The Michigan Daily - Weee, etc. - Thursday, October 5, 1995 - 58 Basement Arts uses low-budget sets to put on high-quality productions. U' ventures into Basement Busmnt Arts FaN 190$ Season (* denotes new play): "AWlJ' it heWcls byLe *ws4t tOab Ah' ioet- oo l nated by Aric Knuth; October 19-21 "j ndependence" by Lee Biessingt 0ctober 26-28- * ThEtmre Cafe" by Robert Mac adaeg; November 2-4 ."F sttolafd" by William Finn and James Laplne; November 9-12 * "Devil Love" by K(. Masters; November 16-18} "American Buffelo" by Davi'd Mamet; November 3O-December 2 "'Once in Doubt" by Raymond. I. Barry; December 7-9 ity can flourish." The focus on process rather than prod- uct is something that Greenfield and his co-director, BFA seniorBrandondEpand, have highlighted since taking the reins this September. Their goal this year is to take Basement Arts to a new level of production. Theyhopetoaccomplishthis by creating a director/designer/actor- friendly environment-one which gives each member of the production the secu- rity of knowing they can try whatever they'd like, without fear of failure. Much like the off off-Broadway scene in New York, they hope this arrangement will producemoredaring, exciting andcharged performances. To aid in the attainment oftheir goals, Epland and Greenfield have selected a diverse and exciting season of chal- lenging plays. Three brand-new plays are being produced, along with David Mamet's"American Buffalo,""A Walk in the Woods" and "Independence" by Lee Blessing, "Once in Doubt" by Raymond J. Barry, and the James Lapine-William Finn musical "Falsettoland." While each show is dis- tinct in its own right, what they have in common is that each one will stretch the directors' and performers' limits. "We have a commitment to new work," said Greenfield. "I think that it's important to support and take part in the arts thatyourcommunityproduces. The Basement season is also another ex- ample of what the University of Michi- gan student body has accomplished in the arts." Epland and Greenfield hope that this kind of open venue will attract not only a large group of students hoping to work on these productions but also a largeaudiencefollowing. Performances generally run Thursday through Satur- day, beginning at 5 p.m. The first show of the season begins October12, and from that point on a new show will be produced every weekend through fi- nals (with the exception of the Thanks- giving break). Entrance to all shows is free, and all seating is general admis- sion. If everything goes as Epland and Greenfield plan, this season should prove to be an exciting and inexpensive entertainment option for those brave students who venture down into the Basement. By J. David Berry For the Daily Hidden beneath the boards of the Trueblood Theater stage lies one of the University's most unique and unknown theatrical treasures:Basement Arts. Since :its inceptioninthe fall of'87, this student- run theater organization has been produc- ing new and innovative work and pre- senting it to the public free of charge. Basement Arts provides student direc- tors, playwrights, and any other student with a vision an opportunity to have their voices heard. Working under the auspices of the School of Music and Department of The- ater and Drama, Basement Arts produces up to 11 student works a semester, rang- ing from new, student-written plays to performance artto Shakespeare. All works are produced in the Arena Theater, a small and versatile black box that allows directors a wide range of possibilities when presenting their work. Because the Basement provides many students with their first directing expe- rience, the focus leans toward the pro- cess and development ofthe piece, rather than a polished final product. It is a workshop enviornment that encourages experimentation and bold production choices, without the pressure of reviews or profit. .Unlike many other theatrical opportu- nities at the University, Basement Arts is open to the entire campus for proposals, direction, and even performers. There are no restrictions for the proposition of projects, and most auditions are open to anyone with a student ID. This creates a strong sense of diversity in production choices, andallowsmany differentvoices to be heard. Naturally, there are certain pitfalls in- herent in an entirely student-run com- pany. One ofthe largest difficulties comes from a simple lack of production experi- ence. While University Productions al- lows Basement Arts to utilize its cos- tume, set, prop and lighting resources, it is often difficult for a first-time director to coordinate all of those elements in the relatively short rehearsal period (gener- ally four to five weeks). Financial resources are very limited as well. Basment Arts can only afford to give each production a budget of 100 dollars. Any expenses beyond that must come from outside sources or out of the director's own pocket (which is more often the case). Considering