WEBVTT 00:08.949 --> 00:11.851 ELIZABETH HUTH COATES CHARITABLE FOUNDATION. 00:11.853 --> 00:18.791 AND VIEWERS LIKE YOU. >> AND BY THE TOBIN CENTER 00:18.793 --> 00:22.762 FOR THE PERFORMING ARTS. OPENING SEPTEMBER 2014. 00:22.764 --> 00:25.297 PROVIDING THE BEST PLACE ANYWHERE TO SEE AND HEAR 00:25.299 --> 00:28.434 LIVE PERFORMANCE. SAN ANTONIO'S FUTURE OF THE 00:28.436 --> 00:33.939 PERFORMING ARTS. THE TOBIN CENTER. 00:33.941 --> 00:37.510 >> ON THIS EDITION OF ARTS. WE'LL HEAR FROM SEVERAL SAN 00:37.512 --> 00:40.079 ANTONIO ACTORS WHO HAVE THEIR OWN REASON FOR 00:40.081 --> 00:41.847 PARTICIPATING IN COMMUNITY THEATER. 00:41.849 --> 00:44.216 IT'S NOT FOR THE MONEY. IT'S NOT EVEN FOR THE FAME 00:44.218 --> 00:45.818 OF BEING IN FRONT OF THE AUDIENCE. 00:45.820 --> 00:47.820 IT'S JUST THEIR WAY OF EXPRESSING THEMSELVES 00:47.822 --> 00:50.456 THROUGH THEIR ART. DEBORAH MARTIN OF THE SAN 00:50.458 --> 00:53.159 ANTONIO EXPRESS NEWS JOINS US TO DISCUSS THE OVERTIME 00:53.161 --> 00:56.762 THEATER'S PERFORMANCE. BY RACHEL. 00:56.764 --> 00:59.131 AND WE'LL MEET A PHOTOGRAPHER AND VISUAL 00:59.133 --> 01:03.269 ARTIST WHO GRAVITATE TO STARK URBANSCAPE WITH AN EYE 01:03.271 --> 01:12.445 FOR THE OVERLOOKEDMENT TIME TO ENJOY ARTS. 01:12.447 --> 01:19.485 >> . >> HI AND WELCOME TO ARTS, 01:19.487 --> 01:24.657 MY NAME IS ASIA CIARAVINO. WE'RE HERE AT THE PLAYHOUSE 01:24.659 --> 01:26.192 SAN ANTONIO. DID YOU KNOW THAT COMMUNITY 01:26.194 --> 01:28.894 THEATER WAS BORN IN THE UNITED STATES IN THE EARLY 01:28.896 --> 01:30.563 1900S? THAT'S WHEN THE LITTLE 01:30.565 --> 01:33.299 THEATER MOVEMENT DEVELOPED IN SEVERAL LARGE CITIES, 01:33.301 --> 01:36.469 BEGINNING WITH CHICAGO, BOSTON, SEATTLE AND DETROIT. 01:36.471 --> 01:40.940 MORE THAN 100 YEARS LATER, COMMUNITY THEATER RIGHT HERE 01:40.942 --> 01:42.942 IN SAN ANTONIO CONTINUES TO DEVELOP THE SKILLS AND 01:42.944 --> 01:45.544 ARTISTIC SENSIBILITIES OF THOSE WHO PARTICIPATE. 01:45.546 --> 01:48.080 TONIGHT WE'RE GOING TO HEAR FROM FOUR OF MY FRIENDS WHO 01:48.082 --> 01:50.316 HAPPEN TO BE SOME OF THE MOST EXCITING THEATER 01:50.318 --> 01:54.220 ARTISTS IN SAN ANTONIO. TALK TO YOU A LITTLE ABOUT 01:54.222 --> 01:57.056 WHY THEY DO WHAT THEY DO. >> THEY COME FROM DIFFERENT 01:57.058 --> 01:59.992 BACKGROUNDS. >> I'M THE COORDINATOR. 01:59.994 --> 02:04.864 >> I WORK AT -- I'M A CREATIVE THERE WHICH MAKES 02:04.866 --> 02:07.533 ME TRAINER FOR CUSTOMERS THAT COME IN TO LEARN ABOUT 02:07.535 --> 02:10.402 THEIR DEVICES. >> I AM A STUDENT WORKING ON 02:10.404 --> 02:13.973 MY THIRD DEGREE. >> MY PASSION SON THE STAGE. 02:13.975 --> 02:16.976 I THINK I'LL CONTINUE TO ACT AS LONG AS I CAN. 02:16.978 --> 02:20.212 >> COMMUNITY THEATER PAYS THESE ACTORS LITTLE, AND 02:20.214 --> 02:24.517 SOMETIMES NOTHING AT ALL. IT DOESN'T SEEM TO MATTER. 02:24.519 --> 02:30.156 >> THERE'S SOMETHING SO MAGICAL AND JUST INCREDIBLE, 02:30.158 --> 02:33.292 INSPIRING TO BE IN FRONT OF THAT MANY PEOPLE TO HAVE 02:33.294 --> 02:37.096 THAT POWER, TO BE ABLE TO CONVEY A STORY, AND TO KNOW 02:37.098 --> 02:40.533 THE AUDIENCE IS WITH YOU FOR THE ROLLER-COASTER RIDE OF 02:40.535 --> 02:44.103 EMOTIONS, AND EVENTS. TO BE ABLE TO TELL AN 02:44.105 --> 02:47.673 AUDIENCE A STORY THAT THEY MAY NOT OTHERWISE SEE OR 02:47.675 --> 02:55.247 HEAR SOMEWHERE ELSE. >> ( SPEAKING SPANISH). 