So my most direct reflection of the Buran Theatre Summit came from the postcards I wrote afterwards. See, I gave both my grandmas an empty photo album for Christmas with the promise that I would send them postcards from all the places I was to work/visit/tour in 2010. And my trip to Albuquerque was the first big trip of 2010. I'm sure I'll have more to say but I thought I would start a dialogue by sharing what I wrote on the postcards to my grandmas. Note: There were five postcards each, so this was not written extremely small on one postcard. Here goes:
Dear Grandma/Meme,
Here’s where this crazy postcard project gets started- Albuquerque, NM. I went down for the Buran Theatre Summit. Yes- this is the Buran of the Marx Brothers show this summer and the naked play from college. I picked up Erik at the train station at 4am and made the long trek to NM- a 10 hour drive. It was nice to get to some warmer weather and it was smooth sailing all the way down Route 66 and finally through the Rockies to arrive in ABQ.
Upon arrival in NM, we immediately fell back into our groove. With friends like these, it seems all you need is Lasagna, 12 bottles of wine, and a drum circle to reconnect (that’s what we did when we got there.) The next day was soaking in the slow paced Southwest with a nice relaxing drive through the desert looking at the beautiful mesas and an unfortunately unsuccessful stop at the Route 66 casino- Meme you’d have been proud. That night we had our first company dinner at the Frontier Restaurant for my first taste of green chile- something we had much of over the week.
The next days were filled with inspiring workshops, everything from Drama in Jazz, a Jam Session, Emotions in Movement, a Monodrama about Lewis and Clark, a Greek trilogy, and clowning. It was a nice reminder of why I love this people and why I love working with them. We are all artists and get the chance to create together. We also talked a lot about family mythologies in anticipation of the show this summer. I wrote one scene about Papa and another about Grandma Grace.
Over the week we had the opportunity to work with the Tricklock Company as they mounted their Revolutions International Theatre Festival. They were so welcoming and hospitable, having us to dinner at their place one night, a fancy kick-off party in downtown ABQ another, and even inviting us to perform in their Reptilian Lounge (more on that later). We also saw a play about the painter Jackson Pollock. The best however was getting to see an established company and how they work and meeting new friends from all over the globe.
The culmination of the summit happened at that Reptilian Lounge performance where we showcased a new short piece- The Buran Interviews. I even got to tell three jokes I came up with. Here goes: What did the Hungarian ghost do to the fly? ---Budapest! What did the lawyer do to the crooked FBI agent with a cold? ---Sudafed! What did the lawyer do to the crooked FBI agent with a cold at nighttime? ---Sudafed PM! Pretty good, huh? The entire piece was really fun and I think well received. It was the great ending to a wonderful week filled with amazing work and some of my best friends. Although I’m of course glad to be back safe and to spend some time with you.
Love,
Brady
Saturday, January 30, 2010
Friday, January 29, 2010
Out the window
It’s taken me a long time to ruminate over my week at the Buran Summit. I’m by no means finished. I wanted to write a response, but I got myself so bogged down in commenting on every aspect of it that it just felt impossible. So I decided to just focus on one subject!
Throughout the summit there was a lot of talk about the spectator and their role in Buran’s work. Not a surprising subject to be breached as Adam has written on it in Bringing Back the Spectator and Sustained Applause. But during one day of the week we had quite an in depth discussion on the topic. I contributed by sharing some experiences I had just had while touring with a children’s theatre company in New England.
While on tour we had many different kinds of audiences. Two “types” stick out in my mind. We went to many schools where the children were experiencing theatre or live performance for the first time. They were excited and curious, and they had no concept of what was “appropriate audience behavior”. On many occasions students would scream or cry. Some would shout from their seats attempting to warn a character of impending doom. Others would vocalize their approval or disapproval of the performance. Occasionally one would try to wander on stage. It was quite the experience for actors who are accustomed to seasoned theatergoers who know how to “behave”. But to be honest, it was SO invigorating at times. They were incredibly involved. They truly became a part of the story. And there was no questioning how they felt about the production. I mean, that’s supposed to be part of the beauty of live theatre-you get instant and firsthand reactions!
On the other hand, there were shows where we performed to complete silence. There were many schools where the students were threatened with countless forms of discipline if they didn’t sit as still as stone and keep their mouths shut. It was a sour experience. The air was just filled with oppression. We had no idea if they were enjoying it at all. We certainly weren’t enjoying ourselves. It really felt like there was no connection or shared experience. I was frustrated that the teachers didn’t understand that theatre isn’t one sided. “The audience and the actors feed off of each other. It’s a give and take!” I wanted to tell them.
These two very different audiences really got me questioning the spectator’s role? Does the responsibility stop at buying the ticket and showing up? I think, and many at the summit expressed the same opinion, that it goes beyond that. I know I like seeing a spectator that is engaged, responsive, and questioning what is in front of them. But just how active should they be? We came to no definitive answer, but everyone seemed genuinely excited by the possibilities and how we could implement them in future Buran productions. What if we made it okay for the spectator to walk on stage if they feel so compelled? What if we said it was okay for her/him to start commenting aloud or questioning the actors? What would happen if the rules of theatergoing got thrown out the window? Would the experience be enhanced? Would the story still get told? How would it affect audience turnout? Perhaps we should find out.
-Hilary
Sunday, January 24, 2010
First Annual Buran Summit Wrap Up
The first annual Buran Summit took place in Albuquerque, New Mexico from January 8-17. After a successful season of performances in New York City, Kansas City and Vilnius, Lithuania we felt it was time to reconvene with old collaborators and new collaborators in an inclusive environment that would prompt new work and discussion.
In August, after the closing of Money Buckets at the Kansas City Fringe Festival, we invited over three dozen artists to commune in Albuquerque for a week to share their work and to begin a dialogue about the art we're making, why and how we're making it and how we might be able to support one another more directly.
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Erin Phillips, Adam Burnett, & Erik LaPointe perform a piece devised from the Jam Session led by Jean Goto. Photograph by Joshua Efron.
.jpg)
Meg Saricks, Erin Phillips, Ben Leifer, & Adam Burnett perform a movement piece.
The week was full of workshops, round table discussions, and live performances of new works all over Albuquerque. Jean Goto of The Anthropologists (www.theanthropologists.org) came down from NYC for five days of the summit and led a Jam Session. Eric Avery lead a workshop that incorporated music and rhythm into finding emotion physically in performance. We joined the cast of "The Great Negocio" for a clowning workshop with Laurel Butler and company - where we all came to Confront the Audience. Erin Phillips and Casey Mraz stopped by to have a dialogue about their vision for an Albuquerque New Play development center. And Tricklock Company graciously made us feel at home in the midst of their 10th Annual Revolutions Festival, a magical international theatre festival (what brought me to ABQ in the first place). The summit ended with a performance at Tricklock's infamous Reptilian Lounge where we devised a new short performance piece based on a devising exercise we use in texts and rehearsals - The Buran Interview (see posting below). It was serendipitous that the summit week coincided with Tricklock's festival as we were talking with artists from Poland and Canada and all over the United States almost every night. We were working hard all day but definitely letting it all hang loose at night as we continued to discuss theatre and music and art making and community well into the wee morning hours.
