1 00:00:08,949 --> 00:00:11,851 ELIZABETH HUTH COATES CHARITABLE FOUNDATION. 2 00:00:11,853 --> 00:00:18,791 AND VIEWERS LIKE YOU. >> AND BY THE TOBIN CENTER 3 00:00:18,793 --> 00:00:22,762 FOR THE PERFORMING ARTS. OPENING SEPTEMBER 2014. 4 00:00:22,764 --> 00:00:25,297 PROVIDING THE BEST PLACE ANYWHERE TO SEE AND HEAR 5 00:00:25,299 --> 00:00:28,434 LIVE PERFORMANCE. SAN ANTONIO'S FUTURE OF THE 6 00:00:28,436 --> 00:00:33,939 PERFORMING ARTS. THE TOBIN CENTER. 7 00:00:33,941 --> 00:00:37,510 >> ON THIS EDITION OF ARTS. WE'LL HEAR FROM SEVERAL SAN 8 00:00:37,512 --> 00:00:40,079 ANTONIO ACTORS WHO HAVE THEIR OWN REASON FOR 9 00:00:40,081 --> 00:00:41,847 PARTICIPATING IN COMMUNITY THEATER. 10 00:00:41,849 --> 00:00:44,216 IT'S NOT FOR THE MONEY. IT'S NOT EVEN FOR THE FAME 11 00:00:44,218 --> 00:00:45,818 OF BEING IN FRONT OF THE AUDIENCE. 12 00:00:45,820 --> 00:00:47,820 IT'S JUST THEIR WAY OF EXPRESSING THEMSELVES 13 00:00:47,822 --> 00:00:50,456 THROUGH THEIR ART. DEBORAH MARTIN OF THE SAN 14 00:00:50,458 --> 00:00:53,159 ANTONIO EXPRESS NEWS JOINS US TO DISCUSS THE OVERTIME 15 00:00:53,161 --> 00:00:56,762 THEATER'S PERFORMANCE. BY RACHEL. 16 00:00:56,764 --> 00:00:59,131 AND WE'LL MEET A PHOTOGRAPHER AND VISUAL 17 00:00:59,133 --> 00:01:03,269 ARTIST WHO GRAVITATE TO STARK URBANSCAPE WITH AN EYE 18 00:01:03,271 --> 00:01:12,445 FOR THE OVERLOOKEDMENT TIME TO ENJOY ARTS. 19 00:01:12,447 --> 00:01:19,485 >> . >> HI AND WELCOME TO ARTS, 20 00:01:19,487 --> 00:01:24,657 MY NAME IS ASIA CIARAVINO. WE'RE HERE AT THE PLAYHOUSE 21 00:01:24,659 --> 00:01:26,192 SAN ANTONIO. DID YOU KNOW THAT COMMUNITY 22 00:01:26,194 --> 00:01:28,894 THEATER WAS BORN IN THE UNITED STATES IN THE EARLY 23 00:01:28,896 --> 00:01:30,563 1900S? THAT'S WHEN THE LITTLE 24 00:01:30,565 --> 00:01:33,299 THEATER MOVEMENT DEVELOPED IN SEVERAL LARGE CITIES, 25 00:01:33,301 --> 00:01:36,469 BEGINNING WITH CHICAGO, BOSTON, SEATTLE AND DETROIT. 26 00:01:36,471 --> 00:01:40,940 MORE THAN 100 YEARS LATER, COMMUNITY THEATER RIGHT HERE 27 00:01:40,942 --> 00:01:42,942 IN SAN ANTONIO CONTINUES TO DEVELOP THE SKILLS AND 28 00:01:42,944 --> 00:01:45,544 ARTISTIC SENSIBILITIES OF THOSE WHO PARTICIPATE. 29 00:01:45,546 --> 00:01:48,080 TONIGHT WE'RE GOING TO HEAR FROM FOUR OF MY FRIENDS WHO 30 00:01:48,082 --> 00:01:50,316 HAPPEN TO BE SOME OF THE MOST EXCITING THEATER 31 00:01:50,318 --> 00:01:54,220 ARTISTS IN SAN ANTONIO. TALK TO YOU A LITTLE ABOUT 32 00:01:54,222 --> 00:01:57,056 WHY THEY DO WHAT THEY DO. >> THEY COME FROM DIFFERENT 33 00:01:57,058 --> 00:01:59,992 BACKGROUNDS. >> I'M THE COORDINATOR. 34 00:01:59,994 --> 00:02:04,864 >> I WORK AT -- I'M A CREATIVE THERE WHICH MAKES 35 00:02:04,866 --> 00:02:07,533 ME TRAINER FOR CUSTOMERS THAT COME IN TO LEARN ABOUT 36 00:02:07,535 --> 00:02:10,402 THEIR DEVICES. >> I AM A STUDENT WORKING ON 37 00:02:10,404 --> 00:02:13,973 MY THIRD DEGREE. >> MY PASSION SON THE STAGE. 38 00:02:13,975 --> 00:02:16,976 I THINK I'LL CONTINUE TO ACT AS LONG AS I CAN. 39 00:02:16,978 --> 00:02:20,212 >> COMMUNITY THEATER PAYS THESE ACTORS LITTLE, AND 40 00:02:20,214 --> 00:02:24,517 SOMETIMES NOTHING AT ALL. IT DOESN'T SEEM TO MATTER. 41 00:02:24,519 --> 00:02:30,156 >> THERE'S SOMETHING SO MAGICAL AND JUST INCREDIBLE, 42 00:02:30,158 --> 00:02:33,292 INSPIRING TO BE IN FRONT OF THAT MANY PEOPLE TO HAVE 43 00:02:33,294 --> 00:02:37,096 THAT POWER, TO BE ABLE TO CONVEY A STORY, AND TO KNOW 44 00:02:37,098 --> 00:02:40,533 THE AUDIENCE IS WITH YOU FOR THE ROLLER-COASTER RIDE OF 45 00:02:40,535 --> 00:02:44,103 EMOTIONS, AND EVENTS. TO BE ABLE TO TELL AN 46 00:02:44,105 --> 00:02:47,673 AUDIENCE A STORY THAT THEY MAY NOT OTHERWISE SEE OR 47 00:02:47,675 --> 00:02:55,247 HEAR SOMEWHERE ELSE. >> ( SPEAKING SPANISH). 