10 questions: Adam Paolozza

At The Opera by TheatreRUN.
L to R: Adam Paolozza, Molly Feingold. On floor: Sophie Fletcher.

1) What the fuck is going on?
The Conservatives are planning a sleight of hand with their proposed $1.1 billion in cuts in their 2006 budget. Cutting the fat, as they call it. So we have gathered together some of the funniest and smartest performers in the city to protest the cuts with our Cabaret, Harper’s Bazaar.

2) Why are the arts worth fighting for?
The arts are worth fighting for because they make Canadian life (which is bad enough as it is) that much more tolerable.

3) What’s the main problem with this federal government’s approach to arts funding?
That they think the scarce amount of funding we already have is not only sufficient but excessive.

4) Are there any clear distinctions between movement-based performance and dance?
I think that all theatre is movement based. You never go to the theatre and receive any information telepathically. I suppose that if follow this line of reasoning then dance would be considered theatre, as well. Maybe that isn’t too far off the mark. All performance relies on language and play – whether the language is words, gestures or movement. Maybe we should all just call ourselves performers. Then we could dance, speak or mime without offending anyone. Of course that would be a bureaucratic nightmare for grant writing – how would they organize all those applications?

5) What’s it like working with Dean Gilmour?
The question should read, “What’s it like working with Dean Gilmour and Michelle Smith?” because they always work together. Working with the Smith-Gilmours requires openness, attention to detail, courage to follow your impulses and to let go of ideas that don’t work, and patience to remain in a problem even when it seems no solution is in site. It is also very fun working with them and laughter and joy are very integral to their process. One major thing I’ve learned from them is never to remain complacent or satisfied with the work, even when it appears finished, but to continue to question and explore.

6) What’s the best way to win an argument?
By listening to the other and making the attempt to understand. You must know if an argument is even worth winning (I’m talking about arguments that come up during the creative process specifically). When a solution is found it should benefit everyone and should move the group forward. Winning an argument for personal satisfaction has no place in the creative process. Sometimes you must fight for an idea or image that you feel is important to the work and other times you have to give up your ideas and let them go. The work must come before anything else of you want it to be honest and meaningful.

Russian Doll by TheatreRUN.
Backrow L to R: Sophie Fletcher, Anne Sorce, Martine Eichenberger and Jimmy Garver.
Front L to R: Molly Feingold, Adam Paolozza.

7) Is there anything that’s common to all of your best creative moments?

8) Have you ever come across a piece of theoretical literature that’s gotten in the way of your creative process?
The complete works of Stanislavsky.

9) Any thoughts on furniture?
I really hate sitting – it is too vague. It is neither completely at rest or fully alert. I prefer laying down or standing. I have yet to find a chair or couch that is comfortable.

10) Any tips on how non-artists could incorporate techniques from your discipline into their day-to-day lives?
Living all the moments of your life as intensely and precisely as you do when you construct a role.

Harper’s Bazaar, a Cabaret protesting the $1.1 billion in budget cuts that the Conservatives are proposing, is hosted by Adam Paolozza and Melissa D’Agostino on Monday December 11, 2006 @ 8pm in the Back Room at Clinton’s Tavern and featuring Sandra Battaglini, Michael Challenor, Laura Nanni, Terrance Balazo, Michael Balazo, Kathleen Philips, Bruce Hunter, Adam Lazarus, Press Release, Micheline Marchildon and Lindy Zucker with music @10pm by Shake A Tail.

One thought on “10 questions: Adam Paolozza

  1. alright adam, if you’re gonna come on here and start dissing stanislavsky, i’m gonna have to start making le coq jokes. oh, fuck, i’m stumped. there’s seems to be nowhere to go with this. there’s absolutely nothing funny about a training method called le coq.

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