"We're dead as a species if we don't tell stories, because then we don't know who we are." - Alan Rickman
Labels: inspiration, random quotesAs winter approaches, Occupy can use theater to maintain protest
Commentary: As winter approaches, Occupy can use theater to maintain protest
Benjamin Kabialis, The Berkeley Beacon [Emerson College newspaper] 11/10/11
During the Great Depression, a burgeoning population of workers' theater groups stamped on posters and playbills a common and empowering phrase: "Theater is a weapon." Theater welcomed the exuberance of material forged from the passions of deeply personal battles for workers' rights, and workers cultivated theater as a tool to raise class-consciousness. As American theater looks for the spark of revolution and Occupy Wall Street receives criticism for lack of direction, participants in both camps must take hold of this powerful partnership. Why does American theater dissolve while Occupy Wall Street bolsters its ranks? The latter is held together by a shared and deeply personal connection to the cause, while the former has become an institution completely out of touch with reality. Rather than an exploration of humanity, theater has become an exploration of theater. In colleges and universities actors study the craft of acting and playwrights study the writing of plays. The art form has become a sort of members-only party with no guiding principles outside those of economics. In several ways, Broadway's grandiose theaters, movie star performers, and steep ticket prices mirror the 1% of America's Wall Street. The Worker's Laboratory Theater, the Group Theater, and the Labor Stage were only a few of hundreds of troupes during the 1930s that proved theater could thrive without the resources or splendor of Broadway. Throughout the 1930s workers' movement, theater proved strongest when used as a tool for holding protest groups together. With winter approaching and harsh media criticism growing, Occupy Wall Street can use theater as a way of building community and maintaining a sense of passion in their own ranks.
OCTOBER: Yet another Project Girl shot. This was a good day. DUMBO is a great place to shoot. We got a ton of interesting photos. The rain had us sort of bummed out but it didn't stop us from having a good time.
SEPTEMBER: Ryan Victor Pierce. Focused. Hardworking. and Talented. I shot this during a rehearsal for Co-Op Theatre East (COTE) and Mixed Phoenix Theatre Group's production of "Muzungu". This night also happened to be a good photo night (some are better than others). I got some great shots of the actors and production crew but my favorite photos all just happened to be of Ryan. Coincidence? Methinks not.
SEPTEMBER: Robert A. K. Gonyo - my fearless COTE partner in crime. Here he is directing the NY Premiere of "Muzungu" by David Myers.
AUGUST: Dominique Fishback. Hands down one of the most brilliant writers and spoken word artists I know. She is a Project Girl and proud to be one of the original collective members. Dominique has been with Project Girl since 2008. She is currently a student at Pace University and getting ready to graduate next year. She will be taking the world by storm. I'll always be proud to say "I took her headshots way back when..."
SEPTEMBER: Co-Op Theatre East debuts a performance workshop series at the Looking Glass Theatre free of charge for participants as part of our mission to make theatre training accessible.
AUGUST: Eve of Irene. Two fishermen in Battery Park City attempt to catch fish before the mandatory evacuation of the area due to storm surge.
FEBRUARY: Co-Op Theatre East's production of Trojan Women Redux at Looking Glass Theatre, adapted and directed by Casey Cleverly. This features another brilliant talent, Lillian Rodriguez. Should I mention she is also Project Girl alum?
FEBRUARY: Anna and Hannah (as Hecuba and Cassandra). I seem to think I have another photo of them in a similar hold from another COTE show a year back...
FEBRUARY: Anna and Hannah in Trojan Women Redux. One of my favorite elements of this show was the use of the video projections on the broken brick wall screen (you can see it in the back).