48 00:02:55,249 --> 00:02:58,851 >> GO INFORM HIM THAT THE CAPTAIN WILL BE COMING TO 49 00:02:58,853 --> 00:03:03,155 MAKE HIS CONNECTION. >> WHEN THE ACTING BUG BITES 50 00:03:03,157 --> 00:03:04,390 ,. >> I THINK WHEN I WAS YOUNG 51 00:03:04,392 --> 00:03:08,060 ER, I'VE ALWAYS HAD AN ASPIRATION TO DO SOMETHING 52 00:03:08,062 --> 00:03:13,532 WITH MEDIA OR FILM OR ACTING , OR PERFORMING. 53 00:03:13,534 --> 00:03:16,368 >> ALWAYS BEEN A PART OF ME. SINCE I WAS A CHILD. 54 00:03:16,370 --> 00:03:20,072 >> I'VE BEEN ACTING SINCE I WAS IN HIGH SCHOOL. 55 00:03:20,074 --> 00:03:22,508 AND I WENT AND GOT MY DEGREE IN IT. 56 00:03:22,510 --> 00:03:25,377 AND I'VE BEEN WORKING PROFESSIONALLY SINCE 2012. 57 00:03:25,379 --> 00:03:30,749 >> WHAT DREW ME WAS JUST THE ABILITY TO STAND UP AND TRY 58 00:03:30,751 --> 00:03:33,219 A DIFFERENT PERSON ON FOR A GIVEN PERIOD OF TIME. 59 00:03:33,221 --> 00:03:40,125 AND IT'S NOT SOMETHING THAT IS SO QUICK AS -- YOU NEED 60 00:03:40,127 --> 00:03:42,394 TO DELVE INTO THE LIVES AND BACK STORIES, RELATIONSHIPS 61 00:03:42,396 --> 00:03:44,964 AND HISTORY AND YOU HAVE A SET PERIOD OF TIME TO REALLY 62 00:03:44,966 --> 00:03:51,103 TRY ON ANOTHER LIFE, ANOTHER TIME, AND TRY TO MAKE THAT 63 00:03:51,105 --> 00:03:53,906 REALISTIC AND IN THE REALM OF THE PLAY AND THE AUTHOR'S 64 00:03:53,908 --> 00:03:57,176 WORDS IS WHAT DRAWS ME TO IT >> DEET A SUCCESSFUL 65 00:03:57,178 --> 00:03:58,911 COMMUNITY THEET CERTIFY THE AUDIENCE. 66 00:03:58,913 --> 00:04:00,980 AND THAT'S WHY THE HARD WORK . 67 00:04:00,982 --> 00:04:04,049 THEY NEED TO DELIVER AN ENTERTAINING EXPERIENCE. 68 00:04:04,051 --> 00:04:12,958 NIGHT, AFTER NIGHT. DEFINITELY FEEL GOOD TYPE OF 69 00:04:12,960 --> 00:04:16,495 EXPERIENCE. AND THAT'S REALLY WONDERFUL, 70 00:04:16,497 --> 00:04:20,633 THEY FEEL GOOD AFTER THE SHOW, TAKE SOMETHING FROM IT 71 00:04:20,635 --> 00:04:28,907 . VENTURE INTO A WORLD THEY 72 00:04:28,909 --> 00:04:31,043 NEVER IMAGINED BEFORE. >> ONCE YOU GO TO A LIVE 73 00:04:31,045 --> 00:04:33,412 PERFORMANCE YOU'LL NEVER WANT TO SEE ANYTHING BUT 74 00:04:33,414 --> 00:04:35,481 LIVE PERFORMANCE. TELEVISION IS GREAT. 75 00:04:35,483 --> 00:04:41,287 AND IT IS CERTAINLY A STRONG MEDIUM BUT THERE'S NOTHING 76 00:04:41,289 --> 00:04:44,623 AS WONDERFUL AS THE MEDIA OF THE STAGE. 77 00:04:44,625 --> 00:04:49,962 BECAUSE IT IS HAPPENING IN THAT MOMENT, THAT ACTOR IS 78 00:04:49,964 --> 00:04:53,666 BRINGING TOGETHER FOR THE AUDIENCE, THAT PARTICULAR 79 00:04:53,668 --> 00:04:57,236 CHARACTERIZATION IN THAT MOMENT, AND IT MIGHT BE 80 00:04:57,238 --> 00:05:01,040 DIFFERENT. ON ONE NIGHT TO THE NEXT 81 00:05:01,042 --> 00:05:04,109 NIGHT AND THAT'S WHAT MAKES IT THRILLING. 82 00:05:04,111 --> 00:05:11,717 IT IS LIV E. >> THERE'S A TRUE 83 00:05:11,719 --> 00:05:14,253 RENAISSANCE OF THEATER GOING ON RIGHT NOW IN SAN ANTONIO, 84 00:05:14,255 --> 00:05:17,156 SO GET OUT INTO THE THEATER, SUPPORT THEM, YOU CAN CHECK 85 00:05:17,158 --> 00:05:21,360 OUT ALL THE OTHER DATES ON THE WEB. 86 00:05:21,362 --> 00:05:24,129 >> WE WANT TO HEAR FROM YOU. DO YOU KNOW OF A GOOD STORY 87 00:05:24,131 --> 00:05:26,031 YOU'D LIKE TO SEE AIRED ON ARTS? 88 00:05:26,033 --> 00:05:29,268 >> LET US KNOW BY E-MAILING US AT ARTS AT KLRN.ORG. 89 00:05:29,270 --> 00:05:32,037 IF WE USE YOUR IDEA, YOU'LL GET A SCREEN CREDIT ON OUR 90 00:05:32,039 --> 00:05:35,808 PROGRAM. >> LYNN PARKS IS A BALTIMORE 91 00:05:35,810 --> 00:05:38,210 -BASED PHOTOGRAPHER AND VISUAL ARTIST. 