted in fault lines through the foundation of artist support.
As institutions lost dedicated funding, programs that nurtured relationships between artists and institutions have drifted away, resulting in fewer commissions, residencies and artistic staff positions, less opportunity for development and a reduced tolerance for risk-taking. As sustaining opportunities for artists have decreased, a distance if not a chasm has developed between artists and institutions. And almost certainly many individual voices necessary to telling our national story in the coming decades remain unheard.
Not that it's ever been easy. Actors have always struggled for a creative voice at the table, and Peter Shaffer voiced the sentiment of fellow playwrights when he said, "Writing a play is much like holding a rope, and going off into the dark, with the firm belief that it's attached somewhere at the other end, though you can't see it. Sometimes, very often, this belief turns out to be a complete illusion." All too frequently, neither a theatre nor the audience that the theatre might provide is there to grasp the other end.
The Urban Institute's 2003 study "Investing in Creativity: A Study of the Support Structure for U.S. Artists" concluded that most artists …