Do It Yourself: The Staged Reading

Once I concluded that my script for Total War was in such a condition that I could not really improve upon it by simply rereading it, I followed the advice of a few friends and decided to start submitting it to different theatre festivals, series, and workshops in order to get a staged reading.

A staged reading is not a full production. It is a stripped down affair in which actors simply read from scripts. It's an opportunity for the playwright to listen and determine if the written word translates well into the spoken word and solicit feedback from actors and audience members. The objective is to turn a work-in-progress into a stage-ready play.

While I have thus far, according to my spread sheet, submitted Total War to sixteen different venues just to be considered for a staged reading, I am still waiting to hear from fourteen of them: one rejected my script, and another received enthusiastic response from a staff member who, only a couple months later, was to suddenly leave her position (also leaving my play and me without a sponsor.) Even though I was actively researching opportunities, the fact that I was waiting on other people's judgments had made me feel passive.

What could I do? It's not as if Total War is a solo-piece like Arlecchino Am Ravenous which I can perform on my own in lieu of a poetry reading, or at some alternative art-space off of the theatre circuit, using the rehearsals and each performance as an opportunity to revise the script (as I submit it to festivals as well, possibly to be performed by other actors.) Total War is an ensemble piece, and a very ambitious one at that.

Finally it dawned on me: Why was I waiting on other people? When Cosmic Spelunker Theater was still active, I booked us anywhere I could, whether the space was a theatre, dance studio, art gallery, night club, or loft space. It was a lesson I had learned from punk rock: DIY (Do It Yourself.)

So I did it myself and booked a staged reading of Total War at Outpost 186 for Sunday, April 26th. It's entirely possible that someone will have said "Yes, we would like to hear your play" between now and then, but at least the play's fate is back in my hands.

Next on the agenda is finish the press release and recruit some actors.

February 15: Arlecchino in Salem/Change of Schedule

Ryan Travis informs be that there will be a change in the previously announced bill for the Sunday, February 15th Witch City Poetry show. Su Red has had to cancel. This means that I will be the solo feature performer. Otherwise nothing else has changed. There will also be an open mic as well.

Sunday, February 15th, 6:30pm - 9:30pm:

I'll be performing as half of a double feature at the Gulu-Gulu Café in Salem, Massachusetts as part of the Witch City Poetry series hosted by Ryan Travis.

I will be performing Arlecchino Am Ravenous along with three or four shorter pieces from my repertoire. Mostly touching on my usual topics of trains, super-heroes, mysticism, memory, Greek mythology, and jazz--most certainly including "A Child's Trip Through the Underworld" which Doug Holder once called a "...a Whitmanesque romp through Brooklyn..."

I created a Facebook page for the event if you happen to like using that service.

Gulu-Gulu Café
247 Essex Street
Salem, MA

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February 15: Witch City Poetry Presents Su Red and Ian Thal

Sunday, February 15th, 6:30pm - 9:30pm:

I'll be performing as half of a double feature at the Gulu-Gulu Café in Salem, Massachusetts as part of the Witch City Poetry series hosted by Ryan Travis. The other half of the feature will be Su Red who, I am told, will be reading erotic poetry.

I will be performing Arlecchino Am Ravenous along with three or four shorter pieces from my repertoire. Mostly touching on my usual topics of trains, super-heroes, mysticism, memory, Greek mythology, and jazz--most certainly including "A Child's Trip Through the Underworld" which Doug Holder once called a "...a Whitmanesque romp through Brooklyn..."

I created a Facebook page for the event if you happen to like using that service.

Gulu-Gulu Café
247 Essex Street
Salem, MA


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Status Update: Writing Projects

It has been a while since I last updated my blog, so it's best to be brief.

As I have mentioned previously, I have submitted my now 104-page script, currently under the title of Total War, to a number of new play festivals, staged reading series, and development workshops. I've thus far submitted to well over a dozen such venues, and I'm expecting to start hearing back from some of them later this month. It's almost like applying to graduate school as so much is invested in the work so far, and there is such a long wait on finding out if others believe in my vision as much as I do.

I've also been submitting a short solo play, Arlecchino Am Ravenous (which I previously wrote about here when it had another title) to a number of ten-minute play festivals. There seem to be any number of them. It's a very different piece than Total War as it began life as a series of improvisations designed to give me reason to perform the commedia dell'arte lazzo of La Fame dello Zanni which I first read about in Dario Fo's book, The Tricks of the Trade. The improvisations eventually took a life of their own and a story developed. I have been amazed to discover that there are so many ten-minute play festivals in existence.

I started work on a short article for the Chhandika newsletter, which is a good thing for me because while I have continued with my kathak studies, I have written so little about kathak, and now I can begin to remedy that.

In the meantime, now that I have come to think of myself as a playwright, I am considering a couple of different piles of writing fragments as "my next project."

Happy New Year!

