Playwrights, we need audiences like this at our readings.
Reblogged on WordPress.com
Playwrights, we need audiences like this at our readings.
Reblogged on WordPress.com
Latina scholar gets called out for alleged plagiarism in front of class by prof for using the word “Hence”. Totally unprofessional behavior (even if the charge were true) gets magnified by years of microaggression.
Not that she needs my approval – she doesn’t – but her writing ability is clear from her blog post.
My name is Tiffany Martínez. As a McNair Fellow and student scholar, I’ve presented at national conferences in San Francisco, San Diego, and Miami. I have crafted a critical reflection piece that was published in a peer-reviewed journal managed by the Pell Institute for the Study of Higher Education and Council for Opportunity in Education. I have consistently juggled at least two jobs and maintained the status of a full-time student and Dean’s list recipient since my first year at Suffolk University. I have used this past summer to supervise a teen girls empower program and craft a thirty page intensive research project funded by the federal government. As a first generation college student, first generation U.S. citizen, and aspiring professor I have confronted a number of obstacles in order to earn every accomplishment and award I have accumulated. In the face of struggle, I have persevered and continuously produced…
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I’m a big fan of iTunes, and am growing to love Apple Music. Two things I love about Apple Music is that I can follow my interest in popular music from around the world and can research different musicals to inform the one I’m writing (not to steal, but to learn what works for me and what doesn’t).
Recently, iTunes added the ability to not just flag songs you love but also flag those you dislike. But it didn’t provide a way to skip disliked songs. That bugged me.
Warning: Technospeak ahead.
I should have known this was coming.
I’ve been writing songs and instrumentals since I was 4 (my first was a song about Tigger that I have the sheet music for around somewhere – my father transcribed it for me), but at some point became dissatisfied with my lyric-writing ability. My straight play Hemlock (it’s a gay play, but versus a musical it’s a straight play) wound up with a song, and has recently picked up a second song, both meant to be a cappella.
This has something to say to playwrights as well.
Bay Area actress Ponder Goddard offers up some thoughts for actors on keeping it together in today’s theater world.
Actors are the foundation of theater. You can take away the lights, costumes, sets, you can even go Original Practices on Cymbeline’s ass and take away the director– but you cannot remove the actor or the audience and still have what we think of, know and love as theater.
Actors are necessary, actors are fundamental, if we want theater we need actors. If we want bold, brave, exciting, moving theater we need bold, brave, risk-taking and vulnerable actors. An actor’s ability to show up and be seen, to be truly wholehearted and vulnerable in their craft and in their lives, is entirely undermined when they are perpetually struggling for a sense of self-worth and worthiness. The systems of production around us make that struggle for worthiness endemic to the actor’s…
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If you love theatre, read this.
There’s a massive disconnect between theatre intelligentsia– bloggers like me– and what’s actually happening on the ground.
Theatre writers have been doing an excellent job drawing attention to issues of inclusion and diversity, issues of copyright and contract law and copyright/contract violation, issues of audience demographics, issues of access to arts education, issues of season selection, issues of censorship, especially in schools. Those are crucial, vital, important issues about which we need to continue to write. I have no plans to stop writing about any of those, nor do I expect (or want) anyone else to stop.
But we’re all avoiding the elephant in the room, probably because it’s simple, and boring, and all too painfully obvious.
THEATRES ARE CLOSING.
Nonprofit theatres all over the country are in trouble. While larger theatres are doing better than they were during the recession, a jaw-dropping amount of small, indie theatres and even…
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Thinking about American Indian (his term) Vine Deloria’s book We Talk, You Listen, which, among other things, discusses Marshall McLuhan’s theories as they apply to the Civil Rights movement. The message gets lost in the image. The image becomes the message.
How do we get the media to show all of the images? What role does the need to sell papers/get ratings play in choosing which images get shown?
Once upon a time I met an actor with mental health issues. Just . . . save that joke for later; I’m serious times right now. He told me that the Korean government was trying to kill him because of his political street theatre. When I tell this story, it never fails to get a laugh. Political street theatre? Harhar. No one cares about political street theatre that much! Harharhar.
In the wake of the failure of the grand jury to indict Darren Wilson, protests have exploded all over the country. The internet has also predictably exploded with people condemning the rioting and looting that have been an unfortunate component of some of the protests. The theatre around this issue is fascinating, and enormously telling.
There have been peaceful protests in Ferguson (and elsewhere) literally every single day since Michael Brown was killed. Here are some shots:
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There’s an incredibly useful article over at the Playwrights Center website (not Playwrights’ Center of San Francisco, the group I’m involved with, but the national one in Minneapolis), Tips From Artistic Directors. In that article, there are a lot of positive tips: send your best work, follow guidelines, and many more.
