Showing posts with label experimental theater. Show all posts
Showing posts with label experimental theater. Show all posts

Thursday, October 09, 2008

Zooman and the Sign, Charles Fuller, other losses




Charles Fuller is one strong writer. He has created strong characters that convey powerful emotional complexity. His material is a bit dated in its treatment of the subject matter, that of gang violence, but this is more because of our culture's inundation of film and TV treatments that have explored this issue than with any weakness in Fuller's writing.

Fuller takes us into the core of the grief that the Tate family is feeling due to the death of their youngest daughter at the hands of random gang violence. He also artfully takes us into the motivations of the fifteen year old gangbanger that killed her. But does he do it theatrically? I don't believe so. Fuller is a talented writer. His work is compelling... as literature. I had the sense of reading a good short story and I could visualize this as a segment on the superior cop show Homicide. But let's get back to what the fundamental key elements of theater are: Linear time and live performance with actors engaged in action and space. Telling a story with a beginning, middle and end are the elements of literature. Does this mean that theater can't employ the elements of literature? No.

Theater and performance are an experience of the moment, with performer and audience sharing an experience in linear time. This experience can be partially expressed with linear storytelling, but it is not the thing itself. There is the ephemeral experience of what performer and audience bring together for a sliver in time. Fuller utilizes some theatricality. He has Zooman, the fifteen year old gangbanger move through the space to a platform in order to deliver a monologue to the audience. He also utilizes music and lighting to convey the menace as well as the innocence of this young man.

Fuller’s reliance on character arc and backstory and linear structure propels the action and vivifies the ritual quality inherent in theater. We are left with ritual drama that transcends the complacent consumption of performance.Theater should be catalytic to the observer, not placating. It should make us question our very existence, not shield us, but expose us.


JESUS TAFOYA PRESENTE:

From Denise Chavez ---
We greet you with the news that two great spirits have left this earth.

This news from Juarez poet Osvaldo Ogaz about Jesus Tafoya, Professor of
Spanish/Chicano Literature at Sul Ross University and author of Palabras
Demoradas, which was published in May 2008:

Querida Denise, lamentablemente perdimos al companero poeta Jesus Tafoya,
ayer 6 de octubre fallecio, es una gran perdida, la verdad era un
gran ser humano y un muy buen escritor. Dios lo tenga en su gloria.

Dear Denise, lamentably we have lost our fellow poet Jesus Tafoya,
yesterday, October 6 he died, it is a great loss, for truly he was a great
human being and a good writer. May God hold him in his glory.

Jesus was born in El Paso and grew up in Cd. Juarez. He was a great poet of
our Chihuahuan desert and knew intimately the power and beauty of our border
language and landscape. A great scholar, he loved all things bright and
true, from good Chinese food in Juarez, to hanging out with his beloved
Mami, to his students at Sul Ross who will surely miss his expansive being.
He was a good friend and taught me so much about the border we call home.

In addition to the news of Jesus' passing, we have heard from Dr. Robert Con
Davis Undiano (Oklahoma University) that Barbara Glenn Momaday, wife of N.
Scott Momaday died several weeks ago. Barbara was a participant in a
tribute to Arturo Islas in 2003, in a beautifully written homage/play by
Marcy Hundley. Barbara was Arturo Islas' Teaching Assistant at Stanford and
had a Ph.d. in Literature. She was a lovely, luminescent and talented woman
and she will be greatly missed. We send our condolences to N. Scott Momaday
and his family.


I'd like to end with Jesus Tafoya's powerful poem, El Crujido de Mis Huesos.
It is a beautiful piece that he dedicated to me. If anyone would care to
translate it, we will share it with our BBF Friends.

The poem was inspired by a line in an Esteban Arellano poem (Esteban,
please send us the poem so we can gather all the Crujido poems in one
place), followed by my poem of the same name, followed by a poem of the same
name written by my mother, Delfina Rede Chavez. The title of the poem, The
Creaking of My Bones/El Crujido de Mis Huesos, is a testimony to life, love,
friendship, and to those who have passed on, but will never be forgotten.


Que Viva la Vida!

Denise Chavez


El Crujido de Mis Huesos
by Jesús Tafoya

A veces
en medio de la noche
me despierta, abrumado
el crujido de mis huesos.

Su peculiar sonido,
me hace recordar
cada paso que he dado
aquí en la tierra.

Es como si mis muertos
despertaran.
Me recordaran que Caronte
espera afuera
y que su barca podría partir
a cualquier hora.

Debo dejar la puerta
y las ventanas abiertas
que se lleven el molesto sonido
y me dejen dormir,
aunque sea un momento. . .

Allí está, lo oyes. . .
Una vez más
El crujido de mis huesos

Lisa Alvarado

Thursday, June 26, 2008

De Chicago, Nueva York, y Califas






FILM IN THE PARK at Dusk
A program for the entire family, free of charge!