02:55.249 --> 02:58.851 >> GO INFORM HIM THAT THE CAPTAIN WILL BE COMING TO 02:58.853 --> 03:03.155 MAKE HIS CONNECTION. >> WHEN THE ACTING BUG BITES 03:03.157 --> 03:04.390 ,. >> I THINK WHEN I WAS YOUNG 03:04.392 --> 03:08.060 ER, I'VE ALWAYS HAD AN ASPIRATION TO DO SOMETHING 03:08.062 --> 03:13.532 WITH MEDIA OR FILM OR ACTING , OR PERFORMING. 03:13.534 --> 03:16.368 >> ALWAYS BEEN A PART OF ME. SINCE I WAS A CHILD. 03:16.370 --> 03:20.072 >> I'VE BEEN ACTING SINCE I WAS IN HIGH SCHOOL. 03:20.074 --> 03:22.508 AND I WENT AND GOT MY DEGREE IN IT. 03:22.510 --> 03:25.377 AND I'VE BEEN WORKING PROFESSIONALLY SINCE 2012. 03:25.379 --> 03:30.749 >> WHAT DREW ME WAS JUST THE ABILITY TO STAND UP AND TRY 03:30.751 --> 03:33.219 A DIFFERENT PERSON ON FOR A GIVEN PERIOD OF TIME. 03:33.221 --> 03:40.125 AND IT'S NOT SOMETHING THAT IS SO QUICK AS -- YOU NEED 03:40.127 --> 03:42.394 TO DELVE INTO THE LIVES AND BACK STORIES, RELATIONSHIPS 03:42.396 --> 03:44.964 AND HISTORY AND YOU HAVE A SET PERIOD OF TIME TO REALLY 03:44.966 --> 03:51.103 TRY ON ANOTHER LIFE, ANOTHER TIME, AND TRY TO MAKE THAT 03:51.105 --> 03:53.906 REALISTIC AND IN THE REALM OF THE PLAY AND THE AUTHOR'S 03:53.908 --> 03:57.176 WORDS IS WHAT DRAWS ME TO IT >> DEET A SUCCESSFUL 03:57.178 --> 03:58.911 COMMUNITY THEET CERTIFY THE AUDIENCE. 03:58.913 --> 04:00.980 AND THAT'S WHY THE HARD WORK . 04:00.982 --> 04:04.049 THEY NEED TO DELIVER AN ENTERTAINING EXPERIENCE. 04:04.051 --> 04:12.958 NIGHT, AFTER NIGHT. DEFINITELY FEEL GOOD TYPE OF 04:12.960 --> 04:16.495 EXPERIENCE. AND THAT'S REALLY WONDERFUL, 04:16.497 --> 04:20.633 THEY FEEL GOOD AFTER THE SHOW, TAKE SOMETHING FROM IT 04:20.635 --> 04:28.907 . VENTURE INTO A WORLD THEY 04:28.909 --> 04:31.043 NEVER IMAGINED BEFORE. >> ONCE YOU GO TO A LIVE 04:31.045 --> 04:33.412 PERFORMANCE YOU'LL NEVER WANT TO SEE ANYTHING BUT 04:33.414 --> 04:35.481 LIVE PERFORMANCE. TELEVISION IS GREAT. 04:35.483 --> 04:41.287 AND IT IS CERTAINLY A STRONG MEDIUM BUT THERE'S NOTHING 04:41.289 --> 04:44.623 AS WONDERFUL AS THE MEDIA OF THE STAGE. 04:44.625 --> 04:49.962 BECAUSE IT IS HAPPENING IN THAT MOMENT, THAT ACTOR IS 04:49.964 --> 04:53.666 BRINGING TOGETHER FOR THE AUDIENCE, THAT PARTICULAR 04:53.668 --> 04:57.236 CHARACTERIZATION IN THAT MOMENT, AND IT MIGHT BE 04:57.238 --> 05:01.040 DIFFERENT. ON ONE NIGHT TO THE NEXT 05:01.042 --> 05:04.109 NIGHT AND THAT'S WHAT MAKES IT THRILLING. 05:04.111 --> 05:11.717 IT IS LIV E. >> THERE'S A TRUE 05:11.719 --> 05:14.253 RENAISSANCE OF THEATER GOING ON RIGHT NOW IN SAN ANTONIO, 05:14.255 --> 05:17.156 SO GET OUT INTO THE THEATER, SUPPORT THEM, YOU CAN CHECK 05:17.158 --> 05:21.360 OUT ALL THE OTHER DATES ON THE WEB. 05:21.362 --> 05:24.129 >> WE WANT TO HEAR FROM YOU. DO YOU KNOW OF A GOOD STORY 05:24.131 --> 05:26.031 YOU'D LIKE TO SEE AIRED ON ARTS? 05:26.033 --> 05:29.268 >> LET US KNOW BY E-MAILING US AT ARTS AT KLRN.ORG. 05:29.270 --> 05:32.037 IF WE USE YOUR IDEA, YOU'LL GET A SCREEN CREDIT ON OUR 05:32.039 --> 05:35.808 PROGRAM. >> LYNN PARKS IS A BALTIMORE 05:35.810 --> 05:38.210 -BASED PHOTOGRAPHER AND VISUAL ARTIST. 