Company devises new material. Brady Blevins looking on bored. Photograph by Joshua Efron.
We also spent a great deal of time developing material for the 2010 Summer Buran premiering at the Kansas City Fringe Festival in July. We looked specifically at personal mythologies and how they might be performed by the self or an other. There were so many vivid images and stories that came into the mix. A few that stick out immediately: Lara Thomas-Deucy's stories of her great-grandma, Brady Blevin's one and a half minute play "The Blevins Family Basement," Val Smith's tender stories of her dziadek, and Meg Sarick's hilarious mythologies about her aunt's posse of friends: crabby, old, drunk theatre patrons. We plan on employing the devising methods in the workshops we will be conducting this summer in Kansas and Missouri (and hopefully some of these stories too!).
.jpg)
We never got all participants in a photo. Three days in, after many people had come and gone, we brought the camera out for the first time. From left to right, (back row) Ben Leifer Adam Burnett, Justin Knudsen, Brady Blevins, Erik LaPointe, Carter Waite, (front row) Hilary Kelman, Val Smith & Meg Saricks. Photograph by Joshua Efron.
.jpg)
We took a trip out to the Mesa one afternoon to view the historic New Mexican sights of La Ria Llamas and General Pinchback Mountain. Pictured: Ben Leifer, Hilary Kelman, Adam Burnett, Erik LaPointe, Justin Knudsen, Brady Blevins, Jean Goto, & Meg Saricks. Photograph by Joshua Efron.
Carter Waite and Joshua Efron both brought in new material to share and discuss. Carter is currently writing a one man show for himself to perform. The topic of this mono-drama is Meriwether Lewis and Carter brought in a handful of pages to be read. What spurred Carter to invest in the research for the work was a general dissatisfaction in our generations lack of interest in seeking out adventure. "This play is about that moment - standing on the edge of the cliff before you jump," he said. Or as Justin Knudsen replied in response to that, “Or what the last day of your old life feels like before you start a completely new adventure."
Joshua brought in a sample from his ambitious project – his own three part version of the Orpheus myth. He first began working on the project as a response to a production he witnessed of Sarah Ruhl's "Eurydice" last spring. The more he has written though the more invested he's become, and he is pointing towards a three play cycle. Joshua intricately led us through some Greek Mythology 101 and his spin on these classical narratives. His breathless attack on discussing his work was admirable. It's so difficult to discuss one's work and it was remarkable to be in a space where everyone was open and willing and ready to respond honestly and generously.
Ben Leifer shared with us a composition he wrote for trumpet, bass, piano and drums using Buran performance methods. This was a mind-blowing session for many of us. Ben stressed the significance of rhythm in everything we do, but especially in performance. For a more detailed description of Ben’s workshop/discussion go copy and paste this into your web finder dealio: http://burantheatre.blogspot.com/2010/01/buran-summit-day-five.html
Or just scroll down and read the Blog entitled "Buran Summit: Day Five."
Erik LaPointe and Brady Blevins in rehearsal for Buran Interviews. Photograph by Joshua Efron.
Eric Avery as Justin Knudsen in "Buran Interviews" at Tricklock’s Reptilian Lounge. Photograph by Richard Malcolm.
Hilary Kelman as Justin Knudsen, Justin Knudsen as a Doctor Who Only Sees Other Doctors – "Buran Interviews." Photograph by Richard Malcolm.
Some quotes from the week:
On Buran workshops: “It’s about keeping body/mind in tune. The freedom to explore without limitations. Taking the felt and sharing it with others.” – Brady Blevins
On Buran methodology: “It is not the developmental process (i.e. devising, improvising to the text, etc) that makes it unique – it is the community itself. It’s an attitude.” – Eric Avery
“Buran equals a positive infection that we want to spread to everyone.” –Joshua Efron
“There is a release of ego and preciousness from the beginning. This is the attitude.” –Erin Phillips
“It has to be personal, this cannot be trained.” –Eric Avery
“We’re all here looking for new teachers in one another.” –Justin Knudsen
“Text is not sacred, but a performance is.” – I kept yelling this.
"[A move towards] structure in direction, not in expression." - Justin
"Crossing that line [between chaos and center] every time we get up to perform." - Jean Goto
"The expression is individual - but the direction, or structure, is the group." - Ben Leifer
""It's not the what. It's the when."- Jean
The phrase that was used over and over, time and time again was “generosity of spirit.” Everyone who came to Albuquerque made an investment – an investment to have the time and the safe space to create with others in a new community.
We received no grant support.
This was all made possible by hosts in the community of Albuquerque and the willingness for folks from all over the nation to stop their lives for a week to retreat, reconvene, rejuvenate, and reinitiate the dialogue.
Justin Knudsen as Justin Knudsen, Brady Blevins as Edward Gordon Craig –"Buran Interviews" at Tricklock’s Reptilian Lounge. Photograph by Richard Malcolm.
Buran in silhouette. From left to right, Brady Blevins, Meg Saricks, Justin Knudsen, Erik LaPointe, Jean Goto, Hilary Kelman, Ben Leifer, and Adam Burnett.
There were so many wonderful ideas shared at our first summit. I can't wait to see who hosts next year and where!
As we plan for our series of workshops and productions in the mid-west this summer we're going to keep a dialogue active on here. Anyone is welcome to join in and respond.
Thank you to the gracious hosts - Eric Avery, Mary Cianflone, Casey Mraz, Erin Phillips, and Julio Romero. You opened your homes. You cooked for us and with us. Everyone ate and drank and played and danced all over your homes and you egged it on. That's pretty great.
Thank you to Tricklock Company for your hospitality and true generosity of spirit. For opening their home, as they do every year, to artists from all over the world.
For everything Buran related – keep in touch with this blog. (For a bunch of
self-proclaimed Luddites, we’re doing our best at keeping up with the technological age.)
-Adam
In August, after the closing of Money Buckets at the Kansas City Fringe Festival, we invited over three dozen artists to commune in Albuquerque for a week to share their work and to begin a dialogue about the art we're making, why and how we're making it and how we might be able to support one another more directly.
.jpg)
Erin Phillips, Adam Burnett, & Erik LaPointe perform a piece devised from the Jam Session led by Jean Goto. Photograph by Joshua Efron.
.jpg)
Meg Saricks, Erin Phillips, Ben Leifer, & Adam Burnett perform a movement piece.
