Love's Labors Lost: October 2010

October 19, 2010

a brief encounter - a true story

SCENE: Lobby of the Public Theater. Night.

ME: I came just to see you.
HER: Oh that's so sweet.
ME: Please don't be mad. I wrote a play about you.
HER: You wrote a play about me!?!?!?!
ME: Pleasedon'tbemad. There' some stuffinitthat'suhsensitivebecauseit'spersonalandum. About race and you say some things but I don't think you're a racist bigot or anything.
HER: I'm a racist bigot?
ME: Nonono. I'm not saying that at all! (Showing her the program).
HER: Waitaminute! I think a friend of mine was in this.
ME: Huh what who? Did she do set design or -
HER: No, no. She was an actor. Her name was Meredith or Elizabeth or -
ME: That doesn't sound - You already knew? Um. Sorry. Really nervous. Uh. Here. (giving her sheet)
HER: Oh, sure. Is this to RVCBard [not the name I used]? (Writing carefully)
ME: Yeah it's me. Uh here I almost forgot. For you. (giving her my letter and an invitation) Uh. Thanks. Bye. (skipping away with hearts and stars and unicorns floating around my head)

I swear, I am not a racist bigot - and I have no idea what "I" say in this play but RVCBard [not the name I used]seems sweet and lovely.<3

Anne Hathaway

October 13, 2010

mark your calendar for FRIDAY, NOV 12!

Do pass this along. It won't work if nobody shows up. :P

WHO: (aka me)
WHAT: Staged reading for Tulpa, or Anne&Me combined with birthday party for Anne Hathaway (aka The Great Pumpkin). There will be cake. There will be balloons. There may be party hats.
WHEN: Friday, November 12 at 8pm
WHERE: WOW Cafe Theatre, 59 E. 4th Street, New York, NY
WHY: Fundraising for Crossroads Theatre Project and WOW Cafe Theatre.
HOW: RSVP by clicking on the Fractured Atlas button below to send a donation to Crossroads Theatre Project. Suggested donation $10 per person.

ABOUT TULPA, OR ANNE&ME
When Anne Hathaway crawls out of your television, what do you do?

Tulpa, or Anne&Me tells the story of a Black lesbian with an overactive imagination who forges an unlikely bond with Anne Hathaway. Guided by two guardian angels of Blackness (or are they voices in her head?), she struggles to connect with Anne across the thorny barrier between Black and White women. Through a series of visitations merging memory, reality and fantasy, Tulpa, or Anne&Me wrestles with the racial tensions that haunt even our most intimate relationships.

Raw, intimate, and unapologetic, Tulpa, or Anne&Me blends pop culture, Tibetan mysticism and womanism to begin the conversation about race that Black women and White women have never been allowed to have. Until now.

Read what some people are saying about Tulpa, or Anne&Me at:

ABOUT CROSSROADS THEATRE PROJECT
Crossroads Theatre Project is a collaboration of new Black playwrights whose works explore how race intersects with other identities and challenge mainstream ideas about Black theatre.

The crossroads are rooted in African folklore, Vodou, and Delta blues as a place where strange and unexpected things happen. Anything can happen on the crossroads. You can speak with the dead, meet the spirits of your ancestors, or even sell your soul to the Devil.

Crossroads Theatre Project is the anti-Chitlin Circuit created to break barriers and undermine stereotypes by presenting thoughtful new stories by and about African Americans today. In the simplest terms, this means: no maids; no crackheads; no Tyler Perry.

The vision of Crossroads Theatre Project is nearly identical to 13P. The idea is to use our shared passion for theater and our status as Othered to empower us when it comes to gathering resources and reaching out to potential audiences and creative partners. We're committed to giving people theatre by and about us that challenges what people assume we stand for and/or are interested in. The goal of Crossroads Theatre Project is to incubate the works of new Black playwrights from first draft through full production.

Read more about Crossroads Theatre Project here.

October 12, 2010

"The Social Network" in under 90 seconds

The translation is hilarious!

October 10, 2010

it gets better: what needed to be said

October 8, 2010

Julie Taymor does "The Tempest"

Magic. Helen Mirren. Fairies. Chris Cooper. Magic. Wizards. Spells.

*faints*

I think I'm going to have Julie Taymor's baby. Like, right now.

Labor pains never felt so good.

October 6, 2010

on ticket pricing (now with ninjas)

With the back and forth between 2amt and Parabasis going on, I suppose the discussion about ticket pricing is now officially an Important Topic, so I did some reading and now feel comfortable enough to jump in.

People had a lot of thoughtful commentary about pricing models and artistic vision and blah blah blah. But none of them mentioned the most essential element of ticket pricing.

Ninjas.

I know what you're thinking. What the fuck kind of non-sequitur is this, RVCBard? C'mon, we're discussing Something Really Serious And Important, and all you can say is fucking ninjas?

Let me ask you something. When was the last time you saw a ninja at your show? Exactly! You're not supposed to see them because they're doing what ninjas do best - remain invisible.

Guys, you're missing out on a tremendous opportunity here. Do you know how many ninjas can fit inside a 30-seat black box theatre? Lots. Especially under the seats and on the ceiling. I know because they sent me secret messages telling me so. You know what else they tell me? That they've been watching you very closely. And when you do something they don't like, they use the deadly art of ninjutsu to kill audience members to prevent them from seeing your show. So that's where the shuriken and dead bodies are coming from.

So, theatre blogosphere: WHERE ARE YOUR NINJAS?

October 2, 2010

"sorry about the irreparable damage"

See if this sounds familiar.

US scientists do medical experiments on brown people without their consent.
Said medical experiments deny treatment to said brown people.
Brown people get worse. Or fucking die.
Decades after irreparable damage has been done, US government apologizes.

The question I have for you is: Would you accept that shit?

Consider the recent (well, recent to straight people) anti-gay bullying leading to death (btw, you have to check out The We Got Your Back Project). Would the families, friends and communities affected by the shitstorm leading to the deaths of several young people these past few weeks be obligated to accept a post-mortem "my bad" 50 or 60 years later?

Get this through your head, America: Sometimes "sorry" ain't good enough. Once you fuck up people's lives and livelihoods, "I'm sorry" isn't gonna cut it.

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