05:38.212 --> 05:42.948 WHAT SHE'S DRAWN MOST TO, IS THE DISCARDED. 05:42.950 --> 05:57.763 >>. >> I'M LYNN PARKS AND I'M AN 05:57.765 --> 06:04.036 ARTIST. >> I DON'T THINK I'VE EVER 06:04.038 --> 06:07.005 DECIDED THAT I WANTED TO BE AN ARTIST, BEING AN ARTIST 06:07.007 --> 06:10.843 IS SOMETHING YOU JUST ARE. JUST A MATTER OF CONSCIOUS 06:10.845 --> 06:24.656 NESS. IN TERMS OF THE MAKING ART, 06:24.658 --> 06:27.926 THE PROCESS IS EVERYTHING. THE PROCESS IS CONSCIOUSNESS 06:27.928 --> 06:29.762 . IT'S A MATTER OF WHEN 06:29.764 --> 06:32.297 DEALING WITH IN MY LIFE AND THE I THINK THAT HELPS ME 06:32.299 --> 06:34.366 MOST MORE THAN ANYTHING REALLY IS WALKING. 06:34.368 --> 06:43.308 AND I JUST HAPPEN TO WALK WITH A CAMERA. 06:43.310 --> 06:46.145 THE THINGS I'M DRAWN TO ARE PATCHED TOGETHER AND BECOME 06:46.147 --> 06:47.846 A METAPHOR FOR MY OWN PERSONAL EXPERIENCE WITH A 06:47.848 --> 06:50.582 RARE DISEASE THAT I'VE HAD SINCE I WAS A CHILD. 06:50.584 --> 06:54.386 I HAVE RARE TUMORS, AND THESE TUMORS ARE VERY 06:54.388 --> 07:00.659 AGGRESSIVE, THEY DESTROY LOCAL STRUCTURES. 07:00.661 --> 07:05.030 AND I HAVE A SKIN GRAFT, I'M A BIT OF A PATCHWORK GIRL, 07:05.032 --> 07:09.468 I'M DRAWN TO THINGS WITH DISPARATE PARTS RESEMBLEED. 07:09.470 --> 07:15.941 AND IT'S A METAPHOR FOR ME. I SUPPOSE I FIND BEAUTY IN 07:15.943 --> 07:29.521 UNLIKELY PLACES. SO I'M DRAWN IN TO ALLEYS. 07:29.523 --> 07:34.293 I LOVE ALLEYS, WHAT I FIND ARE THAT OLD WINDOWS, 07:34.295 --> 07:39.164 PATCHED TOGETHER WITH BITS OF BOARD, PLASTIC, GLASS, IT 07:39.166 --> 07:43.502 ALL BECOMES AN ASSEMBLAGE THAT'S ACCIDENTAL. 07:43.504 --> 07:46.205 WHEN I SEE, THIS I CONNECT TO IT. 07:46.207 --> 07:50.742 IN TERMS OF MY OWN EXPERIENCE. 07:50.744 --> 08:03.856 >> DHOG IS ALL ABOUT JOY BECAUSE IT'S JUST ECSTATIC 08:03.858 --> 08:10.596 WHEN YOU'RE SO IN LOVE WITH FORM AND TEXTURE AND COLOR. 08:10.598 --> 08:13.298 IT'S JUST -- WHEN YOU'RE IN THE MIDST OF IT, IT'S 08:13.300 --> 08:18.837 ECSTASY. IN TERMS OF MYSELF, SOME 08:18.839 --> 08:22.541 PEOPLE WOULD CONSIDER NEED TO BE DISABLED -- ME TO BE 08:22.543 --> 08:28.914 DISABLED OR DISFIGURED AND THOSE WORDS DON'T REALLY CUT 08:28.916 --> 08:35.621 IT FOR ME AND I'M DIFFERENT, IT'S A MATTER OF, I THINK, 08:35.623 --> 08:39.458 FOR ME, SEEING OTHER THINGS THAT ARE DIFFERENT. 08:39.460 --> 08:47.699 AND HOPEFULLY FINDING THE THINGS WITHIN OR WHAT THEY 08:47.701 --> 08:55.073 SHOW THAT GIVES BEAUTY. AND I HOPE WE CAN ALL COME 08:55.075 --> 08:59.144 TO A NEW UNDERSTANDING OF WHAT CAN BE BEAUTIFUL. 08:59.146 --> 09:02.080 >> YOU CAN LAIRN MORE ABOUT LYNN BY VISITING HER WEBSITE 09:02.082 --> 09:09.988 AT MUSINGRELICS.COM. >> THIS WEEK MY ART COMES 09:09.990 --> 09:15.327 FROM CARLA VELIZ. BORN IN MEXICO, CARLA 09:15.329 --> 09:17.696 CREATES WORKS OF UNSELF- CONSCIOUS PASSION. 09:17.698 --> 09:20.599 THESE PAINTINGS ARE FROM AN EXHIBIT LAST YEAR CALLED YOU 09:20.601 --> 09:23.402 DON'T KNOW WHO I AM. HER WORK SPEAKS OF DEEP 09:23.404 --> 09:25.437 EMOTION. BUT ALWAYS WITH AN UNDER 09:25.439 --> 09:28.674 CURRENT OF HAPPINESS. SHE SAYS HER WORK IS ALWAYS 09:28.676 --> 09:32.210 BORN OF SPONTANEITY. AND INTUITIVE APPROACH WITH 09:32.212 --> 09:34.846 NO PREDETERMINED CHOICE OF COLOR OR MEDIA. 