Sep 26, 2012

CHOP in Seattle - Part 2

I am back in Texas after my travels this past month to Las Vegas, New York, Houston and Seattle. CHOP just finished a run at the Seattle Fringe Festival. This was my last time to perform it for a while. I have been living pretty close with the piece for the last three years (and began writing it two years before that). I enjoy performing the piece and it was a wonderful gateway  for me to stand front and center on the fringe circuit and see what's what. Up until CHOP I had facilitated/enabled others to do the performing, with me acting as director, producer, designer, etc. With CHOP it was me. My kind of theatre written my way and performed the way I'd want to see it. I am so proud of the piece.

It is time to step away for a bit. I'm sure it will be better - deeper and more resonant - with some distance. The next emergence of the piece will be different and I welcome that. I'm not giving up CHOP indefinitely, but I do plan to release it to the greater world for other theatres and performers to take a crack at and see how it stands. And I'm moving on to other projects, with reinvigorated goals to have a really great, portable, personal touring solo show. And with it, have oodles more adventures, perhaps on the great Canadian Fringe circuit this time.

Also at the Seattle Fringe, I met some outstanding performers, met up with family (it is a rare treat to get to share my art with those closest to me... ironic, I know), and experienced great hospitality from nearly everyone we came across. It is as if the city itself were doing its best to be welcoming...

With this in mind, her's a few final pics of my time in the Pacific Northwest at the Seattle Fringe.


Ruth and I with Grant, on of the organizers of the Seattle Fringe.
At Pikes Place Market.
Our excellent hosts... Richard, Curt and wee Thomas.

My aunt and uncle from Oklahoma happened to be visiting my cousin and his partner, newly relocated to Seattle. They all came to see the show and we grabbed dinner afterwards.

If you are curious, you can see a whole set of my travel pics related with CHOP over the years HERE.


Sep 23, 2012

advice for creative types from a medieval iconographer


Before starting work, make the sign of the cross; pray in silence and pardon your enemies.

1. Work with care on every detail of your icon, as if you were working in front of the Lord, himself.

2. During work, pray in order to strengthen yourself physically and spiritually; avoid, above all, useless words and keep silence.

3. Pray in particular to the saint whose face you are painting. Keep your mind from distractions and the saint will be close to you.

4. When you have to choose a color, stretch out your hand interiorly to the Lord and ask His counsel.

5. Do not be jealous of your neighbour’s work. His success is your success too.

6. When your icon is finished, thank God that His mercy has granted you the grace to paint the holy images.

7. Have your icon blessed by putting it on the altar. Be the first to pray before it, before giving it to others.

8. Never forget the joy of spreading icons in the world, the joy of the work or icon-painting, the joy of being in union with the saint whose face you are painting.

Sep 22, 2012

CHOP in Seattle - Part 1

My solo show CHOP is part way through its final run at the Seattle Fringe Festival. Small to medium audiences still, but great feedback and response. A couple of standing ovations! 

The folks in Seattle are nice and Ruth and I have eaten well since arriving. My hosts for the weekend, Richard (my 2nd cousin) and his partner Curt have been super welcoming. Here's some photos of adventures so far...

Richard and I at Pike's Place Market

Gourmet hotdog sliders at a place around the corner from the theatre, Po Dog's
The stage is set for CHOP at Odd Duck Studio
Ruth and I in front of Starbucks, store #1
"Happy Birthday to me..."
backstage at the Odd Duck Studio
"I just came to walk the pasture..."
 Read Part 2 of CHOP in Seattle... HERE


Sep 20, 2012

A new play forms

A new play in progress... one of the pages of notes for CARTER STUBBS TAKES FLIGHT

Sep 18, 2012

To my Book Tossers

image credit: abbarber.blogspot.com


Recently, on artist Austin Kleon’s Tumblr he cited a New Yorker profile by D.T. Max. The profile is about David Foster Wallace:
[Novelist Mark] Costello remembers, “Junior year, David and I were sitting around talking about magical realists—I think it was ‘One Hundred Years of Solitude’—and someone said, ‘Pynchon’s much cooler.’ We said ‘Who?’ He threw a copy of ‘Lot 49’ at us. For Dave, that was like Bob Dylan finding Woody Guthrie.”
He goes on to think about that simple transaction… a book is casually tossed, taken home and read, and it changes everything. Kleon says, “…usually when we recall these transactions, the Somebody isn’t important, it’s the book, or our hero who catches it, who’s important… but the Somebody, or the Book Tosser, is the unsung hero here: if it weren’t for the toss, there wouldn’t be a catch.”
 
