Wednesday, March 21, 2012

Juliack's Graphic Novel SWELL Comes To Life in Culture Project's Women Center Stage Festival


















What was the inspiration for the graphic novel Swell?


Juliacks: Fiction comes from a lot of places-but it began with the idea of imagining a girl who moves into a tomb after her sister died. I always loved the poem, "Annabel Lee" by Edgar Allen Poe when I was little and that American romanticism of dark death and oppressive love/loss was a good jumping off point.

How did the idea of adapting Swell into a play come about?

J: In 2007 and 2008, I was doing a lot of non-narrative performance art related to Swell about the abstraction and construction of memory. The spaces, images, movements and effects of the performances met with the narrative of Swell in a layered and diagonal way.

After doing the performance, Egg Ceremony in 2008 about the abstraction of memory associated with guilt and grief-I approached Kathleen. Egg Ceremony was a complex performance score where the viewers were inside the narrative memory as it evolved. It was powerful but impenetrable.With Kathleen directing the play, the narrative could be pulled out with her intelligence, creativity and objectivity.

Kathleen Amshoff
: When Juliacks showed me the unfinished book Swell, I was immediately attracted to the glut of images, the rawness and the idiosyncratic journey of the protagonist Emmeline. I remember finally getting the last book, reading it at home in Brooklyn and being so moved by the way Juliacks concluded the arc.

What were the challenges in changing the form?

J: This book moves through memories, dreams, time, first person and third person. In a play-communicating that logic and change is very difficult!

K: Usually I talk about the difficulty of handling the narration in the book. But now that we're open and I watch the whole thing, I'd say the most interesting challenge is developing the scenes in the book (which mostly take up one page, leading naturally to scenes of similar lengths) to contrast each other in duration, tempo, tone, etc.What was the development process like?

K: Juliacks and I met here and there about the project for several years, worked on experimental excerpts of the play in NY and abroad -- the "performance" in our minds has taken many different forms.

Women Center Stage gave us our first platform to develop the whole story. What a gift. Both designers and actors began by reading the graphic novel aloud -- no script. It was fascinating to see what the placement of words on the page, even font style and size, suggested about intention. The design team gathered a lot of research images and played around with materials, projection surfaces and tools, unusual lighting instruments. Since we decided to play in the round -- in a festival set up for end stage -- everyone had to be very creative about utilizing and augmenting resources. Actors improvised a lot of material around the characters; very interesting stuff that could make it into a future Swell someday.

From there it was a process of teasing out the story, clarifying it where we thought we needed to, changing order of events sometimes. Draft upon draft upon draft. And I still feel like we can develop it much further.How did you meet originally?

J: We met in a class at Carnegie Mellon University called Performance for Video taught by Suzie Silver.

K: Julia and I both have two sisters and are interested in the dynamics of sisterly relationships. I made her watch "Cries and Whispers" and then we made a short video with a narrative and performance elements -- starring our future Emmeline Emma Galvin! -- that I think we called "Sister, Sister," That's when we started talking about Swell, in which the ambivalence of sister-love is a predominant element.
Kathleen, what is your background? How did you come to the theater?

Started as an actor, but I had hideous stage fright and was always floating over myself. I Ioved rehearsal but started to hate performing. Then I became a dramaturg and felt like my hands were tied because I couldn't directly shape the vision. I went to Berlin and directed a play, thinking: if directing doesn't work for me, I better get into some other field. Happily, directing was it. It's challenging and impossible and I love that.Juliacks, you work in various forms. How did you come to the arts?

J: Passion, curiosity, inspiration, intellectual pursuits, dreams and hard work.

What is your writing schedule or routine like?

J: Lately I write to myself or write letters to others almost every other day. There is no routine to my life, and therefore no routine for writing-except that because I'm moving a lot, I always have someone to write to, and because I'm moving a lot, I'm always trying to pin down my experiences to understand them in this chaos. Then the writing gets put in places to be made sense of and compartmentalized so that others may experience it and possibly understand it as well.Where do you get your inspiration?

J: The moment of the idea is one of the most joyful parts of making. My writing process comes from chaos and fantastical playfulness, books, films, dreams, friendships, spirit quests, oceans, planes, mountains, wind, touch and disgusting experiences. On the other side, I'm also fascinated by neuroscience and the brain, speech-language and thought, cultural psychic and physical boundaries and spaces, the group consciousness versus the individual, the logic of cultures and stories.

K: People. What people do in a room together. That and a very archaic process of looking at a lot of pictures and pasting them in a notebook.

What's next?

J: SWELL is going to the Atomic Center in Winnipeg, Canada October 31-November 7th and will be presenting at APAP in 2013. We have hopes to present it internationally, responding to each place and its particular way of negotiating the emotions of loss on an individual and societal scale.
Individually Kathleen and I are also working on other projects well.

Related to the latter sentence about inspiration, I have begun and am working on a feature length art film, series of performances (quasi opera) and comic art book, "Architecture of An Atom."

