Artist Archive - for a list of involved artists click >here<.

Artist's FAQ

How do I become involved?

First of all, let us know about you. Every 14/48 one out of four participants are new invitees. We have expanded from an pool of about 37 artists and now have about 350 veterans in our database. Let us know that you are interested and INVITE US to come see your work (extend comps if you can). Click on the link above and tell us about you, your interest and your work.

When is the Festival?

The festival is held twice yearly. Once in the summer and once in the winter. The first fest is the weekend following New Year's - the second is the weekend following the fourth of July - The festival is produced two separate weekends - for example in 2005, the January festivals will be held Jan. 3, 4 and 5; then again Jan. 1,0 11 and 12.

Wait a minute - that's 72 hours not 48.

Thursday nite is a two hour meeting of the minds. It's the nite that all participants get together to look each other over and choose the theme for first wave of shows. We have found that this initial get together is imperative as it forges a common bond that sets the tone for the next 48 hours. It also lays down a lot of the ground work.

How does the invitation process work?

There is a Steering Committee of 7 to 14 dedicated artists from various disciplines who oversee the operation of the festival. In the months prior to a Winter or Summer fest they meet to plan the next fest. About two months prior, a list of artists is drawn up by the Steering Committee to invite you to the next upcoming festival. We always invite 25% new artists. As the list of 'vets' continues to grow it becomes increasingly difficult to invite everyone everytime. We employ any number of criteria when drawing up an invite list. Above all we are looking for a dynamic professionals, artists who have proven, and continue to prove, that they have the chops to handle the process. We endeavor to work out an equal number of men and women. We must also take into account artists who have sat on the sidelines and are eager to reenter the fray. Finally artists who actively let us know that they are excited about the process and eager to risk carry a certain weight with the committee.

What happens if I am invited?

Commitment is VERY important. You are given a week to respond to an invite. Since the desire amongst the artistic community is high, we have to have some sort of 'cut off' point and we have found that one week is generally an ample amount of time to give you a chance to say yes. After that the Steering Committee goes back to its lists of vets and unchosen newbies and does a second round of invitations. We continue this process until we get firm commitments from all the artists needed make the event a success.

What if I am NOT invited?

Please don't take it personally. As stated above there are many criteria in drawing up the initial invite list . . . (ditto the second round invites as well). IF you are passed over for one fest then you will more than likely receive an invite to the next fest six months down the line. The Steering Committee keeps a database of everyone's involvement and folks passed over for one event usually get a nod for the next (another example of that ethereal selection criteria). However there IS something you can do to really make the Steering Committee sit up and take notice of your addiction for a 14/48 fix - and make you much more attractive when the next fest rolls around -Volunteer. We need people who are willing to do the many many tasks at hand to make the event run smoothly and effortlessly. Spending a day doing craft services for your fellow artists is a great way to network with everyone involved without finding yourself under the pressures of producing great art. In many ways it can be just as rewarding as directing, acting, or writing.

What happens during a festival?

If you have never participated it is truly a unique experience. And that is experience is vastly rewarding in more ways than can be enumerated. The festival is not just about creating great theater, it's also about creating new connections between artists. You are given the opportunity to work with people that you have heard about but never seen - Artistic peers that you have longed to work with but never had the chance - new artists who just blew into town - old timers who have been hopping from theater to theater for years. You are expected to work hard and play hard. Above all we have found that the experience works best if you just say 'yes'. Come into the rehearsal process leaving all personal agendas at the door. Be willing to risk and trust at the drop of a prop. Commit to exciting new choices and bravely take yourself out to the limits of your craft. Sounds exciting? It is.

Does it Pay?

Our good friend Amiee Bruneau said it best. "I have received more offers for work by doing a single 14/48 than any general audition I have been to". The payoff is huge. In terms of networking with other members of the theater communtiy it is one of the single most important events that you can participate in. It is fullfilling in terms of setting your artistic world on its ear for three days and coming out the other side a better artist for it. Director William Cole says "I have learned more about a craft I thought I knew inside and out by doing a single 14/48 than the 15 years that I have been directing and producing theater. I am a better director today because of it".

Hey, I'm equity - what about me?

There are four available equity slots.

What is the time commitment?

Thursday evening from about 7 to 10 PM. Friday from 9 AM to about 11 PM - Saturday 9 AM - 11 PM. Unless you are a writer - you receive the first theme Thursday nite around 9 PM and are expected to deliver a rehearsable script by 9 AM the following morning. Then do the same on Friday nite.

Speaking of Theme.

We are working to refine the way in which the theme is chosen. In the past you simply wrote whatever popped into your head at the Thursday night meeting and just about anything came out of the hat. This led to a few rather 'interesting' evenings of theater that frankly, were just not that good. So we are endeavoring to improve upon this most important element of the event Themes will be collected at the beginning of Thursday night rather than being written during the meeting. We are ecouraging everyone to come prepared with a GREAT theme to throw in the hat when you walk in the door. Please follow this link <THEMES> to a more detailed examination of the theme selection. We are hopeful that the selection process will be greatly improved by a little bit of advance planning on all of our parts.

