Friday, March 24, 2006
Trying to scare each other
On Monday, we played around with some of the physical symptoms of fear, using a list of them we'd found as a kind of butoh-fu, Kristine and I embodying the images we heard as Jyana read the list. Addressing scale and dosage, we tried being dizzy and being dizziness on a scale from no dizziness at all to as much dizziness as possible. We played around a little with using an object as the fear-inducer, if you will--there was a styrofoam cylinder that we found in the space, which we used to chase each other around. It became the embodiment of scary things. It became clear, though, how much of fear depends on its being unknown. How much is in the anticipation of the bad thing, and how in the event, the bad thing can almost be a relief in that it ends the fear.
The challenge that awaits us (well, one among many) as we develop the piece is to make it personal. To explore our own fears and figure out how to create something dramatic out of them, something that speaks to who we are as people and who we are as a company.
Wednesday, March 15, 2006
So we're looking for submissions. If you have any radio plays, or plays that you would be interested in adapting for radio, get in touch with us through our website--. Here are the basic criteria:
- It should run about 20-23 minutes
- Scenes preferably don't include more than 4 people at once
- It should break to allow for 2 station IDs at 7 & 14 minutes, roughly
If you're new to us or to our work, take a look at our website to get a sense of who we are and what we do. In all our work we try to incorporate music, movement and text. While the movement won't be quite such a big factor in radio, we are definitely looking to explore sound and music possibilities.
This is an experiment for us--a way to explore a new genre and to meet new and exciting collaborators. We're looking to record our first sometime in the next month or two. So get in touch, we'd love to hear from you.
Wednesday, March 08, 2006
Monday, March 06, 2006
What was great, though, was the other part of this opportunity--the chance to work together with other groups to create a theatrical community. There are so many emerging companies competing for attention, and if you're a theatergoer, or a potential donor, the question is always which things are worth your time. An opportunity to join forces with other companies in a similar situation is appealing to us because it allows us to consolidate resources and present ourselves as a package deal: you like us, check these guys out; you like them, look what we can do. That's the practical consideration. What's even more important is that we have faith in and respect for the work these other groups do. Their missions inspire us, their interests overlap with ours, they're good people, and good artists, and good professionals.
I'm being vague because this group doesn't currently exist, and we don't yet know what form it would take if it did. But the chance to create it and the potential it has is hugely exciting.
Thursday, March 02, 2006
More Life and Death to Come
Wednesday, March 01, 2006
What's so great about a Cowboy Monk suicide?
In thinking of where this piece is going to go next, I feel like this changing of cultural perspective is where we can really dig in deeper. We were so worried in the last draft of creating that bridge so people can get on board with the story. What would happen if we formed a bridge so the audience could really get in touch with that perspective?
Here in the US we have such difficulty coping with death and dying. We simultaneoulsy place enormous weight on each individual life and ignore death when it actually occurs. We are at a complete loss when it comes to facing death, both individually and collectively. If we create a performance piece where for a moment we enter into an alternative way of viewing individual life and death, do we open up that discussion and start to build a means to deal with death in our own lives?