92 00:05:38,212 --> 00:05:42,948 WHAT SHE'S DRAWN MOST TO, IS THE DISCARDED. 93 00:05:42,950 --> 00:05:57,763 >>. >> I'M LYNN PARKS AND I'M AN 94 00:05:57,765 --> 00:06:04,036 ARTIST. >> I DON'T THINK I'VE EVER 95 00:06:04,038 --> 00:06:07,005 DECIDED THAT I WANTED TO BE AN ARTIST, BEING AN ARTIST 96 00:06:07,007 --> 00:06:10,843 IS SOMETHING YOU JUST ARE. JUST A MATTER OF CONSCIOUS 97 00:06:10,845 --> 00:06:24,656 NESS. IN TERMS OF THE MAKING ART, 98 00:06:24,658 --> 00:06:27,926 THE PROCESS IS EVERYTHING. THE PROCESS IS CONSCIOUSNESS 99 00:06:27,928 --> 00:06:29,762 . IT'S A MATTER OF WHEN 100 00:06:29,764 --> 00:06:32,297 DEALING WITH IN MY LIFE AND THE I THINK THAT HELPS ME 101 00:06:32,299 --> 00:06:34,366 MOST MORE THAN ANYTHING REALLY IS WALKING. 102 00:06:34,368 --> 00:06:43,308 AND I JUST HAPPEN TO WALK WITH A CAMERA. 103 00:06:43,310 --> 00:06:46,145 THE THINGS I'M DRAWN TO ARE PATCHED TOGETHER AND BECOME 104 00:06:46,147 --> 00:06:47,846 A METAPHOR FOR MY OWN PERSONAL EXPERIENCE WITH A 105 00:06:47,848 --> 00:06:50,582 RARE DISEASE THAT I'VE HAD SINCE I WAS A CHILD. 106 00:06:50,584 --> 00:06:54,386 I HAVE RARE TUMORS, AND THESE TUMORS ARE VERY 107 00:06:54,388 --> 00:07:00,659 AGGRESSIVE, THEY DESTROY LOCAL STRUCTURES. 108 00:07:00,661 --> 00:07:05,030 AND I HAVE A SKIN GRAFT, I'M A BIT OF A PATCHWORK GIRL, 109 00:07:05,032 --> 00:07:09,468 I'M DRAWN TO THINGS WITH DISPARATE PARTS RESEMBLEED. 110 00:07:09,470 --> 00:07:15,941 AND IT'S A METAPHOR FOR ME. I SUPPOSE I FIND BEAUTY IN 111 00:07:15,943 --> 00:07:29,521 UNLIKELY PLACES. SO I'M DRAWN IN TO ALLEYS. 112 00:07:29,523 --> 00:07:34,293 I LOVE ALLEYS, WHAT I FIND ARE THAT OLD WINDOWS, 113 00:07:34,295 --> 00:07:39,164 PATCHED TOGETHER WITH BITS OF BOARD, PLASTIC, GLASS, IT 114 00:07:39,166 --> 00:07:43,502 ALL BECOMES AN ASSEMBLAGE THAT'S ACCIDENTAL. 115 00:07:43,504 --> 00:07:46,205 WHEN I SEE, THIS I CONNECT TO IT. 116 00:07:46,207 --> 00:07:50,742 IN TERMS OF MY OWN EXPERIENCE. 117 00:07:50,744 --> 00:08:03,856 >> DHOG IS ALL ABOUT JOY BECAUSE IT'S JUST ECSTATIC 118 00:08:03,858 --> 00:08:10,596 WHEN YOU'RE SO IN LOVE WITH FORM AND TEXTURE AND COLOR. 119 00:08:10,598 --> 00:08:13,298 IT'S JUST -- WHEN YOU'RE IN THE MIDST OF IT, IT'S 120 00:08:13,300 --> 00:08:18,837 ECSTASY. IN TERMS OF MYSELF, SOME 121 00:08:18,839 --> 00:08:22,541 PEOPLE WOULD CONSIDER NEED TO BE DISABLED -- ME TO BE 122 00:08:22,543 --> 00:08:28,914 DISABLED OR DISFIGURED AND THOSE WORDS DON'T REALLY CUT 123 00:08:28,916 --> 00:08:35,621 IT FOR ME AND I'M DIFFERENT, IT'S A MATTER OF, I THINK, 124 00:08:35,623 --> 00:08:39,458 FOR ME, SEEING OTHER THINGS THAT ARE DIFFERENT. 125 00:08:39,460 --> 00:08:47,699 AND HOPEFULLY FINDING THE THINGS WITHIN OR WHAT THEY 126 00:08:47,701 --> 00:08:55,073 SHOW THAT GIVES BEAUTY. AND I HOPE WE CAN ALL COME 127 00:08:55,075 --> 00:08:59,144 TO A NEW UNDERSTANDING OF WHAT CAN BE BEAUTIFUL. 128 00:08:59,146 --> 00:09:02,080 >> YOU CAN LAIRN MORE ABOUT LYNN BY VISITING HER WEBSITE 129 00:09:02,082 --> 00:09:09,988 AT MUSINGRELICS.COM. >> THIS WEEK MY ART COMES 130 00:09:09,990 --> 00:09:15,327 FROM CARLA VELIZ. BORN IN MEXICO, CARLA 131 00:09:15,329 --> 00:09:17,696 CREATES WORKS OF UNSELF- CONSCIOUS PASSION. 132 00:09:17,698 --> 00:09:20,599 THESE PAINTINGS ARE FROM AN EXHIBIT LAST YEAR CALLED YOU 133 00:09:20,601 --> 00:09:23,402 DON'T KNOW WHO I AM. HER WORK SPEAKS OF DEEP 134 00:09:23,404 --> 00:09:25,437 EMOTION. BUT ALWAYS WITH AN UNDER 135 00:09:25,439 --> 00:09:28,674 CURRENT OF HAPPINESS. SHE SAYS HER WORK IS ALWAYS 136 00:09:28,676 --> 00:09:32,210 BORN OF SPONTANEITY. AND INTUITIVE APPROACH WITH 137 00:09:32,212 --> 00:09:34,846 NO PREDETERMINED CHOICE OF COLOR OR MEDIA. 