3 pieces that resonated w/ me:
1:"one of the greatest dangers of these events are that they will further aggravate and global climate of belligerence and defensiveness based on differences in culture, religion, and nationality"(1).
When making art, whether traditional visual art like paintings or installations or creating devised work, I prefer to get political. The first show I produced in high-school was a farce about theater from an "insider" POV- it spoke heavily on the pay gap between different production roles, sexism, and nepotism. Another farce focused on war and greed within the upper class. A huge consideration for me in my work is humor: I like to shape a room of people to be comfortable enough to acknowledge uncomfortable realities within a piece so that they leave the room thinking rather than dismissing.
2: I also like the idea of bringing people from very different backgrounds together to work on a common goal- I feel like this is a central idea within themed entertainment already, especially in the community of devised work.
Q: how can we better incorporate methods like this into CalArts for problems in our community?
Q (straight from reading): how do we form collective or community without scapegoating those who are excluded from them? (8)
-3: I find this and the issue of cross-cultural works w/o sacrificing identity in my devised practice all the time. In an effort to make better and informed work - we sometimes lose what makes the piece unique. In trying to maintain the heart of a piece, team members who are separate from that core process can be excluded in a way that can't easily be explained through words in matters where lived experience informs the piece.
Q: outside of standard theater, how can we use performance or themed experience art as conversation/dialogue?
1:"one of the greatest dangers of these events are that they will further aggravate and global climate of belligerence and defensiveness based on differences in culture, religion, and nationality"(1).
When making art, whether traditional visual art like paintings or installations or creating devised work, I prefer to get political. The first show I produced in high-school was a farce about theater from an "insider" POV- it spoke heavily on the pay gap between different production roles, sexism, and nepotism. Another farce focused on war and greed within the upper class. A huge consideration for me in my work is humor: I like to shape a room of people to be comfortable enough to acknowledge uncomfortable realities within a piece so that they leave the room thinking rather than dismissing.
2: I also like the idea of bringing people from very different backgrounds together to work on a common goal- I feel like this is a central idea within themed entertainment already, especially in the community of devised work.
Q: how can we better incorporate methods like this into CalArts for problems in our community?
Q (straight from reading): how do we form collective or community without scapegoating those who are excluded from them? (8)
-3: I find this and the issue of cross-cultural works w/o sacrificing identity in my devised practice all the time. In an effort to make better and informed work - we sometimes lose what makes the piece unique. In trying to maintain the heart of a piece, team members who are separate from that core process can be excluded in a way that can't easily be explained through words in matters where lived experience informs the piece.
Q: outside of standard theater, how can we use performance or themed experience art as conversation/dialogue?
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