why

do i wink at myself in the mirror?

article

on the amazing Adam Driver:

http://www.nytimes.com/2008/01/10/theater/10driver.html?pagewanted=1&_r=2&ref=theater

language

I've been thinking a lot about things that you can do onstage that don't work on TV or in film. Definitely there is a theater spectacle that won't work in the small box or the big screen and this usually asks for the audience's imagination to play a role. There are pieces missing from the set perhaps or the staging is not literal and we must imagine that actors are in places they are not actually. Sort of like a blue screen when the audience is asked to create--which can make for a much more amazing setting because when one creates it oneself, it is much realer on an individual level. But that's not what I want to talk about, because that is the realm of the director and we writers rely on their genius to create beautiful things and we all rely on the audience to make little leaps with us. And I don't have the vocabulary to discuss it nor can I create it myself or understand why it is so pleasurable to watch a hint of something instead of have everything filled in. What I want to talk about is the current movement that might be called language-based expressionism that I find exciting on the stage. Often a vocabulary of stage imagery and spectacle is also there. Chuck Mee does this a lot or think of Ruhl's house of string in Euridice. But what is just as exciting in my opinion is the non-naturalistic language that characters use. Sheila Callaghan does this. Sarah Ruhl does this. Adam Bock, Anne Washburn, some of Mac Wellman's students. Many of the poets of the stage from Brown do this. And a lot of other people dabble in it. It's become a movement of sorts. When TV and Film are catching up it's one of the last things we have left. (although you might argue that Deadwood or even the Sopranos sometimes leave the realm of naturalism, they don't do it to the extent that it can be done on the stage.) I'm not sure why this works exactly for the stage. And it doesn't always, but when it does, it's amazing. Perhaps it is because we are more willing to suspend disbelief. Perhaps it has something to do with the space between the stage and the people. Some kind of energy transformed through the air. But enough of that. What am I talking about that I'm so excited about? Here are some examples: Some Adam Bock Sheila Callaghan here or here. The blogosphere's own Matthew Freeman here. I can't express this movement as well as I'd like. I'd love to hear what others have to say about it. What it is, where it's going. Here is a site about Mojo Theater, a much more specific delineation. I do think that a playfulness of language and a flexibility of it is necessary to the future of our great American theater. And I'm looking forward to seeing where it will take us.

a translation

The Page 73 blog

http://www.p73.org/news/

Everything's Coming Up Playwrights

Yesterday K got some great news.

Today I got some great news.

Will tell you soon. I swear.

but yay! The sun came out.

voting machines

http://www.nytimes.com/2008/01/06/magazine/06Vote-t.html?_r=1&oref=slogin

"Introduced after the 2000 hanging-chad debacle, the machines were originally intended to add clarity to election results. But in hundreds of instances, the result has been precisely the opposite: they fail unpredictably, and in extremely strange ways; voters report that their choices "flip" from one candidate to another before their eyes; machines crash or begin to count backward; votes simply vanish. (In the 80-person town of Waldenburg, Ark., touch-screen machines tallied zero votes for one mayoral candidate in 2006 — even though he's pretty sure he voted for himself.)"