View Latino Films outdoors courtesy of ILCC and its sponsors: Verizon Wireless, La Raza, Chicago Latino Network and American Family Insurance.

El Sueño del Paraiso/The Dream of Paradise (Colombia)

Wednesday, June 25, 2008
Mozart Park
2036 N. Avers St.
Chicago, IL

Isabel Sarmiento, the daughter of a landholder in Colombia Yauca Valley, engineers the immigration of Japanese families to hers and her father's hacienda. It is a glimpse of paradise for hardworking, dedicated immigrants. World War II, fought in faraway lands, will impact this dream, as Germans, Japanese and Italians are detained and taken to special residential camps. Isabel and the love or her life, Yuzo, will have to live through much hardship and sorrow.


Designer James De Colón and Creative Director Wayne Reddrick Grand Opening of new fashion salon

Designer James De Colón and Creative Director Wayne Reddrick cordially invite you to attend the Grand Opening of their new fashion salon in the historic Chicago Arts District.

Thursday, June 26, 2008
6:00 p.m. - 10:00 p.m.
De Colón
1829 S. Halsted
Chicago, IL

Cocktails and hors d'oeuvres served. RSVP: decolon@decolonboutique.com.


The Erie Associates Board - An Evening at Goose Island Brewery

Velkomen! Willkommen! Laskavo prosimo! Bienvenidos!

Over the last 138 years, these are just some of the different ways that people have been welcomed to Erie Neighborhood House. Erie has assisted thousands of immigrants who have come to Chicago by providing a community center, educational programs and resources that help them connect with their new home. Today, the population Erie serves is primarily Latino, and each year, Erie provides services for over 5,000 low income individuals and families.

Proceeds from the event will support Erie's programs. One of the vital programs at Erie House is the Citizenship Program, which assists Legal Permanent Residents who want to become United States Citizens achieve that dream. Erie hosts citizenship workshops and provides one-on-one tutoring for students preparing for their citizenship exam. Erie needs volunteers to help at workshops and prepare students for their citizenship exams. If you want to learn more about our Citizenship program, click here.

In July 2007, the application fee to apply for United States Citizenship increased by 70% from $400 to $675. That $275 increase has made it impossible for many people to submit their citizenship applications. Right now, Erie has 50 individuals and families waiting to apply for U.S. Citizenship only because they cannot afford the application fee.

We need your support to help these people achieve their dream of becoming U.S. citizens. Come on June 26th to learn more!

Thursday, June 26, 2008
6:30 p.m. - 9:30 p.m.
Goose Island Brewery
1800 W. Fulton St.
Chicago, IL

$25 by June 25th, $30 at the door.

xxxxxxxxxxxxxxxxxxxxxxxxxxxxx

The World Wide Word Radio Network

To listen to any of the shows click below Listen live or later Feel free to download any of our archived shows http://blogtalkradio.com/onword/ Call in number (718) 508-9717

Listen to Easy Speak With Doug Knott as he speaks with former Poet Laureate of the United States (1997-2000). Robert Pinsky, Author of Gulf Music link below

Listen to
THE MOE GREEN POETRY HOUR With Rafael F. J. Alvarado (aka Moe Green) & Kate Durbin as they listen to the poetry of Lisa Alvarado

Listen to
For The Love Of Poetry Hosted by Cassandra Love Talking to Naomi Shihab Nye

* * * MEDIA ALERT * * *

PANDORA'S
Ten Monologues Open the Box of Queer Latino Identities

Sister Outsider Entertainment
(Producers: Julia Carias, Elisha Miranda, Sofia Quintero & Alexander Ramirez)

PRESENT

PANDORA'S is a multimedia theater production featuring monologues and documentary shorts which sheds light on the Latin@ queer (LGBTQI) experience.

Written by
Sandra Alvarez, Janis Astor del Valle, Tina Bartolome, Julia Carias, Jasmine Colon, Fernanda Coppel, Deyanira Garcia, Aurora Guerrero, Elisha Miranda, Desi Moreno-Penson, Lissette J. Norman & Sofia Quintero.

Featuring
Claudia Acosta, Dominique Andriese, Janis Astor del Valle, Desiree Cobb, Sherette Gregg, Carina Gregorio, Julia Ahumada Grob, Daphne Lopez, Desi Moreno-Penson & Karen J. Robles.

Dramaturg
Sofia Quintero

Short Films Director
Aurora Guerrero of Womyn Image Makers

Artistic Director/Theater Director
Elisha Miranda

WHO: SISTER OUTSIDER aims to create commercially viable, and culturally relevant content across a range of media platforms including print, internet, theater, film and television that appeals to a multicultural audience

WHAT: Pandora's ten diverse monologues, seven short films woven together with music to represent different queer identities from diverse ethnic and identity backgrounds (bisexual, transgender, lesbian, questioning, homeless, immigrant, etc.) Its debut marks a breakthrough in visibility and expression in the Latin@ queer community.

