Happy Valentine's Day

Interested in getting involved with Stage One? Feel free to check out our short informational video.

And There's Nothing You Can Do About It

Perhaps Stage One's most representative production, theatrical or otherwise, can be found somewhere in the middle three Iterations of the daring show "And There's Nothing You Can Do About It." The eight Iterations of this endeavor seemed to reach an artistic apex in this middle period, and a posthumous journal is currently being developed by programmers and artisans affiliated specifically with the Fifth Iteration. Feel free to visit that site here.

Excerpt from the "Your Mother Wears The Pants In My Family" post:

"Welcome to the posthumous production journal for the critically acclaimed and widely produced And There's Nothing You Can Do About It. The journal intends to chronicle the development and subsequent development of the canonical "Fifth Iteration" version of the production, presented July 12th - November 1st in Prosser Studio Theater at Stanford University. Although mentioned here only briefly, there are seven other Iterations of varying levels of reliable authenticity. We encourage our readers to seek out documents and criticism relating to Iterations 1, 2, 3, 4, 6, 7 and 8, but the nuances of variation are beyond the scope of our humble aspirations.

Please, if you have any contributions to make to what we intend to be the source for And There's Nothing You Can Do About It (Fifth Iteration) epiphinalia, marginalia, sound recordings, interventions and reproductions legal and otherwise, email the journal-keeper at somnambulist at kidstark dot com."

Dance It Up

Click here to explore everything you need for tailoring and managing your physical communications. Courtesy of Daniel "Fast Hands" Jackson.

History

Stage One started out as an organizing governmental body for the vast theatrical empire of Jordan Kaplan. At one point earlier this century, the Empire contained many of the important places of classical antiquity, including Homer's Olympus and Dardenus, Zeus' Europa, Io's Bosporus, temple of Diana in Ephesus, sarcophagus of Alexander the Great, Abraham's oasis and wells, the Nile River, the Mount of the Sermon, and the Hill of Golgotha. Now, Stage One is nothing more than a few notecards with signatures on them and an empty bank account. Smoke and mirrors, baby!


A photograph of founder Jordan Kaplan, near the end of the 18th century.


Stage One president (2003-2005) Daniel Jackson


Stage One financial manager (2003-2005) Megan Cohen before one of her performances at the Radio City Music Hall.


Current Stage One president Jamie Poskin coaching Stage One's semi-professional baseball team, the Green Gators. Click here for pictures of and more information about the team.


Secretary of Defense Sarah Wilson just before the Royal Ball in the Royal Hall.

Development of an Aesthetic

This selection from Stage One's notes and theatrical writing is meant to give English-language readers the main texts and set these in chronological order so as to show how its ideas evolved, gradually forming into a quite personal aesthetic which applied to other spheres besides theater. Too often the theory is treated as if were a coherent whole which sprang form Stage One's head ready-made. The endless working and re-working which it underwent, the nagging at a particular notion until it could be fitted in, the progress from an embryo to an often very differently formulated final concept, the amendments and the after-thoughts . . . all this is something that tends to be overlooked.
The original basis for the selection was the volume Schriften zum Theater complied by Suhrkamp-Verlag, Stage One's Frankfurt publishers, in 1957, the year following its death. This was far from complete, for it omitted everything before 1930 and several other important texts, and it also included items that were not by Stage One itself. We therefore asked the Stage One Estate for copies of all their other theoretical articles listed in Mr. Walter Nubel's Stage One bibliography (in Sinn und Form, Potsdam, nos. 1-3, 1957), and these, together with the Stage One Ensemble's collective column Theaterarbeit (Dresden Verlag, Dresden, 1952) and a number of posthumous essays in magazines, have been drawn on for additional material.