This literature written by Condee, a professor of Theatre and director of The School of Interdisciplinary Arts at Ohio university, seeks to make explicit how interdisciplinary studies and interdisciplinary research are essential approaches to education and 'theatre history' as a topic - this in order to reform and continually develop them. He opens with a question that I hope to gain more understanding towards in connection with my own own practice, a performer in a Musical Theatre production:
"Is interdisciplinarity still interdisciplinary, or is it now a discipline?"
If I was to relate this to my own practice, I feel it would imply that Musical Theatre is now a discipline that has formed from several other disciplines. In other words, I initially trained in dance and only began to study acting and singing when I realised that Musical Theatre was what I wanted to do. "Musical theatre combines music, songs, spoken dialogue and dance. Also called 'musicals', they are usually performed in theatres" (BBC 2014). I was additionally told that the 3 individual disciplines would be required from me in that field, in order to become successful. When commencing Laine Theatre Arts aged 18, I had the option of completing my diploma in 'Musical Theatre', i.e. The combining of dance, acting and singing; or 'dance' as a stand alone subject. What this question could be suggesting is that 'Musical Theatre' is now a discipline in its own right, yet it has stemmed from interdisciplinary studies. I do believe that Musical Theatre is a genre of performance, and also a discipline in its own right. This is because the execution of the 3 sub disciplines are expected amongst performers today and therefore requires interdisciplinary skills from us as practitioners.
Interdisciplinary practice is essential when putting on a musical theatre production.
"The common view is that interdisciplinarity employs more than one discipline to address a complex problem" and "Interdisciplinary studies tend to privilege unity"
In order for the whole production to come together ready for an audience, many expert practitioners profound in many individual disciplines are required; these from lighting, sound, wardrobe, make up, stage management, actors and so on. However we must work as a team and come together to produce the one goal or "complex problem" - the production itself. The group of people who put on a Musical Theatre production are known as a 'company', which can also be defined as "being with another or others, especially in a way that provides friendship and enjoyment" (Google, 2017). The above suggests to me that cooperation and collaboration which enable "unity" are key qualities of interdisciplinary practice, and are more successful when you have positive relationships and passion amongst company members.
Following on from this, I firmly believe that the creative success of a production in connection with my inquiry, can only benefit from interdisciplinary practice.
"Thus while a discipline sets forth a field of study, offering creative and research opportunities, it also limits the range of creation"
The more experts we have, the more knowledge and ideas we should possess collectively. "Each scholar, then, builds on the work of another, taking what is helpful from other scholars." As a dancer in Musical Theatre, I could work with a director who brings out storytelling in my performance for example. I could work with a costume designer who could make something that would complement or accentuate my movements. Working collectively and combining our individual skills, increases the "range of creation" and provides the opportunity for maximum creativity.
Interdisciplinarity enables us as professionals to continually develop and improve our Musical Theatre productions. I watched a documentary, "The Heat is Back on", which follows the making of Miss Saigon during its return to London for the 25th anniversary. Even though it is one of the most successful shows in history and produced by the most successful producer of our time, Cameron Mackintosh, the show undergoes several changes and tweaks to the underscore, set design, choreography etc.
"This form of interdisciplinarity might be called discipline-based, in which disciplinary work is essential to interdisciplinary studies, and interdisciplinary studies are essential to the future development of the discipline. The scholar must have a disciplinary home, but also have knowledge of cognate disciplines."
If we look at Miss Saigon as the "discipline" we hope to develop, and Mackintosh as the "scholar", it suggests that as well as his ability to produce he must have knowledge of the other disciplines involved in creating the show. In an interview with him that I studied previously he says he has a talent for recognising "'that doesn't work - why not try that?' I'm good at making other people go the extra yard." This literature fails to mention the leadership roles, such as the producer, or management in regards to successful interdisciplinary work - something I plan to study further along with organisational theory.
If the production had remained the same, it may not have been as successful with audiences today.
"If, however, one accepts that theatre history must undergo a constant transformation, then this interdisciplinary education is central to theatre history. Interdisciplinary studies provide the essential mechanism by which the discipline questions itself and opens itself up to external examination—ultimately perpetuating reform. Disciplinarity without interdisciplinarity is a dead discipline."
As creatives, we are continually looking to self improve and further ourselves and I do believe it's because we love what we do. In order to achieve this we must "reflect" (Module 1) on previous work and seek feedback or critique from other experts - whether this be on stage, in an audition, during training sessions or in the rehearsal room. This combined with our own knowledge and experience helps us to "reform" and refine our individual disciplines. Interdisciplinarity accommodates the fusion of these and thus helps to transform a production, in this case, Miss Saigon. What the literature doesn't mention is the ever advancing technology and training that also aids this transformation. Audiences have expectations in regards to what they know and love from previous productions, but they also have modern day expectations. Therefore I feel it is imperative to acknowledge imperatives for interdisciplinary work.
Ultimately, disciplinary and interdisciplinary work should co-exist. Using disciplinary knowledge, but seeking information externally to advance and improve the whole, is key to a Musical Theatre production.
"Disciplinary and interdisciplinary studies should permeate and infuse one another, operating in a complementary relationship"
To conclude, disciplinary work (myself as a dancer) should participate in interdisciplinary work (cooperation and collaboration with other experts/departments), allowing the continual enhancement of the ongoing discipline that is a Musical Theatre production.
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