It's Official: Sexual Assault Awareness Month is here at Oberlin

Hey Guys,
We're off and running for SAAM (Sexual Assault Awareness Month). I hope you all can come to the kick-off event tomorrow in the Atrium of the Science Center. Things start at 4:30 and there will be yummy things and drinks, plus other motivated people to talk to about related activism on on the Oberlin campus. Please attend if you can.

First, our wordpress blog that you can choose to be administrators on if you contact me. It has a great calendar and I'm hoping to post some of our testimonials online

http://oberlinsaam.wordpress.com/

Second, our Testimonial Project and One Campaign will only work if we get people to participate, and a lot of people at that. Personal contact is the best way to get people to come to action, so please take a moment to ask your friends. Also, while you're at it, get them excited about our workshop :)

I will post our Facebook group later. This is going to be a very productive month, I'm excited.

Common Cause

Scene 1

Two trees have a casual conversation in the heart of a lush forest.

LEAFRED: Hey there Leafrank.

LEAFRANK: Hey there Leafred.

LEAFRED: How've you been? I hear you lost some branches in the big storm a couple days back. That gale sure was nasty.

LEAFRANK: Oh man, I'm still coming to terms with it. I haven't felt this weak since I was a sapling.

LEAFRED: Wow. I'm sorry Frank, it was a real rough storm for all of us big old trees.

LEAFRANK: I just hope those darn deer do their jobs better this year.

LEAFRED: How do you mean?

LEAFRANK: Well they're supposed to be spreading our seeds, but the stupid gits don't always eat my fruit like they're friggin' supposed to.

LEAFRED: Stupid deer.

LEAFRANK: Yeah. If it weren't for them, I'd probably have many more offspring. And that's pretty important when you get to be our age.

LEAFRED: Damn straight. I really do hate those deer sometimes. They can get to be so snooty and all.

LEAFRANK: Let's just hope they do a better job this year... little dweebs they are.

Scene 2

A few minutes later, elsewhere in the woods, two deer get righteously indignant.

DEERDRA: Uch, Deerie, can you believe those obnoxious old trees?

DEERIE: No! They are so mean to us. They should at least make sure that we aren't within earshot when they go and bad mouth us.

DEERDRA: Seriously. Why do they think we don't always eat their fruit? If they weren't such jerks about it, I'd feel more inclined to spread their seeds.

DEERIE: Yeah. I don't like how they think we are here just for the purpose of helping to spread their seeds. We're here to eat fruit and enjoy the landscape. We don't need to help them to propagate.

DEERDRA: True. True.

DEERIE: Geesh. I'm so sick of it... (PAUSE)... Maybe we could... Do a... (THINKING)

DEERDRA: Do a ... what?

DEERIE: Boycott.

DEERDRA: What?!?! How on Earth would we do that?

DEERIE: Simple. We just stop eating those guys' fruit and tell our friends to do the same.

DEERDA: So then they have to change their behavior?

DEERIE: Yeah, I think it will work. Next time the forest council meets we should be able to reach an agreement with them, either that or we keep boycotting and keeping the pressure up on them.

DEERDRA: Alright, let's give it a shot.

Scene 3

Forest council meeting, with a Deer , Tree, and various other creatures of the woods.

LION: (Serious talker, Grandiose mannerisms) Welcome everyone, and thank you for coming to our gathering for the month of August. We gather in a time of great peril, for our forest is under threat. Representative Rabbit, would you like to give your report?

RABBIT: I was scouting around the edges of our forest, when I heard unfamiliar noises. Strange ones, sounds that do not belong in our humble forest.

LEAFRANK: What was it??

RABBIT: Sounds of something different. I dared not leave and track them down, for doing so would require that I leave our part of the forest. But I was curious, incredibly curious, and remained at the edge of our forest to listen for three days. And the sounds grew louder.

LEAFRANK: How much louder?

RABBIT: Well, slowly and gradually the noises grew. Sometimes they would stop. And often when they started it sounded closer. I began to hear... falling trees.

LEAFRANK: You began to hear what?!

RABBIT: Falling trees. That was the only sound I could make out from the din. And I have come to say we must act, we must do something. There is something wrong going on out there, and it's getting nearer.

LION: (Solemn) Thank you Rabbit. We must all put our heads together and plan how we can take precautions. Who here is in disagreement?

