The Artists of Dionysus

Did you know that the first international guild/trade union in the western world was a theatrical one? The Artists of Dionysus operated to ensure that traveling actors were granted “freedom of travel, freedom from taxation, and freedom from arrest, should the local authorities seek security for the debt of a fellow countryman of the actor.”1 Also, during the 2nd century B.C., there was a guild of pantomimes and mimes called the Parasites. Labor history in the ancient world!

However, the coolest fact is that the final title of the organization at its end—circa 274/5—was best title of a guild/union ever:

The Sacred Musical Traveling Aurelian World Great Guild of the Artisans of Dionysus, Sacred Crowned Victors, and their Fellow Competitors.2

  1. Eric Csapo & William J. Slater, The Context of Ancient Drama, (Ann Arbor: The University of Michigan Press, 1995), 240. []
  2. Ibid., 242 []

Play 11 – Le Café Arbre

The dialogue is in French. You will most likely figure out why. I used Google Translate, so if some of the phraseology is wrong, please let me know so I can fix it in the script. If you don’t read French, just copy and paste the sections (really it’s only the last couple of lines that will be hard to figure out) into Google Translate and you’ll be all set.

11_Le Café Arbre.pdf

Play 7 – Drinking with Caliban

Yes, I’m running at a three day deficit in this project and maybe I’ll catch up and maybe I won’t. To stress out or get anxious about meeting an artificial challenge like this would be to allow a challenge to become a burden. Will I try to catch up? Sure, but if I don’t it will be just fine.

This is the first script I’ve written for the 31 Days project without knowing what I was going to write as I opened up my script program to a blank document. I literally was staring at the blank screen without a clue as to what would emerge. Then the rocky shore came to mind and the thought: what if Miranda went back one day? To the island? This is also the first play in this series that I feel could bear significantly more expansion that what is here, though I think it is self-contained and gets to a kernel of what I wanted to explore. Perhaps. Who knows.

Drinking with Caliban.pdf

Play 3 – 10 Ways to Alienate a Theatre Audience

Sometimes it is a very thin line between profound and immature. The whole, “let’s alienate the audience just to alienate the audience” bit is kind of boring. Still, it has its purpose and this play—while short, slight, and very inconsequential—is hopefully an interesting schematic for challenging the actors and audience. I’m really curious to hear what people might think about this one. Would you enjoy it? Or, if not enjoy it, do you think it would hold your interest or would you get turned off completely?

 03_10 Ways to Alienate a Theatre Audience.pdf

The Tenth 10 Minute Play


Back in October, I started this ten minute play project and today I’ve finished the tenth play.

Yay me! (Will be doing some rewrites here and there and then attempting to find directors and theaters to stage them, but at least the heavy lifting is done.)

What’s ironic is that this last play has no weird soundscape, no wacky nano-bot disappearances, no bizarre, dreamlike occurrences. This play is simple, bare bones, easy to stage and with a focus on character rather than story or atmosphere. But it was the play I needed to write and so here it is:

Going Out

Another 10 Minute Play

Which brings us up to 9 of the 10 plays that I am planning on for this project.

The Hermit

Again, I would love to get feedback on any or all of these plays. All of them have room for revisions and some of them may need significant rewriting, so your thoughts would be extremely helpful.

You’ll find all of them listed on the Scripts page.

New Play . . . of Sorts

I have, occasionally, really wanted to be a choreographer. Of course, I have no dance training so that kind of keeps me from pursuing that desire. This next contribution to my 10 10 Minute play series is entitled “Text for 2 Dancers” and is precisely that. Not so much a play, “Text” is meant to be the starting point for a movement piece. In some ways I would love to see this staged more than any of the other plays because, as a director, I can envision how the other plays would be performed, but I have no idea what a good choreographer would do with this piece.

So if you are a choreographer or you know any choreographers, please feel free to produce “Text for 2 Dancers.” It is licensed under a Creative Commons Attribution-Share Alike 3.0 license.

Text for 2 Dancers