"Encanta" and indie theatre in the 21st century

Free copies of a full-length play for virtual strangers is not how things are usually done. For the most part, people usually have to pay to see a performance or buy a published script. But with Encanta, I've been much more free-handed about things that I ordinarily would be.

However, it does make you wonder: why would a playwright without a job at a pie factory hand out a script for free that is probably worth charging money for?

The first reason is pragmatic: plays are ultimately meant to be performed, not just read. Production, not publication, is where it's at for a play. The text of a play is, in my view, closer to sheet music than to a novel. Reading Beethoven's Symphony No. 5, while very likely meaningful and enjoyable, is nothing compared to hearing even a recording of it.

Secondly, a lot of theatre hasn't quite caught up to how to reach out via social media beyond promoting the next show. I'm not going to change that by myself, but I do want to do my part to engage 21st century audiences beyond asking people to follow me on Twitter or "like" my Facebook page.

For me, the internet has been crucial for building an audience. It makes no sense for me to treat their participation as auxiliary to bringing my work to life. It also makes no sense for me to make my work less available to them just because they cannot be physically present at a performance.

Then there's the fact that I have never given my script to someone and had them less interested in a live performance. The vast majority of the time, when I gave out my script, the person reading it said, "I have to see this live."

So, to me, this means that I need a different process for engaging audiences with my work.

I came up with 3 layers of engagement that I believe would be a good way to guide how I get my work to its audience from now on.

The first layer is the "Hey, I'm writing this play. Interested?" layer. I call it "Creation" in the picture because that's what was legible in the circle.

This part of the process is not just about writing the piece. It's about sharing my vision for what the play will mean to the audience. For me, one of the first things I ask is, "Who will see themselves here?" and "What are they going to see about themselves?" It's the appetizer and a taste of what's to come.

A story about a sorceress and a pirate falling in love is nothing spectacular in and of itself. But when I say that every single character is LGBTQ and Latin@/Afro-Latin@, that means something to people. People, especially people excluded and marginalized in arts and entertainment, care about that because they want to see themselves in ways they normally don't get to see themselves. So, they're immediately hooked and want to know more about where I'm going with it. This usually means a complete draft. Or several, in the case of Encanta.

From here on out, things are a bit more experimental.

The second layer is the, "Let's see what we can do online" phase. I call it "Virtual Event" in the picture because, again, it's legible and fits in the circle. This is the main course.

The first thing that came to mind for this was a livestreamed performance where the audience hangs out in a chatroom or on a Twitter hashtag. No camera tricks. No movie magic. Just what actors can do just from the strength of their performance. This includes readings, staged readings, and workshop productions. Not to mention interviews with the writer, cast, and crew, and so on. I believe this could be the main form most performances would take because they would by far be the most accessible.

I have no idea how the logistics of this where tickets and what not are concerned, but it's one of the ideas I had.

Finally, there's what I call "Live Event" (once again, because it fits and its legible), which in my mind I think of as the "Icing on the Cake" layer.

Here is where the fully realized productions would happen. It's what we have for dessert. Just as every meal doesn't have dessert, every piece won't become a fully realized production. And that's fine. The point is to get the piece performed and in front of an audience.

The great thing about these layers is that they are very porous. None of them has to work in isolation from the others. For instance, it's entirely possible to combine a live event with a virtual event.

7 tips for future collaborators

If you're reading this, it's most likely because: a) you read this blog regularly, and/or b) we're teaming up to create something together--a video, a blog post, a play, whatever.

At this point, I probably already have a good feeling about you. Trust me, that's a big step. You've already proven that you're not an asshole, a flake, or full of shit. Treat yourself if you got this far.

Now that we've cleared the deal-breakers, let's talk more about the sort of working relationship I want to have with you. With that in mind, let me give you a few tips on how to work well with me.

1. Good fences make good neighbors.

I'm very particular about boundaries--my own and someone else's. I hate feeling forced or coerced into doing something I don't want to do, and I certainly don't want to make other people feel forced or coerced into something. That's one reason why I'm not too good at sales. I take, "No, thank you" at face value. It's not a challenge to my skills of persuasion. It's a clue to back off.