The week was full of workshops, round table discussions, and live performances of new works all over Albuquerque. Jean Goto of The Anthropologists (www.theanthropologists.org) came down from NYC for five days of the summit and led a Jam Session. Eric Avery lead a workshop that incorporated music and rhythm into finding emotion physically in performance. We joined the cast of "The Great Negocio" for a clowning workshop with Laurel Butler and company - where we all came to Confront the Audience. Erin Phillips and Casey Mraz stopped by to have a dialogue about their vision for an Albuquerque New Play development center. And Tricklock Company graciously made us feel at home in the midst of their 10th Annual Revolutions Festival, a magical international theatre festival (what brought me to ABQ in the first place). The summit ended with a performance at Tricklock's infamous Reptilian Lounge where we devised a new short performance piece based on a devising exercise we use in texts and rehearsals - The Buran Interview (see posting below). It was serendipitous that the summit week coincided with Tricklock's festival as we were talking with artists from Poland and Canada and all over the United States almost every night. We were working hard all day but definitely letting it all hang loose at night as we continued to discuss theatre and music and art making and community well into the wee morning hours.
Company devises new material. Brady Blevins looking on bored. Photograph by Joshua Efron.
We also spent a great deal of time developing material for the 2010 Summer Buran premiering at the Kansas City Fringe Festival in July. We looked specifically at personal mythologies and how they might be performed by the self or an other. There were so many vivid images and stories that came into the mix. A few that stick out immediately: Lara Thomas-Deucy's stories of her great-grandma, Brady Blevin's one and a half minute play "The Blevins Family Basement," Val Smith's tender stories of her dziadek, and Meg Sarick's hilarious mythologies about her aunt's posse of friends: crabby, old, drunk theatre patrons. We plan on employing the devising methods in the workshops we will be conducting this summer in Kansas and Missouri (and hopefully some of these stories too!).
.jpg)
We never got all participants in a photo. Three days in, after many people had come and gone, we brought the camera out for the first time. From left to right, (back row) Ben Leifer Adam Burnett, Justin Knudsen, Brady Blevins, Erik LaPointe, Carter Waite, (front row) Hilary Kelman, Val Smith & Meg Saricks. Photograph by Joshua Efron.
.jpg)
We took a trip out to the Mesa one afternoon to view the historic New Mexican sights of La Ria Llamas and General Pinchback Mountain. Pictured: Ben Leifer, Hilary Kelman, Adam Burnett, Erik LaPointe, Justin Knudsen, Brady Blevins, Jean Goto, & Meg Saricks. Photograph by Joshua Efron.
Carter Waite and Joshua Efron both brought in new material to share and discuss. Carter is currently writing a one man show for himself to perform. The topic of this mono-drama is Meriwether Lewis and Carter brought in a handful of pages to be read. What spurred Carter to invest in the research for the work was a general dissatisfaction in our generations lack of interest in seeking out adventure. "This play is about that moment - standing on the edge of the cliff before you jump," he said. Or as Justin Knudsen replied in response to that, “Or what the last day of your old life feels like before you start a completely new adventure."
Joshua brought in a sample from his ambitious project – his own three part version of the Orpheus myth. He first began working on the project as a response to a production he witnessed of Sarah Ruhl's "Eurydice" last spring. The more he has written though the more invested he's become, and he is pointing towards a three play cycle. Joshua intricately led us through some Greek Mythology 101 and his spin on these classical narratives. His breathless attack on discussing his work was admirable. It's so difficult to discuss one's work and it was remarkable to be in a space where everyone was open and willing and ready to respond honestly and generously.
Ben Leifer shared with us a composition he wrote for trumpet, bass, piano and drums using Buran performance methods. This was a mind-blowing session for many of us. Ben stressed the significance of rhythm in everything we do, but especially in performance. For a more detailed description of Ben’s workshop/discussion go copy and paste this into your web finder dealio: http://burantheatre.blogspot.com/2010/01/buran-summit-day-five.html
Or just scroll down and read the Blog entitled "Buran Summit: Day Five."
Erik LaPointe and Brady Blevins in rehearsal for Buran Interviews. Photograph by Joshua Efron.
Eric Avery as Justin Knudsen in "Buran Interviews" at Tricklock’s Reptilian Lounge. Photograph by Richard Malcolm.
Hilary Kelman as Justin Knudsen, Justin Knudsen as a Doctor Who Only Sees Other Doctors – "Buran Interviews." Photograph by Richard Malcolm.
Some quotes from the week:
On Buran workshops: “It’s about keeping body/mind in tune. The freedom to explore without limitations. Taking the felt and sharing it with others.” – Brady Blevins
On Buran methodology: “It is not the developmental process (i.e. devising, improvising to the text, etc) that makes it unique – it is the community itself. It’s an attitude.” – Eric Avery
“Buran equals a positive infection that we want to spread to everyone.” –Joshua Efron
“There is a release of ego and preciousness from the beginning. This is the attitude.” –Erin Phillips
“It has to be personal, this cannot be trained.” –Eric Avery
“We’re all here looking for new teachers in one another.” –Justin Knudsen
“Text is not sacred, but a performance is.” – I kept yelling this.
"[A move towards] structure in direction, not in expression." - Justin
"Crossing that line [between chaos and center] every time we get up to perform." - Jean Goto
"The expression is individual - but the direction, or structure, is the group." - Ben Leifer
""It's not the what. It's the when."- Jean
The phrase that was used over and over, time and time again was “generosity of spirit.” Everyone who came to Albuquerque made an investment – an investment to have the time and the safe space to create with others in a new community.
We received no grant support.
This was all made possible by hosts in the community of Albuquerque and the willingness for folks from all over the nation to stop their lives for a week to retreat, reconvene, rejuvenate, and reinitiate the dialogue.
Justin Knudsen as Justin Knudsen, Brady Blevins as Edward Gordon Craig –"Buran Interviews" at Tricklock’s Reptilian Lounge. Photograph by Richard Malcolm.
Buran in silhouette. From left to right, Brady Blevins, Meg Saricks, Justin Knudsen, Erik LaPointe, Jean Goto, Hilary Kelman, Ben Leifer, and Adam Burnett.
There were so many wonderful ideas shared at our first summit. I can't wait to see who hosts next year and where!
As we plan for our series of workshops and productions in the mid-west this summer we're going to keep a dialogue active on here. Anyone is welcome to join in and respond.
Thank you to the gracious hosts - Eric Avery, Mary Cianflone, Casey Mraz, Erin Phillips, and Julio Romero. You opened your homes. You cooked for us and with us. Everyone ate and drank and played and danced all over your homes and you egged it on. That's pretty great.
Thank you to Tricklock Company for your hospitality and true generosity of spirit. For opening their home, as they do every year, to artists from all over the world.
For everything Buran related – keep in touch with this blog. (For a bunch of
self-proclaimed Luddites, we’re doing our best at keeping up with the technological age.)
-Adam
Wednesday, January 20, 2010
Buran Summit Thoughts
I know this entry is coming a few days late, but it's taken me a little bit to collect my thoughts on everything I got to partake in but I really wanted to contribute to the blog! I had left New York feeling ragged at the edges, not sure why I what I was doing or why I was doing it and I came back feeling incredibly rejuvenated and ready to throw myself back into my work. I wasn't quite sure what it was that had done it- the fact that I was far away from the hustle bustle of NYC? the beautiful desert? the wonderful conversations about theater we had (with mostly people I had just met)? the immediate feeling like these artists were good friends right from the start? the amazing various workshops and play sessions??? ... I think all of the above!
