Week 4- Corporate Gatekeepers

This week we read about those corporate gatekeepers in the various arts “fields” (to use Bourdieu’s term)—literary editors, social networks, traditions which would be appropriately termed “industrial auteurship.”

Edwards knocks down the auteur theory stating that it was primarily devised to give an academic framework of discussion, then proceeds to discuss the decisions surrounding David O Selznick’s acquisition and adaptation of “Rebecca” as being firmly grounded in creating a brand for SIP and differentiating its products from other studios.

Schatz too looks at the entire picture surrounding film production and marvels how well-oiled it was for so long. He maintains the executives were what made the system great and what made it work.

Curran too discusses the commerce surrounding artistic decisions but his article should have been called "Why, Oh Why Can't More Scientific Books Get Reviewed: My Friends and I Would Sell a Lot More!"

In this vein of logistical and commercial consideration, I would like to play the part of a theatrical producer who has been handed a script by a little-known playwright named D. Cooke who is hoping the producer's small reparatory theatre would be able to produce her play entitled “Semi-detached.”

Dear Ms. Cooke-

We would like to thank you for your recent submission. However, there are several concerns our company’s production staff has with the current draft of your script, “Semi-detatched.”

1- We are confused by the logistical structure of the set as you have suggested it in your script. We feel that to fully produce the two apartments as being able to move together and apart may prove expensive for the budget of our company. Also, we are a theatre in-the-round and the ideas for your set do not lend themselves to a surrounding audience.
2- We notice that one character, Mrs. Wolford appears only in one scene in the first act, but that Brian only appears in the last scene of Act 2. May we suggest that Mrs. Wolford be changed to her nephew, so that the same actor could portray both characters?
3- We were wondering if you’ve already created the necessary peripheral musical pieces as you did not include them with the script? Do you have recordings of these already, as our staff does not have the resources to replicate the type of music you’ve suggested for Thomas’ character.

Until we can come to an agreement about these logistical concerns, we will not be able to proceed in a production of this piece, although we would like to further discuss ways we could reach a win-win situation.

The general tone and attitude fit well with our company and as you pointed out, we do have actors on hand who fit your characters descriptions and would do well with the material. We would love to see another draft of your work upon further discussion with you.

Thank you again for this submission.

Mr. Smith of
Mr. Smith’s Reparatory Theatre Company