Posts Tagged ‘plays’

This is your sort of civilization, then

Wednesday, March 3rd, 2010

I think Charles Mee is one of the most interesting writers alive today. He publishes all of his plays to his website for free download. This speech is by Tyndarius from his Orestes 2.0:

If I would speak to you, how should I speak?

I know one mustn’t use certain expressions these days,
among your generation.
One mustn’t call people barracudas, for example
no matter how they behave.

Shall I apologize?
This was your mother, after all,
my daughter,
even if she was a slut.

But one mustn’t speak this way, I know.
For this is rude and might offend one’s feelings.

(He takes his time)

There are words these days, I know, that cause a certain pain–
like”slut” or “sweetie” or “dear” or “peg leg,” or–”watermelon.”

There is some quality of magical thinking in this, a certain
“primitive” turn of mind, if I may use the word, that seems to fly to
the belief that if one disposes of a word, one disposes of all the
dreadful or disagreeable things that have become attached to it.

So that if one simply doesn’t use the word “articulate,” in referring
to a certain sort of person who is articulate, as though a certain sort
of person’s competence with language were an exceptional matter, then
the exceptionality of this articulateness will disappear.

Or, if one will eschew the word “community,” in speaking of a group of
people, as though that group shared a monolithic culture in which they
all acted and thought in the same way, then one’s language would not
create ghettoes in which these groups are constrained to live. One
should never refer to the black community, for example, or the gay
community. One should refer, rather, to the black residents in a
southside neighborhood.

Then, too, one ought not to say “oreo” in reference to black Americans
who have abandoned their culture, or refer in a similar fashion to
Asians as bananas or Mexicans as coconuts.

One ought not to say “illegal alien,” when one has available such
vocabulary as undocumented worker or undocumented resident.

One ought not to use the expression “qualified minorities,” as though
minorities were in general unqualified.

One ought not to use the word “swarthy.”

One ought not to say “blonde and blue-eyed” unless one is prepared to
use the expression “brown-haired and brown-eyed” as an expression of
equal attractiveness.

One ought not to say “inscrutable” in speaking of an Asian.

One ought not to say “Dutch treat,” as though to say the Dutch people
are cheap.

One ought not to say “fried chicken,” under any circumstances as I
understand it.

One ought not to say Jew–or I should say that some people prefer the
expression Jewish person, and in any case that the word should never be
used as a synonym for stingy. And that it should always be used as a
noun, never as a verb.

One ought not to say buxom or fragile or feminine or pert or petite or
gorgeous or stunning or statuesque or full-figured or in any other way
refer to the physical attributes of a woman.

I can accept all this with equanimity.

And yet, one can commit murder and find the words to justify it.

This is your sort of civilization, then. It speaks nicely and behaves
barbarously.

Indeed, it thinks that speaking well, putting a nice face on things,
will transform the very stuff of life on earth.

No, no, no.
You’ve come unhinged.
You’ve lost your bearings altogether.
You’ve assaulted the very foundations of your home.
You’ve forgotten who you are, where you come from.

You remember nothing: not your parents, nor the values they held dear,
not your country, nor the polity it once held in its grasp, or at the
very least aspired to, not your history, nor your religion, nor even
the most rudimentary tenets of ethics or gentleness.

And this is what you ask me to give my blessing to.
No.

(To Menelaus)

As for you, Menelaus, I don’t expect some form of civil behavior from a
man who has just returned from rendering an entire civilization into a
smoking ruin, while his own home sinks in rot and violence, husbands
murdered by their wives, mothers murdered by their sons, sleeping
children shot through bedroom doors. I know of a boy who poured
kerosene on a derelict and lit him on fire and burned him to a crisp,
not thinking he, the boy, had done anything wrong. That’s the value
they place on human life in the world that boy comes from. And soon
enough such boys will fill your neighborhood. You flatter yourself that
you are an old-fashioned sort of man, but you’ve no idea what it is you
ought to be old-fashioned about.