138 00:09:34,848 --> 00:09:38,717 A TRUE EXPRESSION OF LOVE, LIFE, OR LAMENT. 139 00:09:38,719 --> 00:09:43,488 OUR THANKS TO CARLA FOR SHARING HER ART WITH US. 140 00:09:43,490 --> 00:09:48,460 THE PRINCE OF RAY MASEMAN HAVE BEEN HATCHED FROM 141 00:09:48,462 --> 00:10:15,087 DREAMS, MYTH AND CHILDREN'S STORIES. 142 00:10:15,089 --> 00:10:18,357 >> THE WORK LENDS ITSELF TO METAPHOR. 143 00:10:18,359 --> 00:10:20,425 CAN YOU TALK ABOUT THAT. >> AFTER I'VE MADE, IT OH, 144 00:10:20,427 --> 00:10:23,028 THIS IS WHAT THIS MEANT. AT THE TIME IT'S JUST KIND OF 145 00:10:23,030 --> 00:10:26,131 A -- I SHOULD PUT THIS BICYCLE HERE, THIS ANIMAL ON 146 00:10:26,133 --> 00:10:27,833 THIS BICYCLE. THERE SHOULD BE A THING OFF 147 00:10:27,835 --> 00:10:30,869 THE TOP OF THE BICYCLE. OH, THIS WANTS A LITTLE 148 00:10:30,871 --> 00:10:33,338 MOUNTAIN IN THE BACKGROUND. IT'S LIKE NOT THINKING ABOUT 149 00:10:33,340 --> 00:10:39,044 WHAT IT ALL MEANS. JUST LIKE COMPOSITION, AND 150 00:10:39,046 --> 00:10:41,880 WHAT COLOR LOOKS GOOD. AND WHATEVER WAS FLOATING 151 00:10:41,882 --> 00:10:44,516 AROUND IN THE BACK OF MY BRAIN, IT POPS OUT. 152 00:10:44,518 --> 00:10:47,052 WHEN MY KIDS WERE YOUNG, THERE WAS FATHERHOOD AND 153 00:10:47,054 --> 00:10:51,490 PARENTING THINGS, AND A LOT OF TRAVELING HAPPENS, AND I 154 00:10:51,492 --> 00:10:53,792 DON'T KNOW HOW MUCH THAT'S WANTING TO HAPPEN. 155 00:10:53,794 --> 00:10:55,327 SOME IS WANTING TO LITERALLY TRAVEL. 156 00:10:55,329 --> 00:10:57,462 SOME IS LIKE LIFE IS A JOURNEY KIND OF THING. 157 00:10:57,464 --> 00:10:59,464 AND I GUESS THIS IDEA OF ARC TYPE. 158 00:10:59,466 --> 00:11:04,970 I MEAN, THAT'S THE JUNIAN PHILOSOPHY. 159 00:11:04,972 --> 00:11:07,205 I FIGURE THAT'S MUST BE A GOOD IDEA BECAUSE EVEN 160 00:11:07,207 --> 00:11:10,475 THOUGH IN MY HEAD IT WAS ABOUT STUFF IN MY HEAD, IT 161 00:11:10,477 --> 00:11:14,212 SEEMS TO RESONATE WITH THEIR HEAD, TOO. 162 00:11:14,214 --> 00:11:15,313 IT'S SUPPOSED TO BE UNIVERSAL. 163 00:11:15,315 --> 00:11:18,750 AND THE METAPHOR PART OF THAT IS METAPHORS ARE 164 00:11:18,752 --> 00:11:20,185 AMBIGUOUS. SOMETIMES MAYBE THE BOAT IS 165 00:11:20,187 --> 00:11:22,821 THE BOAT. BUT YOU CAN INTERPRET A LOT 166 00:11:22,823 --> 00:11:33,665 OF WAYS. TO ME IT'S EXCITINGLY 167 00:11:33,667 --> 00:11:35,233 CURIOUS. YOU'RE TRYING TO FIGURE OUT 168 00:11:35,235 --> 00:11:39,104 THE DYNAMICS BETWEEN SAY, A PENGUIN AND A GIRAFFE, SO 169 00:11:39,106 --> 00:11:41,940 LET'S TALK ABOUT THE CHARACTER CHARACTERS. 170 00:11:41,942 --> 00:11:44,943 >> THE ANIMAL STARTED HAPPENING BECAUSE A FRIEND 171 00:11:44,945 --> 00:11:47,112 GAVE ME A BOOK ABOUT ANIMAL FATHERS. 172 00:11:47,114 --> 00:11:50,182 AND THE FIRST THIRD OF THE BOOK WAS ABOUT EMPEROR 173 00:11:50,184 --> 00:11:53,285 PENGUINS AND I DIDN'T KNOW ANYTHING ABOUT MALE PENGUINS 174 00:11:53,287 --> 00:11:55,620 BUT I DISCOVERED THEY TAKE CARE OF THE EGG. 175 00:11:55,622 --> 00:12:00,392 THAT'S A GOOD ROLE MODEL FOR BEING -- I'M GOING TO TRY TO 176 00:12:00,394 --> 00:12:03,261 BE THAT DEDICATED AND AFTER A WHILE THE PENGUIN NEEDED A 177 00:12:03,263 --> 00:12:05,263 BUDDY. SOLO AND NEEDED A FRIEND, 178 00:12:05,265 --> 00:12:11,136 AND SO SEA HORSE IS THE THE MALE BEAR THE YOUNG. 179 00:12:11,138 --> 00:12:13,905 THE SEA HORSE, AT THAT POINT EVOLVED FROM THIS FATHERHOOD 180 00:12:13,907 --> 00:12:16,641 THING, ARE THEY TWO FRIENDS? IS IT A RELATIONSHIP, ARE 181 00:12:16,643 --> 00:12:18,944 THEY A COUPLE? ARE THEY PAIRCHTING THE EGG? 182 00:12:18,946 --> 00:12:22,447 IS THE EGG SOMETHING ELSE? THE WHOLE MOAT FORETHING 183 00:12:22,449 --> 00:12:25,617 TOOK OFF. >> ALSO EVOLVED. 