I have been working on a play on commission for the Sundown Collaborative Theatre. I found out about SCT from my friend and colleague Chris Taylor. Even though I submitted work to the organization on my own, Taylor would be the person I cite with brokering the opportunity for me. My acquaintance with him allowed my later connection with Sundown. My career is filled with these connections. 
 
One of my favorite collaborators (and people, for that matter), Chris Humphrey down in Austin, was introduced to me by my friend Jeff Swearingen. In a way, he was the book tosser for all the creative work Humphrey and I have done together since then. These little interpersonal connections and transactions are important. I’m sensitive to them. The busier one becomes the harder it is to keep straight who lead who to what, but I try to stay aware of it.
 
Actually, I used to be overly sensitive about the whole thing. I have been the book tosser myself many times. I was good at it. And honestly, it used to chaff a bit when no recognition was thrown my way. I kind of carried around this secret knowledge that because of me -  because I’d introduced a person to something or someone -  they prospered, be it professionally, creatively or practically. The person would never remember, of course. Or if they did, they never said anything. If asked, it was that person’s own personal victory. He or she had been in the right place at the right time. It was all “them,” with no outside help whatsoever.
 
Anyway, that is how I used to be. And like I said, I realize it has become more and more difficult to remember all these book tossers in my life. In fact, I have built up a weird defense, in a way, against gathering too many more.  
 
I “discover” stuff on my own. It is a joke that one of my friends will say “hey, check out this cool website…” I’ll either ignore it or half-heartedly peruse it. Then six months later I’ll stumble on it and spread the same news back to my friend about the awesome website I “discovered.” It is a bit of an amusing running gag in my small, close circle, but I believe this habit did not develop out of a vacuum. 
 
In light of having both been burned in the past as an excellent book tosser (kind of like what Malcolm Gladwell called a “maven” in his book THE TIPPING POINT) as well as the fact that it is difficult to keep who has done what for me straight on the other end, of course I’d be defensive. And aware.
 
If any of my book tossers are reading this post… Thank You. I couldn’t have done what I’ve done without each and every one of you.


Sep 17, 2012

skeuomorphism


I came across a new word today... skeuomorphism. Here's what an article in fastcodesign.com had to say about the word...

What’s skeuomorphism? If you’ve ever used an Apple product, you’ve experienced digital skeuomorphic design: calendars with faux leather-stitching, bookshelves with wood veneers, fake glass and paper and brushed chrome. Skeuomorphism is a catch-all term for when objects retain ornamental elements of past, derivative iterations--elements that are no longer necessary to the current objects’ functions.

In software, skeuomorphism can be traced back to the visual metaphors designers created to translate on-screen applications before users were accustomed to interacting with computer software: virtual folders to store your documents, virtual Rolodexes to store contacts. But over time, skeuomorphism has seeped into all areas of UI design, especially in Apple’s software, where text documents, for example, are made to look like yellow legal pads.

"It’s visual masturbation," says one former senior UI designer at Apple who worked closely with Steve Jobs. "It’s like the designers are flexing their muscles to show you how good of a visual rendering they can do of a physical object. Who cares?"

I have been thinking all day about this concept, skeuomorphism, in regards to the theatre. 

I was having a conversation the other day about what the future of theatre would look like and what it would take to make a legitimate impact on the mass culture again. As the conversation continued I stopped at one point and made an observation that no one can really see the future, not really. Whatever comes along will come out of the blue. The catch will be not tying it down with carried-over concepts from the past (or even the present).  The contemporary trend is to look backwards in order to feel like we are looking forward... And I'm not sure if this isn't the very thing that holds us back most of the time.

Anyway, it's an interesting word... skeuomorphism.