that even the most pared-down show on Broadway can't be produced for under halfa million dollars,thismimimal budget stretches the director's creativity and ingenuity. At the same time, it forces the productions to be simple and focused on the actual work being presented. "I think it's an excellent opportunity for all members of the student body to produce theater in a workshop enviornment," said Adam Greenfield, junior in the Department of Theater and Drama and co-director of the Basement Arts board. "We just want to create a better, open enviomment where creativ- Artists create beauty from emptiness By Emily Lambed Daily Fine Arts Editor The artists involved in the Felch Street project had no intention of ever showing anyone what they created. It was art for the sake of art, and art for the sake of the artists. The weathered railroad shed on the North side of town was not public domain. In 1993, a group of local artists drew numbers to determine their placement in a unique undertaking. For two weeks at a time, in rain, snow, ice or shine, each artist had use of the drafty storage space. The 54 by 29 square foot room hat light but no heat or water. The parameters: Objects brought in must be removed. Anything painted, walls, floor or ceiling included, did not have to be stripped or returned to neutral. After two weeks, an artist left the area and his or her successor inherited a different visual area to work in. Within these conditions and out of public scrutiny, the 15 involved had great artistic freedom. The criticisms and reac- tions that accompany public viewing didn't exist in the Felch Street Space. The space was privately funded and access was restricted. Each artist had a key and could bring guests to the shed if they chose. Bruno David, Corporate Art Advisor of Ann Arbor's Alexa Lee Gallery, heard of the project in progress. "I happened to go into the space and said 'My God, this is great. People have to see this. You cannot hide this,"'he said last week. Despite the artists' initial reservations, David recreated the Felch Street Space through an exhibition of photographs. Some of the artists had documented their work on camera. Friends and family had taken snapshots. In one case, an artist had videotaped his work. A frame from the video was mounted for the show. On the white walls of the Alexa Lee Gallery hang 15 photographs, one from each artist's work. The photos were cropped to best capture the beauty and feeling of each instillation. The images are as varied as their creators: Ben Upton, Ruth Green, Kathy Constantinides, Michael Luchs, Ann Mikolowsky, Paul Stewart, Kathryn Brackett Luchs, Sarah Innes, Larry Cressman, Michael Tho- mas, Jeff Sommers, Rick Burns, Mat- thew DeGenaro, John Tormey and Nancy Stokes. Each creator approached his or her installation differently. One artist treated the space as a walk-in studio, bringing wood, saws and othermaterials with him. A colleague with differing motivations and perspectives rearranged available el- ements to transform the scene. The shed accumulated a "visual history," encom- passing the 19 months the group of artists spent working on the innovative project. In "Electric Light Atmosphere," by Rick Burns, a clear plastic curtain hangs from a fluorescent lamp, giving the scene an ethereal, cosmic effect. DeGenaro's "Boxes People" shows a confrontation between two towering cardboard figures. During one night of Ruth Green's instal- What: Felch Street Group Exhibition Where: Alexa Lee Gallery When: Sept. 8 through Oct. 14 lation,theflooroftheoldbuildingcracked. The result was a beautiful trail of candles standing in the crevices. Pick a creation and follow its rem- nants for several installations until it has been covered or contorted beyond distinction. "They each had to build with what the prior artist had left," said David, pointing to previously created drawings still showing in Paul Stewart's "Bridges." "Between each work there's abridge. Every time it looks different." The Felch Street exhibit is beautiful, touching contemporary art. The display is accessible in location as well. The Alexa Lee Gallery is across from street from campus, at 201 Nickels Arcade. Hours of operation are 10 a.m. to 6 p.m. Tuesday through Saturday. The exhibi- tion will be up until October 14, after which the show will travel to galleries at several universities. Each photograph will be available in a limited edition of six. This presentation was not planned by the artists who contributed to the project. It is a rare public glimpse into the results of private, introspective artistry. Out of their love for art, 15 passionate individu- als dedicated two weeks each to creating beauty in a seemingly empty place. The box people trampled through Alexa Lee Gallery last weekend. 4 , Introducing a hew way to help bridge the gap between what you've saved and what you'll need during retirement. 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