And I will tell you this:
for the murder of my daughter,
I expect the murderer to suffer the punishment of the state.
No more. No less.
That’s what I mean by a civil society.
I’ll hold you responsible.
Let us begin there to put the world to rights.

The Sisters Rosensweig Opens

Thursday, January 7th, 2010

First Preview for The Sisters Rosensweig is tonight. The play opens on Saturday the 9th. If you are in the SF Bay Area come on down and see it. The show only runs for two weeks, until the 17th, so if you want to see it, book tickets now.

For more info about when, where and who click here and here.

Year in Review – 2009

Thursday, December 31st, 2009

The New Year is my favorite holiday. It is wholly arbitrary and I find that delightful. One day out of the year the whole world celebrates together. Along with celebration is reflection. 2009 has been quite a year over here at Light Cue 23.

In the world of extreme emotions, my grandmother died and I hung out with rock stars.

We discussed the business of being a freelance lighting designer:

A lot of pictures were posted about:

We explored lighting angles in depth:

Over at Parabasis I was a guest writer with a series titled A Designer Prepares about my design process:

I explored my lighting process in depth through an exploration of a few specific projects:

I wrote about how I approach text:

I explored the relationship between a recession and aesthetics.

I tried to understand the nature of revolution in today’s world:

I wrote about networks:

I made a visual resume.

I spoofed my own blog with 5 Tips to build your blog audience and why my blog will never be popular.

I talked about boredom and the color gray

I discussed dance on my blog and in a guest post at On Stage Lighting.

I wrote about how to approach lighting for the floor and the balcony.

I discussed the relationship between New York and the rest of the country.

I argued that “good enough” isn’t and how type casting can be a good thing.

There was a lot more written this year and you are more than welcome to peruse the archives. This is just a sampling of some of my favorites. All in all it has been a good year over here. How has your year been?

A look at past plays

Wednesday, July 15th, 2009

Here is a sampling of some plays I have lit over the last few years. It provides a nice overview of the range of lighting design I have done.

Click on any image to see more. All photo credits and collaborator info available on click-through.


Desperate Hours


Antigone


Medea


The Last Word . . .


Sake With the Haiku Geisha


Of Mice and Men


The America Play


Lovers and Executioners


Dracula


Fate’s Imagination


Artfuckers


Becoming Adele


Windows


Antigone


Beginning of the And

Continued Thinking Towards an Understanding of Visual Translations

Monday, July 13th, 2009

When I wrote last week about the visual reading of a text I merely scratched the surface of a topic that can take a lifetime to live, let alone extract meaning from. What we are looking for is the authentic truth of text as it relates to the Now. In such a journey we can not arrive at final answers but merely place ourselves in situations of danger wherein we have gone to the extreme of what is possible and thus risked our very understanding of Being.

This revelation of what is and what might be is the very fundamental of art. It is not a factuality that we are concerned with so much as an essential essence. Our calling can be nothing short of the presencing of the innermost drives and desires of humanity. For if we are not interested in these fundamentals, we are engaged in mere entertainment.

By this I in no way mean to say that we can or should only look at drama. After all comedy, in its way, has the potential to reveal as much or more about us as do darker dramas. What I am speaking to here is a rawness. An essential quality that forces us to look deeply within our very souls and take in what is reflected in the work. As Heidegger writes in Early Greek Thinking, “Danger is when Being itself advances to its farthest extreme, and when the oblivion that issues from Being itself undergoes reversal.”

When reading a text we must look as deeply as possible to extract the most fundamental understanding of Self. This is not always fun and rarely easy, for Human potential is vast and reaching out to the extreme edges of that potential is a long journey from which one may not return whole. Quite often we do not. In fact we often return transformed, having found our boundaries we return to the center of Being only to discover that new horizons have opened up to us. The more we explore that potential the more the potential itself expands.

In The Origin of the Work of Art Heidegger claims that “[i]t is precisely in great art . . . that the artist remains inconsequential as compared with the work, almost like a passageway that destroys itself in the creative process for the work to emerge.” While this approaches the truth it is not quite correct for at its root this claim assumes that the creator and the work are in some way separate at an existential level when in truth the two are bound together as discrete manifestations of a single being.

