Love's Labors Lost: Community organizing and indie theatre

November 12, 2011

Community organizing and indie theatre

A while back I mentioned an interest in combining theatre with community organizing. For a variety of reasons, November has been the month where I've committed to learning more about community organizing. I'm taking part in the Audre Lorde Project's Daring To Be Powerful community organizing workshop, and I'm really enjoying myself and sensing a lot of growth.

My work with the Audre Lorde Project is a natural continuation of what I've been doing with the People's Institute for Survival and Beyond. With the People's Institute, I've developed the ability to analyze power structures and root them in real history. With the Audre Lorde Project, I'm learning how to apply that analysis in a way that reflects and serves QTPOC (queer/trans people of color - pronounced "Cutie Pock") communities.

This community organizing aspect of my artistic journey is particularly striking because, in my opinion, theatre is the most communal of the arts. It is the art form most intimately connected to where, when, and with whom it happens. You can tell a lot about a community by the theatre it creates.

As this communal element becomes a bigger part of who I am as a theatre maker, it becomes increasingly important for theatre to become the vanguard for exposing, examining, and transforming the power dynamics within our communities. Part of being able to do all that is creating methods of discourse that truly allow for the full participation of the community.

Yet as a community, theatre tends to be more reactive than proactive. We react to what the NEA is doing. We react to this or that theater's decisions. We react to this or that critic's statements about The Ultimate Truth About The State Of All Theatre. We react to this or that article or book being published. And I'm thinking, "Shouldn't this be the other way around? Shouldn't we be telling them what needs to change? Shouldn't they be listening and responding to us?"

Then again, how would they do that? It's not like we're being invited to fully participate in conversations about things that affect us (To me, this is what differentiates the Haves from the Have Nots - see HowlRound). And it's not like those things are receiving sustained effort and attention. As a result, it seems that we're having the same conversations all the time, and we're starting from ground zero each time we have these conversations. No matter what the discussion is, we always have to deal with

Denial that there is a problem
Refusal to believe things can change
Disbelief that we, collectively, have the power to make those changes
Unwillingness to act even in small ways

So what we have are stimulating discussions with brilliant people that never seem to lead to concrete action. We lack for nothing: not vision, not knowledge, not resolve, not know-how, not resources. Look at what we actually accomplish! Look at how much time and energy and brainpower we've put into doing the work we do just for the love of it. We're not powerless. We're not lazy. We're not stupid. We have the ability to make things very different for ourselves and our communities, but we seem to keep doing the same old thing.

Allow me to go on a bit of a tangent and explain different ways to work for change because without it, what I say after this won't make much sense. There are 4 basic aspects to working for change. They are:

Service - focus on individuals and respond to immediate needs
Advocacy - work with representatives to change policy
Activism - mobilize individuals to increase attention about issues
Organizing - community members change power relations to address root causes

Because of what I've learned from the People's Institute and the Audre Lorde Project, I've come to understand that what theatre needs now is organizing. When I talk about organizing, I don't simply mean doing things in an orderly fashion. I'm using the Audre Lorde Project's definition, which states that organizing is:

a strategic process for building people's collective power to achieve self-determination and justice

Political action is one of the more overt forms of community organizing, but there are many ways that it can be applied. Of course, just waking up one day and saying, "We should organize!" just doesn't work. Organizing efforts need to be guided by solid principles. In my experience, having clear, explicit principles for action cuts down on a lot of dysfunctional bullshit that makes dealing with some organizations a real pain in the ass. The Audre Lorde Project outlines a few organizing principles:

Self-determination - those directly affected by the problem decide what should happen and are in leadership
Power - build a base of people/community power; make changes in power relations
Justice and movement building - in line with justice for all oppressed people
"We" not "I" - broad base of community members; act together based on shared vision for change
Direct action - actions that directly take on those in power; using our voices, minds, bodies, and creativity in numbers for empowerment
Address root causes - address underlying causes; address the ultimate reason for a problem ("-isms")

Of course, this is just one group's set of organizing principles. How could we refine them for the indie theatre community?

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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