We care deeply, selflessly about those we know. But that empathy rarely extends beyond our line of sight.from Interstellar

There is an art to ethics in, well, art—the business of art. Any working artist knows for every step you take, you must take two more for the business of you and your art. It’s inescapable. Enter ethics and etiquette. The industry is polluted at every level with those who underestimate the impact of their behavior as much as those who “apathize” or tolerate anything less than decorum. It matters. It has to matter. The question becomes, “If how you behave doesn’t matter, then what’s the point of behaving?” It’s worth your time and attention. Every organization should draft and enforce an ethics policy for the protection of and accountability for anyone involved. Every individual should be drafted by a code of ethics. We believe acting is the absence of acting. As artists, there should be a very thin line, if any, between who we are and what we do. Therefore, you have to figure out how to believe in the idea that being a good person makes a difference, otherwise all you’ll discover is how being a bad one makes no difference at all.

To be no good at something bad is good.from Seventh Son

Let’s not kid ourselves. Character comes at a cost. You’re collaborating and competing for water with folks willing to do anything in a 90%-rejection industry at the bottom of a dry well. Ethics requires discernment, discipline and sacrifice. Kirk Franklin wrote, “Talent can take you, but character keeps you. What separates you from the others who may be better, prettier, taller and faster may just be the type of heart you choose to have. See the incredible thing about character is that it doesn’t come automatically with the gift. It’s an addition that you have to pay for—literally. Character may make you miss out sometimes. There are some that have what they have, but they have paid dearly for it and not in positive ways. Some people really do sleep their way to the top. Some will sell what they know to be right just for a spot in the front line. Character may force you to say no to what’s ‘quick,’ and cause you to wait for years until the ‘long term’ comes back around.” Epictetus wrote, “The essence of philosophy is that a man should so live that his happiness shall depend as little as possible on external things.” The particular idea of indifference to or rejecting external conditions is often a topic of debate in many of our acting classes. The discussions usually center around the notion that artists, particularly actors, find “inoculation” or self-preservation (relative to relationships or being in relationship) paradoxical. We’re taught and encouraged to empathize, react and reflect as part of our craft. Acting is reacting; the absence of acting; inaction is still an action; surrendering control to a directorial team and pre-determined ideas; inviting influence; investing in and maintaining relationships; don’t deny.

Epictetus taught that philosophy is a way of life and not just a theoretical discipline. To Epictetus, all external events are determined by fate, and are thus beyond our control; we should accept whatever happens calmly and dispassionately. However, individuals are responsible for their own actions, which they can examine and control through rigorous self-discipline.

Too Greek? Deepak Chopra said, “What other people think of you is none of your business. If you start to make it your business, you’ll be offended for the rest of your life.” However, what other people think of you is show-business. It can’t mean everything, but denying it means anything is a mistake. Sorry, Deepak. Art has been described as not achieving it unless you can do it twice. John Lennon believed the pain of the artist is fed by the freedom of the artist. Victor Wooten believes to play what someone else deems “the correct way” evokes boundaries. Needless to say, art is subjective. The standards you set and how you choose to navigate through so much subjectivity is the only equity you can exercise any control over.

The art of progress is to preserve order amid change and to preserve change amid order.Alfred N. Whitehead

You can choose whether or not behaving well matters or behaving poorly makes no difference at all. It’s unreasonable to believe no matter what or where a transgression, that it doesn’t undermine art, the artist(s) and betray the integrity of “the process” and the institution. We firmly believe there’s an integrity to the process that is only compromised by those willing and those we allow to compromise it. It’s reasonable to suggest you bear some responsibility for those and that which you represent; for the accountability of anyone tethered to your work. You always represent someone or something, whether you know it and like it or not, and there’s a meaningful level of trust involved when we’re granted authority. To abuse that influence we’re afforded shouldn’t be tolerated whether that abuse transpires “here, there and everywhere.” You matter. How you and others impact your family, colleagues and your livelihood matters. However your job is defined, how do you define the job? Leadership roles are a privilege. Disseminating privileged information stains the fabric of your trade. A lot can be said about making the bed that we sleep in; drawing a line before others define who you are. We tread heavily in an environment filled with ambition trumps relationships trumps ethics, etc. We’ve seen kids, parents and colleagues alike bend at will with stars in their eyes to the power of ambition. We teach that misconduct bears, or at least should bear a cost.

Our personal ethics should not be attached to who is affected by what we believe. Rather, our ethics should remain in place no matter whom or what is affected by those standards. Ethics that change with the situational tides are not ethics at all; they are policies of convenience.Unknown

Are you part of the problem or part of the solution? When you exercise your freedom of speech, the privilege to teach, take an oath, committing yourself to the values of your profession. Accompany a responsibility to listen before you choose not to—if you choose not to. There is this idea that standing up for something means you have to chain yourself to a tree or march in circles for twelve hours with a goofy sign. It can be as simple as turning your attention to something or someone else. Change the channel. Distance yourself. It’s that simple.

Keep doing ‘what you won’t do’ and it’ll make a difference.Phill Kirby, Touring Artist

Behavior can threaten your interests and responding to that behavior matters. We have a zero tolerance policy when it comes to gossip and bullying relative to anyone involved with Hickory Arts. Where do we draw the line? Certainly not at the property markers. We understand the importance of validation, offering apologies where apologies are due and recommending solutions. We may not always relate to someone’s discontent or how they arrive at it, but we recognize it, we never minimize it and we do everything in our power not only to seek solutions, but prevent such circumstances from happening in the future. Our entire business model was founded on the principle that others’ interests come before our own. We demand our empathy reach beyond our own line of sight. Art is an opportunity to unite a community. When it’s yielded as a weapon to assassinate the character of an individual or group of individuals, we have an obligation to interfere.