The tale is about a group of adult children who move into an abandoned swimming pool in the Ardeche region of France. In the nearby outside periphery of the pool is the ancient Ardeche valley where the first known conscious humans began making musical instruments, representing the world around them and contemplating the unknown. On one of their excursions looking for food and herbs they find a strange object- a compelling sculpture that takes them into other worlds affecting their behavior and changing the course of their lives.

Globally created, the project is about the construction of conflict. So far there have been shoots in Sweden, Finland, and Rome. I will be doing a one day shoot in New York City on April 1st-please let me know if you would like to participate!
Anything you'd like to add?

J: The Culture Project and the Women Center Stage Theater Festival are organizations that aren't afraid to be political, emotional, exposed, and vulnerable. After this experience working with them, I champion their cause. They believe in the work.

K: Have to second Juliacks here. I've already seen a lot of diverse and powerful work from the artists Manda Martin curated these past two years...and it's not just the work. There's a community of headstrong, wildly creative people forming around the festival. I'm glad to know them and their artistic pursuits. It's wonderful to be part of something that you can effortlessly and genuinely cheerlead for.

Swell is part of Culture Project's Women Center Stage Festival happening now thru April 7th at the Living Theater (21 Clinton Street, NYC)

Monday, March 12, 2012

A little Bit of Brilliance by Playwright Chana Porter


NEWSCASTER:
Today in news, people are worried. There’ s a big fire consuming most of North America. The fire simply does not want to go out. They’ve sent therapists to go analyze the fire, the fire has unresolved family issues, the fire is acting out, the fire wants attention.

Everyone, if you’re listening, please give your attention to the fire. Sit quietly with your feet planted firmly on the ground and in your mind say “Fire, I am listening. Fire, I understand you’re suffering. I’m here if you need me, no I don’t understand the depth of your experience. What is it to breathe and consume yet not be alive? To grow without cells? To die without life? Fire, your experience is complicated. I am out of my element. I simply will sit with you and witness your process. I am human and this is my failing, but I pray it will be enough.”

We will now have a moment of silence.

-Excerpted from Chana Porter's imaginative play BRAD AND MEREDITH AT THE END OF THE WORLD which was read during Rattlestick Playwrights Theater's Theaterjam3.


Chana Porter is a writer, theatre artist and co-founder of AliveWire Theatrics.

Thursday, March 8, 2012

One More Chance to Catch Chris Harcum's Rabbit Island in the Frigid Festival


"Happiness doesn't like it when you think about it. It runs away..."

- Chris Harcum's Rabbit Island


What was the inspiration for Rabbit Island?


The play is about the moment of becoming a real New Yorker and what it takes to get there. A clown friend asked after one performance if it's based on actual experiences from my life. I told him, "Nah. The real stories are much worse."

The way I write is by letting ideas simmer for a long time until I sit down and let it flow. I walk around with some ideas for several years. I feel slightly possessed when I write. It's like there's a big funnel floating around the clouds with an umbilical chord to my brain and nervous system.

I pushed out the first version of Rabbit Island back in '09 and immediately had a reading of it. Now that I've had a little more distance, I can say that it's clearly a metaphor for the first five years I spent in the city. For the first three, I kept expecting some men in suits to come up and tell me I wasn't allowed to stay here. Everything is a little off in my memory of that time, even though that period ended only five years ago. It's like if you turned up the red and sharpness on the picture of your TV. It's hard to watch but kind of cool at the same time.

I tried to capture the feeling of being in the center of things but totally out of place, feeling threatened but knowing it's also hilarious, how everyone wants something much bigger and how you can only feel this in New York City.

What is your background as a theater artist?

I was into Shakespeare, Saturday Night Live and Monty Python when I was in high school. I also took dance and played guitar in a rock band. I don't write in verse but there's definitely music to it. If things are off, it's hard for actors to get back to the words. There's a precision and a set up to things later on. When a drummer loses a stick, the beat must somehow be maintained until another stick is grabbed.

I try to write what will come out of the mouth easily but also strike the moment immediately so the audience isn't trying to catch up. If moments are kept up in a rhythm like this, you can smack the audience upside the head with a surprise. When someone says, "I knew something like that was going to happen, I just didn't know how," I know I've failed.I want things to be accessible and cause an audible reaction in the audience. It's how I know there is genuine listening and thinking on the part of those in attendance. It also fuels the actors to Bring It. I've put in ten years a solo performer in addition to doing more traditional acting and playwriting so I have a good idea when something flows and when it's not fully baked. I try to express the thoughts under the thoughts under the thoughts and have the characters say those things. When actors pick it up the first few times, they immediately want to tame what's being said. It's human nature. We are made to be polite so we want to behave in ways that are safe and realistic or get the easy laugh or make us look good. Once that passes, the fun can be had.

How did you meet Aimee Todoroff (the director)?

It's a true story of fate, Stephen Sondheim, Michael Birch, Alec Baldwin, cigarettes, ArtEffects, Foley's Bar, Ringling Bros. elephants, Blackberry and Facebook. When people would ask what I was working on during our first few months of dating I'd wave a hand around Aimee and say, "this!"

