My production concept for Fiddler on the Roof is Educated Empathy.

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Theatre has the capacity and power to bring about personal and social transformation. In the words of theatre practitioner, author, and founder of "Theatre of the Oppressed", Augusto Boal:

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"Theatre is a form of knowledge; it should and can also be a means of transforming

society. Theatre can help us build our future, instead of just waiting for it."

 

Augusto Boal desired that theatre, whether externally or internally focused, would create some kind of change through multi-directional empathy. Boal described empathy not simply as feeling and understanding the emotions of another, but desiring to change the circumstances of that person’s life as a result of that feeling and understanding. Theatre, therefore, creates educated empathy by encouraging transformation, both internally/personally and externally/socially.

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I would like this production of Fiddler on the Roof to create transformation by building educated empathy in both the actors and the audience. There has been a disturbing rise in antisemitism in America -- hate crimes against Jewish people have gone up over 35% in the past few years. I hope that this production will help confront this by depicting Jewish faith and culture in a beautiful way that promotes empathy, connection, and cultural relativism.

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With actors, I'd like to build educated empathy through our first encounter with Kirk Geritano and by dedicating portions of rehearsal time to learning about the Jewish culture and history represented in Fiddler on the Roof. Fiddler on the Roof is a beautiful way of capturing and remembering a piece of the Jewish story that might have otherwise been lost to time. While everyone learns about the Holocaust in history class, the abuse and oppression of the Jewish people in Russia in the early 1900s is not often mentioned, and I believe it is crucial for actors to understand the context of the story they are telling. The most difficult and most important part of doing Fiddler on the Roof is portraying the beautiful intricacies of Jewish faith and culture with respect, dignity, accuracy, and thoughtfulness. There are many significant and meaningful elements of Jewish faith and culture represented onstage, such as the lighting of the Sabbath candles and the wedding ceremony. The portrayal of those practices must not be taken lightly and props used should be treated with respect and care. There should be a presence within the cast and production team of Jewish people who can provide insight on their culture and beliefs. A cultural consultant such as a rabbi would also be helpful. In this way, actors can tell this story with the respect and dignity it deserves.

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With audience members, I'd like to build educated empathy through the lobby display, progrom note, speaker's night, and other engagement strategies. Like actors, I want audience members to be familiar with the cultural and historical context of the show prior to experiencing it. I hope to encourage conversation and reflection that extends beyond the walls of the theatre and into the social sphere where it can create change. That, I believe, is what theatre is truly about.

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Sources

Boal, Augusto. (1992). Games for Actors and Non-Actors. (Leal McBride, C.A. & Leal McBride, M.O., Trans.). Theatre Communications Group.