I think all of the above was, in a sense, the Buran Community. There were a lot of questions about what Buran is and whatnot and I'm not trying to answer that question. But all these elements put together reminded me of whats really important for me right now. Its not my job, not whether or not I have an agent, or any of that! But rather whats really important (for me) is my attitude and my process. The attitude of the summit (it seemed to me) was very open and curious .. and it was catching! It was because of that attitude that I felt like it was safe to say whatever thoughts I had, to challenge myself and others etc. Remembering that everyone has their own process in every step of the way (when it comes to theater, but I think also maybe in every aspect of life??) reminded me of the sense that right now my goal is to learn and grow and push myself and learn what my process is... And to stop worrying about whether or not the work is "good" or whatever! Right now is the time to be a fool for a little bit!
Digression: a few months ago I decided that just as we should all face one fear a day we should also be embarrassed at least once a day. I wasn't sure exactly why I thought that was such a good idea until this trip-- we were on the dance floor at the tricklock party and I was so UNable to follow the leader and felt like such a fool! But the music was too enticing and I was having too much fun to care.. and I realized --- embarassing yourself is a humbling experience and when we are humble and open to making fools of ourselves we are able to take the risks that artists need to take to make art that is personal to them!
So, anyway, I dont know how corny/idealistic this blog is, but these are my thoughts (among many) from the past week! And who cares?? I'm an idealist!!! :) Many thanks to Buran and Adam for all the inspiration! (Now the question is how do I bring this into my life when I fall back into the hustle bustle attitude of NYC???)
-Jean
I think all of the above was, in a sense, the Buran Community. There were a lot of questions about what Buran is and whatnot and I'm not trying to answer that question. But all these elements put together reminded me of whats really important for me right now. Its not my job, not whether or not I have an agent, or any of that! But rather whats really important (for me) is my attitude and my process. The attitude of the summit (it seemed to me) was very open and curious .. and it was catching! It was because of that attitude that I felt like it was safe to say whatever thoughts I had, to challenge myself and others etc. Remembering that everyone has their own process in every step of the way (when it comes to theater, but I think also maybe in every aspect of life??) reminded me of the sense that right now my goal is to learn and grow and push myself and learn what my process is... And to stop worrying about whether or not the work is "good" or whatever! Right now is the time to be a fool for a little bit!
Digression: a few months ago I decided that just as we should all face one fear a day we should also be embarrassed at least once a day. I wasn't sure exactly why I thought that was such a good idea until this trip-- we were on the dance floor at the tricklock party and I was so UNable to follow the leader and felt like such a fool! But the music was too enticing and I was having too much fun to care.. and I realized --- embarassing yourself is a humbling experience and when we are humble and open to making fools of ourselves we are able to take the risks that artists need to take to make art that is personal to them!
So, anyway, I dont know how corny/idealistic this blog is, but these are my thoughts (among many) from the past week! And who cares?? I'm an idealist!!! :) Many thanks to Buran and Adam for all the inspiration! (Now the question is how do I bring this into my life when I fall back into the hustle bustle attitude of NYC???)
-Jean
Sunday, January 17, 2010
Buran Interviews
BURAN INTERVIEWS
Justin Knudsen: Justin Knudsen
Justin Knudsen: Erik LaPointe
Justin Knudsen: Hilary Kelman
Justin Knudsen: Brady Blevins
Justin Knudsen: Eric Avery
Justin Knudsen: Justin Knudsen
Edward Gordon Craig: Brady Blevins
Your Mother: Erik LaPointe
Doctor: Justin Knudsen
Brady Blevins: Brady Blevins
Pollock: Adam Burnett
JUSTIN KNUDSEN
Hi. I’m Justin Knudsen. I’m an actor who also plays a person in real life. Tonight I will be interviewing a number of significant – um – figures and individuals and um – people who – have – done a significant amount of …things. Tonight we must move briskly, due to the strict measures placed upon my time here in this space with you here. Usually I do this for four hours straight, with or without people watching. Sometimes it’s just me.
On our schedule this evening: From 11 to 11:01 I will be interviewing Edward Gordon Craig. From 11:01 to 11:02 I will be interviewing Your Mother. And from 11:02 to 11:03, a certified doctor. From 11:03 to 11:04, I will be interviewing comedienne Brady Blevins. And - - oh here we are now. This is how it begins I guess.
EDWARD GORDON CRAIG enters
According to half a sentence I read on Wikipedia immediately prior to this interview: Edward Gordon Craig was an English modernist theatre practitioner; he worked as an actor, producer, director, and scenic designer, as well as developing a theoretical body of writing that - - (beat). Borrrrring. He wrote a scathing review about a performance of mine some years ago. But I’m willing to look past it if you are, Edward.
EDWARD
Not even in my memory now.
JUSTIN
I’m glad that works for you. Often known for her writings on the uber-marrionette, Craig - -
EDWARD
Her?!
JUSTIN
His – hers – sorry, it’s hard for me to tell by the features.
EDWARD
What’s a day like for you?
EDWARD
A day?
JUSTIN
A typical day. Wait a minute. I just got this – text – here. Huh.
EDWARD
Excuse me?
JUSTIN
No, no by all means, keep talking. It just says he’s not going to - My friend. Bob. He’s was supposed to pick me up. Damn. Is anyone – anyone here doing anything after this? Buy me a drink maybe and give me a ride? I’m uh - - …sorry.
Is it true you hate actors?
EDWARD
Acting is not an art. It is therefore incorrect to talk of the actor as an artist.
JUSTIN
I’m going to ignore that previous quote. Here. Just give us something. A quote I can use. The papers would love that.
EDWARD
There are still papers?
JUSTIN
Sometimes. There’s my paper.
Justin pulls out the JUSTIN KNUDSEN TIMES.
It’s for me.
EDWARD
What do you cover?
JUSTIN
There’s an article about pajamas…that I like. There’s an article about Thursdays. Um…
EDWARD
Is there still theatre?
JUSTIN
Oh, often.
EDWARD
Does it work?
Silence. JUSTIN is looking through his newspaper.
Does it work?
JUSTIN
Sodoku…do you Sodoku? Most this is…yeah…and crosswords, see.
JUSTIN starts working on a crossword. Ignores Edward..
EDWARD
Does it work?
Does it?
At least give me a quote.
The papers would love that.
Does it work?
JUSTIN
Oh, well, we are just about out of time. I’m sorry, Craig. Paaaaass the pigs!
EDWARD gets taken off stage by the audience as Shooby Taylor plays.
JUSTIN
I need a smoke. One moment. We have a minute.
He exits. As JUSTIN KNUDSEN exits, JUSTIN KNUDSEN enters.
JUSTIN
Hi. I’m Justin Knudsen from the Knudsen Times and tonight I’ll be interviewing your mother.
YOUR MOTHER
Sweetheart! It’s so wonderful to see you! All of you!
JUSTIN
How – long have you been a mother?
