Love's Labors Lost: "I just . . . do things!"

May 12, 2011

"I just . . . do things!"

Over at the Greener Room, I talk about paperless marketing for Tulpa, or Anne&Me. Although the word count limit didn't let me get into much detail, I think it's worth starting a discussion about asking questions about why we just . . . do some things.

This ties in neatly with the discussion happening at #2amt, we're talking about empowering people to bring innovative ideas and approaches to doing things. Of course, many of us may see the irony in that, since as theatre artists so much of what we do is about pushing artistic boundaries and challenging assumptions about what good theatre is. Nevertheless, when it comes to everything else we do in theatre, we often fall back on habitual ways of doing things - even if those ways simply don't work for us (here I'm imagining Adam Thurman sagely nodding his head and saying, "Exactly.").

Rather than agonizing over ways to convince other theatre artists that a different approach is worth doing, I think it's a lot more interesting and productive to encourage each other to ask questions. Not in a "We must get to the bottom of this!" sort of way but a "What's going on?" sort of way. TCG is doing that with their "What if . . . ?"

But we can also do that on our own and ask our own questions. For example: When we're putting on a show, what are some things we just . . . do? What would happen if we simply didn't . . . do? What would we be doing instead if we didn't or couldn't . . . do?

1 comment:

cgeye6/02/2011 2:52 PM
But the What If? entry about the Black Arts Movement? Is pissing me off with its lack of intersectionality.

A monolithic Black culture is male-centered, church (or Afrika-spirituality)-cadenced, lesbo-fearing and faggot-killing. And need we discuss the cults of personality that killed those theatres dead -- either by founder or board ego-poisoning?

Taylor's presumptiveness about the two types of Bad Black Playwrights' work -- "by me, for them, about us, near any place but our community", or "by me, for acceptance, about alienation, near people with more money than God" -- completely ignores the commonalities of these aesthetics: Plays are written for the funders who back them.

Do white artists struggle under that constraint? Yep. Do they suffer it less than we do? Sure -- and they indulge in the same sins of exoticism and apologia.

Is our community there to support anything different? Controversial? Not backed by prominent AA civic leaders, so fundraising parties aren't someone else's extended networking opportunities?

Are the plays written "by us, for us, about us, and near us" any better, when the "for us" is the chitlin' circuit? When the "about us" features , neckwavin', Jesus-cryin' and redemption through a big, black mama?

I don't want to go back to those days when racial uplift slid so silently into exploitation -- especially when those in the BAM took those roles wearing pimp hats and exaggerated accents to pay the rent, same as any actor does when times get hard. There is no idealized past; why does this gentleman cling to that?

And as for the Purple Flower? Negro, please. If he were serious, he would have spent one minute finding the cite:

http://books.google.com/books?id=tIe8R5sfE6IC&lpg=PA29&dq=purple%20flower%20bonner&pg=PA29#v=onepage&q=purple%20flower%20bonner&f=false
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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