I’m very exited to announce that my play “Born Lucky” will be part of the Crafton Hills College New Works Festival, taking place 5/9/20 via Zoom.
Play synopsis: HARPER, a pioneering black mathematician, has just returned from Mombasa. She sits down for an interview with her friend CASEY, a well-known science writer. CASEY thinks they are going to talk straight mathematics, but instead HARPER gives CASEY the chance to help her sweep away two millennia of white, patriarchal thought and usher in an uncertain future.
The central question for me is how to create theater that reaches the level of myth, that contains something truly universal, that provides a much needed sustenance particular to our time and our culture.
Perhaps Artaud provides a hint: “The characters will come in their turn with their passions, but they will be taken as the emanation of certain forces and in the light of the… historical fatality in which they have played their role.”
Just as I am beginning to move toward creating a piece of theater that is both more visceral, and more darkly metaphysical, I read this by Artaud:
“…the theater must… be considered as the Double… of another archetypal and dangerous reality, a reality of which the Principals, like dolphins, once they have shown their heads, hurry to dive back into the obscurity of the deep.
For this reality is not human but inhuman, and people with their customs count for very little in it”
It seems we must reach beyond the human if we are to find a deeper reality. Our sense of things is infinitely distorted by language, and by the false authority of concepts. What lies beneath?
I have long felt that so many of our deepest problems, from anxiety to depression to everything in between, come from a schism between how we think and how life actually is. I also believe that this is something that art, poetry, theater can, and should, try to help heal.
This is from the preface of Antonin Artaud’s The Theater And Its Double:
“If confusion is the sign of the times, I see at the root of this confusion a rupture between things and words, between things and the ideas and signs that are their representation.”
“… a cultured ‘civilized’ person is regarded as a person instructed in systems, a person who thinks in forms, signs, representations- a monster whose faculty of deriving thoughts from actions… is developed to an absurdity.”
“If our life lacks brimstone, i.e. constant magic, it is because we choose to observe our acts and lose ourselves in considerations of their imagined forms instead of being impelled by their force.”
I’m very excited to announce that my play GÖDEL will be presented as a staged reading at Theatre For The New City on March 12th, 7PM, part of their Scratch Night series.
GÖDEL tells the story of a motley crew of mathematicians and physicists who risk madness to know the mind of god.
GÖDEL will be directed by Tony Tambasco, and feature Toby Miller, Kitty Mortland, Robert Resnikoff*, Marc LeVasseur*, Paul Battiato* and Atticus Cain*.
*these actors are appearing courtesy of Actors’ Equity Association
This presentation of GÖDEL is an Equity approved Showcase production.
I’ve been reading David Bohm’s Wholeness and the Implicate Order. He provides one of the most beautiful descriptions of reality I’ve ever heard, a wonderful antidote to our usual fragmented way of viewing ourselves and the world.
Everything in life “…is to be understood not as something independently and permanently existent, but rather as a product that has been formed in the whole flowing movement, and that will ultimately dissolve back into this movement. How it forms and maintains itself, then, depends on its place and function in the whole.”
I have heard the problem behind our Western way of thinking expressed in many ways, but this by Antonin Artaud is perhaps the most fascinating.
“”I have always been struck by the obstinacy of the mind in insisting on thinking in terms of dimensions and intervals, in adhering to arbitrary states of things in order to think, in thinking in segments, in crystalloids, in thinking that every mode of being solidifies at a starting point, that thought not be in instant and uninterrupted contact with things, but that this fixation and immobilization, this kind of erection of the soul into monuments, arises into being, so to speak, BEFORE THOUGHT.”
My short play MEDUSA will be featured at the 2017 Midtown International Theater Festival, part of their Short Play Lab.
MEDUSA is a play about the inevitable rise of the Powerful Woman.
I am very excited that this production will be done as movement theater, with choreographer Kelsey Head.
Performances are at The WorkShop Theater, Jewel Box Theater, 312 W. 36 Street, NYC Saturday July 15th at 6:30PM and Sunday July 16th at 4pm.
Buy Ticket for Saturday 6:30
Buy Ticket for Sunday 4:00
Director and Choreographer: Kelsey Head
MEDUSA: Margaret Elizabeth Mann
ELIZA: Song Ravinan
PERSEUS: Kerry Blu
I’m very excited to announce that my ten minute play MEDUSA will be featured at Between Us Productions Take Ten Festival at the Jewel Box Theater in Midtown Manhattan this April!
A play about the inevitable rise of the Powerful Woman.
“Might the scientific approach be nothing but fear, flight from pessimism? A subtle form of self-defense against- the truth? And, morally speaking, something like cowardice and falsehood? Amorally speaking, a piece of cunning? Oh Socrates, Socrates, was that, perhaps, your secret? Oh, secretive ironist, was that, perhaps, your- irony?”
Friedrich Nietzsche, The Birth of Tragedy