Republicans and Democrats

http://mrexcitement.blogspot.com/2008/01/how-they-won.html

How the right stopped the health care plan

reprinted with permission

When I read the recent Playwrights Horizons mailing promising Ruhl's new play, I was surprised to discover some entertaining and enlightening articles. Here is one by Adam Greenfield about dramaturgy. Not a Four-Letter Word It never fails. You drop the word in conversation, perhaps at a dinner party, and eyes begin to glaze over. Whether you’re surrounded by dearest friends, closest family, or even your most sinister rivals, nothing can so reliably promise a blank stare in return as the mere mention of this word. Which is totally understandable: 1) In the greater context, it’s a relatively new word; 2) Nobody knows what it means, except the people who do it; 3) Even the people who do do it have a hard time explaining what it is, exactly, that they do do; 4) Its combination of consonants and vowels simply do not fall prettily upon the ears. I fear, even, that once you come upon this word in print after this sentence, you’ll grow immediately bored, roll your eyes, and turn the page to read about subscriber perks. “Dramaturgy.” (Still there?) I decided to spend my column-inches in our newsletter this month writing about this word in the attempt to identify, specify and de-mystify the many meanings it has. Perhaps, if I do this right, the word won’t evoke so much awkwardness; perhaps I’ll be more suave when the subject arises; perhaps my parents, who still tell their friends that I’m an actor, will get what I do. We know, of course, that the “wright” (as opposed to the “write”) that we see at the end of the word “playwright” suggests that this artist is not simply a writer of plays, but a “maker” or a “worker” of plays, just as a wainwright is a maker of wagons and a wheelwright is a maker of wheels. Similarly, the word “dramaturgy,” comprised of the Greek root drame (“play, action, or deed”) and the suffix -urgy, (“process, or working”) reflects an active process, the examination of what makes the gears of a play move, just as metallurgy is the working of metals and thaumaturgy is the working of miracles. A dramaturg strives to understand the building blocks of storytelling and performance, seeing deep into the soul of a play, discovering the tectonic plates a writer has arranged to make a story unfold, and to make sure the story, the storytellers, and the spectators are all aligned so that the live theatrical event works. The birth of the capital-D Dramaturg as a job title came when Gotthold Lessing was hired by Germany’s Hamburg Repertory in 1767. A playwright and theatre critic, Lessing’s careful evaluation and advocacy of new writers led to the development of a new repertory of German works. He became a kind of resident moralizer for the theatre, seeking a theater climate freed from commercial pressures, striving to continuously challenge an audience who was at first resistant to the growing German Romantic movement of the time. Quickly, the Dramaturg was established in all of Germany’s major repertory companies. In time it took hold in European theaters, but it wasn’t until the 1960’s that this position emerged in America. So, in the spectrum of theater’s history, this job is quite new. Time is sure to bring a continued evolution of this job; consider how much the role of Director has evolved since it became prevalent in nineteenth century. Today’s dramaturg is constantly being defined and redefined, both in the context of a production and a theater company’s day-to-day operations. At his or her core, a dramaturg seeks to ensure that the stories selected for the stage in a given season are being told as effectively, according to the playwrights’ intents, as possible. The greatest ally, one hopes, of Playwright, Director, and Producer, a dramaturg is a shape-shifter, keeping a watchful eye on how the story lands on an audience. But every play operates according to its own unique system of rules, and every project evolves according to its own unique process, so the dramaturg is forced to be enormously flexible, changing the manner in which he or she works according to the varying dictates of each day. Perhaps this is the reason a dramaturg’s role in the process is so hard to pin down. Any dramaturg will have coined a different metaphor for their role in rehearsals. Depending on the play’s needs, you’re asked to be an atlas, a glossary, a muse, a mediator, an editor, a biographer, an historian, a therapist, a fascist dictator, a court jester, a philosopher, a watchdog. But working on productions is really just one part of the job. A dramaturg also acts as a sort of in-house critic for a theater company, keeping an eye on a theater’s artistic mission, holding its actions up against its stated purpose. In many theaters, “Literary Manager” is synonymous with “Dramaturg” because the act of tracking new plays and writers is a dramaturgical function. Working with marketing and development departments, a dramaturg will also help to make sure that a play or production is being accurately represented and contextualized to its patrons, funders, and audiences. (If Long Day’s Journey Into Night, for example, is being billed as “a family comedy,” we’ll step in.) I write this from the Southwest corner of the Playwrights Horizons offices here on the third floor of 416 W. 42nd Street, where the winsome Christie Evangelisto and myself collaboratively head the dramaturgical goings-on of the theater. While Christie focuses on musical theater and I focus on non-musicals, she and I take turns working on productions, and we’re blessed with a staff of dramaturgically-minded cohorts. Steven Levenson (Literary Assistant), Elliot B. Quick (Literary Resident), and Katie Courtien (Musical Theatre Resident) are all a terrific support staff with a keen ear for dramatic storytelling, and under the leadership of head honcho Tim Sanford, the six-member Literary Department is dramaturgical dream-team. Together, we’re busy reading and advocating new stories and new writers, supporting the development of new voices, and helping to ensure our programming remains aligned with Playwrights Horizons’ mission to promote American playwriting. We’re just sorry that we killed the dinner party.

billionare guide to Huckabee

http://www.indecision2008.com/blog.jhtml?c=v&m=97259

or

Crimefighters and Heartstoppers

two more possible titles

A Safely Beating Heart

or

Hearts Like Fists

What do you think?

isaac pointed this out

New American plays in Lort Theaters from Scott Walters

http://theatreideas.blogspot.com/2008/01/fear-of-new-plays.html

I just realized

of the first 15 one act and full lengths I wrote (out of what is now 25), I only show two of them to anyone anymore. One of them is published and has been produced a few times. The other one has had a few readings. It makes me see that a lot of the plays I wrote were actually me learning how to write plays. Of the last 10 I've written, there is only one I don't show to people. So I guess I figured some stuff out. Of course maybe 10 plays from now I will stop showing some of those around too.