A regular feature of theatrewashington.org, Why Theatre Matters owes its inspiration toHoward Shalwitz, the Artistic Director at Woolly Mammoth Theatre Company, and remarks Manny Strauss, Managing Editor As someone who came from a family of doctors, started out pre-med in college, detoured to philosophy, then teaching, and finally to theatre — not only did my career choices slide steadily downhill from my mother's perspective, but I was left with a moral conundrum: does my chosen profession, theatre, make a valuable contribution to the world when compared with the other professions I left behind? I guess this conundrum has stuck with me, because as recently as this past winter I made a list of seven reasons why theatre matters and I'd like to share them with you briefly tonight. First, theatre does no harm. Theatre is one of those human activities that doesn't really hurt anyone or anything (except for its carbon footprint -- but let's ignore that for now). While we're engaged in making or attending theatre, or any of the arts for that matter, we are not engaged in war, persecution, crime, wife-beating, drinking, pornography, or any of the social or personal vices we could be engaged in instead. For this reason alone, the more time and energy we as a society devote to theatre and the arts, the better off we will be. Second, theatre is a sophisticated expression of a basic human need -- one might call it an instinct -- to mimic, to project stories onto ourselves and others, and to create meaning through narrative and metaphor.. We see this instinct expressed in children when they act out real or imagined characters and events. We have evidence of theatre-like rituals in some of the oldest human societies, long before the foundations of Western theatre in Ancient Greece. So theatre matters, in essence, because we can't help it. It's part of what makes us human. Third, theatre brings people together. For a performance to happen, anywhere from a hundred to a thousand or more people need to gather in one place for a couple of hours, and share together in witnessing and contemplating an event that may be beautiful, funny, moving, thought-provoking, or hopefully at least diverting. And in an age when most of our communication happens in front of a screen, I think that this gathering function of theatre is, in and of itself, something that matters. Fourth, theatre models for us a kind of public discourse that lies at the heart of democratic life, and builds our skills for listening to different sides of a conversation or argument, and empathizing with the struggles of our fellow human beings whatever their views may be. When we watch a play, we learn what happens when conflicts don't get resolved, and what happens when they do. We develop our faculty for imagining the outcomes of various choices we might make in our personal lives and our political lives. It's not surprising that, in repressive societies, theatre has often been aligned with the movement toward openness and freedom. In South Africa theatre played a role in the struggle against apartheid; in Czechoslovakia, a playwright became the leader of a new democracy. If our own representatives and senators in Washington went to the theatre more often, I suspect we'd all be better off. Fifth, both the making of theatre and attending of theatre contribute to education and literacy. Watching the characters talk back and forth in the theatre is tricky; it requires sharp attention, quick mental shifts, and nimble language skills. It teaches us about human motivation and psychology. In historical plays we get lessons in leadership and government. In contemporary plays, we learn about people and cultures in different parts or our own country or in other countries. Studies have shown that students who participate in theatre do better in school. Making plays together also draws kids out of their shells and helps them learn to socialize in a productive and healthy way. Sixth, theatre as an industry contributes to our economy and plays a special role in the revitalization of neglected neighborhoods. We've seen this quite clearly in our own city. You can look at the role that the Studio Theatre played along the 14th Street corridor, or Shakespeare Theatre along Seventh Street, or Woolly in both these neighborhoods, or Gala Hispanic Theatre in Columbia Heights, the Atlas along H Street, or the new Arena Stage along the waterfront. As each of these theatres opened, new audiences started flooding in, new restaurants opened, jobs were created, the city improved the sidewalks, and neighborhoods that were once grim and forbidding became vibrant hubs of activity. And this pattern has been repeated in cities across the United States and around the world. Finally, the seventh way that theatre matters -- and this one applies to some kinds of theatre more than others -- is that it influences the way we think and feel about our own lives and encourages us to take a hard look at ourselves, our values, and our behavior. The most vivid example of this I've ever experienced was during a post-show discussion at Woolly Mammoth when a woman said that one of our plays made her and her husband decide that they had a serious problem in their marriage and needed to go for counseling; and she was pleased to report that they were still together and much happier as a result. Now, I'll admit, I don't hear things like this every day. But speaking more generally isn't this one of the things we go to the theatre for, to measure our own lives against the lives we see depicted on the stage, to imagine what it would be like if we had those lives instead? And isn't it a very short step from there to saying, gee, maybe there's something I should change about my own life? And it may have nothing to do with the message that the playwright wanted to deliver! Maybe the play is about a fierce battle over a family dinner that breaks the family apart over irreconcilable political divisions -- but maybe you watch the play and say, gosh, wouldn't it be nice to at least have a family dinner once in a while, and so you decide to plan one for next month. So, those are my seven ways that theatre matters: it does no harm, expresses a basic human instinct, brings people together, models democratic discourse, contributes to education and literary, sparks economic revitalization, and influences how we think and feel about our own lives.7 Reasons Why Theatre Makes Our Lives Better
(a portion of which appear below) that he so eloquently delivered on September 17, 2011 at Woolly’s Dinner on Stage event. These words so perfectly capture the core of why we at theatreWashington are inspired by Washington area theatres, artists, and audiences of all ages. In future pieces, we will share many other perspectives on this important topic. We also would love to hear why theatre matters to you!