184 00:12:25,619 --> 00:12:32,224 ARC TYPE CAL THING. IF YOU'RE A MAN -- KIND OF 185 00:12:32,226 --> 00:12:34,259 BECAME THAT. STILL LIKE DEPENDING UPON YOU THE VIEW 186 00:12:34,261 --> 00:12:36,661 ER AS TO WHRT PENGUIN IS THE INTERNAL WOMAN OR THE 187 00:12:36,663 --> 00:12:39,664 SEA HORSE IS OR WHAT. BUT JUST THAT, FEMALE, 188 00:12:39,666 --> 00:12:40,799 IDENTITY. WHAT THAT MEANS. 189 00:12:40,801 --> 00:12:44,236 >> AND GIRAFFE AND THE BIRD. >> THE PENGUIN GOT TO THE 190 00:12:44,238 --> 00:12:47,038 POINT WHERE PEOPLE ARE GIVING ME PENGUINS AND SKIFF 191 00:12:47,040 --> 00:12:48,774 S. I DON'T WANT. 192 00:12:48,776 --> 00:12:53,211 STOP, I DON'T WANT TO BE THE PENGUIN GUY. 193 00:12:53,213 --> 00:12:57,916 I NEED A NEW ANIMAL. I WAS READING ABOUT THE GIRAFFES 194 00:12:57,918 --> 00:13:02,587 IN THE PR AGUE ZOO. AND HOW THE GIRAFFE GOT FROM AFRICA 195 00:13:02,589 --> 00:13:06,091 TO THE ZOO, AND ALL THIS STUFF ABOUT GIRAFFE BIOLOGY 196 00:13:06,093 --> 00:13:11,429 AND PSYCHOLOGY, AND JUST HOW GIRAFFES WORK. 197 00:13:11,431 --> 00:13:15,901 AND THEIR EYEBALL IS PROPORTIONATELY THE BIGGEST 198 00:13:15,903 --> 00:13:19,204 OF ANY ANIMAL. THEIR VISION IS THE WAY 199 00:13:19,206 --> 00:13:22,607 SMELL FOR DOGS. DOGS SMELL THINGS WE DON'T. 200 00:13:22,609 --> 00:13:25,343 AND A GIRAFFE MAYBE SEES THINGS WE DON'T SEE OR SEES 201 00:13:25,345 --> 00:13:34,152 A LEVEL OF DETAIL WE DON'T. AND THAT'S A GOOD ARTIST. 202 00:13:34,154 --> 00:13:35,987 BETTER FATHER NOW THE GIRAFFE IS INSPIRING ME TO 203 00:13:35,989 --> 00:13:39,558 BE A BETTER ARTIST. >> WHEN YOU HAVE THE TWO 204 00:13:39,560 --> 00:13:43,361 GIRAFFES STARING AT EACH OTHER AND ONE HAS THE CAGED 205 00:13:43,363 --> 00:13:45,964 BIRD AND ONE NOT. THERE'S CERTAINLY A 206 00:13:45,966 --> 00:13:52,737 NARRATIVE. >> DEFINITELY -- SOMETIMES I 207 00:13:52,739 --> 00:13:54,773 HAVE A FUZZY IDEA OF THE NARRATIVE OR MAYBE EVEN A 208 00:13:54,775 --> 00:13:58,176 CLEAR IDEA, SOMETIMES I DON'T KNOW UNTIL ITS IT'S 209 00:13:58,178 --> 00:14:00,212 OVER. I WANT PEOPLE TO LOOK AND 210 00:14:00,214 --> 00:14:03,181 MAKE UP A STORY OR HAVE A SENSE OF STORY WITHOUT IT 211 00:14:03,183 --> 00:14:05,784 BEING TIED TO THIS IS THE ONE STORY. 212 00:14:05,786 --> 00:14:07,919 >> DO PEOPLE EVER ASK YOU WHAT THE BIRD IS? 213 00:14:07,921 --> 00:14:11,723 >> BIRDS ARE LIKE STEREOTYPICAL -- ICONOGRAPHY 214 00:14:11,725 --> 00:14:14,125 OF BIRDS ARE SUPPOSED TO BE SOULS OR SPIRITS. AND 215 00:14:14,127 --> 00:14:16,228 THAT'S KIND OF WHAT THEY'VE ENDED UP BEING MOST OF THE 216 00:14:16,230 --> 00:14:19,798 TIME. SO IN THE TWO GIVE RAR ONE, 217 00:14:19,800 --> 00:14:21,933 THEY EACH HAVE A BIRD AND THE BIRD IS LIKE THE SPIRIT 218 00:14:21,935 --> 00:14:29,174 OR LITTLE SOUL AND ONE OF THEM HAS HER BIRD IN A CAGE 219 00:14:29,176 --> 00:14:30,308 AND THE OTHER BIRD FREE BUT HE'S IN A CAGE. 220 00:14:30,310 --> 00:14:32,744 AND WHATEVER YOU MAY THINK YOU'RE DOING AT A GIVEN TIME 221 00:14:32,746 --> 00:14:36,014 , YOUR BIRD IS OUT THERE MAYBE DOING WHAT YOU'RE 222 00:14:36,016 --> 00:14:40,552 REALLY DOING. OR SEEING WHAT YOU'RE DOING. 