I am a theatre artist. I direct, write, act, and design for the stage. I may not make a living at it—I may never make a living at it—but that doesn't change who I am. I may be many other things, as well, but those other things do not make me less of a theatre artist; if anything, they make me a better one.
We theatre artists tend to have "robust" egos, and necessarily so; it takes a healthy ego to dare the stage and an unknown audience's reaction. Confidence is another and perhaps a better quality to have, but confidence alone is not enough; every artist knows that audiences are unpredictable and good work does not always receive a positive reception. Ego partners with confidence...that indomitable sense of self-importance convinces us that we will be adored, and rightly so.
Although ego has its place, it wants tempering, and ofen doesn't get it. An ego unchecked is common in theatre—the "diva" or "prima dona" is a stock character type for good reason—but such an ego tends to overshadow the art of theatre. An unconstrained ego leads an artist's work to be all about the artist; it becomes narcissistic and selfish, failing to evoke the empathy of the audience or elicit the catharsis that wins an audience's acclaim.
What, then, can temper or counterbalance the ego that might otherwise turn art into mirror-gazing?
I think humility is an essential quality in a theatre artist, one that must be assiduously cultivated and constantly exercised. It is essential not only because it functions as a governor—keeping ego in proper bounds—but also in its own right; humility is key to artistic performance.
Humility is crucial because theatre artists serve neither self nor audience (though both must be served); rather, theatre artists serve the story. It is the story that will, if properly served, serve both the artist's self and the audience's desire for catharsis.
While ego is required to execute a performance, it is the enemy of creation. Humility is the friend of the creative impulse that is the foundation of artistic endeavor; the quality that lets an artist set aside self-consciousness and self-importance and simply create. Humility is what empowers a director to tell the story the playwright wrote, rather than the director's own story. Humility is what empowers a playwright to write the story that needs telling, and not the one that feeds the playwright's ego. Humility is what empowers an actor to create and embody a character that isn't the actor, but that needs to live in that story on that stage. Humility is what empowers the designer to create the best setting for the story, and not the setting that shows off the designer's cleverness. Humility lets "self" get out of the way of the divine creative spark.
We all serve the story. We're all here to tell the story. The playwright is the oracle who serves the story by penning it, and the rest of us—director, actor, designer, whoever—serve the story by interpreting it, incarnating it, contextualizing it...breathing life into it.
If we serve the story and not our egos, we do what is best for the story whether it was our idea or someone else's. If we serve the story and not our egos, we do our best for the story regardless of whether we think it's beneath us (because it isn't about us). If we serve the story and not our egos, we may truly call ourselves artists.
Too often "we"—directors, playwrights, actors, designers, technicians, whoever—too often we confuse the artist with the art. The art has its own identity, its own reality. The artist matters—the artist builds a fire for that divine creative spark to kindle and nurtures the tongues of flame that warm us all—but it's the fire that warms us and not the artist.
We serve the art and not ourselves. We serve the story. When we don't—when we serve ourselves—we betray the art and, like Narcissus, we lose ourselves in our own reflections.
Confidence is necessary, and ego has its place, but humility is the key to being an artist. We must always be "in service to" the story we tell on the stage.