YOUR MOTHER
(to the audience)
Oh, goodness my oh my. You don’t ask a Mother that sort of thing. (beat) Thirty-three years.
JUSTIN
What – is – a typical day like for you?
YOUR MOTHER
(directly to the audience)
Oh, you know, I just wake up. I put the pot of coffee on for your father. And then, well, you know my bladder it just – well! – and there’s this ringing in my ear. It won’t go away. Your father thinks I’m going nuts. Of course. The ringing, this ringing in my ear is so loud sometimes I just – (whispers) I take a lot of pills that make me feel kind of funny, you know what I mean, sweetheart, and I just go right to sleep. I don’t think that’s like doing drugs, is it?
JUSTIN
(with a piece of paper)
If you curl up the end of it, it looks like a doll.
YOUR MOTHER
A doll?
JUSTIN
Like a little doll, “I’m a doll. Ra. Ra.”
I’m sorry, what were you saying?
YOUR MOTHER
Oh, I -
JUSTIN
Oh, darned, I believe we’re out of time. Isn’t that – just- the darndest.
YOUR MOTHER
Take care of your mother! Your mother is going to die if you don’t take care of her! Please take care of your mother!
YOUR MOTHER is taken off stage to Shooby Taylor.
JUSTIN
We got a few minutes left. I’m gonna get a cup of coffee and I’ll be right back.
JUSTIN exits. JUSTIN enters with a cup of coffee.
JUSTIN
Hi, I’m Justin Knudsen from the Knudsen Knews and tonight I’ll be interviewing a real doctor.
Doctor enters.
JUSTIN
Tonight we have a very important Dr. who has worked with many people? Is that correct to say?
DOCTOR
Are you a doctor?
JUSTIN
(beat)
I prefer to ask the questions, doctor.
DOCTOR
You’re not a doctor, are you?
JUSTIN
I can – what?
DR
I’ve already said too much.
JUSTIN
Have I said too much?
DR
I don’t - (sigh) Excuse me, but I don’t do this.
JUSTIN
Do what?
DR
I only talk to other doctors.
JUSTIN
You are a doctor though?
DR
Absolutely I am a doctor.
JUSTIN
You’re a doctor who only talks to other doctors.
DR
Precisely. I have no patients. Only other doctors.
JUSTIN
You have no patients at all?
DR
None at all.
JUSTIN
Do you have your own practice?
DR
Are you a doctor?
JUSTIN
Am I doctor?
DR
No, you are not. I’m sorry. I can’t be here.
Doctor leaves.
Justin exits. Justin enters.
JUSTIN
Hi. I’m Justin Knudsen from the Buran Theatre Company and tonight I’ll be interviewing comedienne Brady Blevins. Bwady Bwevins. Brrrraaaady Bwwwevins.
BRADY sits.
JUSTIN
Tell me a joke.
BRADY
What did the ghost do to the Hungarian fly?
JUSTIN
(pissed as can be)
What?
BRADY
Budapest.
Justin: No response.
JUSTIN
No. Next.
BRADY
What did the lawyer do to the crooked FBI agent with a cold?
Sudafed!
JUSTIN
- -
BRADY
Okay okay - one more. What did the lawyer do the crooked FBI agent with a cold - at night?
SUDAFED PM!
JUSTIN
No. No. Leave. Leave. Get off. Now. Leave. Now. Get off. No, faster. Leave. Go. Go.
Justin exits. Justin enters again.
JUSTIN
Hi, I’m Justin Knudsen. Our final guest tonight is an influential painter – and uh – mind – he paints and he has an influential mind. Ladies and gentlemen, Jacksen Polack.
POLLOCK
Pollock.
JUSTIN
Po-lack.
POLLOCK
Pollock.
JUSTIN
Nuh-uh. Polack.
Silence.
JUSTIN
What’s – um – what’s a typical day like for you?
POLLOCK
I go out to my barn. And I light up a cigarette. I drink a drink. A whiskey. Some coffee. And then I get to work.
POLLOCK pulls his pants down, revealing his bare cock, and pours cottage cheese over his head.
Justin Knudsen: Justin Knudsen
Justin Knudsen: Erik LaPointe
Justin Knudsen: Hilary Kelman
Justin Knudsen: Brady Blevins
Justin Knudsen: Eric Avery
Justin Knudsen: Justin Knudsen
Edward Gordon Craig: Brady Blevins
Your Mother: Erik LaPointe
Doctor: Justin Knudsen
Brady Blevins: Brady Blevins
Pollock: Adam Burnett
JUSTIN KNUDSEN
Hi. I’m Justin Knudsen. I’m an actor who also plays a person in real life. Tonight I will be interviewing a number of significant – um – figures and individuals and um – people who – have – done a significant amount of …things. Tonight we must move briskly, due to the strict measures placed upon my time here in this space with you here. Usually I do this for four hours straight, with or without people watching. Sometimes it’s just me.
On our schedule this evening: From 11 to 11:01 I will be interviewing Edward Gordon Craig. From 11:01 to 11:02 I will be interviewing Your Mother. And from 11:02 to 11:03, a certified doctor. From 11:03 to 11:04, I will be interviewing comedienne Brady Blevins. And - - oh here we are now. This is how it begins I guess.
EDWARD GORDON CRAIG enters
According to half a sentence I read on Wikipedia immediately prior to this interview: Edward Gordon Craig was an English modernist theatre practitioner; he worked as an actor, producer, director, and scenic designer, as well as developing a theoretical body of writing that - - (beat). Borrrrring. He wrote a scathing review about a performance of mine some years ago. But I’m willing to look past it if you are, Edward.
EDWARD
Not even in my memory now.
JUSTIN
I’m glad that works for you. Often known for her writings on the uber-marrionette, Craig - -
EDWARD
Her?!
JUSTIN
His – hers – sorry, it’s hard for me to tell by the features.
EDWARD
What’s a day like for you?
EDWARD
A day?
JUSTIN
A typical day. Wait a minute. I just got this – text – here. Huh.
EDWARD
Excuse me?
JUSTIN
No, no by all means, keep talking. It just says he’s not going to - My friend. Bob. He’s was supposed to pick me up. Damn. Is anyone – anyone here doing anything after this? Buy me a drink maybe and give me a ride? I’m uh - - …sorry.
Is it true you hate actors?
EDWARD
Acting is not an art. It is therefore incorrect to talk of the actor as an artist.
JUSTIN
I’m going to ignore that previous quote. Here. Just give us something. A quote I can use. The papers would love that.
EDWARD
There are still papers?
JUSTIN
Sometimes. There’s my paper.
Justin pulls out the JUSTIN KNUDSEN TIMES.
It’s for me.
EDWARD
What do you cover?
JUSTIN
There’s an article about pajamas…that I like. There’s an article about Thursdays. Um…
EDWARD
Is there still theatre?
JUSTIN
Oh, often.
EDWARD
Does it work?
Silence. JUSTIN is looking through his newspaper.
Does it work?
JUSTIN
Sodoku…do you Sodoku? Most this is…yeah…and crosswords, see.