223 00:14:40,554 --> 00:14:50,795 >> BIRD'S EYE VIEW. >> THAT INHERENT SENSE OF 224 00:14:50,797 --> 00:14:52,397 PLAY THAT CHILDREN HAVE AND IN YOUR WORK. 225 00:14:52,399 --> 00:14:55,367 CAN YOU TELL US WHERE THAT PLAYFULNESS IN YOUR WORK 226 00:14:55,369 --> 00:14:57,502 COMES FROM? >> IT'S REALLY IMPORTANT TO 227 00:14:57,504 --> 00:15:00,472 FEEL LIKE YOU'RE SAFE AND COMFORTABLE ENOUGH TO JUST 228 00:15:00,474 --> 00:15:07,212 TRY THINGS WITHOUT KNOWING HOW IT'S GOING TO TURN OUT. 229 00:15:07,214 --> 00:15:08,480 WITHOUT KNOWING FOR SURE WHAT IT'S GOING TO MEAN. 230 00:15:08,482 --> 00:15:09,748 I THINK PART OF WHY I LIKE SETTING UP THE PICTURE, SO 231 00:15:09,750 --> 00:15:11,983 PEOPLE HAVE TO ASK QUESTIONS IS IT SORT OF FORCES THEM TO 232 00:15:11,985 --> 00:15:16,588 GET OUT THEIR LITTLE RUT. WHATEVER THE LITTLE RUT 233 00:15:16,590 --> 00:15:17,956 MIGHT BE. >> IN YOUR PERSONAL 234 00:15:17,958 --> 00:15:20,525 EXPERIENCE, PERSONAL BACKGROUND, HOW DOES 235 00:15:20,527 --> 00:15:22,861 BASICALLYINESS CONNECT TO YOUR UPBRINGING? 236 00:15:22,863 --> 00:15:27,899 >> NEITHER -- NEITHER ONE OF MY PARENTS WERE SUPER 237 00:15:27,901 --> 00:15:29,768 BASICALLY. MY DAD, AS HE WENT THROUGH 238 00:15:29,770 --> 00:15:32,871 LIFE AND LOTS OF ADDICTION STUFF AND ALCOHOL AND 239 00:15:32,873 --> 00:15:35,407 CIGARETTES AND WHATNOT. ESPECIALLY AS I GOT OLDER 240 00:15:35,409 --> 00:15:38,710 AND COULD SEE YOU'RE STUCK. I MEAN, DEFINITELY ADDICTION 241 00:15:38,712 --> 00:15:47,352 STUFF, LIKE DONE PEOPLE HAVE DONE STUDIES, PEOPLE'S 242 00:15:47,354 --> 00:15:48,720 BRAINS GET ALMOST LITERALLY RUTTED LIKE IN THIS PATH OF 243 00:15:48,722 --> 00:15:50,055 WHATEVER YOUR ADDICTION; AND READ ABOUT THOSE AND LOOKED 244 00:15:50,057 --> 00:15:54,092 AT MY FATHER AND WELL, YEAH, HE CAN'T -- IT'S TOO SCARY 245 00:15:54,094 --> 00:15:56,795 TO GET OUT OF THE RUT. AND THERE'S NOT ANY PLAY 246 00:15:56,797 --> 00:16:00,899 HAPPENING. I HAVE TWO BROTHERS AND ALL 247 00:16:00,901 --> 00:16:04,102 THREE OF US LOOKED AND WE'RE NOT GOING TO BE LIKE THAT. 248 00:16:04,104 --> 00:16:06,471 A BETTER DAD, MORE HAPPIER PERSON, AND I THINK FOR ME 249 00:16:06,473 --> 00:16:13,812 THE ART WAS JUST A WAY TO EXPLORE THAT. 250 00:16:13,814 --> 00:16:32,530 >> S TO LEARN MORE, YOU CAN VISIT WEBSITE. 251 00:16:32,532 --> 00:16:33,898 >> WE ARE BACK WITH MY GREAT FRIEND DEBORAH MARTIN AND 252 00:16:33,900 --> 00:16:35,200 WE'RE GOING TO TALK ABOUT OVERTIME'S NEW -- IT SOUNDS 253 00:16:35,202 --> 00:16:36,067 REALLY KIND OF SAUCY. IS IT? 254 00:16:36,069 --> 00:16:37,235 >> I DON'T KNOW IF I WOULD USE THE WORD SAUCY. 255 00:16:37,237 --> 00:16:38,870 IT'S VERY INTERESTING. I MEAN, IT'S SORT OF A 256 00:16:38,872 --> 00:16:42,741 AVANT-GARDE PIECE. BUILT AROUND THERAPY SESSION 257 00:16:42,743 --> 00:16:46,411 , AND THE ACTORS MOVE IN AND OUT OF THEIR DREAMS. 258 00:16:46,413 --> 00:16:49,014 SO SOMETIMES YOU'RE IN WHAT APPEARS TO BE A REALISTIC 259 00:16:49,016 --> 00:16:51,883 SPACE, AND SOMETIMES YOU'RE PLAINLY NOT. 260 00:16:51,885 --> 00:16:55,353 I MEAN, THERE'S A REALLY WONDERFUL SEQUENCE THAT IS 261 00:16:55,355 --> 00:16:59,791 THIS SILENT DANCE SEQUENCES AND THEY'RE ALL DOING 262 00:16:59,793 --> 00:17:02,794 DIFFERENT MOVES AND IT'S REALLY WONDERFUL. 263 00:17:02,796 --> 00:17:08,466 THERE'S ONE SEQUENCE WHERE THE THERAPIST AND HER 264 00:17:08,468 --> 00:17:09,868 THERAPIST SWITCH PLACES JUST SO YOU THINK WHAT ANOTHER 265 00:17:09,870 --> 00:17:12,437 ONE THINKS OF THE OTHER ONE AND IT IS BASICALLY WHAT 266 00:17:12,439 --> 00:17:14,172 EACH THOUGHT THE OTHER ONE THOUGHT OF THEM. 267 00:17:14,174 --> 00:17:17,308 YOU KNOW, THE THERAPIST THINKS OF THE PATIENT AS 268 00:17:17,310 --> 00:17:22,514 MAYBE A LITTLE ENTITLED AND A LITTLE MELODRAMATIC, AND 269 00:17:22,516 --> 00:17:27,452 THE PATIENT SEES HER DOCTOR AS A LITTLE CHILLY, DISTANT. 270 00:17:27,454 --> 00:17:30,522 >> THAT'S A COOL PERSPECTIVE >> YEAH, IT'S A REALLY 271 00:17:30,524 --> 00:17:33,792 INTERESTING PIECE. RUNS FOR ABOUT AN HOUR OR SO 272 00:17:33,794 --> 00:17:35,860 , RAIMP HE WILL JOSEPH IS THE PLAYWRIGHT. 