In the process of creating a truly great work of art the artist is dealing with the very fundamental nature of reality interwoven with the materials at hand. Thus through the creative process the very nature of reality is transformed, shifted, even if slightly from what it was before the work came into existence. In the same way, the artist too has been transformed, the creation of the work being a process of expelling that particular idea or complex of emotions from their inner landscape to the external world of manifest things. The artist, far from being inconsequential, recedes from the world while the work itself directly engages the world and continues transforming it. In creating a new great work, the artist has manifested a new center of gravity around which external reality must now adjust itself.

It is this depth that we are concerned with when we read a text. We must reach deeply into the text and simultaneously into our Self in order to extract the meaning from which we might build a great work. To bring forth a truly transformative work necessitates staring into the very oblivion of Being, reaching beyond the abyss and into the unknown. We must risk our most fundamental understanding of self. We risk becoming something we neither know nor understand, for only through that full acceptance and engagement with risk and danger might we hold any hope of creating a truly great work.

There are few theatre artists who will take this risk and fewer still people outside the arts who would do the same. It is rare to find someone willing to break down whole systems of knowing in an effort to find a new meaning and understanding of Now. Too easy is it with a play or an opera to fall back on its own geneology of performance. To say that it is and has been set in such and such a location before so that must be good enough for us now is a false answer. Such an approach, while common, does a disservice to the text and fails the artist at a most basic level. Through such an engagement we can do nothing but deal in superficialities and superfluous decorations.

What is a setting? What does it mean to set a play? Where are we placing it and ourselves? We are not time travelers, nor are we explorers of physical terrain. We are explorers of the soul and heart of humanity. Our maps must be made of thought and emotion. We must look to the landscape of the mind, explore the seas of the heart, before we ever set foot on the dry land of external reality.

Our visual reading of the text can not rest upon the immediately recognizable features of the world as given to us by media and daily life. We must look beyond that. We must look to the very root of the matter. Only then will we discover the true setting within which a story might be told.

The America Play

Friday, December 26th, 2008

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America Play Review

Saturday, December 6th, 2008

Link

The visual precision of the production – which receives assists from Lucas Benjaminh Krech’s lights and Keiko Shimosato Carreiro’s 19th- and early 20th-century costumes – is important because the look is nearly as important as the content. Or maybe I should say there are as many visual echoes as there are auditory in Parks’ play.

New Plays, Knew Plays

Thursday, June 19th, 2008

I have heard a lot of people around the internets bemoaning the lack of new plays produced in this country. I was struck with how disjointed this sentiment is in relationship to my own experience and it got me thinking. Here I am teching a new play this week Marko the prince right after opening a new play last week, The Cure for Love. That’s two world premiers in as many weeks. Yet I hear regularly, often from playwrights, that there are virtually no new plays produced.

Now if this week were a diversion from the norm perhaps I would be more ready to agree, but it is not. In fact most of the lighting design I do is on new plays. This is true by a wide margin too.

I wonder if anyone has numbers on new play productions. Is my experience the anomoly or is there some other component to this discussion that I am missing.

I am sure that there are plenty of playwrights who are upset that *their* plays are not produced as often or at the level they would like. Perhaps people would like to see *more* new plays. But I have a hunch there are a lot of new plays produced in this country at a not insignificant level, regional or Off-B’way and above.

So what am I missing? Would someone care to enlighten me?

There is no cure

Thursday, June 12th, 2008

Tech for The Cure for Love here at The Barter goes well. We got through the play in the first ten out of twelve so its two run throughs today and first preview tomorrow night. The playwright Jay Berkow is here and he seems pleased with this premier of his play.

I return to New York in two days to begin Marko the Prince.

YOU should see this play

Thursday, May 15th, 2008

La Femme est Morte or Why I Should Not F*@% My Son is open and playing at PS122 through next weekend.

This is the fourth time we have done it and it is better than ever. Sexy, slutty, whitty, smart and funny. What more could you ask for?


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