09:34.848 --> 09:38.717 A TRUE EXPRESSION OF LOVE, LIFE, OR LAMENT. 09:38.719 --> 09:43.488 OUR THANKS TO CARLA FOR SHARING HER ART WITH US. 09:43.490 --> 09:48.460 THE PRINCE OF RAY MASEMAN HAVE BEEN HATCHED FROM 09:48.462 --> 10:15.087 DREAMS, MYTH AND CHILDREN'S STORIES. 10:15.089 --> 10:18.357 >> THE WORK LENDS ITSELF TO METAPHOR. 10:18.359 --> 10:20.425 CAN YOU TALK ABOUT THAT. >> AFTER I'VE MADE, IT OH, 10:20.427 --> 10:23.028 THIS IS WHAT THIS MEANT. AT THE TIME IT'S JUST KIND OF 10:23.030 --> 10:26.131 A -- I SHOULD PUT THIS BICYCLE HERE, THIS ANIMAL ON 10:26.133 --> 10:27.833 THIS BICYCLE. THERE SHOULD BE A THING OFF 10:27.835 --> 10:30.869 THE TOP OF THE BICYCLE. OH, THIS WANTS A LITTLE 10:30.871 --> 10:33.338 MOUNTAIN IN THE BACKGROUND. IT'S LIKE NOT THINKING ABOUT 10:33.340 --> 10:39.044 WHAT IT ALL MEANS. JUST LIKE COMPOSITION, AND 10:39.046 --> 10:41.880 WHAT COLOR LOOKS GOOD. AND WHATEVER WAS FLOATING 10:41.882 --> 10:44.516 AROUND IN THE BACK OF MY BRAIN, IT POPS OUT. 10:44.518 --> 10:47.052 WHEN MY KIDS WERE YOUNG, THERE WAS FATHERHOOD AND 10:47.054 --> 10:51.490 PARENTING THINGS, AND A LOT OF TRAVELING HAPPENS, AND I 10:51.492 --> 10:53.792 DON'T KNOW HOW MUCH THAT'S WANTING TO HAPPEN. 10:53.794 --> 10:55.327 SOME IS WANTING TO LITERALLY TRAVEL. 10:55.329 --> 10:57.462 SOME IS LIKE LIFE IS A JOURNEY KIND OF THING. 10:57.464 --> 10:59.464 AND I GUESS THIS IDEA OF ARC TYPE. 10:59.466 --> 11:04.970 I MEAN, THAT'S THE JUNIAN PHILOSOPHY. 11:04.972 --> 11:07.205 I FIGURE THAT'S MUST BE A GOOD IDEA BECAUSE EVEN 11:07.207 --> 11:10.475 THOUGH IN MY HEAD IT WAS ABOUT STUFF IN MY HEAD, IT 11:10.477 --> 11:14.212 SEEMS TO RESONATE WITH THEIR HEAD, TOO. 11:14.214 --> 11:15.313 IT'S SUPPOSED TO BE UNIVERSAL. 11:15.315 --> 11:18.750 AND THE METAPHOR PART OF THAT IS METAPHORS ARE 11:18.752 --> 11:20.185 AMBIGUOUS. SOMETIMES MAYBE THE BOAT IS 11:20.187 --> 11:22.821 THE BOAT. BUT YOU CAN INTERPRET A LOT 11:22.823 --> 11:33.665 OF WAYS. TO ME IT'S EXCITINGLY 11:33.667 --> 11:35.233 CURIOUS. YOU'RE TRYING TO FIGURE OUT 11:35.235 --> 11:39.104 THE DYNAMICS BETWEEN SAY, A PENGUIN AND A GIRAFFE, SO 11:39.106 --> 11:41.940 LET'S TALK ABOUT THE CHARACTER CHARACTERS. 11:41.942 --> 11:44.943 >> THE ANIMAL STARTED HAPPENING BECAUSE A FRIEND 11:44.945 --> 11:47.112 GAVE ME A BOOK ABOUT ANIMAL FATHERS. 11:47.114 --> 11:50.182 AND THE FIRST THIRD OF THE BOOK WAS ABOUT EMPEROR 11:50.184 --> 11:53.285 PENGUINS AND I DIDN'T KNOW ANYTHING ABOUT MALE PENGUINS 11:53.287 --> 11:55.620 BUT I DISCOVERED THEY TAKE CARE OF THE EGG. 11:55.622 --> 12:00.392 THAT'S A GOOD ROLE MODEL FOR BEING -- I'M GOING TO TRY TO 12:00.394 --> 12:03.261 BE THAT DEDICATED AND AFTER A WHILE THE PENGUIN NEEDED A 12:03.263 --> 12:05.263 BUDDY. SOLO AND NEEDED A FRIEND, 12:05.265 --> 12:11.136 AND SO SEA HORSE IS THE THE MALE BEAR THE YOUNG. 12:11.138 --> 12:13.905 THE SEA HORSE, AT THAT POINT EVOLVED FROM THIS FATHERHOOD 12:13.907 --> 12:16.641 THING, ARE THEY TWO FRIENDS? IS IT A RELATIONSHIP, ARE 12:16.643 --> 12:18.944 THEY A COUPLE? ARE THEY PAIRCHTING THE EGG? 12:18.946 --> 12:22.447 IS THE EGG SOMETHING ELSE? THE WHOLE MOAT FORETHING 12:22.449 --> 12:25.617 TOOK OFF. >> ALSO EVOLVED. 