273 00:17:35,862 --> 00:17:37,929 >> SHE'S LOCAL. >> EXPHES TEACHES AT TRIN 274 00:17:37,931 --> 00:17:39,998 EXPIT HER STUFF IS REALLY, REALLY INTERESTING. 275 00:17:40,000 --> 00:17:42,600 AND ONE OF THE COOL THINGS ABOUT THE OVERTIME, IT'S ALL 276 00:17:42,602 --> 00:17:48,139 ORIGINAL STUFF. SO YOU WILL NOT SEE THAT 277 00:17:48,141 --> 00:17:48,940 ANYWHERE ELSE. YOU KNOW. 278 00:17:48,942 --> 00:17:50,642 >> THAT'S REALLY, REALLY FUN >> SO HOW MANY SHOWS -- DO 279 00:17:50,644 --> 00:17:52,610 YOU KNOW HOW MANY SHOWS SHE'S WRITTEN AND DONE? 280 00:17:52,612 --> 00:17:56,681 IS THIS HER FIRST? >> NO, SHE DID A PIECE 281 00:17:56,683 --> 00:17:59,084 CALLED SCREAM DREAMS. ALSO KIND OF -- WHICH WAS 282 00:17:59,086 --> 00:18:01,352 REALLY INTERESTING AND ALSO SORT OF DEALT WITH REALITY 283 00:18:01,354 --> 00:18:03,888 VERSUS DREAMS. AND SILENT FILM AND WHICH 284 00:18:03,890 --> 00:18:06,424 WAS REALLY WONDERFUL. >> COOL. 285 00:18:06,426 --> 00:18:11,096 >> SHE -- SHE PARTICIPATED IN THE -- I DON'T REMEMBER 286 00:18:11,098 --> 00:18:13,765 IF THEY'RE CALLING THEMSELVES THE BARE NAKED 287 00:18:13,767 --> 00:18:15,300 PLAYWRIGHTS. >> ABSOLUTELY. 288 00:18:15,302 --> 00:18:17,268 >>S DID A REALLY INTERESTING PIECE FOR THEM A FEW YEARS 289 00:18:17,270 --> 00:18:21,372 AGO HERE AT THE PLAY HOUSE. >> AWESOME. 290 00:18:21,374 --> 00:18:27,645 >> WHY SHOULD PEOPLE COME SEE STRIP? 291 00:18:27,647 --> 00:18:28,980 OBVIOUSLY THEY SHOULD COME SUPPORT IS LOCAL THEATER 292 00:18:28,982 --> 00:18:29,881 BECAUSE THAS THAT IS AWESOME . 293 00:18:29,883 --> 00:18:31,149 WHAT ELSE ABOUT THE PLAY WOULD MAKE PEOPLE WANT TO 294 00:18:31,151 --> 00:18:32,150 COME? >> IF YOU ARE INTERESTED IN 295 00:18:32,152 --> 00:18:36,354 SEEING SOMETHING WHERE -- WHERE THE PERSPECTIVE IS 296 00:18:36,356 --> 00:18:37,755 DEFINITELY NOT SOMETHING YOU'RE GOING TO SEE 297 00:18:37,757 --> 00:18:40,258 SOMEWHERE ELSE. IT RUNS JUST ABOUT AN HOUR. 298 00:18:40,260 --> 00:18:43,061 SO IT'S NOT A HUGE TIME COMMITMENT. 299 00:18:43,063 --> 00:18:45,730 AND IT JUST, A VERY INTERESTING PERSPECTIVE. 300 00:18:45,732 --> 00:18:47,599 I DON'T WANT TO GIVE TOO MUCH AWAY. 301 00:18:47,601 --> 00:18:50,068 >> MULTIMEDIA? >> IT IS NOT. 302 00:18:50,070 --> 00:18:51,669 >> INTERESTING. >> A LOT OF THEIR STUFF IS. 303 00:18:51,671 --> 00:18:56,407 >> RIGHT, THIS IS NOT. I MEAN, THEY'VE PUT IT WHERE 304 00:18:56,409 --> 00:18:59,377 THEY PUT WORKSHOP PIECES. >> REALLY GOOD ACTORS IN 305 00:18:59,379 --> 00:19:02,914 THAT PIECE, TOO. >> YES, JULIA IS FANTASTIC. 306 00:19:02,916 --> 00:19:08,553 >> AND CHRIS, I LOVE HIM. >> WONDERFUL. 307 00:19:08,555 --> 00:19:15,360 >>. >> EVERYONE SHOULD COME SEE 308 00:19:15,362 --> 00:19:16,561 IT. THANKS SO MUCH. 309 00:19:16,563 --> 00:19:17,629 >> THANK YOU. >>. 310 00:19:17,631 --> 00:19:20,298 >> YOU CAN READ MORE REVIEWS BY DEBORAH MARTIN IN THE 311 00:19:20,300 --> 00:19:46,658 INTERAT THE SAME TIME SECTION. 312 00:19:46,660 --> 00:19:49,761 TO ADD YOUR EVENT, VISIT KLRN.ORG/ARTS. 313 00:19:49,763 --> 00:19:53,865 UP NEXT WE'RE GOING TO MEET DAVE BUICKER, A HISTORIANIAN 314 00:19:53,867 --> 00:20:02,073 AND IN DEMAND FROM OHIO. WE'LL SEE THEIR FIRST VIDEO. 315 00:20:02,075 --> 00:20:04,842 >> I'M A SCIENCE EDUCATOR AND SING AND PLAY GUITAR IN 316 00:20:04,844 --> 00:20:08,079 THE BAND. >> I'M JOE, I'M A TEACHER 317 00:20:08,081 --> 00:20:12,617 AND I PLAY DRUMS. >> I'M BROOKLYN, AND I PLAY 318 00:20:12,619 --> 00:20:15,887 KEYS. >> I'M LEANNA AND I SING 319 00:20:15,889 --> 00:20:18,790 HARMONIES AND I'M A SCIENCE EDUCATOR. 