DEERIE: I. The old trees are in great peril it seems. However, they have been cruel and degrading towards the deer of these woods for a long time now. I do not propose that we let harm come to them, but I won't help until I know that they will begin to treat us Deer properly.

LEAFRANK: You are just one more threat to us! You won't spread our seeds, trying to put us in harms way!

DEERIE: Only due to your disrespect towards our gender and species. You brought it upon yourselves.

Tree gets angrier, about to holler back, when Lion cuts them off

LEAFRANK: YOU -

LION: QUIET! Do you not understand the severity of our dilemma? We find ourselves threatened by an unknown terror, and you bicker of little things. What will you do if this threat comes to our home? Whine about disrespect or look on in terror as something terrible happens? Trees: you must respect the other creatures that inhabit these woods. Deer: I hope you will end your boycott and once again help our threatened trees. With trees falling, many other crises may come.

Tree and Deer look down in shame, in clear agreement with Lion's decree.

LION: Now, how will we confront this unknown threat that looms closer every day? We must protect ourselves in defense of our habitat, but we have no knowledge of what is actually happenning out there.

RABBIT: It may be time for me to venture out from our part of the woods, to see what is afoot. If I may be so bold.

LION: I hate to ask such a task of you, but the time to organize has indeed come. I have heard stories of other lands, and fear for our home. God speed, Representative Rabbit, god speed.

LEAFRANK: God speed.

DEER: Good luck.

Rabbit nods, turns, scampers off into the woods.

End of play.

creative piece #1

This is kind of silly and I don't even know if it perfectly fits the requirements, but here:


A mother and her child are walking in the park. The child holds his mother's hand in one hand and a teddy bear in the other.

Child (whining, holding out his teddy bear): Mommyyy, Teddy wants a smack.

Mother ignores him.

Child: Momm—

Mother (slightly exasperated): What now?

Child (Pointing to his teddy bear and then to a nearby snack cart): Teddy wants a smack! He’s hungry!

Mother (distractedly): Snack. A snack.

Child: Snnnnack. He wants a snnnack!

Mother (barely paying attention): That’s nice.

Child: Mommyyyy!

Mother stops walking, rolls eyes and gives an exasperated grunt, then puts on a big smile

Mother (stooping to child’s level; sighs) (in a very clearly forced voice): Which snack does Teddy want?

Child: All the smacks.

Mother: Snacks

Child: Snnacks.

Mother: Well Teddy can’t possibly eat all the snacks, can he? He should just choose one.

Child: A humongous pretzel!

Mother: All right, all right. (she pays for the pretzel and hands it to the child)

Child eats the pretzel as they continue walking. Mother answers her ringing cell phone and carries on a conversation.

Mother (into phone): Oh, that sounds lovely. Absolutely lovely. Family time is just the best time, isn’t it?

Child (pulling on mother’s hand): Mommy?
Mother puts finger to lips and shakes head at child. Child pouts. Conversation continues for a while, then

Child: Mommy?

Mother: Hold on, Beth, Mark wants something. (Looks down at child) What is it?

Child: Mommy, Teddy wants to go play with the duckies!

Mother: Not now, Mark, I’m on the phone. It’s rude to interrupt people when they’re talking on the phone.

Child (on the verge of tears): But, mommy!

Mother (into phone; very exasperated): Look, Beth, I’ll have to call you back. All right. Bye now. (closes phone, sighs) All right, where are the ducks?

Child (tugging mother towards pond): Over here!

Child plays with ducks while mother again extracts phone from purse. She dials a number, waits for it to ring, and starts talking again, staring absentmindedly at child. Child continues to play for a while, then runs back over.

Child (again tugging at mother’s hand): Mommy mommy mommy.

Mother (to child, somewhat angry): Just a minute. (into phone) All right Beth, well I’ll call you about the b-i-r-t-h-d-a-y p-a-r-t-y. Yes, yes. All right. Take care. Buhbye. (closes phone, puts it in purse.) (addressing child) What is it now?

Child: Mommy, Teddy’s… Teddy’s lonely.

Mother: Lonely? Why is he lonely? Aren’t you Teddy’s friend?

Child: He doesn’t have a mommy.