12:25.619 --> 12:32.224 ARC TYPE CAL THING. IF YOU'RE A MAN -- KIND OF 12:32.226 --> 12:34.259 BECAME THAT. STILL LIKE DEPENDING UPON YOU THE VIEW 12:34.261 --> 12:36.661 ER AS TO WHRT PENGUIN IS THE INTERNAL WOMAN OR THE 12:36.663 --> 12:39.664 SEA HORSE IS OR WHAT. BUT JUST THAT, FEMALE, 12:39.666 --> 12:40.799 IDENTITY. WHAT THAT MEANS. 12:40.801 --> 12:44.236 >> AND GIRAFFE AND THE BIRD. >> THE PENGUIN GOT TO THE 12:44.238 --> 12:47.038 POINT WHERE PEOPLE ARE GIVING ME PENGUINS AND SKIFF 12:47.040 --> 12:48.774 S. I DON'T WANT. 12:48.776 --> 12:53.211 STOP, I DON'T WANT TO BE THE PENGUIN GUY. 12:53.213 --> 12:57.916 I NEED A NEW ANIMAL. I WAS READING ABOUT THE GIRAFFES 12:57.918 --> 13:02.587 IN THE PR AGUE ZOO. AND HOW THE GIRAFFE GOT FROM AFRICA 13:02.589 --> 13:06.091 TO THE ZOO, AND ALL THIS STUFF ABOUT GIRAFFE BIOLOGY 13:06.093 --> 13:11.429 AND PSYCHOLOGY, AND JUST HOW GIRAFFES WORK. 13:11.431 --> 13:15.901 AND THEIR EYEBALL IS PROPORTIONATELY THE BIGGEST 13:15.903 --> 13:19.204 OF ANY ANIMAL. THEIR VISION IS THE WAY 13:19.206 --> 13:22.607 SMELL FOR DOGS. DOGS SMELL THINGS WE DON'T. 13:22.609 --> 13:25.343 AND A GIRAFFE MAYBE SEES THINGS WE DON'T SEE OR SEES 13:25.345 --> 13:34.152 A LEVEL OF DETAIL WE DON'T. AND THAT'S A GOOD ARTIST. 13:34.154 --> 13:35.987 BETTER FATHER NOW THE GIRAFFE IS INSPIRING ME TO 13:35.989 --> 13:39.558 BE A BETTER ARTIST. >> WHEN YOU HAVE THE TWO 13:39.560 --> 13:43.361 GIRAFFES STARING AT EACH OTHER AND ONE HAS THE CAGED 13:43.363 --> 13:45.964 BIRD AND ONE NOT. THERE'S CERTAINLY A 13:45.966 --> 13:52.737 NARRATIVE. >> DEFINITELY -- SOMETIMES I 13:52.739 --> 13:54.773 HAVE A FUZZY IDEA OF THE NARRATIVE OR MAYBE EVEN A 13:54.775 --> 13:58.176 CLEAR IDEA, SOMETIMES I DON'T KNOW UNTIL ITS IT'S 13:58.178 --> 14:00.212 OVER. I WANT PEOPLE TO LOOK AND 14:00.214 --> 14:03.181 MAKE UP A STORY OR HAVE A SENSE OF STORY WITHOUT IT 14:03.183 --> 14:05.784 BEING TIED TO THIS IS THE ONE STORY. 14:05.786 --> 14:07.919 >> DO PEOPLE EVER ASK YOU WHAT THE BIRD IS? 14:07.921 --> 14:11.723 >> BIRDS ARE LIKE STEREOTYPICAL -- ICONOGRAPHY 14:11.725 --> 14:14.125 OF BIRDS ARE SUPPOSED TO BE SOULS OR SPIRITS. AND 14:14.127 --> 14:16.228 THAT'S KIND OF WHAT THEY'VE ENDED UP BEING MOST OF THE 14:16.230 --> 14:19.798 TIME. SO IN THE TWO GIVE RAR ONE, 14:19.800 --> 14:21.933 THEY EACH HAVE A BIRD AND THE BIRD IS LIKE THE SPIRIT 14:21.935 --> 14:29.174 OR LITTLE SOUL AND ONE OF THEM HAS HER BIRD IN A CAGE 14:29.176 --> 14:30.308 AND THE OTHER BIRD FREE BUT HE'S IN A CAGE. 14:30.310 --> 14:32.744 AND WHATEVER YOU MAY THINK YOU'RE DOING AT A GIVEN TIME 14:32.746 --> 14:36.014 , YOUR BIRD IS OUT THERE MAYBE DOING WHAT YOU'RE 14:36.016 --> 14:40.552 REALLY DOING. OR SEEING WHAT YOU'RE DOING. 