364.4 Smoots and One Ear

Today, a high school friend of mine and Massachusetts Institute of Technology alumna drew my attention to the fact that MIT was honoring former chairman of the American National Standards Institute and the former president of International Organization for Standardization Oliver Reed Smoot, Jr. for also being the basis of a unit of measurement: the smoot, fifty years ago when the young Smoot was used by his brothers in the Lambda Chi Alpha fraternity to measure the Harvard Bridge that connects Boston and Cambridge on Massachusetts Avenue.

The Boston Globe has run a story on the ceremony honoring Smoot.

In the intervening decades, the story has became such an important part of Boston area folklore that in 2003 that when I premiered my performance piece, "Beacon Hill Panorama with Paper Airplanes" (a piece inspired by James Van Looy's habit of flying paper airplanes off of Bill Barnum's roof during Cosmic Spelunker Theater rehearsals) at Green Street Studios, the passage that received the strongest audience reaction was:

Paper airplanes trace arcs
dragging eyes over the Longfellow Bridge
as it sends red and white 01700s to and fro
a Cambridge cityscape sunset silhouetted
under mammoth crane-hoisting scaffolds
and then towards the three hundred and sixty-four point four smoot
and one ear length of Mass Ave Bridge
spanning the Charles meander meander waters
and past the defunct Citgo sign still flashing
marking Kenmore Square under a Venusian firmament pin-prick.

The full text of the poem later appeared in BOOM! For Real edited by Ian Dooda and Steven Coy and published by Better Non Sequitur.

Bread and Censorship: Making Radical Theatre Uncontroversial for Wikipedia

Mark Stoneman drew my attention to a CNet article on the sheer number of edits conducted on the Wikipedia article on Sarah Palin not just on the day of her unveiling as a vice-presidential candidate, but in the hours leading up to her announcement.

This caused me to return to a journal entry I had written in May of this year regarding the politically motivated rewrites of the Wikipedia article on Bread and Puppet Theatre founder, Peter Schumann ("When Wikipedia Renders One an Un-Person"), especially since his current exhibit at the Flynndog in Burlington, Vermont has once again placed his work on my radar. I found that the biographical article on Schumann had been censored yet again, this time to remove any discussion of his positions vis-a-vis the Holocaust, or the Israeli-Palestinian conflict.

In my previous article, I had noted that one contributor (an anonymous user with the IP Address of 76.19.64.64 in Cambridge, MA) while acknowledging that there had been some dispute over Schumann's artistic representation of the Israeli-Palestinian conflict, had also introduced the unverified claim that Schumann's family had been refugees from Nazi Germany (a claim that contradicts Schumann's own statements about his childhood.) I also noted that another contributor (with the address of 68.56.17.70 in Sarasota, Florida) erased the names of Schumann's critics, and even went so far as claiming that the reception to the work had been "quite positive" when, in fact, it had been seen as contentious whether it had been exhibited in Boston or Burlington.

I brought these matters to the attention of a wikipedia editor who uses the handle Moonriddengirl, who revised the article to present a neutral point of view, while still mentioning the dispute around the exhibit. ("Update to "When Wikipedia Renders One an Un-Person")

However, on August 24th, an anonymous contributor with the IP address of 97.76.239.11 (somewhere in Seminole, Florida) published a revision in which the entire section entitled "Palestine Exhibits" was deleted. The writer from 97.76.239.11 had only this to say:

Palestine Exhibits: was deleted. It was a thoroughly biased attack on Schumann's character due to political disagreements.

Compare this assessment with what was deleted:

In 2007 Schumann premiered "Independence Paintings: Inspired by Four Stories" in Boston and Burlington, Vermont.[2] The series was inspired by ten days Schumann spent in the Occupied Territories of Palestine, as well as John Hersey's 'The Wall', a graphic account of the birth, development, and destruction of the Warsaw Ghetto, the largest of the Jewish ghettos established by Nazi Germany during the Jewish Holocaust. The series proved controversial, with critics labeling Schumann's works as "anti-Zionist", "anti-Semitic" and "sort-core Holocaust denial", accusations Schumann denied, stating that "I’m not saying that what’s happening in Palestine is the same as what happened in Warsaw . . . but it’s certainly a reminder."[2] While Schumann later acknowledged that he "may have unnecessarily hurt some people's feelings" with the series, he returned in 2008 to the theme of the Israeli-Palestinian conflict in his subsequent art series, "The University of Majd: The Story of a Palestinian Youth", which addresses a case of what Schumann believes to be false imprisonment in Israel.[3]

Was this actually a "biased attack or Schumann's character"? That is something best judged by people other than myself. However, the real problem is that we are seeing censorship of any mention of contentious positions taken by an artist who has for decades been a leading figure in radical theatre in America, censorship of criticisms he has received, and a reluctance by his self-appointed defenders to even write about his immense contributions to puppetry and theatre. Indeed, Schumann's allies are censoring mention of controversy in which Schumann clearly wants to be embroiled.

