Love's Labors Lost: What's in my Scarcity Matrix?

May 5, 2014

What's in my Scarcity Matrix?

I keep coming back to this HowlRound piece about the Scarcity Matrix, and it's got me in an introspective mood. I'm thinking a lot about the things that I can offer that are not money which may not only be of value but of meaning and significance.

And, in so many ways, the Scarcity Matrix I inhabit is not really about material resources. Those are simply a symptom. The deeper message, the one that I don't want to face, is simply that nobody cares about what I have to offer.

I used to talk about community organizing and power analysis a great deal on this blog. I don't do it so much anymore. Not because I no longer think it's needed, but because I just got tired of talking to myself. Why bother? Why bash my brains against a brick wall? Why throw my diamonds in the mud?

Sure, there are people who agree with me or at least kinda see where I'm coming from, and that's nicer than people who just want to debate or pick things apart because it's intellectually stimulating. Yet despite this, something feels missing. It's not caring or concern. It's not awareness. I'm not in touch with anyone who is apathetic about gender parity, racial parity, and accessibility in theatre.

However, when I talk about a need for a power analysis, when I talk about the need to examine the deeper levels of an institution, no one wants to do that. It's not as exciting as creating programs and initiatives that show off how aware and innovative we are, but it's work that needs to be done for any true progress to happen. The things I'm talking about are not just moving the numbers a little bit. It's a tectonic shift in the culture that dominates the theatrical landscape. That kind of thing doesn't happen by accident. It doesn't happen by just throwing more Brown and Black people, more women, more LGBTQ people, more accessibility technology at it.

I used to talk a great deal more about this, and I've always expressed a willingness to really do this, but I notice that I just stopped trying. It has nothing to do with me caring about this stuff any less.

But the Scarcity Matrix says, "Nobody wants this. Nobody needs this. Nobody cares. So just go away and let the people who are smarter and more marketable do the real work."

No comments:

Post a Comment

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