Love's Labors Lost: Tulpa is ALMOST there thanks to YOU!

April 3, 2011

Tulpa is ALMOST there thanks to YOU!

Everything you've done so far - big favors or small acts of kindness - is the reason why Tulpa, or Anne&Me has come this far. No matter what your role is in this project - artist, audience member, moral support or just a little help in the background - everything you do means a lot. I really appreciate everyone who's had a hand (or finger or toe) in making Tulpa possible.

Because of you, we have less than $150 to go! That's only 6 people donating just $25 each!

If Tulpa, or Anne&Me has touched your life in any way, please let people know by:

forwarding this e-mail to friends you think would be interested
connecting to RVCBard on Twitter
sending your ideas for the next phase of Tulpa, or Anne&Me
leaving comments on this blog or at Ars Marginal
telling a friend (or 10) about this crazy play you heard about/acted in/directed/contributed to
pitching a story or project related to Tulpa, or Anne&Me so we can get the word out
coming to the FUNraiser on April 9 so you can meet everyone and have a good time

Working on Tulpa, or Anne&Me has taught me something very important: to challenge my expectations. Most of the people contributing to Tulpa, or Anne&Me have not been artists or activists or academics, but regular people who've read the script or checked out Tulpa's IndieGoGo campaign and said, "Yes, this is what I need to see," or "Finally! Someone who's talking about this like a real person and not a pundit," or "Thank God! Someone understands!"

It cuts across age, income, and race. It gives me a lot of hope to see that the greatest hope for real change comes from everyday people like you.

I appreciate that, and I mean it.

ETA: WE DID IT!!!

2 comments:

joshcon804/06/2011 9:31 AM
Have you connected with Horse Trade and the Fire This Time Festival? It's a really wonderful mini festival dedicated to writers of color. Also, EST's Crossing the River, which is specifically for black women and J. Holtham's new blackfest? I know all of them, so let me know if I can do introductions.
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RVCBard4/06/2011 10:56 AM
Josh,

Cool! I'd love to get in touch with them. If any of you can make it to Saturday's FUNraiser, that'd be the perfect time to do that!

Great movie, nice food, good company, and happy hour drink prices!
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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