Mother: Doesn’t have a mommy? That’s very sad. (phone rings) Come on, Mark, we should be getting home. (Pulling child behind her, she answers phone and begins talking again).

Jessica: What did you get on the midterm?

Ellen: B.

Jessica: Nice. I got a C-. I think I only got that because the professor likes me.

Ellen: C-? How’d you get a C-? You spent the entire week studying.

Jessica: I don’t know. I understand the material…or at least I thought I did. I guess I’ve just been distracted lately. Long week, you know.

Ellen: At least it’s Friday. What are you doing tonight?

Jessica: I don’t know. I really need to do work.

Ellen: On a Friday night?

Jessica: Yes, on a Friday night. I have a ton of work…

Ellen: That’s what you said last weekend. And the weekend before that. You just spent an entire week stressing yourself out over a test. You deserve a break. There’s a party tonight on Trent St. I’m going and you’re coming with me.

Jessica: I really shouldn’t. I can’t afford another C-.

Ellen: Come on. Alan will be there. And I’m sure after 40 oz. of social skills you won’t be so scared to talk to him. Who knows what could happen? It’s a night of possibilities.

Jessica: stop it, please.

Ellen: what?

Jessica: I don’t want to hook up with Alan. With or without 40 oz. of whatever you just said.

Ellen: But I thought you liked Alan.

Jessica: I do, but still…you know…I mean…I don’t know. (pause.) It’s 2:35.

Ellen: I didn’t ask what time it is. You’re trying to change the subject.

Jessica: No. I’m trying to tell you that you’re 5 minutes late for your next class.

Ellen: Dammit! I have to go. Where are you on your way to?

Jessica: Nowhere. Here. I’m going to find a spot to study for a couple hours.

Ellen: Alright. I’ll find you after class. Will you come to the party? Please, please, please.

Jessica: Maybe.

Ellen: I’ll take that “maybe” as a “yes.”

Jessica: Fine, I’ll go.

Ellen: Good. I’ll stop by your room later. We can pick out something for you to wear.

Ellen hurries off. Jessica has a slight smile on her as she makes her way down the hall in the opposite direction. She notices Tommy walking toward her. Her smile fades. She drops her head in an attempt to hide her face and avoid eye contact. She fails. They are both awkward.

Tommy: Hey Jessica.

Jessica: Oh…hi Tommy.

(they stop to talk)

Tommy: How are you?

Jessica: Fine. How about you?

Tommy: Good. I’m Good.

(Silence. Neither knows what to say or do.)

Tommy: It’s been a while. I haven’t seen you in a few weeks.

Jessica: I’ve been busy.

Tommy: Yeah. Me too.

(silence)

Tommy: So…what does your weekend look like?

Jessica: Umm, well tonight I’m going to…

(a girl walks up next to Tommy, kisses him on the cheek, and puts her arm around him. Tommy and Jessica are even more awkward. They make eye contact occasionally and quickly break it)

Girl: Hey Tommy.

Tommy: Lauren! Um…uh…hi. Jessica, this is Lauren. Lauren, this is my…uh…this is Jessica.

Girl: (to Jessica. Friendly.) Hi. Nice to meet you

Jessica: Hi.

(Tommy and Jessica avoid eye contact with each other)

Girl: Tommy, are you going to the party on Trent St. tonight?

Tommy: Yeah. I’m going.

Girl: Great! Want to get together before? Do a little pre-gaming?

Tommy: sure.

Girl: Are you going to the party Jessica?

Jessica: Uh…no. I have a ton of work to do tonight. I need to study.

Girl: that’s too bad. I know what you mean though. Tommy and I are about to find a table and study for a little while, if you want to join us.

Jessica: I’m on my way out, actually. I have somewhere to go. But thanks. Um…I’ll see you later, I guess.

Girl: Bye. It was nice to meet you.

Jessica: yeah…bye.

(Jessica and Tommy exchange glances but say nothing. Jessica leaves.)

Mid-Term Proposals: Due 3/15 at Midnight

A typed paragraph of your concept and workable thesis (if you are doing an analytical piece) should be in my inbox by midnight.

Action, Motivation, Sub-text, and Conflict

Blog Post Option: Create a cohesive two-three character scene which demonstrates clear motivation on the part of one or more characters.

