Larissa Marten
Current Town: New York, NY
Q: Tell me about I Killed the Cow.
A: The development process for I KILLED THE COW began 4 years ago with a set of my own journal entries. In these entries, and what can be said for the original thesis for I KILLED THE COW, I wanted to do two things: work through my own sexual assault and prove my hypothesis of how people are shaped by their past partners. Those journal entries took various forms; drawings, bits of dialogue, articles I found. I taped the various pages to the walls of my apartment in Berlin, Germany, where I was living at the time, and formed the scene structure for the first version of I KILLED THE COW.
25 performances and a dozen drafts later, myself and the director of the show have crafted I KILLED THE COW to serve a far different purpose than the one we originally set out with. Because we quickly learned that we didn't want to continue performing the show in traditional theater settings. If we were going to talk about sexual assault we needed to stop preaching to the choirs of New York audiences who were mostly agreeing with us.
Now, the show has been crafted to fit in a suitcase in order to tour across the country using humor and metaphor to talk about sexual assault. The show tours to businesses, non-profits, and educational institutions, furthering understanding in the realm of sexual assault by combating misinformation and stigma. Through the performance and post-show talkbacks, I KILLED THE COW opens up digestible conversations about sexual expression and violence.
Since I perform the show as well, it's definitely tested my adaptability as an actor. I've performed the show in conference rooms, outside, in living rooms, and just about anywhere where a group of people can sit comfortably for an hour. But with the majority of the show breaking the fourth wall, it brings me the utmost joy to interact with people from all walks of life and unite as we move toward a more constructive understanding of the causes of sexual violence.
Q: Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.
25 performances and a dozen drafts later, myself and the director of the show have crafted I KILLED THE COW to serve a far different purpose than the one we originally set out with. Because we quickly learned that we didn't want to continue performing the show in traditional theater settings. If we were going to talk about sexual assault we needed to stop preaching to the choirs of New York audiences who were mostly agreeing with us.
Now, the show has been crafted to fit in a suitcase in order to tour across the country using humor and metaphor to talk about sexual assault. The show tours to businesses, non-profits, and educational institutions, furthering understanding in the realm of sexual assault by combating misinformation and stigma. Through the performance and post-show talkbacks, I KILLED THE COW opens up digestible conversations about sexual expression and violence.
Since I perform the show as well, it's definitely tested my adaptability as an actor. I've performed the show in conference rooms, outside, in living rooms, and just about anywhere where a group of people can sit comfortably for an hour. But with the majority of the show breaking the fourth wall, it brings me the utmost joy to interact with people from all walks of life and unite as we move toward a more constructive understanding of the causes of sexual violence.
Q: Tell me, if you will, a story from your childhood that explains who you are as a writer or as a person.
A: I was horrible at sports growing up but I was forced to do all of them. I could end this right here and I feel like that would explain enough. I could never wrap my mind around why we were being competitive about a ball made out of rubber. I'm a competitive person, but I'm more analytical than I am competitive which was my first flaw in the sports world.
One day I was on the field for a little league soccer match. I always played defense because you had to stay behind the midway line when your team's offense had the ball on the other side. Not as much downtime as goalie, but not as much pressure. You know I analyzed all of this to get that perfect position.
My teammates were playing superbly that day and were on offense for minutes at a time. I laid down to take a break. I remember looking up and noticed the curvature of the Earth for the first time. It was in that moment that I realized how small we are and how much of the universe there is to explore. Yet here we are chasing rubber. Since then, I've always wanted to explore it all. And I'm pretty sure that's why I'm in the arts.
Q: If you could change one thing about theater, what would it be?
One day I was on the field for a little league soccer match. I always played defense because you had to stay behind the midway line when your team's offense had the ball on the other side. Not as much downtime as goalie, but not as much pressure. You know I analyzed all of this to get that perfect position.
My teammates were playing superbly that day and were on offense for minutes at a time. I laid down to take a break. I remember looking up and noticed the curvature of the Earth for the first time. It was in that moment that I realized how small we are and how much of the universe there is to explore. Yet here we are chasing rubber. Since then, I've always wanted to explore it all. And I'm pretty sure that's why I'm in the arts.
Q: If you could change one thing about theater, what would it be?
A: Accessibility. I want to create work that generates community and promotes accessibility. In the age of black mirrors, these ideals sit almost opposite on the spectrum. However, finding the common ground between seemingly paradoxical notions is the crossroads for innovation.
In projects for the screen, progress in accessibility has been continual. Today the latest films, TV, and new media content are available through streaming services. However, this progress in accessibility has conversely led to a decline in community. Societally, we hide behind devices companionless while watching the latest projects, instead of joining communally for screenings.
In projects for the stage, community is strong. Across America, regional pockets surrounding theaters frequently gather to watch the latest shows. However, accessibility is at an all-time low in the theatre. Audiences are maturing faster than they’re being replenished by younger generations, largely because ticket prices have sky rocketed. With the national debt high and the average income below age 35 low, it’s no wonder why Millennials and Generation Z would rather spend their money on Netflix and Hulu. Or just use someone else’s password.
Community and accessibility are common cravings. They are vital for our survival. However, in order to have both, compromise will be necessary. And the theater needs to be more accessible.
Q: Who are or were your theatrical heroes?
In projects for the screen, progress in accessibility has been continual. Today the latest films, TV, and new media content are available through streaming services. However, this progress in accessibility has conversely led to a decline in community. Societally, we hide behind devices companionless while watching the latest projects, instead of joining communally for screenings.
In projects for the stage, community is strong. Across America, regional pockets surrounding theaters frequently gather to watch the latest shows. However, accessibility is at an all-time low in the theatre. Audiences are maturing faster than they’re being replenished by younger generations, largely because ticket prices have sky rocketed. With the national debt high and the average income below age 35 low, it’s no wonder why Millennials and Generation Z would rather spend their money on Netflix and Hulu. Or just use someone else’s password.
Community and accessibility are common cravings. They are vital for our survival. However, in order to have both, compromise will be necessary. And the theater needs to be more accessible.
Q: Who are or were your theatrical heroes?
A: People who find theatricality in the everyday. Taylor Mac. Erykah Badu. Caryl Churchill.
Q: What kind of theater excites you?
Q: What kind of theater excites you?
A: The kind of theatre that figures out how to be accessible without sacrificing craftsmanship.
Q: What advice do you have for playwrights just starting out?
Q: What advice do you have for playwrights just starting out?
A: Don't listen to advice. Trust your gut.
Q: Plugs, please:
A: If you're interested in bringing I KILLED THE COW to an organization near you, please get in touch at www.ikilledthecow.com or @ikilledthecow across social media. Follow me on social media @larissamarten.
Q: Plugs, please:
A: If you're interested in bringing I KILLED THE COW to an organization near you, please get in touch at www.ikilledthecow.com or @ikilledthecow across social media. Follow me on social media @larissamarten.
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