Devised Theater: A Venn Diagram

Devised Theater: A Venn Diagram
This diagram was created by the co-producing artistic directors of Rude Mechs to depict the complexity of creating and crediting collaboratively devised work for theatrical performance.

Tuesday, February 23, 2016

Class Notes for 2/9 2/10 and 2/16

CETA notes February 9th

Kenya (Robinson)

Born in Germany in 1977

Studied Apparel/Design

Got a masters of Fine Arts in Sculpture at Yale in 2013

Kenya is both a material artist and a performance artist, whose work focuses on perceptions of gender and race, primarily. She lives her art—for three years now, she has been carrying “Dave Fowler,” a small, plastic white man, around in her pocket. She uses him as a sort of talisman against white male supremacy---he reminds her, “you are more privileged than you think, no matter your gender, socioeconomic status or the color of your skin.” She plans to hold a funeral for Dave soon; white male supremacy is dying, even if it hasn’t realized it yet.

Kenya doesn't shy away from living her art; she feels that art influences what you do and that it influences your life, and that you should embrace this and use this to inspire all aspects of your life.

CETA Notes February 10th

Steve Pavey

Anthropologist by training, but, to some extent, rejected academia—believed photography could make more of an impact than scholarly journals. His expertise wasn’t what was needed to save the world

Artist, Photographer, and activist documenting undocumented immigrants in the US

Questions and Answers:

What does community engagement mean?

Steve works with Geoff Maddock to photograph and document their interactions with people—the camera can show community engagement. The photographer isn’t the only artist: the subjects, the people photographed, are artists too. Building off of that, talks like the one we were having are true community engagement to Steve.

Thomas Morton: “You gradually struggle less and less for an idea nad more and more for people.”

How do you become more human?

Themes: walk together, accompaniment, dissent, connection to humanity

Thomas Morton:
“I realized I loved all these people, waking from a dream of separation.”

Right now, we are spending our lives trying to be successful; this pits us against each other. Instead, we must remind ourselves that we are all mortal, we all fear, and we can’t let this fear separate us from each other and from ourselves. We spend most of our lives not as ourselves—meaning, we don’t recognize ourselves or others as human.

To become more human, you must combine contemplation and action. Three certain ways to become more human:
  1. Great pain and suffering
  2. Great Love
  3. Contemplation. Practice contemplation, so that you might know yourself as a human being, and so you might see others as human beings. Be careful of seeing others as things. Take action to change practices in you day to day life—for Steve, this is his camera. This allows him to think about his neighbor and who they are in this world.

How do you accompany?
Build trust and listen. You avoid imposing yourself by refusing to see people as “sad cases,” and revealing your true self to them, including your struggles. Understand that everyone may not react positively, but trust can be built.

CETA Notes February 16th

Robyn Wade and Felice Salmon

The multiple meanings of Stitching:
Stitching has been in the past a subversive way to bring women together. Activities like quilting supported community development—this class should not only be about literal stitching of capes, but stitching a community as well.

Contemplate, create, and connect:
Art should be a contemplative act, an obviously creative one, and an opportunity to connect. This class does all three!

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