Contemporary  American  Women  Playwrights’  Transatlantic  Odes  to  Lightness    An  homage  to  Maria  Irene  Fornes  and  her  disciples  in  the  form  of  a  collage  of  reflections,  pictures  and  poems          

Ana Fernández-Caparrós Turina Universitat de València XI International Conference on Women’s Studies April 8-10th 2014 GENDER STUDIES: TRANSATLANTIC VISIONS

1.  Lightness    

There is such a thing as a lightness of thoughtfulness, just as we all know there is a lightness of frivolity. In fact, thoughtful lightness can make frivolity seem dull and heavy.   Were I to choose an auspicious image for the new millennium, I would choose...the sudden agile leap of the poet-philosopher who raises himself above the weight of the world, showing that with all his gravity he has the secret of lightness, and that what many consider to be the vitality of the times – noisy, aggressive, revving and roaring – belongs to the realm of death, like a cemetery of rusty old cars.   Italo Calvino, Six Memos for the Next Millenium  [1985]

American Buffalo, David Mamet (1975) Teatre Lliure’s 2010 production, directed by Julio Manrique Fotograph by Ros Ribas

True West, Sam Shepard (1980) University of Missouri 1987 production directed by Larry Clark

Eurydice, Sarah Ruhl (2003) Directed by Blanka Zizka at The Wilma Theater, Philadelphia Designed by Mimi Llien

The Clean House, Sarah Ruhl (2004) Lincoln Center 2006 production directed by Bill Rauch. Design by Christopher Acebo.

“Make a spirit thing out of nothing. Call it a play.” Theatre begs ascension. its vertical pull tugs at the heart and heavens whilst reminding you to keep your ear to the ground alive to the beauty in the dirt (clip)

2.  Caridad  Svich’s  Stylistics  of  Being  in  the  Theatre  

 Acceptance  Speech  in  receiving  the  2012  Village  Voice  Obie  Award  for  Lifetime  Achievement  in  the  theater    “Make a spirit thing out of nothing. Call it a play.” Theatre begs ascension. Its vertical pull Tugs at the heart And heavens Whilst reminding you to Keep your ear to the ground Alive to the beauty in the dirt. As you stand at theatre’s door – Strange, mysterious, elusive, maddening - You are nonetheless charmed by it s glamour. What beggar this, the door says? And so, we walk in. Young night of silver stains as we stand in smoke Inside the den where loud and fast meets the acid glow Of rushing boys and lingering girls and cigarettes dangling from canvas totes

We pose and slack and hang in throes never letting on. This is the way we all go As we face the slanting light in the unknown dark: A wee holler, a wild shout, exclaiming the furious game of living – Hold on, we say, While we wrestle the demons in our midst, Hold fast n strong And never, never let on Cuz the truth will find you the truth of making will catch you and maybe, just maybe, sometimes when you’re not (even) looking, save your very soul. But we won’t let on, right? Cause to let on would be To let on Would be Like, the worst thing Ever… All seen All been  All there and now Never letting on    

 

3.  Linguistic  spareness    

Irene with Greek Sculpture, Unknown date

A double Haiku for Irene because she detests the Ordinary, by Migdalia Cruz

In six lines or less I must honour the teacher Who gave me the moon. It was an honest, Clear, yet savage light, poured from desire’s heart-fire.

   

A Poem for Irene Fornes by Caryl Churchill.   When I feel sick of Plays, writing, theatre, The whole business, I Sometimes think of yours And get a flicker Of what it is I Like about it all.   And I liked meeting You and your mother In that hotel room. She was a hundred Asleep on the bed In her black hat and Woke to say good-bye.   Thank you for both of those.    

Maria Irene Fornes and her mother Carmen. Photograph by Robert Giard, 1990.

FELA: (Lowers her head)... I raised you wrong. You didn’t have a father. And you didn’t have a family. Just me. I didn’t teach you right. SARITA: It’s not that, Mami. You taught me right. (She holds Fela tightly.) It’s just that I don’t understand.... I’m a savage.... Other people don’t have to learn how to be. But I’m a savage. I have to learn how to lead my life. (She cries. Fela puts her arms around her. Lights fade to black. Music is heard) Maria Irene Fornes, Sarita (1984), Scene Two – I’m pregnant.

Maria Irene Fornes, Sarita, Scene Two: I’m pregnant. Strange Days’ Production presented at IX International Conference on Women Studies, March 2009  

4.    New  York  City’s  Transatlantic  Convergence(s)      

En Attendant Godot, Samuel Beckett (1953) Roger Blin’s production at Théâtre de Babylon

Mud (1983), Maria Irene Fornes

Directed by the author at the Theater for The New City, November 1983.