I’m interested in setting myself as big a challenge as I can when I’m writing, saying to myself, “How can I love you?”
Preview: “Departure Study of Mother/land Fabric” presented by The Exponential Festival, filmed at The Brick Theater
What is the body if not your closest, most concrete tie to blood lineage? It’s a mirror, a translation, a vessel for parallels and repetition across oceans and decades.
“I aim to be a balance between a healer, a dictator, and an anarchist” – Sophia Cleary
Paper. A tongue? A face? Hands, elbows, emerging body parts. Two bodies. Questions. Who are they to each other? Will they ever come out from behind the semi-translucent wall? Conceal and reveal. Discovery. Peekaboo, peep show, peeling back wrapping paper; pulling the curtain open in a stranger’s house to see a familiar smile.
Some would argue that there is nothing wrong with money from those who have too much and using it to support yourself and your community— a creative Robin Hood of sorts. But is taking advantage of a convenient situation the same as being complicit?
I don’t think it’s our job to banish the darkness. But I think it’s our job to understand that the light locates us in this womb. It locates us in this infinite and ever expanding universe. And it gives us an opportunity to be present.
I feel tension between practice and permission. I relish in the freedom and the challenge to make what I can make with the time and resources that I already have at my disposal.
SUPERSTITIONS inhabits a world that relies on the use of language, strangeness, incongruities that are made congruous at unexpected times throughout.
In PREPAREDNESS, a mandatory HR session threatens the survival of a college theater department.
Not a “solo show” but also not not a solo show
A catalyst, a deep breath together, a gathering.
Gassman is the real article, the authentic listener, who has heard in the city’s woke and hip aspirations, its angry and tired lives, and its ever-evolving demography the real meaning of ordinary anguish.