mstrauss@theatrewashington.org
A letter from Troy Davis: To All: I want to thank all of you for your efforts and dedication to Human Rights and Human Kindness, in the past year I have experienced such emotion, joy, sadness and never ending faith. It is because of all of you that I am alive today, as I look at my sister Martina I am marveled by the love she has for me and of course I worry about her and her health, but as she tells me she is the eldest and she will not back down from this fight to save my life and prove to the world that I am innocent of this terrible crime. As I look at my mail from across the globe, from places I have never ever dreamed I would know about and people speaking languages and expressing cultures and religions I could only hope to one day see first hand. I am humbled by the emotion that fills my heart with overwhelming, overflowing Joy. I can’t even explain the insurgence of emotion I feel when I try to express the strength I draw from you all, it compounds my faith and it shows me yet again that this is not a case about the death penalty, this is not a case about Troy Davis, this is a case about Justice and the Human Spirit to see Justice prevail. I cannot answer all of your letters but I do read them all, I cannot see you all but I can imagine your faces, I cannot hear you speak but your letters take me to the far reaches of the world, I cannot touch you physically but I feel your warmth everyday I exist. So Thank you and remember I am in a place where execution can only destroy your physical form but because of my faith in God, my family and all of you I have been spiritually free for some time and no matter what happens in the days, weeks to come, this Movement to end the death penalty, to seek true justice, to expose a system that fails to protect the innocent must be accelerated. There are so many more Troy Davis’. This fight to end the death penalty is not won or lost through me but through our strength to move forward and save every innocent person in captivity around the globe. We need to dismantle this Unjust system city by city, state by state and country by country. I can’t wait to Stand with you, no matter if that is in physical or spiritual form, I will one day be announcing, “I AM TROY DAVIS, and I AM FREE!” Never Stop Fighting for Justice and We will Win!
Cast members rehearse for their debut on September 10. People around the country are preparing to observe the 10th anniversary of the tragedy known as 9/11. On September 11, 2001, terrorists attacked the United States and more than 3,000 people died. A group of young people in New York City, where the terrorists destroyed the Twin Towers of the World Trade Center, are remembering the event in their own way. Together, they wrote a play to explore the impact of Spetember 11 on their lives. The final play is called Ten Years Later: Voices from the Post-9/11 Generation Speak. Co-director Ashley Marinaccio told Scholastic News, “It is completely youth driven. It focuses on the cultural aftermath of what it means to be a kid after 9/11.” The writers and performers range from 9 to 23 years old. The youngest members of the group were not yet born when the events of 9/11 occurred. Others were children or young teens. Together, they interviewed community members, participated in writing exercises, and wrote songs to create an original play based on their experiences in New York following September 11. A DIFFERENT AMERICA Heightened security in buildings and airports and U.S. involvement in wars in the Middle East are a few of the ways the 9/11 terrorist attacks changed life in the United States. Many young people growing up in the past 10 years don’t clearly remember what life was like before the tragedy. “My first view of the Manhattan skyline was without the towers,” cast member Emily Rupp, now 21, says in the play. “When I first saw it, I just tried to imagine what it could’ve looked like. . . . My Manhattan skyline will always be an unfinished puzzle to me.” Shortly after 9/11, the U.S. sent American troops to Afghanistan to try to find those who had planned the attacks. Thousands of troops remain there. Many cast members do not remember a time when the United States was not at war. The play explores this through monologues and scenes. Other themes include the meaning of patriotism and increased security in American life. The first performance will take place on September 10 at Pace University in New York City as part of a larger memorial program. This performance is just one way people around the country are preparing for the anniversary. On September 11, a memorial honoring victims will be dedicated at Ground Zero, the site where the Twin Towers once stood. Ceremonies of remembrance will also take place at the two other sites where the terrorists crashed hijacked planes—at the Pentagon, near Washington, D.C., and in Shanksville, Pennsylvania. Scores of other services and events will mark the day around the nation as Americans seek to honor the memories of the victims.Being a Kid After 9/11
Young performers in New York City explore what it means to grow up after the world changed
TEN YEARS LATER OPENS AT PETER JAY SHARP THEATER Co-Op Theatre East and Project Girl Performance Collective present: TEN YEARS LATER: VOICES FROM THE POST-9/11 GENERATION SPEAK Conceived and Directed by Ashley Marinaccio, Robert A. K. Gonyo and Daniel Mendoza Produced by Jessica Greer Morris Monday, September 12, 2011 8:00 pm Peter Jay Sharp Theater 416 West 42nd Street - New York Tickets available through Ticket Central $20 General Admission $15 Student/Senior Discount
Peter Jay Sharp Theater at 416 West 42nd Street - New York
Tickets on sale now! Contact Ticket Central!
