Love's Labors Lost: Fandom really sucks sometimes

July 21, 2010

Fandom really sucks sometimes

I gotta get something off my chest right quick:I participate in fandom. Can't help it. I'm a nerd.

And if you thought corporate America was a cesspool of head-up-the-ass privilege and soul-crushing oppression, you haven't seen the depths to which fandom can go. At least corporate America has the decency to lie about not being sexist, racist, homophobic, transphobic, and full of class elitism. At least you could say that in corporate America, it's all about the Almighty Dollar and the Bottom Line, so you can kind of sweep all the shit they do under that particular Umbrella of Evil.

But fandom - oh, man! Not only are people not making any money off fandom (so have less excuse to put people through that shit), but oftentimes the whole point of the way they indulge in fucked up oppressive dynamics is part of the fun. It's not like gangs where the different oppressions keep to their turf for the most part: racism over here, sexism over there, homophobia and transphobia a few blocks down, ableism by corner. Oh, no! It's not that fucking nice! Those fuckers hang out in clusters. When you see racism, you can bet your ass that sexism (fuck it - let's just say misogyny) is on its way. If you get a glimpse of trans fail, you may as well don your anti-homophobia suit because the anti-queer shit is right around the corner. And despite its "handicap," the ableist train is never late.

And the most fucked-up Jedi mind trick in all this is that no matter how clearly you can see it and point it out and explain it . . .

They didn't mean to, so it doesn't count
You weren't polite about it, so it doesn't count
There are More Important Things To Talk About, so it doesn't count
You're obviously paranoid (aka "sensitive"), so it doesn't count
They never heard it before, so it doesn't count
You didn't cite your sources, so it doesn't count

And even when it does count, you bring it on yourself by . . .

Dressing like that
Talking about that
Thinking about that so much

Don't you know? It's far more important that you don't harsh the squee than it is for you to feel included like other human beings.

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Words, Words, Words

. . . a lot of it [fostering rather than smothering students' playwriting] has to do with finding a way to construct a dialogue about ongoing work that empowers the writer. A lot of it has to do with making sure there's a diversity of voices around you. A lot of it has to do with thinking of the writing program as a brain trust for writers, not as some infantilization in which the dramaturg gets the power. And basically trying to find a place where everyone's aesthetic in the room grows larger rather than smaller. There are many ways to do that. It's really not a hard thing to do.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

Here is what seems to me an elementary truth that must precede any other: namely, that the theater, an independent and autonomous art, must, in order to revive or simply to live, realize what differentiates it from text, pure speech, literature, and all other fixed and written means.
--Antonin Artaud, letter, 9/15/1931

I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all I need for an act of theatre to be engaged.
--Peter Brook, The Empty Space

My work is characterized by one thing above all --- invention. In theatre we imagine the world, we do not record it, we are not documentary makers. I hold all social realism and journalistic theatre in contempt. It is a sordid habit. And the social realists have the impertinence to pretend they are 'telling the truth…'
--Howard Barker, interview

Women and writers of color are still seen as threats because, in essence, when a woman or writer of color is defining a play world, there's another definition of what our society is, and that's very threatening.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

Through this experience [working on " . . . and last week it was a mountain"] I learned the importance of the life and the dynamics under the words, and began to see the power of working from the silent space within - the emotions, the images, the experience and the feelings - rather than relying on the words.
--Sande Shurin, Transformational Acting: A Step Beyond

How does it happen that . . . the Occidental theater does not see theater under any other aspect than as a theater of dialogue?
--Antonin Artaud, Theater and Its Double

All conventions are imaginable, but they depend on the absence of rigid forms.
--Peter Brook, The Open Door

I never 'say' anything in my work. I invent a world. Let others decide what is being 'said'. Nor do I claim to tell the truth or enlighten people. We are suffocated by writers who want to enlighten us with their truths. For me, the theatre is beautiful because it is a secret, and secrets seduce us, we all want to share secrets. That is also its politics, if it has any politics at all. And modern democracies hate secrets, they want everything transparent. Obviously the critics collaborate in this desire to expose everything to the light of day, they are the police force, after all.
--Howard Barker, interview

I think that form is content . . . I've always been more interested . . . in the formal devices and the structure rather than in the subject matter . . . I really am a follower of Viktor Shklovsky, who said that in some ways the subject matter doesn't even matter. It's whether or not we see the subject matter anew that matters.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

I am well aware that the language of gestures and postures, dance and music, is less capable of analyzing a character, revealing a man's thoughts, or elucidating states of consciousness clearly and precisely, than is verbal language, but who ever said the theater was created to analyze a character, to resolve conflicts of love and duty, to wrestle with all the problems of a typical and psychological nature that monopolize our contemporary stage?
--Antonin Artaud, Theater and Its Double

The mediocre artist prefers not to take risks, which is why he is conventional.
--Peter Brook, The Open Door

"Transcendence became my life theme. I wanted to be lifted beyond everyday circumstances and everyday reality."
--Sande Shurin, Transformational Acting: A Step Beyond

I actually think of writing for the stage as not writing . . . It's about structuring, about gaps between the language that are really filled in by the collaborators and the process. It's all about indirection rather than a direct statement . . . It's like a three-dimensional chess game in a way. If I say this, will the director go in this direction? If I say this, will the actor respond? And one of the delights of the process is actually not having your intention fulfilled, but finding out at times that other people's interpretation or intention is actually more interesting than you originally thought of.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

The person who has an idea of what this language is will be able to understand us. We write only for him. --Antonin Artaud, letter, 9/28/1932