Once Again: Disturbing News From Burlington, Vermont

Recent correspondence with Michael Strauss an artist and scientist who teaches at the University of Vermont, both by email and on his blog has alerted me that once again the deceptively named Vermonters for a Just Peace in Palestine/Israel (VTJP) are sponsoring the exhibition of Bread & Puppet founder and artistic director, Peter Schumann's artistic representations of the Israeli-Palestinian conflict. While, I have not seen the work that is on display this year, it was Schumann's misrepresentations of this conflict (as well as misrepresentations of conditions in the Warsaw Ghetto) that caused me break off relations with Bread and Puppet Theatre in February of 2007 after having performed in all Boston-area shows since November 2003.

Strauss came to my attention when first began to address Schumann's connections with VTJP's anti-Israeli, anti-Semitic, and Holocaust denying agenda. In a blog entry entitled "The Art of Social Consciousness? I Believe Not", Strauss examined Abdullah Dourkawi’s winning entry in the International Holocaust Cartoon Contest at the Tehran Museum of Contemporary Art, and why an organization that claims to be committed to a "Just Peace" would publish such a cartoon on their website. This has caused Strauss to continue examining anti-Israeli and anti-Semitic cartoons featured on the VTJP website and to address the anti-Semitic rhetoric that has begun to appear in the peace movement.

VTJP, as it happens, is exhibiting Schumann's "The University of Majd" at Flynndog in Burlington as part of a show entitled "Palestine in Resistance: 1948 - 2008." The dates are interesting, as 1948 is the year that the UN Partitioned the British Mandate of Palestine into both a Jewish and an Arab state. Unless the curators mean also to include resistance to Jordan and Egypt, they mean to label any Israeli sovereignty anywhere as an invasive occupation (which as I have pointed out previously, is precisely what VTJP does claim.)

I did not see the "The University of Majd" when it was exhibited in Boston in February of this year for reasons explained in this interview with Greg Cook of The New England Journal of Aesthetic Research, so while I am uncertain of the exact content of the work, I do know that it is specifically aimed at casting Israel in a negative light without discussing the over all context of the conflict.

Thus far, the reportage from Burlington on the situation seems to be harder to come by than last year, and I had only come upon a single article by Sally Pollak in the September 4, 2008 edition of Burlington Free Press entitled, "Art Hop draws more exhibitors than ever":

Schumann’s art will be part of a group show at the Flynndog, a gallery on Flynn Avenue that participates in the Art Hop. His piece is part of an exhibit called “Open Eyes: Open Minds: Open Hearts,” curated by Bren Alvarez.

“This man has a lifetime of producing artwork that really looks at, and creates awareness about, humanitarian issues,” Alvarez said. “What I felt passionate about was being absolutely certain that Peter Schumann is welcome in Burlington.”

Schumann’s piece, on display at the Flynndog through late October, is called “Wall with Checkpoint.”

“Peter’s been interested in walls, walls, walls,” said longtime puppeteer Linda Elbow, who helped with the installation. “The wall around the Warsaw ghetto, the Berlin wall, the Palestine-Israel wall and the wall between Mexico and the U.S.”

Unlike last year, where Schumann spoke for himself, longtime Bread and Puppet member, Linda Elbow, served as his spokeswoman and created the context of Schumann's anti-Israeli propaganda, by once again creating false analogies. The Berlin Wall was built by the East Berlin government to maintain a police state by preventing East Berliners from leaving or from having direct contact with either West German citizens or their economy; the wall around the Warsaw Ghetto was build by Germany in order to deliberately segregate and starve the Jews that had been deported to the ghetto, thus five-hundred-thousand to six-hundred thousand Jews, roughly 20% of Poland's Jewish population was killed over a period of two years. The Israeli built wall and checkpoints that separate Israel from the Palestinian territories have eliminated suicide bombings in Israel and eliminated IDF counter-strikes to those attacks (obviously walls can be circumvented by rockets, which invite further counter-strikes.) However, the result has been a rebuilding of the economy and a decrease in violence on the West Bank, as well as renewed peace talks between Israel and the Fatah (Hamas, the government in Gaza, is quite another story.)

The point is that the Israeli-built wall that has caused Schumann's ire for two years simply cannot be sensibly understood as analogous with the walls of the Warsaw Ghetto, the Berlin wall, or currently imaginary wall on the U.S.-Mexican border. When Israel's attempt to defend its citizens from terrorism is likened to an instrument of genocide, one simply engaged in a 21st century version of the blood-libel. It's not the "hard-core" Holocaust denial advocated by such figures as David Irving or Bradley Smith but a "soft-core" Holocaust denial that seeks to trivialize the significance.

The piece is made from brown papier-mache with black-paint definition and includes hand-printed banners from Schumann’s 17-question series.

Among the questions: “Whose money?” and “Whose pleasure?” Ibid.

Based on additional documentation on the Flynndog's website, the "17-question series" in question is a series of wood-cuts entitled "17 questions about the War in Iraq: an elementary Iraq war inquiry." The attachment of the Israeli-Palestinian conflict and its resolution to the U.S. invasion of Iraq, while a common ploy amongst anti-Israel propagandists the world over, is nothing more than unsupported lies.

And this is the crux of the problem: It's not that art should not tell the truth; it's that art should not lie.