WHEN: July 2nd- July 6th, 2008

Evening Shows
Wednesday, July 2nd - Friday, July 5th at 7:30pm
Saturday, July 6th at 8pm

Matinee Shows
Saturday, July 5th at 2pm
Sunday, July 6th at 2pm

WHERE: Theater Row
410 West 42ndStreet
New York City

HOW DO I PURCHASE TICKETS?
To buy tickets please visit
http://pandorashow.com or http://ticketcentral.com. Use code: POST to receive a 10% discount.

WHY: During the show, an Ending Homo-Hatred Outreach Toolkit will be distributed to audience members. The Toolkit will contain strategies and resources for combating internal and external homophobia, such as a directory of organizations that conduct outreach and education on issues of sexuality.

HOW: The commissioned writers and diverse cast use music, videos and theater to narrate the experience of the Latino/a queer community.

Press Contact: Melissa Quinones, Melissaq3@gmail.com, 917-853-2052

Sister Outsider Entertainment
55 West 116th Street, Suite 350
New York, New York 10026
http://.sisteroutsider.biz
646.688.0865 Tel. 646-514.3503


Lisa Alvarado

Thursday, November 15, 2007

Empty Space: Ideas of Theater


In The Empty Space, director Peter Brook outlines his theories on the theater by exploring four different meanings of the word theater - Deadly, Holy, Rough, Immediate.

Deadly Theatre is the theatre of commerce set up to make money for its producers. It's the theatre of imitation, trying to mimic the box office successes of the past. This affects all aspects, permeates every level. The Directors rely on the old clichés and gimmicks of the past without exploring the texts for their deeper meanings. The Actors do not move past the emotional facades of the roles, playing the surface knee-jerk reactions that they get from text, resulting in stereotypical portrayals. The Audience accepts this Deadly Theatre because they have sought out an honest experience, and rather than accept the disappointment of the less than authentic encounter, they feign excitement and appreciation. Brooks posits that the Audience would rather acquiesce here in order to avoid feeling left out of a cultural loop designed by an elite who have embraced Deadly Theatre. The Critics play the society column game of declaring the big budget shows as overwhelming hits without any true critical analysis. Deadly Theatre is the theatre of repetition.

Holy Theatre is "The Theatre of the Invisible - Made - Visible."

This is what theater and all art making should be addressing- the bringing to light the dark recesses of the human experience; to perform rituals that ask the questions about why we are the way we are; how can we change or accept the less damaged aspects of human nature; what does being in community with others mean.

Religious teaching - including Zen - asserts that this invisible-visible cannot be seen automatically - it can only be seen given certain conditions. Holy art is an aid to this, and so we arrive at at definition of Holy Theatre. A Holy Theatre not only presents the invisible but also offers conditions that make its perceptions possible, according to Brook.

The strengths of a Holy Theatre are also what limit its appeal - the desire to answer the truly personal needs of those who are in the process of creating it. This is not the theatre of mass appeal. Brook explains the processes of three artists who are engaged in the creation of holy theatre - Merce Cunningham, Jerzy Grotowski and Samuel Beckett. All three are well known in their respected disciplines, but have limited visibility in popular culture.

To underscore this, read Brook on the three:

"They each start from their hunger, each works to lessen his own need. And yet the very purity of their resolve, the high and serious nature of their activity inevitably brings a colour to their choices and a limitation to their field. They are unable to be both esoteric and popular at one and the same time."

Rough Theatre could be seen as the antithesis of Holy Theatre by misinterpreting it as anti-intellectual. It is cruder, more popular and doesn’t require any "great study."

Brook again:

"It is always the Popular Theatre that saves the day. Through the ages it has taken many forms, and there is only one factor that they all have in common - A roughness. ...theatre that is not in a theatre, ...on carts, on wagons, on trestles, audiences standing, drinking, ... joining in, answering back."

Or perhaps El Teatro Campesino or Culture Clash. Ultimately, Rough Theater is indeed intelligent in its grasp of social interaction and the community at large, unerring in its ability to lay bare social issues. I would say "Real" is the key word here, rather than "Rough."

In the last chapter, Brook discusses his personal experiences in creating theater. He describes this as Immediate Theatre because theatrical "common reality" exists only in the moment of performance and is lost once the lights go out. It then becomes something different in the minds of each who experienced it. It is this immediacy that draws people to the theater, the liveness, the closeness to reality. Immediacy is the quality that makes theater unique.

ISBN-10: 0684829576
ISBN-13: 978-0684829579