A real polis destroyed by fake grenades?

Where does it leave theater if we throw grenades?

If you do something provocative you are an anrcho-hippy. If you go throught he channels–nothing happens. So what is theater? What is the venue? What is the stage we are performing on? What is the tableau? (mw)

Suddenly everyone wants to talk to MW. Do you think that audience members’ shifts and changes don’t count? DL performs the great listener, but he is off the hook in having to talk, for the first time. The reins seem to be in MW’s hands, and then moves from audience member to audience member…DL has volunteered the information of what we did last night–this too is privileged, meta-information, but the room does not register the reference to itself as an object of spectacle.

YM speaks yet again: he is so sincere. So sincere. So happy. Happy. Happier still. And the wholel time, the grenade is set up in front of him. Ok, if Eve Sedgwick were here…woudl she notice how when YM talks, he steers it back to the authority figure? To DL? Just when things were starting to spread out in terms of distribution of who’s talking.

But DL is ready for Blackwatch 3. Formal theater: is there still room for it to be political?

And it’s the funny version, just when YM and BlueShirt Woman are starting to get sincere. Why? 

DL says to them, as they are ready to achieve Venice Saved nirvana,  “hold that thought,” essentially, and flips the tv of the entertaining scenes on. I have to wonder if he cues the evidence scenes, interrupts them, when things get broing for him: he is the mind organizing this in the moment, the one who can decide how to shift the discourse. The limit even he has, though, is that there is only a short list of scenes he can improvise from. Eventually, he will run out of defenses, amusing scenes, shifters–We know he’s not going to get back to the conversation after the scene; why does he interrupt, worse than a cell phone or door knocker, just when the audience is starting to get too interesting?

Oh, but there is also BEER, the universal lubricant of democracy.

—so when it gets tedious, the director can amuse himself? Is the audience aware that their sincerity is  at times tedious?

** Everyone has beer. Even the Girls.

“Take a look at what just happened for a second.”

Every night I think to myself, I should have the beer thing over here, and tonight one of the actors brings up the beer. And suddenly everyone has the beer and I am kind of sitting here. And the idea that we are all equal is a total lie. If youa re trying to get an idea across about injustice, what does it do if the frame of the institution, the venue, is corrupt.

Amazing swerve towards directing the audience and the conversation, DL!

Blue Shirt talks to Sparkly shirt: “The bombs are in our bags. The grenade. The Caryl Churchill.”

NYTW not staging plays. (We can go back-again–but we never go back); he is speaking about the inequity here between audience and medium, the insidious hierarchies, and proceeds to continue to benefit from it. He controls the conversation–and only pretends that the audience has a say in this, a stake in this conversation.

There is butt licking: the free event of 7 Jewish Children, and its fake freeness, as presented for anxiously over moderated People We Can Trust at NYTW.

Beer is good. G has lifted one up into this pirate’s shack, one for Eileen, one for me. Twist off. Those girls–are they really old enough?

Sitting in the dark, paying fifty dollars: if not in a theater, then where do you go to make this thing happen?

Constance is talking about performativity: Levine loses control of the floor!

He raises his hand! He waves and raises his hand to get the audience’s attention!

What is performativity: what is performativity? Modelling a different kind of spectatorship, one which addressed the insipid passivity of the audience. This different way of arranging spectatorship gave voice to the disenfranchised: women, says Gifted YM.

You are teaching people to sit down and shut up: the pedagogy of theater.///Performance art teaches people to model another kind of spectatorship. Go to the New Museum and talk to Iraquis

…WHOA!!!!

No one says anything to this obvious one. Do we get a gold citizenship star for doing that? The young woman in kerchief speaks again. She sees herself in younger generation: she MENTIONS THAT NONE OF HER PEERS HAVE SPOKEN, and that she does not want to interact–SHE CAN’T TAKE IT ALL IN. IS THIS REALLY a DEMOCRACY? Everybody participates–the younger generation has to learn…

So this is your Drama Civics class, CW asks.

We are trying to take it in on an equal level…but (democracy is messy)–(beer spills) You have to reach a certain point—

But is participation encouraged. I yell: Process! No one hears the woman in the Bell Tower: the polis, like democracy, like this performance, must be able to tolerate and value a variation in levels of process!

The young woman feels she cannot participate: it’s hard when you do not (yet) understand, she says.

Your degree of intimidation is what is undemocratic. You do not FEEL as if you participate.

I put it to you that you ARE participating.

You spoke earlier and you were the only one. And it is interesting (The Poet) speaks. What does this have to do with democracy….

I don’t want everyone to speak in a lesser way just for me–that’s not the way that it should have to be.

DL says, “I have no reason to say this, but “we should do torture”–who’s up and who’s down and who gets to talk.

What is called democratic  isn’t.

He has every reason to say this–it’s 10 o’clock and he wants to get out of here by 10:30!

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