320 00:20:18,792 --> 00:20:22,026 >>. >> I'M PAUL, I WORK AT SAM 321 00:20:22,028 --> 00:20:29,067 ASH MUSIC AND PLAY KEYS AND SING. 322 00:20:29,069 --> 00:20:31,669 >> I WORK FOR A TEXTBOOK COMPANY AND PLAY BASIC 323 00:20:31,671 --> 00:20:39,877 GUITAR. >>. 324 00:20:39,879 --> 00:20:46,217 >> THE NAME IS BECAUSE SORT OF OUR PHILOSOPHY THAT SONG 325 00:20:46,219 --> 00:20:49,754 WRITING IS THE ACT OF DOCUMENTING YOUR OWN EMOTION 326 00:20:49,756 --> 00:20:52,156 S AND EXPERIENCING THAT -- AND OF THOSE THAT 327 00:20:52,158 --> 00:20:55,526 YOU KNOW, THAT MAY HAVE OTHERWISE GONE UNDOCUMENTED. 328 00:20:55,528 --> 00:20:58,863 SO YOU'RE KIND OF THERE TAKING SNAPSHOTS AND PUTTING 329 00:20:58,865 --> 00:21:01,733 THOSE IN FILES SO EVERYBODY CAN REMEMBER THOSE THINGS. 330 00:21:01,735 --> 00:21:07,939 >> I THINK IN TERMS OF PRODUCING A ALBUM, THAT'S 331 00:21:07,941 --> 00:21:08,906 DOWN TO A AN INDIVIDUAL BASIS. 332 00:21:08,908 --> 00:21:10,241 YOU WANT TO MAKE A CERTAIN KIND OF MUSIC AND RECORD IT 333 00:21:10,243 --> 00:21:12,210 AND YOU WANT IT TO BE GOOD. IT'S ALL DEPENDENT UPON HOW 334 00:21:12,212 --> 00:21:14,646 HARD YOU WORK. >> JUST LAST WEEK I SAID IT 335 00:21:14,648 --> 00:21:16,681 FELT LIKE A MUSICAL SOUND TRACK. 336 00:21:16,683 --> 00:21:19,417 OR HAD A THEME THAT IT START ED WITH AND FINISHED 337 00:21:19,419 --> 00:21:20,485 WITH. >> DEFINITELY DOES. 338 00:21:20,487 --> 00:21:39,737 AND THAT THEME IS THE TITLE. >> BRINGS YOU HERE. 339 00:21:39,739 --> 00:21:42,907 >> WE WORK HARD TO FIND THE SOUND. AND NOT IN KIND OF A 340 00:21:42,909 --> 00:21:48,713 A -- WE NEED TO WRITE SOUNDS THAT WILL FIT THIS MOLD 341 00:21:48,715 --> 00:21:49,914 BECAUSE THAT WOULD BE BORING BUT WE ENDED UP WITH 342 00:21:49,916 --> 00:21:53,418 SOMETHING THAT I THINK HAS A UNIFORM FEELING AND TEXTURE. 343 00:21:53,420 --> 00:21:55,153 THAT MAKES IT FEEL LIKE AN ALBUM. 344 00:21:55,155 --> 00:22:00,124 ABOUT A MONTH AGO, WE FILMED A MUSIC VIDEO, FILMED IT AT 345 00:22:00,126 --> 00:22:03,394 CAFE COFFEE SHOP DOWN ON HIDE STREED. 346 00:22:03,396 --> 00:22:05,897 >> VERY GOOD TO US OVER THE YEARS R YEARS AS WELL. 347 00:22:05,899 --> 00:22:09,167 >> MIKE WHO IT IS INCREDIBLY GOOD TO US. 348 00:22:09,169 --> 00:22:12,804 YOU WILL NOTICE IN THE VIDEO , THAT PAUL IS NOT 349 00:22:12,806 --> 00:22:14,972 FACING THE BAND. AND WE WANTED PAUL TO BE 350 00:22:14,974 --> 00:22:17,475 FACING THE BAND BUT WHEN WE TRIED TO MOVE THE PIANO, THE 351 00:22:17,477 --> 00:22:27,185 LEG FELL OFF. SO YOU GO FIND THE PIANO 352 00:22:27,187 --> 00:22:28,186 FELL OVER. >> DON'T TELL HIM. 353 00:22:28,188 --> 00:22:29,187 HE MIGHT NOT BE HAPPY WITH US. 354 00:22:29,189 --> 00:25:10,348 >>. >>¶ 355 00:25:10,350 --> 00:25:49,020 ¶. >> IF YOU WANT TO LEARN MORE 356 00:25:49,022 --> 00:25:52,623 ABOUT THE BAND, VISIT ON THE WEBSITE AT DAVE BUICKER.COM. 357 00:25:52,625 --> 00:25:54,892 THAT WRAPS IT UP FOR THIS EDITION OF ARTS. 358 00:25:54,894 --> 00:25:57,728 I'M ASIA CIARAVINO, NEXT WEEK WE'RE GOING TO TALK 359 00:25:57,730 --> 00:25:59,864 ABOUT ALL THE COOL STUFF GOING ON IN SAN ANTONIO. 360 00:25:59,866 --> 00:26:03,100 WE'LL SEE YOU THEN. >> ARTS IS MADE POSSIBLE BY 361 00:26:03,102 --> 00:26:07,371 THE KELSO FOUNDATION. THE ELIZABETH HUTH COATES 362 00:26:07,373 --> 00:26:12,243 CHARITABLE FOUNDATION. AND VIEWERS LIKE YOU. 363 00:26:12,245 --> 00:26:15,613 ARTS IS PRESENTED BY THE TOBIN CENTER FOR THE PERFORM 364 00:26:15,615 --> 00:26:19,250 ING ARTS. OPENING SEPTEMBER 2014. 365 00:26:19,252 --> 00:26:22,019 PROVIDING THE BEST PLACE ANYWHERE TO SEE AND HEAR A 366 00:26:22,021 --> 00:26:29,527 LIVE PERFORMANCE. SAN ANTONIO'S FUTURE OF THE 367 00:26:29,529 --> 00:26:58,389 PERFORMING ARTS. THE TOBIN CENTER.