I like to think about action, motivation, and subtext on similar terms to Freud’s theory of the conscious and subconscious. In Freud’s context, there are three components to our waking mind: our superego, our ego and our id. The ego is the “face” of the mind that is shown to the external world, moderated by social codes. The superego is the underlying reasons for these actions, often more emotionally honest and less socially moderated. Finally, the id is where all of our most essential reactions and desires comes from, but it is reaction and desire that are socially uncontrolled and therefore must be restrained in everyday action and life. Now think about the mind as an iceberg. The superego is the 20% floating on top of the water, what can be seen (the action.) The superego is floating mostly below the water, but every once in a while it bobs up and is visible (the motivation.) Finally, the id is always below the water, never shown or exposed (the sub-context.)

For example: A man runs to get coffee every time his boss calls, even though that is not part of his job and he feels humiliated by the treatment.

Action (what is shown to the audience): A man going to fetch a cup of coffee

Motivation (what the audience knows about the character’s thoughts): A man is going to fetch a cup of coffee and mildly demean himself because he is afraid of losing his job

Sub-text (what the audience does not know or only suspects about the character’s more private thoughts or motivations): A man is going to fetch a cup of coffee and demean himself so that he does not have to feel emasculated by his wife when he returns home without a job.

The important thing to remember is this: The action cannot change, it is what you see on the stage. The motivation is also relatively immobile, it can only shift in slight degrees around the context of the action; what will really add dimension to your scene is to play with the subtext. Often, in finding creative solutions to your sub-text you might go ahead and change your motivation and action to “fit” if the concept drives you enough.

Conflict is a very easy concept to get a handle on, especially once you get the hang of identifying action, as conflict is another simply “action driven” device: conflict is whatever prevents the character from getting what they want. It can play off the motivation and subtext, but it doesn’t have to. Like Spencer notes, conflict can even come from an inanimate object that prevents the character from gaining their goal (this is often the case in slapstick and silent forms of comedy.) At the same time conflict CAN actively engage with motivation or subtext (eg: A man is compelled to go and fetch a cup of coffee and demean himself so that he doesn’t lose his job, however he is compelled to stay where he is because he knows a co-worker is a good friend of his wife’s, and is afraid he will suffer the same humiliation at home for denigrating himself at work.) From a rope to a desire to not be emasculated, conflict can come from almost anything.

Mid Term Prompts

YOU DO NOT NEED TO USE THESE PROMPTS
You are encouraged to create your own. However, if you are stuck, perhaps these might help.


Analytical:
Intimately engaging with Boal’s text, discuss the progression of the spectator/actor from the initial dithyramb to the contemporary state of theatre as it is today, as defined by you.

Using concrete examples from Boal’s text and from cultural history, examine the concept of the spectacle and its relation to power politics and economic stability.

What is Boal’s most effective theatrical technique, theatre as language (Forum, Image etc.) or theatre as rehearsal (newspaper, invisible etc.)? What would Aristotle and Hegel argue against these techniques?

Creative:
Assuming the role of set and costume design, describe in detail for your “director” how you would represent both Hegel and Brecht’s idealization of theatre in two isolated scenes of the same dialogue. You must choose scenes that are common to a contemporary audience, such as Hamlet’s grave digging scene or Faust’s laboratory. A response paper is necessary.

Choose a topic of social import (sexual assault, gender equality, biodiversity etc.), choose an audience, choose a space, and choose a time period. Write two different “one act plays” using the embedded theories of Aristotle, Hegel, Brecht and Boal using class and outside texts. In a response paper engage with both of these scripts, and form an argument as to why one method is more or less effective in addressing said topic.

The last day I will look at drafts is: Tuesday the 17th

You are STRONGLY ENCOURAGED to at least start an email conversation with me on your topic. It's unfortunate, but sadly once the papers are turned in misunderstandings cannot be worked out. I've seen many students, good students at that, taken by surprise when they did not go and meet with their professor. It's great to learn that early.

