What if we define values, principles, and methodologies, resisting the pressure to define outcomes? What if we focus on what drives us and on how we want to live and work together, but leave the imagination open to the concrete shapes our collaboration can take?
It is raw, it is real, it is happening with you in the room and can only be experienced in the “here and now.” It is open to a multiplicity of heres and nows depending on the realities, perceptions, localities... of those present.
We have to do better to offer arts programs in under-resourced schools. We have to do better to offer arts programs in communities of color. We have to do better in the future. But how are we doing better now?
A theatre foyer. Night. It is empty. The doors are locked. But if there were a woman there...
Lights up on a bare stage enveloped in a heart-shaped frame. Five trans girls over the age of 40 enter holding hands and flirting under bright light.
It’s an experiment in placing the private in public, says the director—a device HE will learn to use well in the many years to come.
Will our love stories ever resolve, they wonder, will they come to a head at some point like a mountain peak or a vast plateau or will they stubbornly revolve in spinning sequences of not-quite-endings, hapless or half-hearted attempts to cut cords left over from the last vow-less beginning?
Scenography is an open-ended concept, ‘… a sensory as well as an intellectual experience, emotional as well as rational.’[1] […]
Who is that woman in the first paragraph, so jaded and bored? Even when I have seen a show, I have not really seen it. And there is always more to see. I start reading.
There’s a woman on stage wearing slender black trousers cut at the ankle, a t-shirt and a blazer, flat shoes. Very neatly dressed.