Two ADs chose to include their pet peeves. Among these were opening monologues and phone calls. They suggested only using opening monologues if absolutely necessary and keeping phone calls to two or three lines. I’m assuming – I could be wrong – the ADs are referring to those phone calls where we only hear one side of the conversation.
One of my works contains two long one-sided phone calls and several have opening monologues. Do I:
1. Remove them immediately?
2. Make them better?
3. Not send them to these particular ADs?
What do the words and phrases cheeseburger, mentee, La Niña, Silver Alert, and Nannygate have in common? Answer after the jump.
For so long I’ve wanted the Theatre Industry machine to behave a certain way and suddenly I realized I want to take that machine apart and build a new one instead.
It’s been brewing in the back of my mind for awhile, but it really came to a head last week in a Facebook discussion about Charles Isherwood’s condescending language when writing about plays by people of color. Isherwood has enormous power to make or break the success of a play and/or playwright, and he’s not the only one using that kind of language, but he has extraordinary power because of his position with the New York Times.
But I think the problem isn’t just Isherwood personally, since we could fire him into the sun and there’d be another one right behind him to take his place. We should start thinking in terms of dismantling the power we accrue to that position…
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Interesting to hold my plays up to this yardstick.
Sometimes I open a play and see something that makes me feel like this:
Here’s what you do that makes my heart sing as I’m reading the plays in my stack. Are these subjective? Sure. But I made sure to only include things I’ve heard echoed by other artistic directors. Is this meant to be all-inclusive? Of course not. I’ve written a lot about playwriting already, so there’s a lot I’ve left out here. (Search for the tag “playwrights” if you want to see more.) So here we go– what makes my eyes turn into cartoon hearts when I look at you:
1. Your play is set anywhere but New York. Every time I talk about this, I get ten playwrights saying, “That NEVER HAPPENS anymore. That’s OLD SCHOOL.” And then I open the next 20 plays in my consideration folder and 14 of them are set in New York…
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Time to reread my plays for possible edits.
Like pretty much every blogger, the plan I had for my next post got chucked out the window after the violence at UCSB. I’ve been closely following #YesAllWomen on twitter, the news stories, the many, many blog posts, the many discussions on facebook. Like we all have been. Like so many women, I’ve been repeating the truth: This isn’t at all surprising. This is just the extreme example of what women experience all the time.
The reaction to that, honestly, has surprised me far more than the attack itself. I expected some blowback, but I didn’t expect the AMOUNT and TYPE of blowback I got. Things like, “We need to wait for more information because I didn’t believe a word of that manifesto,” “You need to have more compassion for men. We’re sick of this vitriol,” “You’re just making men angry and scared,” “A lifetime of being nice to women down…
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This post is dedicated to everyone who ever had trouble logging into a website (myself included, way too many times) or whoever had their account hacked because their password was too simple (way too many friends and acquaintances, way too many times).
This is for us.
Dear website designers and programmers:
Every modern website adds new features. Google added Maps, Books, Street View. Yahoo! added its latest e-mail layout. Twitter added hashtags and now is thinking about revoking them, but has added line breaks. And, most importantly, I have the choice whether to use them or not.
Then there’s the We-Have-a-Great-New-Feature-and-You-Must-Use-It Syndrome. Think Facebook Timeline. Well, that doesn’t cost me any time and I got used to it. And it doesn’t slow me down.
(By the way, Yahoo! initially took away Yahoo! classic e-mail, but after not too long a delay, restored it, if I recall correctly. Thank you for listening to your customers, Yahoo!)
Now there’s a new We-Have-a-Great-New-Feature-and-You-Must-Use-It Syndrome feature.
Your wonderful new feature is giving me a negative view of your website. Negative enough to write a 3300-word blog post complaining – occasionally ranting – about it. What would your advertisers think of that?
Day by day your numbers are growing, User Interface (UI) designers following the siren, zombie call of this new feature.
I mean you, force-me-to-use-a-single-field-when-setting-or-resetting-my-password-UI website. Yes, you. You’ve turned simple inconvenience into dread.
Warning: This is a scattered, discursive essay. Much like my experience of dealing with passwords on your website.
My first draft was about 500 words. But, as I thought about the complexities of what you are asking me to do with regard to the care and feeding of my password, the article grew and it grew, much like the burden you’ve placed on me.
Please stick with it. I’ve done my best to make sure it will be worth it. And I’ve actually proofread it.
And, hey, if your response is TLDR (too long, didn’t read), feel free to skip to Here’s the ideal situation and hope your customers – isn’t it time we retired “users”? – aren’t saying Too Hard, Didn’t Log In.
I feel like I’m up against this as well, as an unknown non-MFA gay/queer white male playwright. Still, I’m just one guy, and this is a whole gender. A must-read about who becomes well-known and why.