JUSTIN starts working on a crossword. Ignores Edward..
EDWARD
Does it work?
Does it?
At least give me a quote.
The papers would love that.
Does it work?
JUSTIN
Oh, well, we are just about out of time. I’m sorry, Craig. Paaaaass the pigs!
EDWARD gets taken off stage by the audience as Shooby Taylor plays.
JUSTIN
I need a smoke. One moment. We have a minute.
He exits. As JUSTIN KNUDSEN exits, JUSTIN KNUDSEN enters.
JUSTIN
Hi. I’m Justin Knudsen from the Knudsen Times and tonight I’ll be interviewing your mother.
YOUR MOTHER
Sweetheart! It’s so wonderful to see you! All of you!
JUSTIN
How – long have you been a mother?
YOUR MOTHER
(to the audience)
Oh, goodness my oh my. You don’t ask a Mother that sort of thing. (beat) Thirty-three years.
JUSTIN
What – is – a typical day like for you?
YOUR MOTHER
(directly to the audience)
Oh, you know, I just wake up. I put the pot of coffee on for your father. And then, well, you know my bladder it just – well! – and there’s this ringing in my ear. It won’t go away. Your father thinks I’m going nuts. Of course. The ringing, this ringing in my ear is so loud sometimes I just – (whispers) I take a lot of pills that make me feel kind of funny, you know what I mean, sweetheart, and I just go right to sleep. I don’t think that’s like doing drugs, is it?
JUSTIN
(with a piece of paper)
If you curl up the end of it, it looks like a doll.
YOUR MOTHER
A doll?
JUSTIN
Like a little doll, “I’m a doll. Ra. Ra.”
I’m sorry, what were you saying?
YOUR MOTHER
Oh, I -
JUSTIN
Oh, darned, I believe we’re out of time. Isn’t that – just- the darndest.
YOUR MOTHER
Take care of your mother! Your mother is going to die if you don’t take care of her! Please take care of your mother!
YOUR MOTHER is taken off stage to Shooby Taylor.
JUSTIN
We got a few minutes left. I’m gonna get a cup of coffee and I’ll be right back.
JUSTIN exits. JUSTIN enters with a cup of coffee.
JUSTIN
Hi, I’m Justin Knudsen from the Knudsen Knews and tonight I’ll be interviewing a real doctor.
Doctor enters.
JUSTIN
Tonight we have a very important Dr. who has worked with many people? Is that correct to say?
DOCTOR
Are you a doctor?
JUSTIN
(beat)
I prefer to ask the questions, doctor.
DOCTOR
You’re not a doctor, are you?
JUSTIN
I can – what?
DR
I’ve already said too much.
JUSTIN
Have I said too much?
DR
I don’t - (sigh) Excuse me, but I don’t do this.
JUSTIN
Do what?
DR
I only talk to other doctors.
JUSTIN
You are a doctor though?
DR
Absolutely I am a doctor.
JUSTIN
You’re a doctor who only talks to other doctors.
DR
Precisely. I have no patients. Only other doctors.
JUSTIN
You have no patients at all?
DR
None at all.
JUSTIN
Do you have your own practice?
DR
Are you a doctor?
JUSTIN
Am I doctor?
DR
No, you are not. I’m sorry. I can’t be here.
Doctor leaves.
Justin exits. Justin enters.
JUSTIN
Hi. I’m Justin Knudsen from the Buran Theatre Company and tonight I’ll be interviewing comedienne Brady Blevins. Bwady Bwevins. Brrrraaaady Bwwwevins.
BRADY sits.
JUSTIN
Tell me a joke.
BRADY
What did the ghost do to the Hungarian fly?
JUSTIN
(pissed as can be)
What?
BRADY
Budapest.
Justin: No response.
JUSTIN
No. Next.
BRADY
What did the lawyer do to the crooked FBI agent with a cold?
Sudafed!
JUSTIN
- -
BRADY
Okay okay - one more. What did the lawyer do the crooked FBI agent with a cold - at night?
SUDAFED PM!
JUSTIN
No. No. Leave. Leave. Get off. Now. Leave. Now. Get off. No, faster. Leave. Go. Go.
Justin exits. Justin enters again.
JUSTIN
Hi, I’m Justin Knudsen. Our final guest tonight is an influential painter – and uh – mind – he paints and he has an influential mind. Ladies and gentlemen, Jacksen Polack.
POLLOCK
Pollock.
JUSTIN
Po-lack.
POLLOCK
Pollock.
JUSTIN
Nuh-uh. Polack.
Silence.
JUSTIN
What’s – um – what’s a typical day like for you?
POLLOCK
I go out to my barn. And I light up a cigarette. I drink a drink. A whiskey. Some coffee. And then I get to work.
POLLOCK pulls his pants down, revealing his bare cock, and pours cottage cheese over his head.
Friday, January 15, 2010
Buran Summit : Day Six
Some quotes from yesterday to start off with - I know others will piggy back on these and detail in their own words the discussion we had on form, structure, creation, and involvement in the event of performance on stage:
"[A move towards] structure in direction, not in expression." - Justin
"Crossing that line [between chaos and center] every time we get up to perform." - Jean
"The expression is individual, the direction, or structure, is the group." - Ben
"[A move towards] structure in direction, not in expression." - Justin
"Crossing that line [between chaos and center] every time we get up to perform." - Jean
"The expression is individual, the direction, or structure, is the group." - Ben
Thursday, January 14, 2010
Buran Summit: Day Five
Yesterday Jean Goto led us through a Jam Session, using a lot of Viewpoints and methods employed by the New York City based theatre company The Anthropologists. I feel blessed to have have worked with The Anthropologists briefly and it was such a wonderful gift for Jean to give this week of exploration by leading this Jam. The sense of community I've witnessed The Anthropologists enact within their own collective that extends to various boroughs throughout NYC, whether it be through a Salon Session or via their June 2009 production of Give Us Bread, it is surely a rare quality - one that is central to the work Buran does.
One of the discussion points that has come up time and time again this week is appropriation of work and the initiative to make it happen where ever one might be. Looking at the participants who have attended the summit - individuals from New York City, Minneapolis, Kansas City, Albuquerque, and Los Angeles - all of these folks have the potential to create Burans in their own community. A community invested idea that exists in one place but can be extended through the members of the company. Or even a text that can be performance in various communities but altered by the face of that community and the company performing.
This is the satellite system.
A recent company member who has utilized this concept is jazz bassist Ben Leifer who composed a piece in five parts (bass, drum, saxophone, piano) where he used Buran performance methodologies to enact a relationship between the event and the spectator. The workshop and discussion he led yesterday was quite earth shattering for many participants. Those who had been struggling with the idea of a Buran in structure were suddenly invigorated with a sense of possibility - one of: Yes! Why the hell not, I can do this too!
Some quotes from Ben when talking about his piece relating to Buran methodology in performance:
"It's when you are feeling like you're in the wrong place, that's when you're in the right place - that's the groove. To be absolutely consistent as you can be within the groove is what you're after."
