Re: RAT FWD: Scalia's legal vision is blinded by his ambition

[Mary Ann McGivern <mmcgivern@stlnet.com>]

I've found it to be a facile discussion all fall. I was very
disappointed that people repeated the obvious points, didn't analyze the
corporate role or militarism or the experiences of the poor, didn't
consider whether the political choices would be felt by us. Politics
would appear to be an interesting game, not something that matters. I
was disappointed that I received only one off-line exchange about the
plea from Palestinian theater groups for support from U.S. artists.

I was disappointed that no one picked up Erik's suggestion that RAT
explore hospitality or the LA offer of a dramaturg conference because
face-to-face is what we do.

What is the role of the artist in a political crisis? What is the role
of the artist who lives in the United States? Do we let commercialism
coopt us? I hope not. Do we become haranguing pedagogues? I hope not.
Brecht took a year off writing to study economics. Boal seems to spend
more time teaching protesters than playwrights. A small group in Derry
has been meeting every Saturday afternoon for twenty years to do
political street theater (with ten years time out for at least one
member who was imprisoned for IRA activity).

I've written four plays that address sheltering the homeless and
protesting weapons manufacture. They got local productions but nothing
more. I've done a little bit of prison theater. (They are all funny.
They don't harangue.) But mostly I've done purer political work:
researching arms trade, writing political tracts, and organizing
demonstrations and actions.

I'd like to hear how others connect the crises that surround us to the
work of wrighting plays.

Mary Ann