She took a site-specific directing class with the mighty Daniel Talbott and needed to do a scene from As You Like It in the West Village. When she didn't quite find what she was looking for in an actress to play Rosalind, I wound up playing that role. And the company Elephant Run District was born.
Aimee, how did you come to directing?

I started out as an actress, and still do perform when the opportunity arises. But early on, a teacher recognized that I tended to pay more attention to the over-arching concepts of the play than to my own particular part. Jokingly, he said "it's a wonderful quality, but maybe not the most useful for an actor. You should think about directing." From then on, I still studied acting but would grab chances to direct whenever I could. Other mentors would encourage me along the way, and eventually, I realized that as much as I loved performing, I was happier and more satisfied as an artist by working towards fulfilling the promise of the whole production. I can contribute most through directing.

What has the collaboration process been like?

Chris and I are partners in life as well as in art, which can bring it's own joys and challenges- mostly joys! With us, we need to set very clear limits about when we are focused on work vs. when we are focused on the rest of our life. From there, it's just a matter of respecting each other as artists. I listen to Chris as I would any other collaborator. It gets tricky when people ask "Who's idea was that?" Most of the time, it's both of us.

And speaking of collaborators, this project has been a huge source of pride for me. The radiant Carrie Heitman has a background in devised work, Joel Nagle has the detailed approach of a film actor, Ethan Angelica brings the energy of his musical theatre experience, Mel House, who trains at Esper, explores every avenue of preparation to find her character, and Mariko Iwasa is a newly transplanted clown from Japan!

The cast of Rabbit Island are all vastly different performers, but all approached the process with ideas, openness and an absolute commitment to finding the best, truest course regardless of where it came from. Each rehearsal was an ego-free zone and it was wonderful to be able to walk into a room full of artists, throw out my notes, and see what we could create together.What has the development process been like?

Great. I was able to be the playwright on this project and watch everyone else go through the torture I normally put myself through as a performer. This was Elephant Run District's third big project. So we were able to amass a good stable of people on stage as well as our great designers and stage manager. We hope to build on this.

The main thing was getting this piece down from 95 minutes to under 60. I chopped the heck out of this. The first run was 81 minutes. Everyone rallied to get it under time. More than that, they all worked to give the piece the deep dramatic feel needed to sell the comedy. The people in this play feel like people and not just mouthpieces for me. Part of that was from my NOT telling the actors real answers to their questions. They found the heart beat with Aimee who fused many styles of our actors and kept the play alive.

Aimee, How did your company Elephant Run District come about?

Chris and I had both been working separately, creating our own work, for years when we met on that fated night in the Elephant Run District. I like to say we walked backwards into our own company, but to be honest it's what we both were moving towards. Opportunities kept coming up- a supporter would offer his theater for a few weeks, a good friend wanted to collaborate, etc. and so we found a way to make art for those spaces.

Since we were doing the work of producers anyway, we decided to make it official by forming Elephant Run District. This has been a great move for us, allowing us to break away from the model of waiting for opportunities to come to us and to take a more thoughtful, purpose driven approach to our work. Rabbit Island has been a big step in that direction, and we couldn't be more proud!What is your mission?

Elephant Run District is a collective devoted to challenging expectations, inspiring dialogue in our community and creating long-lasting memories. Elephant Run seeks to entertain its audience at the same time it addresses social justice issues. The District is a place where traditions collide and new possibilities are explored in the hunt to create stories that are ultimately human.

What do you both have coming up next?

Aimee will be directing the work of young writers in the Writopia Worldwide Plays Festival- a festival of plays, musicals and monologues written by the next generation of playwrights.

We're also doing evenings of work for and by women. The first question some people have asked is, "like Vagina Monologues?" My short answer is, "No, jerk face." There are more women in this field than men. They need more opportunities. I like writing for women and have a rare knack for it, as a guy. We also have six or so other projects up for decision.

What is inspiring you lately?

CHRIS: I like what's happening with the BFG Collective, New Group, Barrow Street, Parallel Exit, Transport Group, and Rattlestick. Van Halen's latest tour. Working at the Times. But my biggest inspiration is from getting older.

AIMEE: The Frigid Festival! In less than 2 weeks, I will have been able to see more than 20 works by passionate artists from around the world. Tim Murphy's Blind to Happiness and Nicole Pandolfo's Love in the Time of Chlamydia are both gorgeous one-person shows that emphasize excellent writing performed with raw honestly by their authors. Emleigh Wolfe's The Terrible Manpain of Umberto MacDougal is a hilarious study in the humor of simplicity. The clowning in both LOL: The End and Big Girls Don't Cry showed the diversity of the clowning genre. No. 11 Production's fantastical love story Coosje, and Bricken Sparacino's deeply personal Death- It Happens, A Girl's Guide to Death were also favorites. Some of these shows have a Hangover extension date, so even though the festival has ended, there's still one more chance to see them at the Kraine Theater this week.

And there's one more chance to see Rabbit Island on Sat. March 10, 8:30pm!

You can find Rabbit Island at the Kraine Theater, 85 East 4th Street, NYC. For tickets hop your little tukas over here.