14:40.554 --> 14:50.795 >> BIRD'S EYE VIEW. >> THAT INHERENT SENSE OF 14:50.797 --> 14:52.397 PLAY THAT CHILDREN HAVE AND IN YOUR WORK. 14:52.399 --> 14:55.367 CAN YOU TELL US WHERE THAT PLAYFULNESS IN YOUR WORK 14:55.369 --> 14:57.502 COMES FROM? >> IT'S REALLY IMPORTANT TO 14:57.504 --> 15:00.472 FEEL LIKE YOU'RE SAFE AND COMFORTABLE ENOUGH TO JUST 15:00.474 --> 15:07.212 TRY THINGS WITHOUT KNOWING HOW IT'S GOING TO TURN OUT. 15:07.214 --> 15:08.480 WITHOUT KNOWING FOR SURE WHAT IT'S GOING TO MEAN. 15:08.482 --> 15:09.748 I THINK PART OF WHY I LIKE SETTING UP THE PICTURE, SO 15:09.750 --> 15:11.983 PEOPLE HAVE TO ASK QUESTIONS IS IT SORT OF FORCES THEM TO 15:11.985 --> 15:16.588 GET OUT THEIR LITTLE RUT. WHATEVER THE LITTLE RUT 15:16.590 --> 15:17.956 MIGHT BE. >> IN YOUR PERSONAL 15:17.958 --> 15:20.525 EXPERIENCE, PERSONAL BACKGROUND, HOW DOES 15:20.527 --> 15:22.861 BASICALLYINESS CONNECT TO YOUR UPBRINGING? 15:22.863 --> 15:27.899 >> NEITHER -- NEITHER ONE OF MY PARENTS WERE SUPER 15:27.901 --> 15:29.768 BASICALLY. MY DAD, AS HE WENT THROUGH 15:29.770 --> 15:32.871 LIFE AND LOTS OF ADDICTION STUFF AND ALCOHOL AND 15:32.873 --> 15:35.407 CIGARETTES AND WHATNOT. ESPECIALLY AS I GOT OLDER 15:35.409 --> 15:38.710 AND COULD SEE YOU'RE STUCK. I MEAN, DEFINITELY ADDICTION 15:38.712 --> 15:47.352 STUFF, LIKE DONE PEOPLE HAVE DONE STUDIES, PEOPLE'S 15:47.354 --> 15:48.720 BRAINS GET ALMOST LITERALLY RUTTED LIKE IN THIS PATH OF 15:48.722 --> 15:50.055 WHATEVER YOUR ADDICTION; AND READ ABOUT THOSE AND LOOKED 15:50.057 --> 15:54.092 AT MY FATHER AND WELL, YEAH, HE CAN'T -- IT'S TOO SCARY 15:54.094 --> 15:56.795 TO GET OUT OF THE RUT. AND THERE'S NOT ANY PLAY 15:56.797 --> 16:00.899 HAPPENING. I HAVE TWO BROTHERS AND ALL 16:00.901 --> 16:04.102 THREE OF US LOOKED AND WE'RE NOT GOING TO BE LIKE THAT. 16:04.104 --> 16:06.471 A BETTER DAD, MORE HAPPIER PERSON, AND I THINK FOR ME 16:06.473 --> 16:13.812 THE ART WAS JUST A WAY TO EXPLORE THAT. 16:13.814 --> 16:32.530 >> S TO LEARN MORE, YOU CAN VISIT WEBSITE. 16:32.532 --> 16:33.898 >> WE ARE BACK WITH MY GREAT FRIEND DEBORAH MARTIN AND 16:33.900 --> 16:35.200 WE'RE GOING TO TALK ABOUT OVERTIME'S NEW -- IT SOUNDS 16:35.202 --> 16:36.067 REALLY KIND OF SAUCY. IS IT? 16:36.069 --> 16:37.235 >> I DON'T KNOW IF I WOULD USE THE WORD SAUCY. 16:37.237 --> 16:38.870 IT'S VERY INTERESTING. I MEAN, IT'S SORT OF A 16:38.872 --> 16:42.741 AVANT-GARDE PIECE. BUILT AROUND THERAPY SESSION 16:42.743 --> 16:46.411 , AND THE ACTORS MOVE IN AND OUT OF THEIR DREAMS. 16:46.413 --> 16:49.014 SO SOMETIMES YOU'RE IN WHAT APPEARS TO BE A REALISTIC 16:49.016 --> 16:51.883 SPACE, AND SOMETIMES YOU'RE PLAINLY NOT. 16:51.885 --> 16:55.353 I MEAN, THERE'S A REALLY WONDERFUL SEQUENCE THAT IS 16:55.355 --> 16:59.791 THIS SILENT DANCE SEQUENCES AND THEY'RE ALL DOING 16:59.793 --> 17:02.794 DIFFERENT MOVES AND IT'S REALLY WONDERFUL. 17:02.796 --> 17:08.466 THERE'S ONE SEQUENCE WHERE THE THERAPIST AND HER 17:08.468 --> 17:09.868 THERAPIST SWITCH PLACES JUST SO YOU THINK WHAT ANOTHER 17:09.870 --> 17:12.437 ONE THINKS OF THE OTHER ONE AND IT IS BASICALLY WHAT 17:12.439 --> 17:14.172 EACH THOUGHT THE OTHER ONE THOUGHT OF THEM. 17:14.174 --> 17:17.308 YOU KNOW, THE THERAPIST THINKS OF THE PATIENT AS 17:17.310 --> 17:22.514 MAYBE A LITTLE ENTITLED AND A LITTLE MELODRAMATIC, AND 17:22.516 --> 17:27.452 THE PATIENT SEES HER DOCTOR AS A LITTLE CHILLY, DISTANT. 17:27.454 --> 17:30.522 >> THAT'S A COOL PERSPECTIVE >> YEAH, IT'S A REALLY 17:30.524 --> 17:33.792 INTERESTING PIECE. RUNS FOR ABOUT AN HOUR OR SO 17:33.794 --> 17:35.860 , RAIMP HE WILL JOSEPH IS THE PLAYWRIGHT. 