"Keep your own self centered, but let the physical, that is, the rhythm, do its own thing. If you find this centered moment, the moment of unity within the chaos, even if it only occurs briefly. That's what makes a piece expand and contract."
"It is idea driven first, not harmonically driven."
"The space in a piece creates motion, thus, giving the spectator options."
and one from Jean:
"It's not the what. It's the when."
and Justin:
"It's less important what's written than what's happening."
I hope that others will write on here in the coming days.
As you can see, the conversations have been rich and thick. And the physical workshops have given us so many options as to where to lead the rest of this week as we prepare to perform a 7 minute Buran in a Cabaret on Saturday night as a part of Tricklock Company's 10th Annual Revolutions Festival.
Another thing I must mention is the true Generosity of Spirit that has been shared this week. That phrase was mentioned the first day and I believe it has become the phrase of the summit. A handful of folks in Albuquerque have opened their homes, and in some cases their family, to Buran - through group dinners, drinks and gatherings. It's this Generosity of Spirit that, for me, makes Buran so god-damned special and I am always overjoyed at our reunion as a collective of artists striving towards similar ideas.
As always, looking forward - that is, look forward to future posts on this here blog.
-Adam
One of the discussion points that has come up time and time again this week is appropriation of work and the initiative to make it happen where ever one might be. Looking at the participants who have attended the summit - individuals from New York City, Minneapolis, Kansas City, Albuquerque, and Los Angeles - all of these folks have the potential to create Burans in their own community. A community invested idea that exists in one place but can be extended through the members of the company. Or even a text that can be performance in various communities but altered by the face of that community and the company performing.
This is the satellite system.
A recent company member who has utilized this concept is jazz bassist Ben Leifer who composed a piece in five parts (bass, drum, saxophone, piano) where he used Buran performance methodologies to enact a relationship between the event and the spectator. The workshop and discussion he led yesterday was quite earth shattering for many participants. Those who had been struggling with the idea of a Buran in structure were suddenly invigorated with a sense of possibility - one of: Yes! Why the hell not, I can do this too!
Some quotes from Ben when talking about his piece relating to Buran methodology in performance:
"It's when you are feeling like you're in the wrong place, that's when you're in the right place - that's the groove. To be absolutely consistent as you can be within the groove is what you're after."
"Keep your own self centered, but let the physical, that is, the rhythm, do its own thing. If you find this centered moment, the moment of unity within the chaos, even if it only occurs briefly. That's what makes a piece expand and contract."
"It is idea driven first, not harmonically driven."
"The space in a piece creates motion, thus, giving the spectator options."
and one from Jean:
"It's not the what. It's the when."
and Justin:
"It's less important what's written than what's happening."
I hope that others will write on here in the coming days.
As you can see, the conversations have been rich and thick. And the physical workshops have given us so many options as to where to lead the rest of this week as we prepare to perform a 7 minute Buran in a Cabaret on Saturday night as a part of Tricklock Company's 10th Annual Revolutions Festival.
Another thing I must mention is the true Generosity of Spirit that has been shared this week. That phrase was mentioned the first day and I believe it has become the phrase of the summit. A handful of folks in Albuquerque have opened their homes, and in some cases their family, to Buran - through group dinners, drinks and gatherings. It's this Generosity of Spirit that, for me, makes Buran so god-damned special and I am always overjoyed at our reunion as a collective of artists striving towards similar ideas.
As always, looking forward - that is, look forward to future posts on this here blog.
-Adam
Wednesday, January 13, 2010
Buran Summit: Day Four
We had another participant join us yesterday, Jean Goto from New York, a member of the theatre company The Anthropologists. Having another join the group was revitalizing. We jumped back into working with the Buran script Bournijka the Boxer: American Mythology, Vol. 1. This led us into writing more personal mythologies, sharing them, and getting them up in their feet for a blizzardy devising session. Five narratives playing themselves out in tandem in the space. I believe today Ben Leifer in his session will find a means to relate this blizzardy effect of performance in Buran to his recent composition.
In the evening we joined Laurel Butler and the cast and creative team of The Great Negocio and did some clowning. Laurel and her creative team were so gracious to let us be a part of this workshop. It was a special moment for everyone to don the red nose and to play within Laurel's clown pedagogy. An exercise that closed out the workshop was The Awkward Moment - where two clowns started off dancing to music, when the music stopped the two clowns had to make contact with the spectator, looking straight at then, share a moment, and then investigate within that Awkward Moment.
That moment of confronting the spectator was so invigorating and a performative flair that we often encounter in Buran rehearsals and performances. Many commented that we had actually never done a lot of clown work before, but the physical minded approach was familiar and the sense of play and chaos were similar in certain respects to how we enter the rehearsal process for a Buran.
Sharing this week and finding the similarities that keep us bound as a community of artists is what has made this week so special.
I expect there to be many posts to come from the various individuals who have been in Albuquerque this week. So - stay tuned!
-Adam
In the evening we joined Laurel Butler and the cast and creative team of The Great Negocio and did some clowning. Laurel and her creative team were so gracious to let us be a part of this workshop. It was a special moment for everyone to don the red nose and to play within Laurel's clown pedagogy. An exercise that closed out the workshop was The Awkward Moment - where two clowns started off dancing to music, when the music stopped the two clowns had to make contact with the spectator, looking straight at then, share a moment, and then investigate within that Awkward Moment.
That moment of confronting the spectator was so invigorating and a performative flair that we often encounter in Buran rehearsals and performances. Many commented that we had actually never done a lot of clown work before, but the physical minded approach was familiar and the sense of play and chaos were similar in certain respects to how we enter the rehearsal process for a Buran.
Sharing this week and finding the similarities that keep us bound as a community of artists is what has made this week so special.
I expect there to be many posts to come from the various individuals who have been in Albuquerque this week. So - stay tuned!
-Adam
Tuesday, January 12, 2010
Day Three: Buran Summit
Yesterday we began with a workshop conducted by Eric - who is working on a methodology of performance that engages both the physical and emotional life of the actor. He is particularly interested in using this methodology in drama therapy. Participants were led through a workshop where they played with and discovered rhythmic patterns based off of key words Eric had chosen to use. I had to leave half way through the workshop to pick up Ben at the airport, who joined us from Kansas City yesterday, so I did not get to stay for the whole session. I am sure that there will be further written on this by any of the numerous participants communing here in Albuquerque this week.
In the afternoon we workshopped a new play by Josh, or rather Josh gave us a little bit of "Greek Mythology 101" before jumping off and talking about his own process and means of attack on his new work. After seeing a production of Sarah Ruhl's "Eurydice" last year he was invigorated by the experience but not fully satisfied by the script's outcome. This sent him into what has been almost a year of writing and investigating and sharing and getting down to writing a triptych of plays centered on Eurydice, Orpheus and Persephone. Josh spoke breathlessly about his work and although we did not get a chance to read it out loud or get it on its feet, a very important dialogue occurred for Josh as the playwright. These type of dialogues will continue throughout the week, both in Summit sessions and outside of them.
