J. Michael Miller
The Actors Center Journal Vol. 2, No. 3, July 2010
Founder’s Page
As I reach an age of longed-for perspective on what my life is and has been about, I find the questions that I face are more multi-dimensional, larger in scope, and open to a variety of legitimate responses. That seems to have been an increasing reality in each of the seven and a half decades that I have faced those questions, and can only wonder when and if the hoped for sense of clarity and wisdom is going to take its turn. Thank god for the notion of this Journal, which intends to give you and me and Phil a chance to not only vent, but to think out loud about what is on our minds. Our purpose is to clarify the issues facing the actor and instigate positive, practical response. I have deep convictions about the role of the actor in this society, much of which I share in common with those of you who read this column. But few of you understood the slim outline of my proposal for a “National Theatre,” which is my fault and something Phil and I hope to rectify in this issue. Others have different perspectives, not necessarily opposing, but assessing from a longer, less wrought and urgent view. What follows is a response from Ben Cameron that requires everyone’s attention, and my thoughts on that response. Ben asked me to be clear “that this was a quick e-mail exchange and is reprinted without the benefit of further thought or reflection.” I want to share it with you because it enlarges our sense of context in so many ways, and challenges our sense of mission to include a natural process of cultural evolution along with our focus on revitalizing the roots of our current role in society. And later in this issue, a more detailed and supported account of my original proposal. While there is no perfect solution to the many issues we face as actors who wish to serve as artists in this society, I hope we can find ways to affect the society we live in that raises the consciousness of that actor’s role. We are way too fond of our name in lights, and not sufficiently committed or compensated for our actual role in what is the stuff of life. But now to my “Conversation with Ben”.
I met Ben Cameron when he was just out of graduate school and working at the National Endowment for the Arts. I think he thought I was “somebody” then, but he has gone on to be “SOMEBODY.” He soon became Head of the Theatre Program at the Endowment, then a foundation executive in Minneapolis, then Head of the Theatre Communications Group, and now Head of the Doris Duke Foundation. Ben’s job is to think ahead, and I cannot imagine a mind and a person more equipped to fill that role. I sent him my rationale for the “National Theatre” proposal, asking his advice. Here is his response and my musing on his very thoughtful position. Let us hope that future snippets of “Conversations with Ben” might continue in these pages.