Sense and Sensibilities

The following are the principles on which we produce our shows:

Prenzie Players’ Sense and Sensibilities regarding the Performance of Poetic Theater

I. Meticulous attention to language is imperative in that –

• Language is the genesis of all decisions regarding character, pacing and intensity (see John Barton’s Playing Shakespeare).
• Decisions regarding cutting and performing the script are based on our players, our playing space, and our Time, with regard to our perception of the author’s intent.

II. Realism is essential only in that –

• Emotions, intent and blocking derive from the inner landscape of the characters, not from theatrical necessity.
• The sensory perceptions of players on-stage are identical to the sensory perceptions of their characters; and the sensory perceptions of characters on-stage are identical to the sensory perceptions of their players (this can also be extended to those offstage).
• Actions may happen, and lines may be spoken, simultaneously – just as in real life.

III. Players may play multiple roles, so that –

• We maintain an ensemble atmosphere.
• Our players are engaged throughout a performance.
• We further the artistic vision of the play.

IV. The sets, costumes, and playing space should be designed with the understanding that –

• Design choices are made to reveal character, or advance the narrative; they should in no way pull focus from characters or narrative.
• Everything perceptible to the audience is part of the show.
• The role of the audience, and the players' relationship to the audience, is permeable and malleable.
• There need not be a fourth wall.

V. The needs of comedy may suborn any of these rules.