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Bob Klump

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A Dream Unrealized, But Not Forgotten

Years ago, about twenty-five or thirty, I think, a small group of, at that time, current and former students sat in our family room in Bridgeport, Michigan and tossed around the idea of one day living and working in a shared arts community. It was referred to then as the “family mansion”. We truly considered ourselves one large family and in many ways still do. These were young people, high school and college kids who had worked closely with us in school and out. We talked about it a lot in those days.

Of course, it wasn’t at all realistic. No consideration was given to the reality of them one day having families of their own or the financial enormity of such a venture. It was just a wonderful thing to contemplate. The thought of the “starving artist” never entered the conversation, but gads it was inspiring and fun.

The extended family is much larger now and many of them continue to pursue their artistic visions. Many do have families of their own and all are much more aware of the “starving artist’ scenario. The realities that restricted the original dream are still in place, but in quiet moments a stray thought of that time long ago manages to creep in. At my age I should not entertain any such thoughts. But hey, any of you out there have any hot ideas?

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Borrowing the Good Stuff

Stealing the good stuff is probably closer to the truth. As educators and artists we do it all the time. At least I know that I have and will continue to pilfer the truths that I find in others’ work and observations. Of course, we tinker with the knowledge we glean from other sources, tweak it in ways that make it, in some way, our own and convince ourselves that we have created a better thing. Or, we just take it as we find it and quietly use it word for word without shame. No guilt is necessary, I think, unless we claim it as our own and try to profit from it on that basis.

So, now is the time for me to “fess up” by acknowledging the people I “borrow” from daily. If you are a former colleague or student, be assured that I have borrowed from you a lot. As I have stated before, over the years I have learned more from colleagues, friends and students than they have ever learned from me.

In my teaching and coaching of actors, I have harvested and continue to harvest huge amounts from writings by Constantin Stanislavski, Lee Strasberg, Sanford Meissner, Maxine Klein and Uta Hagen. There are others, but these are, in the main, the ones I rely on most. I sought them out on my own with the exception of Maxine Klein, whose book, Time Space and Designs for Actors, was introduced to me over twenty years ago by the drama instructor at Saginaw Valley State University. Three of my high school students, Maria Infante, Kathy Christian and Melissa Stenzel and I, signed up for a summer acting class. It was great and I have been stealing from all of them ever since. Thanks kids.

The most recent of the books from the above-mentioned authors is Uta Hagen’s, The Challenge for the Actor. I have found it most useful and highly recommend it. I only borrow the good stuff.

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The Artist’s Goal

Uta Hagen in her book, A Challenge for the Actor, gives the following quote from George Bernard Shaw:

“This is the true joy in life, being used for a purpose recognized by yourself as a mighty one; being a force of nature instead of a feverish, selfish little clod of ailments and grievances, complaining that the world will not devote itself to making you happy. I am of the opinion that my life belongs to the whole community and as long as I live, it is my privilege to do for it what I can. I want to be thoroughly used up when I die, for the harder I work the more I live. I rejoice in life for its own sake. Life is no brief candle to me. It is a sort of splendid torch which I have got hold of for the moment and I want to make it burn as brightly as possible before handing it on to further generations.”

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