![]() I am proud of our experience, contradictions and all, and it felt liberating to say: “Let’s just be in the here and now, and see what we can find in the uniqueness of this convening of artists to move Alica’s vision forward.” I hope you’ll lean in and wrestle with these characters, relationships, and the ways in which we resist the change we see in others - even and especially our close friends. We built our own little nightclub for two weeks. We grounded in the pedagogies of Patricia Hill Collins, Joey Soloway, and others contributed by the five soulful actors bringing this story to life. Through that conversation, we affirmed our capacity to co-facilitate this workshop in a way that invited our collaborators to step inside and iterate their character arcs with trust. And yet Alica and I trust one another, and I trust her to know the collaboration that best suits her play’s development at this moment. In a full production, I feel there are others who can manifest the right structures and relationships from their own positionality more authentically than I. A full production requires all of these things as well, but it asks an authenticity of power structures that are as much the heartbeat of the piece (and the institution) as what is viewed onstage. A workshop is different than a full production it requires a brave space, with room for bold choices, generative conflict and free-flowing dialogue. It also evokes an exciting and provocative relationship to its audience- how might we engage these folks with consent and invite them into a lively conversation which is unequivocally about the experiences of young women & femmes?įor these reasons, I felt it crucial to draw a boundary at the outset of our rehearsal process: that I do not intend to remain this play’s director beyond this workshop collaboration. In this case the play is about the lives and relationships of Sophie, Julie, Kate, Anna and Lainey. When Alica approached me about directing this workshop of her play, I was excited by the challenge of facilitating a new play development process (my favorite thing in the world) which mandated the ceding of space to experiences that are starkly different from my own.
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