One of the most exciting elements of this week is Tricklock Company's Revolution Festival - a three week long festival that brings in theatre companies from all over the world.
In the evening the company attended the Tricklock Company Revolutions welcome party, where we perhaps drank a bit too much and spoke a bit too loud, but in the process met members of the Polish company Teatr Figur, who are in Albuquerque to co-produce a show with Tricklock.
All in and all in was another wonderful day of work and creative exploration.
As fast paced and busy as this week has been, these daily updates are certainly brief and only distill the sweeping events of the day. Once the summit is over I hope to go into more specifics about the overall happenings - workshops, discussions, roundtables, new theories, new texts- and how they can be shared and extended to our sallelite system that reaches from Los Angeles across the country to Kansas City, onto New York City and across the waters to Lithuania.
As it was said by Summer, co-artistic director of Tricklock, last night, "Buran is so different from anything I've encountered in American theatre - you have the potential to have Burans occuring in different places and different times all over the world. And that's a rare and special thing." Everyone who was in on this conversation agreed.
And I have to say, from my own eyes and participating in the work being done this week: Yes, this is very much possible.
-Adam
In the afternoon we workshopped a new play by Josh, or rather Josh gave us a little bit of "Greek Mythology 101" before jumping off and talking about his own process and means of attack on his new work. After seeing a production of Sarah Ruhl's "Eurydice" last year he was invigorated by the experience but not fully satisfied by the script's outcome. This sent him into what has been almost a year of writing and investigating and sharing and getting down to writing a triptych of plays centered on Eurydice, Orpheus and Persephone. Josh spoke breathlessly about his work and although we did not get a chance to read it out loud or get it on its feet, a very important dialogue occurred for Josh as the playwright. These type of dialogues will continue throughout the week, both in Summit sessions and outside of them.
One of the most exciting elements of this week is Tricklock Company's Revolution Festival - a three week long festival that brings in theatre companies from all over the world.
In the evening the company attended the Tricklock Company Revolutions welcome party, where we perhaps drank a bit too much and spoke a bit too loud, but in the process met members of the Polish company Teatr Figur, who are in Albuquerque to co-produce a show with Tricklock.
All in and all in was another wonderful day of work and creative exploration.
As fast paced and busy as this week has been, these daily updates are certainly brief and only distill the sweeping events of the day. Once the summit is over I hope to go into more specifics about the overall happenings - workshops, discussions, roundtables, new theories, new texts- and how they can be shared and extended to our sallelite system that reaches from Los Angeles across the country to Kansas City, onto New York City and across the waters to Lithuania.
As it was said by Summer, co-artistic director of Tricklock, last night, "Buran is so different from anything I've encountered in American theatre - you have the potential to have Burans occuring in different places and different times all over the world. And that's a rare and special thing." Everyone who was in on this conversation agreed.
And I have to say, from my own eyes and participating in the work being done this week: Yes, this is very much possible.
-Adam
Sunday, January 10, 2010
Day Two
It was another enriching, fulfilling day here in Albuquerque. We worked as a group on a new Buran script, Bournijka the Boxer: American Mythology Vol. 1. After reading a selection we each wrote our own personal mythologies and shared them with the group in order to actualize the ideal of universal text appropriation between our members; one quality of a Buran event is its ability to be formed and re-formed depending on the location, culture and peoples of the community in which it is occurring. And the stories were pretty damn interesting. And a little bit giggly.
After lunch, Carter shared with us his new project based upon the life and adventures of Lewis Meriwether. An articulate discussion followed as to the research, current process and future of the work-in-progress. It was very exciting to be working as a company on the development of new work and thank Carter for sharing with us. I won't say too much as Carter will be posting his own thoughts later in the week.
-Justin
---------
Over the past two days there has been a phrase that has been brought up again and again - "Generosity of spirit."
This has been exemplified in so many ways in the past 48 hours - in the sharing of homes and rehearsal spaces and texts and ideas. Or as Josh put it, "A positive infection that spreads itself over the group." (We've been using many colorful metaphors this weekend...).
This afternoon Erin and Casey came in and shared with us their aspirations for an Albuquerque New Play Initiative - a theatre with development of New Plays, specifically, in mind for the 21st century.
More to come!
Adam
After lunch, Carter shared with us his new project based upon the life and adventures of Lewis Meriwether. An articulate discussion followed as to the research, current process and future of the work-in-progress. It was very exciting to be working as a company on the development of new work and thank Carter for sharing with us. I won't say too much as Carter will be posting his own thoughts later in the week.
-Justin
---------
Over the past two days there has been a phrase that has been brought up again and again - "Generosity of spirit."
This has been exemplified in so many ways in the past 48 hours - in the sharing of homes and rehearsal spaces and texts and ideas. Or as Josh put it, "A positive infection that spreads itself over the group." (We've been using many colorful metaphors this weekend...).
This afternoon Erin and Casey came in and shared with us their aspirations for an Albuquerque New Play Initiative - a theatre with development of New Plays, specifically, in mind for the 21st century.
More to come!
Adam
Saturday, January 9, 2010
Buran Summit: Day One
Jan. 9th:
We had such a productive day for our first day of the summit. In the morning participants were led through a typical Buran workshop (see "Sustained Applause" part 3) and in the afternoon we had a thick three hour discussion about the community of Buran, it's means, purpose, and involvement. Those who were a part of this discussion included Brady Blevins, Eric Avery, Val Smith, Lara Thomas-Ducey, Erin Phillips, Joshua Efron, Nick Kostner, Carter Waite, Justin Knudsen and Erik LaPointe. Joining us over the coming week will be a number of other artists from around the states including Casey Mraz, Hilary Kelman, Jean Goto, Laurel Butler, Ben Leifer, and Alex Haynes.
All of our minds are rattling with so many creative ideas and impulses that it's honestly quite difficult for me to distill everything that was dealt with in our first day. But the general consensus is that everyone is pretty thrilled to be sharing this time together to create, investigate, exchange, and extend.
Expect a more detailed report tomorrow from both Justin and myself.
-Adam
We had such a productive day for our first day of the summit. In the morning participants were led through a typical Buran workshop (see "Sustained Applause" part 3) and in the afternoon we had a thick three hour discussion about the community of Buran, it's means, purpose, and involvement. Those who were a part of this discussion included Brady Blevins, Eric Avery, Val Smith, Lara Thomas-Ducey, Erin Phillips, Joshua Efron, Nick Kostner, Carter Waite, Justin Knudsen and Erik LaPointe. Joining us over the coming week will be a number of other artists from around the states including Casey Mraz, Hilary Kelman, Jean Goto, Laurel Butler, Ben Leifer, and Alex Haynes.
All of our minds are rattling with so many creative ideas and impulses that it's honestly quite difficult for me to distill everything that was dealt with in our first day. But the general consensus is that everyone is pretty thrilled to be sharing this time together to create, investigate, exchange, and extend.
Expect a more detailed report tomorrow from both Justin and myself.
-Adam
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