17:35.862 --> 17:37.929 >> SHE'S LOCAL. >> EXPHES TEACHES AT TRIN 17:37.931 --> 17:39.998 EXPIT HER STUFF IS REALLY, REALLY INTERESTING. 17:40.000 --> 17:42.600 AND ONE OF THE COOL THINGS ABOUT THE OVERTIME, IT'S ALL 17:42.602 --> 17:48.139 ORIGINAL STUFF. SO YOU WILL NOT SEE THAT 17:48.141 --> 17:48.940 ANYWHERE ELSE. YOU KNOW. 17:48.942 --> 17:50.642 >> THAT'S REALLY, REALLY FUN >> SO HOW MANY SHOWS -- DO 17:50.644 --> 17:52.610 YOU KNOW HOW MANY SHOWS SHE'S WRITTEN AND DONE? 17:52.612 --> 17:56.681 IS THIS HER FIRST? >> NO, SHE DID A PIECE 17:56.683 --> 17:59.084 CALLED SCREAM DREAMS. ALSO KIND OF -- WHICH WAS 17:59.086 --> 18:01.352 REALLY INTERESTING AND ALSO SORT OF DEALT WITH REALITY 18:01.354 --> 18:03.888 VERSUS DREAMS. AND SILENT FILM AND WHICH 18:03.890 --> 18:06.424 WAS REALLY WONDERFUL. >> COOL. 18:06.426 --> 18:11.096 >> SHE -- SHE PARTICIPATED IN THE -- I DON'T REMEMBER 18:11.098 --> 18:13.765 IF THEY'RE CALLING THEMSELVES THE BARE NAKED 18:13.767 --> 18:15.300 PLAYWRIGHTS. >> ABSOLUTELY. 18:15.302 --> 18:17.268 >>S DID A REALLY INTERESTING PIECE FOR THEM A FEW YEARS 18:17.270 --> 18:21.372 AGO HERE AT THE PLAY HOUSE. >> AWESOME. 18:21.374 --> 18:27.645 >> WHY SHOULD PEOPLE COME SEE STRIP? 18:27.647 --> 18:28.980 OBVIOUSLY THEY SHOULD COME SUPPORT IS LOCAL THEATER 18:28.982 --> 18:29.881 BECAUSE THAS THAT IS AWESOME . 18:29.883 --> 18:31.149 WHAT ELSE ABOUT THE PLAY WOULD MAKE PEOPLE WANT TO 18:31.151 --> 18:32.150 COME? >> IF YOU ARE INTERESTED IN 18:32.152 --> 18:36.354 SEEING SOMETHING WHERE -- WHERE THE PERSPECTIVE IS 18:36.356 --> 18:37.755 DEFINITELY NOT SOMETHING YOU'RE GOING TO SEE 18:37.757 --> 18:40.258 SOMEWHERE ELSE. IT RUNS JUST ABOUT AN HOUR. 18:40.260 --> 18:43.061 SO IT'S NOT A HUGE TIME COMMITMENT. 18:43.063 --> 18:45.730 AND IT JUST, A VERY INTERESTING PERSPECTIVE. 18:45.732 --> 18:47.599 I DON'T WANT TO GIVE TOO MUCH AWAY. 18:47.601 --> 18:50.068 >> MULTIMEDIA? >> IT IS NOT. 18:50.070 --> 18:51.669 >> INTERESTING. >> A LOT OF THEIR STUFF IS. 18:51.671 --> 18:56.407 >> RIGHT, THIS IS NOT. I MEAN, THEY'VE PUT IT WHERE 18:56.409 --> 18:59.377 THEY PUT WORKSHOP PIECES. >> REALLY GOOD ACTORS IN 18:59.379 --> 19:02.914 THAT PIECE, TOO. >> YES, JULIA IS FANTASTIC. 19:02.916 --> 19:08.553 >> AND CHRIS, I LOVE HIM. >> WONDERFUL. 19:08.555 --> 19:15.360 >>. >> EVERYONE SHOULD COME SEE 19:15.362 --> 19:16.561 IT. THANKS SO MUCH. 19:16.563 --> 19:17.629 >> THANK YOU. >>. 19:17.631 --> 19:20.298 >> YOU CAN READ MORE REVIEWS BY DEBORAH MARTIN IN THE 19:20.300 --> 19:46.658 INTERAT THE SAME TIME SECTION. 19:46.660 --> 19:49.761 TO ADD YOUR EVENT, VISIT KLRN.ORG/ARTS. 19:49.763 --> 19:53.865 UP NEXT WE'RE GOING TO MEET DAVE BUICKER, A HISTORIANIAN 19:53.867 --> 20:02.073 AND IN DEMAND FROM OHIO. WE'LL SEE THEIR FIRST VIDEO. 20:02.075 --> 20:04.842 >> I'M A SCIENCE EDUCATOR AND SING AND PLAY GUITAR IN 20:04.844 --> 20:08.079 THE BAND. >> I'M JOE, I'M A TEACHER 20:08.081 --> 20:12.617 AND I PLAY DRUMS. >> I'M BROOKLYN, AND I PLAY 20:12.619 --> 20:15.887 KEYS. >> I'M LEANNA AND I SING 20:15.889 --> 20:18.790 HARMONIES AND I'M A SCIENCE EDUCATOR. 