Hey

What do you think of these titles?

Who A Heart Beats For

or

Why A Heart Beats

or

Open Heart

or

Heartstopper

in 2007

I had 4 productions and 1 workshop production of my long plays and 10 public readings. 2 plays were published by DPS and one also published in the New York Theater Review. I had 7 productions of short plays. I was inducted into the MCC Playwrights Coalition and became a member of Ars Nova Playgroup . I graduated from Juilliard. Jon Bon Jovi was in a reading of a ten minute play I wrote. I won the Lecomte du Nouy. I was a finalist for the Bay Area, semifinalist for Page 73 and nominated for Cherry Lane. and I got engaged. So what am I complaining about? Let's have a drink and I'll tell you. After the hives go away.

new scene, first draft as always

17 (NURSE 1 is eating doughnuts. NURSE 2 and 3 watch.) NURSE 2 You’ve been eating lots of doughnuts. NURSE 1 Not really. NURSE 3 Yes, really. NURSE 1 I know but I have good reasons. NURSE 2 What’s a good reason to eat so many doughnuts. NURSE 1 You know why I do it. It’s him. NURSE 3 You’re eating too many. It’s not good for you. that many doughnuts takes a toll on your heart. I know you think you can hurt your heart, get your arteries clogged, have a heart attack so he’ll operate on you, but that’s not the way. That way will lead you to nowhere but pain. NURSE 2 You need to let up on the doughnuts. We’ve all noticed. It’s become too much. We’re concerned. NURSE 1 You’re concerned? NURSE 2 This is an intervention. NURSE 1 It is? NURSE 3 Miriam wanted to come but she’s in surgery. NURSE 1 With a doctor. NURSE 2 Yes. NURSE 1 That you for your intervention. I’m touched. I’m warmed. My heart . . . But I don’t know how to fill myself if I stop eating doughnuts. I’m afraid I will cease to exist if I stop eating even for a minute. NURSE 2 We’re here to help you. NURSE 3 Tell us what you want us to do. NURSE 2 We can go out for a healthy lunch. Together. Would you like that? NURSE 1 OK. (Enter PETER, ecstatic) PETER It works! The heart works! (PETER hugs the NURSES, jumps up and down in celebration.) PETER The heartbeat is so strong, much stronger than I thought it would be. NURSE 1 That’s great! PETER I have to go tell Lisa! (PETER exits running.) (NURSE 1 breaks down and sobs. NURSE 2 offers her a doughnut.) NURSE 3 OK. It’s OK. We can have the intervention tomorrow.

check out #4

A nice mention in LA Weekly on Theater of Note's Food For Fish

http://www.laweekly.com/stage/theater/2007-in-the-rearview-mirror/17951/

also

Give to the fine folks at the 24 Seven Lab

http://www.24sevenlab.com/

https://www.fracturedatlas.org/site/contribute/donate/354

a Christmas song for you

**warning: explicit content. may not be appropriate for people like my relatives who might decide to read my blog right before xmas. end of warning** I gave my heart to Jesus When I was just thirteen He was the sweetest deity I had ever seen He gave his soul to save us He gave his life to God But when I think of Jesus I don’t think of his bod I think of someone jolly I think of someone bright Someone who watches me In the middle of the night Someone a little husky and a trifle overfed Someone who gulps milk And gingerman bread Someone unshaven Who's always in red That’s the man I’m cravin’ In my Christmas bed Cause, I want to f*ck Saint Nick I want to suck on that candy cane dick Is it nice, naughty, or against the laws I don’t care I want to f*ck Santa Claus Another office party Halls all decked with cheer Mistletoe and presents “What do you want this year” After three more cups I’ll f*ck whoever’s here Peter from accounting Is who I’ll be mounting Josh from shipping and receiving Is asking when I’m leaving Andrew from HR Is going to get his car Michael the VP wants to give me a VD But they’re all a bunch of cretins, louts, and dopes I want someone else to show me the ropes You know what I want for Christmas I want to f*ck Saint Nick I want to suck on that candy cane dick Is it nice, naughty, or against the laws I don’t care I want to f*ck Santa Claus I’m getting kind of itchy The hour’s fast approaching It’s the night before Christmas I could use some coaching Would Santa like leather? Would he prefer lace? When he comes down the chimney Should I just sit on his face? Do I need to knock off his old lady? Just in case I’m hanging round the chimney With a smile on my face I want to f*ck Saint Nick I want to suck on that candy cane dick Is it nice, naughty, or against the laws I don’t care I want to f*ck Santa Claus