2. Getting what you want is as simple as asking, but once you make demands, forget it.

"Could you do me a favor?" is the best way to ask me to do something. If it's something that doesn't make me deeply uncomfortable or spreads me too thin, I'll more than likely do it. If it really helps you, I'll even go way out of my way. But as soon as you start barking orders at me, I'll suddenly have a lot that I need to do before I can get to whatever it is you're asking me to do.

3. Spare me your feelings.

This probably sounds cold and harsh, but I've found that it's necessary for my peace of mind. Whatever we're working on is hard enough without having to navigate moods and emotions along with it. That doesn't mean that I'm going to make like the Gregory House and ignore or stomp on your feelings every chance I get. It does mean that the words "I feel" are not going to be a primary factor in how I make decisions when it comes to the work I do.

4. Don't borrow trouble.

Chances are we have enough to do that worrying about things we have no control over is a waste of time and energy. Feel free to work yourself into a frenzy, bite your nails, and pull your hair out way out of sight and out of hearing from me.

5. Focus on essentials.

I tend to mentally prioritize every decision I make into 3 categories: need to do, want to do, and would be nice to get around to doing. Aside from the way my mind naturally works, being broke has solidified the difference between need, want, and nice to have. Differentiating between these and putting the bulk of our time and energy into essentials works better than just doing whatever comes up just because it's there to be done.

6. Be easy to reach.

If I call, pick up your phone, even if to tell me, "I'm sorry. I can't talk right now. Call me back at [time]." If I e-mail you, let me know you got it even if to say, "I'll get back to you on [date and time]." I don't expect anyone to be available 24/7, and I'd hate it if people expected that of me. That said, at least give me an idea of when I can consistently reach you if we need to communicate.

7. Don't do me no favors.

I don't believe in committing to projects or relationships out of obligation. If you're going to work with me, do it because there's something in it for you that makes it worth the time and energy you'll put into it. Chances are it won't be the money or the fame. Whatever it is, make sure it's for you. Don't do it for me. Because the moment you say, "I'm doing this for nothing/so little/not enough!" I'm through with you. People who are dishonest or unclear about their motives are people I can't deal with. I want no working relationship that is revealed to be based false pretenses--or worse, a lie.

Of course, this is not the end-all, be-all of working with me. But it's a lot like what someone said about voting for Obama versus voting for Romney. Obama's not perfect, but you can have a conversation with him. The same principle applies here. Doing these things won't guarantee a perfectly smooth working relationship, but it will be something I can work with.

And that's all I'm really asking for.

I drank the Facebook kool-aid

Against my better judgment, I joined Facebook. You can find me at https://www.facebook.com/rvcbard.

Yes, I am deeply ashamed of myself. Please don't rub it in.

I drink the Tumblr Kool-Aid

I know, I know - joining the herd. But you gotta do what you gotta do to get butts in seats (and find a way to make yourself useful).

Check out the Tumblr for Tulpa, or Anne&Me at http://tulpatheplay.tumblr.com. There's already all kinds of good stuff there, like:

• The Other Side of the TV: info and updates about what goes on to put on the show you're going to see this June (and you are going to see it, aren't you?)
• Between the Scenes: little vignettes written by me (the playwright) that are like deleted scene Easter eggs for the special edition DVD
• Inspirational music, literature, and other media 
• Stuff about Planet Connections Theatre Festivity
• Stuff about the People's Institute for Survival and Beyond
•  . . . and more!

Tulpa, or Anne&Me will be playing at the Robert Moss Theater (440 Studios) on June 2 at 6pm, June 3 at 4pm, June 16 at 8pm, and June 19 at 8:15pm.


You can buy your tickets now by going to https://www.ovationtix.com/trs/pr/822145.

Each show will be followed by a brief post-show discussion. Please come, watch, and share.

