“Creative work begins with trust and risk. But which comes first?”: An Interview with theatre instructor Dr. Arthur Grothe
“Creative work begins with trust and risk. But which comes first?”
As an actor and director, Dr. Arthur Grothe has worked throughout the country—from Cleveland Public Theatre, to TitleWave Theatre Co., to the Chippewa Valley Theatre Guild. At the University of Wisconsin-Eau Claire, where he serves as an associate professor, Arthur has directed numerous plays, including Three Sisters, Roustabout: The Great Circus Train Wreck, Shipwrecked: An Entertainment!, Urinetown: The Musical, The Tempest, She Kills Monsters, and Waiting for Godot. Next summer, he’ll help young actors find their spotlight.
1.) Tell us a bit about your “art origin story”? When did you first fall in love with your art?
I can remember being backstage in my first college show as Major Shelley in The Secret Garden. I was probably awful in the show, but I have a distinct memory of sitting on a rickety chaise lounge under the blue backstage lights, the smell of dust and make-up filling my nostrils, looking out at one of the leads and thinking “This is where I belong.” It was the “magic” of theatre, of turning childhood games of pretend into realized works of art, that really captured my eighteen-year-old imagination. And it was the idea that in the theatre was a motley group of nerds, failed jocks (I fell into this category), weirdos, D and D fanatics, musicians, and even a cheerleader coming together to create a moment. Theatre only exists at the moment it’s created, and when it all comes together (the acting, the lights, the costumes, the audience), it is an experience, unlike any other art form. I did many more shows in undergraduate school; some were fantastic, some were, well, good tries. But no moment stood out more for me than that first show.
2.) What role have teachers played in your development as an artist? Any one stand out?
I was fortunate to have an amazing and passionate undergraduate theatre professor named James Austin – who designed the sets, directed the shows, taught most of the classes, and seemed to be a never-ending supply of theatre knowledge. He was, at times, mercurial, but he was perhaps the most dedicated professor I have ever known. As I moved into graduate work, I was incredibly lucky to have a host of talented, intelligent, and diverse teachers. Dr. Ralf possessed a towering theatre intellect and often made me and my classmates cower in fear of his seemingly all-knowing German stare. Yanci was a physical marvel who had worked all over the world and with a vast array of artists. Doc was the epitome of a curmudgeon, and should you be foolhardy enough to come to class unprepared, his gnarled stare sliced through your excuses and left you stammering for forgiveness. All these teachers (as well as those I have taught) have inspired me to develop my craft and hone my artistic eye.
3.) Can you share a bit about your pedagogical approach? How do you create a supportive and creative atmosphere in the classroom?
Creative work begins with trust and risk. But which comes first? The theatre is a place where performers have to be open to failure, ridicule, or (gasp) a bad review. The first step is building a sense of community where each person feels free to contribute, engage, and express themselves. I seek to do this through a combination of physical games and exercises (in which we all are free to look ridiculous), acting exercises to focus the attention of performers on interacting with each other, and trust-building games. I then move into exploring the essential tools of the actor; the voice, the body, and the imagination through poetry, storytelling, and improvisation. And we then sharpen these tools by applying them to various scenes and monologues. Throughout the process, the focus of the work is not whether a choice was “right or wrong,” but whether that choice was committed or uncommitted. I want students to take a big risk – it may not work – and that is FANTASTIC! The classroom and the rehearsal room should be a forum for failure. A place where we are reaching past what we thought we could and where the students are working to surprise even themselves.
4.) What excites you most about the Midwest Artist Academy?
No art form exists in a bubble. It is influenced, shaped, molded by our personal experiences, and by the art all around us. By seeking to engage a plethora of artistic sensibilities, the Midwest Artist Academy offers the opportunity to explore the creative process. It also creates an avenue for students to collaborate across artistic disciplines. How can a piece of music inspire a sculptor? How does the interpretation of an actor change the writer’s perspective? I’m excited to see what this diverse group of creative faculty and young minds can build together.
5.) How can art make the world a better place? Can you share a personal example?
Art, whether on stage, in the dance studio, on the canvas, played in the concert hall, or written on the page, is an expression of the invisible made visible. It is a search to express critical ideas, emotions, or insights that connect us a human-beings. Great art entertains us while challenging us to see the world in a different light – to empathize with our neighbors and our enemies. For me, this idea was realized a few years ago when I taught a devised theatre course that worked to create an original work around homeless in Eau Claire. Students spent the semester researching the topic, meeting people struggling with homelessness, and connecting with various groups in Eau Claire that work with these vulnerable populations. The result of this work was a collaborative performance that illuminated several of the issues that lead to homelessness presented in a unique venue, Banbury Place. The work was both immediate and raw, sometimes a bit unpolished, but shed light on the difficulties that many people encounter each day. It was art that sought to generate a commitment to change, and the work of the class inspired many students to continue to develop original work.