Theory Moment: Guy Debord's Society of the Spectacle

Hey Guys,
I know that we have actively engaged with the idea of the separation that is caused when a set and a stage is inserted between the spectator and the actor, and the inherent social inequity that this separation suggests. While we have rigorously examined this concept in relation to theatre (our obvious pick) I realize that it might be interesting for you to examine it in the context of cinema. Guy Debord was a marxist theorist, as with Boal, who worked in film, narrative and theory. Society of the Spectacle is acually a "filmic retelling" of his work of theory by the same title, and engages with many of Boal's concepts, in particular the voyeuristic and priviledged view of the spectator *at* the spectacle. You can watch the whole of Debord's Society of the Spectacle on YouTube, I have attached the first segment here:

WARNING: if you have any aversions to images that are midly pornographic or insinuate violence then you should not view this.

Guy Debord's Society of the Spectacle

my blog...sorry it's late =(

i found boal's descriptions of the different exercises, games, and theatrical pieces very interesting. it was the first time i've enjoyed reading boal. the restaurant piece was especially interesting, and fun. many people got involved; there were all kinds of varying reactions from the customers; and in the end the waiter, whose been having to deal with this incredibly annoying customer, gets a huge tip. it's like a reward for his participation when he didn't even know he was involved. after reading about some of boal's invisible theatre pieces, i like the idea of doing our own invisible theatre piece even more now. i don't know how everybody else feels about it, but i think it would be cool. if we focused the piece and wrote it well, we could totally pull it off and have an effect without just being annoying. given our time constraints and everyone's super busy schedules, i don't know how possible it would be to pull something like this off in terms of planning and such.

Late as usual! I don't feel like I have tons to say. I really thought the photograph exercise Boal was talking about (the one the literacy people did) was cool. I don't know why. A picture's worth a thousand words? I don't know. I how it tied directly into image theater, though. I like the idea of expressing, through media other than spoken or written word, difficult topics or even simple questions with difficult answers. I also really like his anecdotes! Some of them get a little tedious, but on the whole his personal experiences are really interesting because it's his philosophy in action. Using theater to free people from the confines of society and from their oppression is just such a neat and different idea. I feel like a book of his experiences doing socially relevant and even liberating theater would be way more meaningful than his attempts to find a philosophical and historical foundation for theater as oppression. Theater as a tool of liberation is inspiring and, with his stories to back it up, sounds much less radical and feels like much less of a stretch intellectually. That's just me though. At any rate, I look forward to writing our own pieces and trying to figure out how what he and Spencer are writing about can apply to our own lives and our society's problems.

Creative blog: Action exercise

I chose to do the creative exercise mentioned in The Playwtight's Guidebook of writing a scene about a person who wants a book. It's not very well thought out, but I thought it would be a nice change from the usual reflections on the reading. Then I got on the blog and saw the latest entries, and I wish I had chosen to comment on the image theatre pictures and further plans for Sexual Assault Awareness month. Oh well.
-----
A WOMAN is sitting on a bench at a train station reading a book. With her eyes on the book, the WOMAN fumbles in her jacket pocket and retreives a pack of gum. She pokes around inside and comes out empty.

WOMAN: Great. Out of gum.

The WOMAN places the book absent-mindedly on the bench, stands and exits. A MAN then enters, walks to the same bench and sits. He notices the book, picks it up and starts reading. The WOMAN re-enters, placing a piece of gum in her mouth and tucking the rest of the package in her pocket. She notices the MAN with her book, pauses, then sits down next to him.

WOMAN: (clearing throught quietly) Uhh...

The MAN remains engrossed in the book. The WOMAN fidgets and shoots the MAN several looks.

WOMAN: (slightly louder) Um...er...

The MAN glances over, apparently annoyed at being disturbed, and shifts away from the WOMAN. As he does so, he puts on a pair of headphones.

WOMAN: Excuse me...

No response. The WOMAN makes to tap the MAN's shoulder, but withdraws her hand.

WOMAN: (louder) Excuse me.

The MAN looks at her, but doesn't remove his headphones.

WOMAN: Um, that's my book.

MAN: (removing headphones) What?

WOMAN: It's just...uh...er...

The MAN fixes her with a cool stare and raises his eyebrow.

WOMAN: Well, that book, it's -

MAN: (Going back to reading) Quite good, I know.

Beat. The WOMAN sighs and stares at the book. She leans slowly across and attempts to read over the MAN's shoulder. He notices.

WOMAN: Um, I don't think you understand. I -

MAN: I don't think you uderstand. I'm trying to read.

WOMAN: (mutters) So was I.

MAN: What was that?

WOMAN: So was I!

MAN: Okay. So read, then.