If you can’t make it to the show, consider supporting Tulpa by donating the price of a ticket to Crossroads Theatre Project by visiting https://www.fracturedatlas.org/donate/3503 or clicking the Fractured Atlas button below:

When is a Blog? (h/t SisterToulja and Matthew Freeman)

I stole the fuck outta this title.

In any case, I follow Sister Toldja (The Beautiful Struggler) on Twitter, but I should've been reading the blog all along. She brings up a really interesting phenomenon when it comes to integrating social media:

Say I tweet the name of an article or post along with a link to it (I.E. “New Post: OMG! The Black Male Marriage Crisis: http://bit.ly/cYz0mJ)  I do this, of course, in hopes that people will read said post. Seems clear enough. There’s a link. It says “New Post”. Sounds like an invitation to click said link and read, right? Well, folks will sometimes bypass that step and attempt to engage a discussion about what they are assuming the piece is about (“@sistertoldja There is no Black male marriage crisis. Where did you get that from?”)

Even if they have figured out my thesis in 140-characters, why would I spend an hour writing something, only to then spend a bunch of time on Twitter debating it with people who haven’t read it? [. . .]

Another little kink in an otherwise great online existence: folks who DO take the time to read what I write (also known as the best people on the planet) will then take to Twitter and send me questions or comments regarding something I’ve taken on. And I don’t mean “@sistertoldja: I really enjoyed today’s post! Gave me something to thing about”.  I mean probing questions about the post or 4-tweet-long responses.  This is bothersome for a number of reasons (Sister Toldja, "The Twitter/Blogging Comment Problem")

I can understand where Sister Toldja's coming from. I've had this blog for - what? - 2 years now, and I don't think I'm popular enough to even be a micro blog. I just started using Twitter this year, and I'm still kicking myself for not doing it earlier (especially with my 70ish followers). I'm finally starting to "get" how to integrate my blog and Twitter in a way that benefits both.

While this would seem to only be a concern for the blogging Big Leagues, it does bring to mind something I might have to contend with on Ars Marginal. I'm not particularly worried about it, but it's worth sparing a thought or two. At the very least, it would be advantageous to outline the type of discourse you want to have on your social media.

For me, personally, the emphasis is on the social. I don't blog or Twitter for the fuck of it. Social media allow me to be social in a way that is comfortable for me. I am extremely introverted (not the same as shy). Being around people - especially if that means spending a lot of time around new people - is always stressful for me. I can hide this very well for a limited time, but it eventually catches up with me. Wanna see me get really uncomfortable really fast? Surround me with people I don't know, expect me to socialize, then abandon me. It takes more than a name and a pitch to warm me up socially. That "mean" or "angry" look on my face is more than likely extreme discomfort.

Social media allow me to control the pace and intensity of social interaction. They don't supplant my need for face-to-face conversation and meatspace relationships. They're simply a way for me to be social in a way that's not as taxing for me.

Which brings me to this blog and EclectiCopy. What would I like to see more of? How can I encourage that?

Honestly, I would like to see more proof that people are listening. I get comments every so often from my hardcore followers, but if they were the only people I wanted to hear from, I would e-mail them and be done with it. I post here because I want to connect with other people through mutual engagement. As you may (or may not) know, I despise debate when it comes to things that really matter insofar as it's about interpersonal relationships (as opposed to changes in policy - which is definitely worth a thorough hashing-out). But I'm always open to engagement. Fuck, the whole of Tulpa, or Anne&Me is engagement.

How do you prove you're listening? Obviously, leaving thoughtful comments is always welcome, as is writing thoughtful blog posts in response to something I said. Don't forget Twitter! As someone who lurks a lot, that's something I do pretty regularly when I don't have anything to add but still want people to know about it. If you come across a conversation where something I wrote seems relevant, post a link.

But if you want to interview me after I've been shanked by an Anne Hathaway fan, I am available via e-mail and Google chat.

(When you link to one of my blog posts, use the Create A Link function because Blogger doesn't like to leave me trackbacks for some reason)