What about breaks for lunch and dinner?

Craft services are provided. Breakfast, lunch and dinner items are made available throughout the day. Plenty of water. ConWorks has restrooms and provides areas for smokers. Rehearsal schedules are set by individual directors. Usually time is alloted for actors to do the necessary line study. But everyone is expected to be at the facility during the times outlined above unless given permission to leave.

I am not just an Actor.

There are several multi-disciplinarians amongst any large group of artists. For example, Basil Harris is a fantastic actor but unknown to but a few he also plays an mean bass. He simply expressed to us a desire to perform in the band instead of onstage. If you would be more comfortable in a role that you feel suits you better, let us know and we will try to accommodate your multi-disciplinary nature.

What is this "Mazen Award" that I heard about?

The Mazen is given to an artist who has proven time and time again to embody all that is truly the spirit of 14/48. Someone who risks their ass off and is totally willing to say yes. The consistantly push the edge of their personal artistic envelope and triumph. We think these people are the creme de la creme of the vets. Oh, did I mention that only vets are eligible for the Mazen. Past Mazen winners are:

• Winter 2004
  John Kaufmann
  Mark Boeker
  
• Summer 2004
  Scot Augustson
  Pattie Miles

Why is it called "The Mazen"?

For that we will direct you to Carl Sanders. At the next fest that you participate in (or even the first fest that you participate in) seek out Carl and ask him. He will give you the skinny.

What about . . . ?

Is there a question that has gone unanswered? Just email us and we will not only get back to you but try to include that answer here for others who might also have the same query. TIA for your help in making this a more complete fAq.

The unanimous Declaration of the artists of 14/48,

When in the Course of producing theatrical events, it becomes necessary for a group of artists to dissolve the bands which have connected them to a process of play development, and to assume among the powers of the stage, the separate and equal station to which a Love of the Theatre entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.
We hold these truths to be self-evident, that the random selection of theme and cast allows the divine to enter the creative process, that we have no idea what will make a good theme, that a live band is more valuable to the experience of theatre than a Dramaturg, and that we are endowed by our 14/48 creators with certain inalienable rights among these are beer on Thursday, beer on Friday and beer on Saturday night.
Whenever any Form of Theatrical Production becomes destructive of the human imagination, it is the Right of the artists to alter or to abolish it, and to institute a new Process, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Risk-taking and Happiness. Prudence, indeed, will dictate that Processes of rehearsal and production long established should not be changed for light and transient causes; and all experience hath shown, that artist are more disposed to suffer, while these methods are sufferable, than to right themselves by abolishing the processes to which they are accustomed. But when a long train of abuses and insults evinces a design to reduce them to servants of an Artistic Director in thrall to a Board of Directors, it is their right, it is their duty, to throw off such an institution, and to provide new methods for their active talents. -- The history of the American Regional Theatre is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over the human imagination. To prove this, let Facts be submitted to a candid world.
They muster all the resources of the state not to explore the depth and soul of actors standing before an audience, but to build greater and greater palaces of production, which at every step become more bereft of the passion which spawned them
They subject actors to Cattle Call auditions for roles they have previously cast or are dangling in front of “name” talent.
They allot the exact same amount of time for rehearsal no matter how complicated or simple a play may be.
They jump on the Regional theatre bandwagon to produce this year’s “hot” play.
They construct Seasons out of fairy dust with plays that have no relationship to one another, the performers who work on them or the audience to which they are presented.
Absurd Person Singular.
They maintain at the public expense Literary Departments that have no purpose other than to write program notes and read scripts which they have no authority to recommend for production.
They employ year round standing armies of PR, Box Office, Development Departments, Stage Managers, House Mangers, Artist Liaisons, and Accountants but not one actor is on staff for more than a couple of months.
In every stage of these Oppressions We have cornered beleaguered artistic directors in bars and yapped at them mercilessly regarding our grievances. We have reminded them of the circumstances of our employment and settlement here. We have appealed to their native justice, and we have conjured them by the ties of our common love of theatre to disavow these actions. Our repeated Petitions have been answered only by “If you want to get a job move to New York”.
We, therefore, the Artists of 14/48, in General ConWorks, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by the Authority of our imaginations, solemnly publish and declare, that14/48 is, and of Right ought to be Free and Independent; that we are Absolved from all Allegiance to play development, and that all connection between us and what passes for the rehearsal process is and ought to be totally dissolved; and that we have full Power to pick themes out of a hat, write plays connected to that theme on this night in this place, cast them at random, and present 14 new works of as yet imagined theatre in the next 48 hours. And for the support of this Declaration, with a firm reliance on the protection the 14/48 gods, we mutually pledge to each other our Time, our Talent and our sacred Honor.

Always Under Construction

This section of the site is constantly being developed to serve the needs of the 1448 participants. Keep checking back from time to time as it will continue to grow. We also encourage you to give us feedback about what you need or would find helpful here to make the experience of participating in the event more fullfilling and worthwhile. Contact us using the link provided above.