August 22, 2011, New York, NY – Co-Op Theatre East and Project Girl Performance Collective debuts a cutting-edge, ensemble-devised play, created by youth between the ages of 9 and 23, Ten Years Later explores the impact of the September 11th terrorist attacks on youth. The young cast explores what it means to be coming of age in a post-9/11 society as a young person living in the shadow of Twin Towers that most of them have never seen. “My first view of the Manhattan skyline was without the towers,” said cast member Emily Rupp. “When I first saw it, I tried to imagine what it could’ve looked like. It was like putting together a puzzle.”
The “Ten Years Later” cast may not have seen the World Trade Center but they have been infinitely affected by the disaster as evident from their revealing stories and struggles. Terrorism, fundamentalism, orange alerts, airport security, subway sniffing dogs and tea party patriotism, as you will see in the show, weigh heavily on the minds and hearts of today’s youth.
Ten Years Later: Voices from the Post 9/11 Generation Speak opens 8:00 pm on September 12th, 2011 at the Peter Jay Sharp Theatre and then tours the tri-State area. Please contact Casey Cleverly at casey@cooptheatreeast.org if you have any questions or would like to book the show this Fall.
About Co-Op Theatre East: Founded in Spring 2008 by three graduates of the Performance Studies program at Tisch School of the Arts, Co-Op Theatre East produces socially minded performance that deals with the questions of today, the situations we find ourselves immersed in as New Yorkers, Americas, and world citizens at this moment. Co-Op Theatre East believes in the power of art to foster a dialogue for social change. We provide an entertaining performance forum in which to ask evocative, challenging questions of artists and audiences on our way to creating collaborative answers. www.cooptheatreeast.org.
About Project Girl Performance Collective: "It was inspiring to see bright, confident young women holding forth onstage" (The New Yorker, September 3, 2010) was the response to the Collective’s most recent show at The Fringe Festival. Project Girl Performance Collective (PGPC) empowers young women by creating a safe space to address contemporary social, political and cultural issues through the performing arts and written word. The Project Girl Performance Collective is committed to the idea of theatre and performance as a medium for awareness, action and social change. www.
The cast includes
Kate Bralower (10, Manhattan)
Tiffani-Amber DiGrazia (9, Queens)
Samantha Phillips (15, Westchester)
Monica Furman (15, Brooklyn)
Arianna Hanson (15, Bronx)
Hank Chen (23, Washington, D. C.)
Nick Wolf (21, New Jersey)
Stacey Oliver (19, Connecticut)
Deanna Alexandra (16, Long Island)
Emily Rupp (21, Brooklyn)
Peter Kendall (20, New Jersey)
Mariah Adkins (23, Brooklyn)
Haleigh Spasjevich (22, Manhattan)
Laura Killeen (23, United Kingdom).
It is directed by Ashley Marinaccio and Robert A. K. Gonyo, Artistic Directors of Co-Op Theatre East, Assistant Directed & Stage Managed by Daniel Mendoza and produced by Jessica Greer Morris, Executive Director of the Project Girl Performance Collective, 9/11 Worker and Chair of the World Trade Center Community Advisory Board (2001-2004).