Love's Labors Lost: October 2012

October 13, 2012

I'm writing again!

If you've been following me on Twitter and/or Facebook, you know that I'm writing a new play.

The working title was initially La Isla de la Hechicera, but now I'm calling it Encanta.

After the places that Tulpa, or Anne&Me took me, Encanta is a light-hearted, romantic change of pace that I completely welcome. I'm describing it as Kirikou and the Sorceress meets Moonstruck on the island from The Tempest.

I'm a good three-quarters of the way through with the "first" draft (which, in all actuality, is more like a second draft considering that I purged some 75 pages of material and started over not too long ago).

I'm particularly excited about this piece because it's a play that's all about the magic of love, lust, and romance that is nothing but LGBTQ people of color (Black/Latin@, to be precise). I'm really happy about this story breaking the mold for "acceptable" narratives for LGBTQ people and people of color. It's all about people who are being funny and silly and crazy and in love and using magic who just happen to be LGBTQ people of color.

Too often, we only get to suffer because it's "inspiring," and we only be funny when who we are is the butt of the joke.

Fuck that shit.

This is my bit of escapist fantasy, and I'm loving every minute of it.

October 6, 2012

Things I'm not debating or arguing about anymore

I’m not going to discuss these things anymore:

Whether or not racism exists
Whether or not people of color can be racist against White people
Whether people of color being prejudiced against White people is on par with White people’s prejudice against people of color
Whether or not sexism exists
Whether women can be sexist against men
Whether misandry is on par with misogyny
Whether or not homophobia exists
Whether or not LGBTQ people calling straight folks “breeders” is as bad as what straight people say and do to LGBTQ people
Whether trans women are women, trans men are men, or the existence of other genders
Whether or not transphobia exists
Whether or not “die cis scum” is as bad as what cis people say and do to trans people
Whether or not ableism exists
Whether or not classism exist
Anybody’s intent not to be racist, sexist, homophobic, transphobic, ableist, etc.
Any information regurgitated from a dictionary or thesaurus
Anything involving flies, honey, or vinegar when discussing the ways people express their experiences with systemic oppression
Any variation of an opinion that states or implies that people on the receiving end of *-isms are crazy (disconnected from reality), stupid (incapable of analyzing their own experiences), or evil (motivated primarily by hate, anger, greed, etc.)

At this point, everything about these things that needs to be said has been said, and all arguments to the contrary are neither insightful, meaningful, correct, nor interesting.

So I’m not doing it anymore.

As for things I would talk about, here are a few:

How fucked up dynamics play out in individual lives
The ways that words, attitudes, beliefs, and actions act against play into fucked up dynamics despite our best intentions
How fucked up dynamics play into what we determine to be beautiful, true, and good
Ways we can challenge and subvert fucked up dynamics in our everyday lives
Resources for detoxing our minds and spirits from the poison we ingest without knowing it

That sort of shit right there? I can talk about that all day long. That's what I want to talk about all day long. I can get somewhere with those conversations. I can feed my soul with real talk about this sort of stuff.

And you know what's funny? None of these discussions requires anybody to have done any specialized study on these things. Just an awareness that there are things about many lives that we don't see because we don't have to and a willingness to learn more about what we don't understand. In cases where I have a privilege that others don't, I've been amazed at how patient and gracious people are with me when I simply listen and accept their truth as their truth instead of dismissing or denying it just because it doesn't mesh with what I think should be true about their lives.

Really, it's that fucking simple.

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