FROM THE DIRECTOR
Part of the extreme pleasure I gain from directing plays is the challenge of crafting a production that resonates with an audience in two ways. The first being that the audience has a rich emotional experience in real time. Second, that said experience continues to echo in thought long after the final bow. The Giver by Eric Coble (adapted from the novel by Lois Lowry) was particularly challenging in moving towards these goals. How does one turn a well known story that is dependent on the thoughts and feelings of its characters into palpable action? In a fictional society that is reliant on tepid interpretations of horrific realities, what are the ways in which the actors can lean in to a visual give and take rather than verbal communication? The solution came to me in the form of American Sign Language…
American Sign Language (ASL) lives with the misconception that signs are philosophically self explanatory, that they are a crystalline reflection of what they mean. In may cases this is true because the medium of ASL is three-dimensional space and naturally allows more iconicity than oral language. But, in many instances (just as in spoken language) mapping between form and meaning can become completely arbitrary. Further, children do not always take advantage of the iconic properties of signs when they interpret their meaning. The sign we are using for “release” means “to let go”, however, in the context of The Giver the same sign means (at its root) “to euthanize”. We strove as a group to create a community that uses language in the form of both ASL (Visual) and Oral communication (Auditory) in order to cloud the true outcome of particular actions while simultaneously utilizing precise language. This led to the realization of a community and culture whose very existence is threatened day to day and yet the threat is not packaged in a way that correctly highlights the danger for what it is. We can find these examples in our current use of words such as Internment, Gentrification, War… This truth is applicable to non-threats, as well. We use words such as Equality and Freedom as if they have been achieved for all, constantly lulling ourselves in to the belief that we have reached these goals. And yet, we live in a society where we profess these very things! Terrifying, isn’t it?
As you take the ride that is The Giver with us, I hope you will find excitement in watching Jonas “see beyond” with more and more clarity through the course of the play. And, when he transcends, I hope you will collectively breathe a sigh of relief not only because our young protagonist completes his Hero’s Journey but because you now feel empowered to begin a journey of your own…
“I had a dream, a pleasant scene, where none were dunced and none were crowned. All there knew just who they were spoke with their eyes and sang out loud.” (Flowers from Fromb, Superunloader)
– Marti Gobel
Marti Gobel – A San Diego, California native, Marti Gobel is an Actor, Director and a John F. Kennedy trained Teaching Artist (with a focus on Effective Residency and Lesson Planning). She is a proud member of AEA and SAG-AFTRA. Ms. Gobel has performed routinely for every Equity house in Wisconsin in a variety of roles from Shakespeare to Morrisseau. Her critically acclaimed directing style has deepened her relationship with many theatre companies across the nation with works at Renaissance Theaterworks, Milwaukee Chamber Theater, Forward Theatre, Next Act Theatre , Scripps Ranch Theatre, Moxie Theatre, Cygnet Theatre, The La Jolla Playhouse, First Stage Children’s Theatre and A Red Orchid Theatre. Ms. Gobel returns to Clarence Brown Theatre after directing their 2023 production of Trouble in Mind. Marti Gobel is a Jeff Award Nominee and recipient of a Black Excellence Award for Outstanding Direction of Is God Is by Alesha Harris.