20:18.792 --> 20:22.026 >>. >> I'M PAUL, I WORK AT SAM 20:22.028 --> 20:29.067 ASH MUSIC AND PLAY KEYS AND SING. 20:29.069 --> 20:31.669 >> I WORK FOR A TEXTBOOK COMPANY AND PLAY BASIC 20:31.671 --> 20:39.877 GUITAR. >>. 20:39.879 --> 20:46.217 >> THE NAME IS BECAUSE SORT OF OUR PHILOSOPHY THAT SONG 20:46.219 --> 20:49.754 WRITING IS THE ACT OF DOCUMENTING YOUR OWN EMOTION 20:49.756 --> 20:52.156 S AND EXPERIENCING THAT -- AND OF THOSE THAT 20:52.158 --> 20:55.526 YOU KNOW, THAT MAY HAVE OTHERWISE GONE UNDOCUMENTED. 20:55.528 --> 20:58.863 SO YOU'RE KIND OF THERE TAKING SNAPSHOTS AND PUTTING 20:58.865 --> 21:01.733 THOSE IN FILES SO EVERYBODY CAN REMEMBER THOSE THINGS. 21:01.735 --> 21:07.939 >> I THINK IN TERMS OF PRODUCING A ALBUM, THAT'S 21:07.941 --> 21:08.906 DOWN TO A AN INDIVIDUAL BASIS. 21:08.908 --> 21:10.241 YOU WANT TO MAKE A CERTAIN KIND OF MUSIC AND RECORD IT 21:10.243 --> 21:12.210 AND YOU WANT IT TO BE GOOD. IT'S ALL DEPENDENT UPON HOW 21:12.212 --> 21:14.646 HARD YOU WORK. >> JUST LAST WEEK I SAID IT 21:14.648 --> 21:16.681 FELT LIKE A MUSICAL SOUND TRACK. 21:16.683 --> 21:19.417 OR HAD A THEME THAT IT START ED WITH AND FINISHED 21:19.419 --> 21:20.485 WITH. >> DEFINITELY DOES. 21:20.487 --> 21:39.737 AND THAT THEME IS THE TITLE. >> BRINGS YOU HERE. 21:39.739 --> 21:42.907 >> WE WORK HARD TO FIND THE SOUND. AND NOT IN KIND OF A 21:42.909 --> 21:48.713 A -- WE NEED TO WRITE SOUNDS THAT WILL FIT THIS MOLD 21:48.715 --> 21:49.914 BECAUSE THAT WOULD BE BORING BUT WE ENDED UP WITH 21:49.916 --> 21:53.418 SOMETHING THAT I THINK HAS A UNIFORM FEELING AND TEXTURE. 21:53.420 --> 21:55.153 THAT MAKES IT FEEL LIKE AN ALBUM. 21:55.155 --> 22:00.124 ABOUT A MONTH AGO, WE FILMED A MUSIC VIDEO, FILMED IT AT 22:00.126 --> 22:03.394 CAFE COFFEE SHOP DOWN ON HIDE STREED. 22:03.396 --> 22:05.897 >> VERY GOOD TO US OVER THE YEARS R YEARS AS WELL. 22:05.899 --> 22:09.167 >> MIKE WHO IT IS INCREDIBLY GOOD TO US. 22:09.169 --> 22:12.804 YOU WILL NOTICE IN THE VIDEO , THAT PAUL IS NOT 22:12.806 --> 22:14.972 FACING THE BAND. AND WE WANTED PAUL TO BE 22:14.974 --> 22:17.475 FACING THE BAND BUT WHEN WE TRIED TO MOVE THE PIANO, THE 22:17.477 --> 22:27.185 LEG FELL OFF. SO YOU GO FIND THE PIANO 22:27.187 --> 22:28.186 FELL OVER. >> DON'T TELL HIM. 22:28.188 --> 22:29.187 HE MIGHT NOT BE HAPPY WITH US. 22:29.189 --> 25:10.348 >>. >>¶ 25:10.350 --> 25:49.020 ¶. >> IF YOU WANT TO LEARN MORE 25:49.022 --> 25:52.623 ABOUT THE BAND, VISIT ON THE WEBSITE AT DAVE BUICKER.COM. 25:52.625 --> 25:54.892 THAT WRAPS IT UP FOR THIS EDITION OF ARTS. 25:54.894 --> 25:57.728 I'M ASIA CIARAVINO, NEXT WEEK WE'RE GOING TO TALK 25:57.730 --> 25:59.864 ABOUT ALL THE COOL STUFF GOING ON IN SAN ANTONIO. 25:59.866 --> 26:03.100 WE'LL SEE YOU THEN. >> ARTS IS MADE POSSIBLE BY 26:03.102 --> 26:07.371 THE KELSO FOUNDATION. THE ELIZABETH HUTH COATES 26:07.373 --> 26:12.243 CHARITABLE FOUNDATION. AND VIEWERS LIKE YOU. 26:12.245 --> 26:15.613 ARTS IS PRESENTED BY THE TOBIN CENTER FOR THE PERFORM 26:15.615 --> 26:19.250 ING ARTS. OPENING SEPTEMBER 2014. 26:19.252 --> 26:22.019 PROVIDING THE BEST PLACE ANYWHERE TO SEE AND HEAR A 26:22.021 --> 26:29.527 LIVE PERFORMANCE. SAN ANTONIO'S FUTURE OF THE 26:29.529 --> 26:58.389 PERFORMING ARTS. THE TOBIN CENTER.