At The Summit, a public conversation with prominent DC theatres’ artistic directors convened by Washington Post theatre critic Peter Marks, Ryan Rilette tried to explain why it was more difficult for prominent theatres to stage women playwrights than to stage their male peers. Part of his reply–that there were fewer women “in the pipeline” (meaning a production circuit from major London and New York stages) went viral on social media, inspiring some very funny memes like Daniel Alexander Jones’: Daniel Alexander Jones’ meme .
But I don’t want to make Rilette the bad guy here; his theater, Roundhouse, is committing to gender parity in future seasons, and is part of a group of 44…
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心想事成 (Xīn xiǎng shì chéng / All wishes come true) to all my Chinese friends (and may you have good wishes). Happy new year.
Warning –these are my own reflections and not opinions I derived from anyone else. We can agree to disagree.
It’s the eve of Chinese New Year. Families are gathered around tables brimming with delicacies, busily smacking their lips and rubbing their full bellies. The rare evening of the year that people gather to celebrate a one-ness that is made possible only by the ties of blood. Ties of patrilineal blood, the tiny voice of anthropology in me cries.
I’m thinking of what everyone is saying, wishing to each other and to themselves. Huat ah. I see on Facebook statuses and posts. We’re eager to usher in the new year with catchy phrases and sayings. Do we really mean what we say? Do we even bother to mean what we say?
Huat ah. Gong xi fa cai. Nian nian you yu. They sound good to the ears, I will…
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While I’ll acknowledge I’ve hurried some of my plays to readings too quickly, yeah, the quest for perfection gets old. Williams and Albee produce(d) their plays and then revise(d).
Marissa Skudlarek gives us her longest blog ever, because she’s got a lot to think about.
As Allison Page noted here last week, self-producing is a hot topic among theater-makers right now. On Facebook, the group “The Official Playwrights of Facebook” frequently plays host to conversations about best practices for self-producing, and last week, HowlRound led a Twitter conversation on the topic.
In these discussions and conversations, there always seems to be someone (or multiple someones) offering advice along the lines of “Before you even think about self-producing a play, make sure you’ve done tons of drafts and multiple readings and workshops.”
Here’s why I think that that may be dangerous advice.
(Caveat emptor: I haven’t self-produced a play before, though I am planning to do so this year. Therefore, I may be writing this column from a place of naïve ignorance. If the play I self-produce this year…
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Words to those of us who would be wiser.
Because what says “HAPPY NEW YEAR” better than a judgmental listicle?
One thing I want to say right at the start is that this is a list borne out of my own personal experience. These are things I personally see early-career playwrights do over and over and over. I also expect that there will be people who disagree with me, or who say, “But [name of play] does that and it’s the BEST PLAY EVER.” Sure. A genius can take a tired trope and use it ingeniously. But these tropes, I’m telling you, are tired.
The second thing I want to say is that your play is not irrevocably in the suck pile if it uses some of these. I know you’ll iron these out in development. Brilliant writers make a lot of mistakes early in their careers, or copy what writers of the past did when these things were new…
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While I could write plenty about nonsense like Asian actors being asked to do “the accent” in their audition for “Prostitute #3” and “Kung Fu Master Criminal,” or Black actors being asked for a more “urban” accent or audition piece, I’m actually heading in the opposite direction.
There’s a “Shakespeare accent” that American actors are taught to use, or sometimes just pick up on their own through exposure. I’ve seen plenty of teachers throughout the years refer to this as “RP,” “Standard American,” or “Mid-Atlantic” (not to be confused with the actual accent of people in that region– more on that later). The terminology is confused and not always accurate. “RP” stands for “received pronunciation,” which is in actuality a British dialect considered “proper,” and “Standard American” refers to an accent that uses a harder final R than these actors are being taught. But the accuracy of the terminology is…
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Recently, while I was sitting in on a rehearsal, a director asked me, “Why sound?”
My immediate response: “Because it is like acting, but without being looked at.”
“Good answer.” he said thoughtfully, and the matter was dropped.
At least, it had appeared to be dropped. Yet my own mind continued to mull over my response again and again wondering how I had come to this conclusion.
In the beginning, I was an actor. Acting is what drew me to the theater. I loved the attention as a child, performance being what ultimately saved me from a shy and lonely childhood. When I became an adult, however, the attention repulsed me. As a female I am taught from earliest consciousness that my value is inherently measured in the realm of the physical. Without outward beauty, or even the correct kind of beauty, I may as well give up on…
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Calendar programs let you schedule meetings, and e-mail programs have long let you reply to messages and forward files. E-mail programs now let you follow conversations. But a more nuanced approach is needed for all of these. After years of calendar and e-mail programs, I can’t understand why the programmers haven’t gotten these very basic things right.