WOMAN: I can't!

MAN: And why is that?

WOMAN: Because that's my book! You stole it!

MAN: Oh. (Beat) This is yours?

WOMAN: (exasperated) Yes! I left it on the bench.

MAN: Oh. Sorry about that.

He hands her the book.

WOMAN: Thank you.

The WOMAN opens the book and begins reading. The MAN glances over at her, than faces forward and puts his hands on his thighs. Beat.

MAN: (still facing forward) Could I borrow it sometime?

The WOMAN looks at him. End of scene.

I am really enjoying moving into these new books. Specifically, I found a lot of connections between TOTO and PG. I very much enjoyed Boal's fascinating description of an invisible theatre piece in a restaurant where pauper-customers begin making various social statements about class privilege/oppression. This relates clearly to Spencer's central point that structure must be simple, and actions clearly defined. Boal's structure evolves in a distinct way, involving the "audience" with great control over the situation remaining in the hands of the actors. Furthermore, the actor's have an extremely clear objective: convincing their audience that they (the actors) have been treated unjustly (and conveying a broader picture of societal injustice from which this specific incident arises). 

Between Boal and Spencer, I feel that I am getting a very good intellectual foundation in how to create powerful and socially relevant theatre. The challenge will be in putting this into practice. I look forward to our next exploration of Boal's exercises, and hope that it helps to think about how to write skits/plays as well as generally practice the form of theatre Boal is writing about. 

Blogging for Sunday 8/3/09

Hey Guys,
You have 3 options for blogging on Sunday evening. Your first is to write about our fabulous run in with image theatre from Thursday's class. The photos of our sculptures (all of positive and negative representations of families) are below with the sculptor's name below them. I think that these are very interesting, some more obtuse to me than others. We will be doing image theatre again next thursday, but this time using more political themes, such as unemployment.

The other two topics you can write your blog post on are: our reading and our plans for SAAM (sexual assault awareness month.) To jog your memory, here are our proposals for SAAM:

We are definitely doing:

A workshop in Image Theatre on the Oberlin Campus

We are interested in doing (in order of perceived interest):

A workshop in Image Theatre for the Oberlin High Campus
Ghostly/Moving Testimonials
A "One" T-shirt/Poster Week-Long Campaign
Staionary Testimonials
Library Conversations
Staged Performance

Here are your pictures:


David: Negative

David: Positive

Ebony: Negative (Invisible Props: Chinese food, chopsticks, tv in perspective of camera)

Ebony: Positive (Invisible Props: Book)

Sarah: Negative

Sarah: Positive

Sorry!

I also agree with the idea of this line between invisible and guerrilla theater. Even the invisible theater, though, needs to be something that catches the attention of people even though they don't realize it's theater. I'm not sure if a conversation in the library will catch people's attention, because of what we talked about in class and also because even if people choose to eavesdrop only a few people in the near vicinity will hear it. I agree with David that if we could find an effective way to pull off guerrilla theater, that would be good. If it's a topic we really care about and we want to be sure people hear what we have to say, we'll have to be a bit more overt. I'm wary of this type of theater because it's hard to get right but I think I still like the idea of invisible theater transforming into guerrilla theater.

I guess that leaves the hard part, namely how to pull off something like this without turning people off. Especially if it's repeated, we don't want people to catch on and start avoiding us if they don't like it. If it's something engaging and interesting, though, having a loop could be good reinforcement, kind of like, "these issues aren't going away, so neither are we". I think for getting that point across, repeating the exact same thing would be most effective, but this of course is open to debate. Maybe building intensity throughout the week would work too.

I like the idea of the hidden, ghostly testimonies a LOT. We'd just need to find an effective way to set it up and make sure no one stole our speakers :P. And, as David said, we'd have to choose what content we wanted.

My opinion on the shirts is, because there are so many statistics out there, some greater than and some less than the 1 in 4 statistic, there would be no way to represent all of them and as such we need to pick one and run with it if we want a visual representation. I feel like the 1 in 4 one is the most well-known, too, and people would pick up on it because they've probably seen the statistic before.

I guess I'm done for now.See you at 3:30!

this is the blog monster

and I am up at 1:00 in the morning and your post was due at midnight.

remember, invisible theater, not invisible blogging.

