Before the heavy stuff, bathrooms, audience! Levine begins, we hear the tremble in his voice, the professor who must engage a motley class–and how do we get these “students” to talk.
A pert young comment–“Farce”–breaks the silence to the usual question: What is political theater?
And why is it that when we are asked a question, we do not want to speak. Even with the coaxings of the professor DL, who cajoles us–“I can listen and write at the same time”–anything to appeal to the room, to get them to talk, to answer back.
The chalk is a vague blue this evening.There is chalk on the wall: Theatrical Revance (sp?), theater that wants to cause social action.
Anyone else want to be heard from, he asks, coaxing–details? Narrow this down?
–David do we want to define political theater as it purports to be, or as we find it to be? JW breaks the barrier–by addressing Levine straight on. Interesting why he feels free to do this, and the rest of the audience sits back, shy. All are invited to speak, no? Perhaps it is his sequins which empower him. Note: sequins/democracy/political theater.
At this point, when there is something besides our own discomfort to watch, the audience sits back, relaxed. Now they need not speak or not speak, and listen, as David is the one who delivers the information about SW and the play. It is easier to be taught. To be told. Not to have to ask questions. How much more comfortable when the authority takes the heat of exposure.
Eyes are dutifully fixed upon Levine–;sequin man–JW–is turning his head to stare at him directly.
DL turns it over to Colleen and eases into his chair. Relief? Ours? His. When there is something to watch, and when no one has to talk but the people who have been given a script (even if they collaborated on its making) we know waht to do. Nothing.
Note later: Is listening the same as doing Nothing?