Talent means nothing in this game if you don’t make the right choices. There’s plenty of talented people out there who never see the light of day. It takes discipline because this whole game is one big long shot. If you don’t have the discipline to stay away from the ‘flyers’ or from the ‘gambles’ or whatever else you wanna call a ‘stupid move,’ then I’m afraid to say one day you’ll go down. It’s inevitable. Make a list of everything you want now and then plan on spending the next 25 years of your life getting it, slowly, piece by piece.from The Score

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A 1945 Code of Ethics for Theatre Workers Surfaces

Janet Thielke August 11, 2009 While appearing on Broadway in her Tony-nominated role of Jeanette in The Full Monty in August, 2001, Equity member Kathleen Freeman died of lung cancer. Equity Councillor Jane A. Johnston, a longtime friend and executrix for Ms. Freeman’s estate, later discovered among Ms. Freeman’s papers a document containing A Code of Ethics for Theatre Workers. Ms. Freeman was a daughter of a small time vaudevillian team. Her childhood experience of touring with her parents inspired this Code of Ethics, Ms. Johnston writes. She also notes: “What is particularly interesting about this list of dos and don’ts for the theatre is that it was written in 1945 when Kathleen was establishing one of the first small theatres in Los Angeles and she was 24 years old. I wish I had been told some of ‘the rules’ when I was a young actress instead of having to pick them up as I went along.” The theatre was the Circle Players (with Charlie Chaplin among its backers), which later evolved into the Players’ Ring. Although there is no record that either company used an Equity contract (they certainly pre-dated the 99-Seat Code in Los Angeles), Ms. Johnston confirms that all the participants were professionals.

Foreword to the Code

“A part of the great tradition of the theatre is the code of ethics which belong to every worker in the theatre. This code is not a superstition, nor a dogma, nor a ritual which is enforced by tribunals; it is an attitude toward your vocation, your fellow workers, your audiences and yourself. It is a kind of self-discipline which does not rob you of your invaluable individualism. “Those of you who have been in show business know the full connotation of these precepts. Those of you who are new to show business will soon learn. The Circle Players, since its founding in 1945, has always striven to stand for the finest in theatre, and it will continue to do so. Therefore, it is with the sincere purpose of continued dedication to the great traditions of the theatre that these items are here presented.” The “rules” follow: 1. I shall never miss a performance. 2. I shall play every performance with energy, enthusiasm and to the best of my ability regardless of size of audience, personal illness, bad weather, accident, or even death in my family. 3. I shall forego all social activities which interfere with rehearsals or any other scheduled work at the theatre, and I shall always be on time. 4. I shall never make a curtain late by my failure to be ready on time. 5. I shall never miss an entrance. 6. I shall never leave the theatre building or the stage area until I have completed my performance, unless I am specifically excused by the stage manager; curtain calls are a part of the show. 7. I shall not let the comments of friends, relatives or critics change any phase of my work without proper consultation; I shall not change lines, business, lights, properties, settings or costumes or any phase of the production without consultation with and permission of my director or producer or their agents, and I shall inform all people concerned. 8. I shall forego the gratification of my ego for the demands of the play. 9. I shall remember my business is to create illusion; therefore, I shall not break the illusion by appearing in costume and makeup off-stage or outside the theatre. 10. I shall accept my director’s and producer’s advice and counsel in the spirit in which it is given, for they can see the production as a whole and my work from the front. 11. I shall never “put on an act” while viewing other artists’ work as a member of an audience, nor shall I make caustic criticism from jealousy or for the sake of being smart. 12. I shall respect the play and the playwright and, remembering that “a work of art is not a work of art until it is finished,” I shall not condemn a play while it is in rehearsal. 13. I shall not spread rumor or gossip which is malicious and tends to reflect discredit on my show, the theatre, or any personnel connected with them-either to people inside or outside the group. 14. Since I respect the theatre in which I work, I shall do my best to keep it looking clean, orderly and attractive regardless of whether I am specifically assigned to such work or not. 15. I shall handle stage properties and costumes with care for I know they are part of the tools of my trade and are a vital part of the physical production. 16. I shall follow rules of courtesy, deportment and common decency applicable in all walks of life (and especially in a business in close contact with the public) when I am in the theatre, and I shall observe the rules and regulations of any specific theatre where I work. 17. I shall never lose my enthusiasm for theatre because of disappointments. In addition, the document continued: “I understand that membership in the Circle Theatre entitles me to the privilege of working, when I am so assigned, in any of the phases of a production, including: props, lights, sound, construction, house management, box office, publicity and stage managing-as well as acting. I realize it is possible I may not be cast in a part for many months, but I will not allow this to dampen my enthusiasm or desire to work, since I realize without my willingness to do all other phases of theatre work, there would be no theatre for me to act in.” All members of the Circle Theatre were required to sign this document. And they must have-because the theatre, and the group into which it evolved, was successful for many years.

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Powerful. Have heard it before—but one should remind oneself regularly. Thanks for the reminder! Norma Moore-Frank August 28, 2015 at 9:03 pm