I really like the idea of a workshop. Are we still considering going to local school's eventually? I think that a workshop at Oberlin will be vital if we are going to bring our work into the broader community. 

About Abby's comment regarding the line between Invisible and Guerilla theatre: 

I DEFINITELY AGREE. We need to know when it changes, and if we cross it then we should do so decisively. On this point, I have been thinking about how best to portray the ideas I've mentioned about international conflict. In order to demonstrate connections regarding global issues, I think Guerilla theatre would be the way to go. This would allow us to snag folks' attention, in an attempt to communicate a complex and extremely heated message. Is this making any sense?

I'm not saying that we should run around yelling about genocide and global warming with big microphones; I just think that it should be clear that we want attention. That's where I'd draw the line between invisible and guerilla theatre - making it clear that we want attention. 

I am also still interested in the recorder/phantom speakers concept. I've been kicking this one around in my head, but am having trouble pulling it forward. Do you guys have more ideas? Would we go with anecdotes only? Or would we also be able to use it to give voice to how we feel about certain issues? 

Posting Reminders

Hey Ebony, David and Sarah, I want to hear your ideas by midnight, k? :)

As a reminder we have agreed upon one idea:
A workshop in image theatre around our classtime. TBA space.

Although we have agreed that we want to do this, feel free to throw out comments that might help us think about how to make it great.

Here are the ideas that we are still considering:
a) Conversation invisible theatre in the library.
b) Recorded testimonials in a stationary spot.
c) Recorded testimonials in a moving location.
d) T-shirt 1 in 4 or other statistics...or all statistics campaign? (Red X or some unifying symbol, getting people of all groups to "identify")
e) A staged performance of some sort.
f)you toss it out!

If we can come up with a solid solution to this question tomorrow we should have a good half hour to play games with one another. Yay!

Sexual Assault Awareness ideas

I'm not sure how helpful this blog post will be, as it is basically reiterating the views already expressed in class; however, here are my two cents on an invisible or guerrilla theatre piece in Mudd and an image theatre workshop.

On invisible vs. guerrilla theatre:

I feel as if the line between these two types of theatre is a very fine but important one, and if we cross the line it must be done deliberately. By this I mean that if the piece starts off as "invisible," and we go with the idea of a conversation between two people and joined by a third, the audience (spect-actors in this case) cannot be aware that they are watching/participating an a piece of invisible theatre. The dialogue must be natural and not overtly political. This could be a really interesting way of placing the topic of sexual assault in people's subconscious and hopefully provoking thought and discussion, which is the purpose of invisible theatre.

Furthering this concept by creating a daily loop to be repeated at the same time in the same place also sounds exciting. It begs the question, however, of whether as people become aware of the piece we are stepping into the realm of guerrilla theatre, and what this means for our presentation of the material. As the week goes on, do we become steadily more politically overt until we reach a full-on message with statistics, or do we remain "invisible" as actors? I'd like to know everyone's opinions. I think both ways have distinct advantages; it all depends on whether we want to metaphorically hit people in the face with the topic of sexual assault or whisper it in their ear so that they aren't fully aware of the thought being placed there.

On image theatre:

Since we can't organize a staged piece (according to the previous blog post), perhaps we might consider leading a workshop on image theatre pertaining to sexual assault. This could involve a brief explanation of Boal's theory of image theatre, warm-up exercises (such as they hypnosis we did in class) to make participants aware of their bodies, and a series of group created images, facilitated by us but driven by participants.

This could be a very educational experience, both for us as theatrical educators and participants. However, the problem with this is that only a small group of people will be involved, and will likely only be people with a previous interest in/concern about sexual assault. This means that we are not educating the general community, though there will be other events throughout the month that will reach a broader audience, I'm sure.

CLHP involvement in SAAM theatre

Hell Guys,
We will be discussing this in class, of course, but I wanted to let yo know as soon as I found out that the Center for Leadership in Health Promotion has over committed itself this semester and cannot participate in any staged pieces with us (any pieces that would require a significant time commitment.) In light of this I think that we should focus tomorrow on pieces on a more invisible or guerilla theatre level, pieces that can be performed quickly or through costuming/spectacle. We will talk about this in greater detail tomorrow, I just wanted to keep you in the loop. Remember to come prepared to discuss the reading tomorrow, we will touch on it as well.
--Alexa