Some final classroom work. #performanceart should be a required course for all serious #theatrescholars #theatrestudents

I was able to, at long last, stumble through a clearing and discover an articulation for the sort of work I wish to see (and/ or make) most in the world.

1. Conceptual. (Less personally or politically sparked as apparent in a widely observed trend and tradition in 'solo' performance art; rather, rooted in theoretical, sometimes even explicitly philosophical inspirations. I often, as director or performer, embody the work as a psychic landscape in reckoning of a post-traumatic event. The grounding of the work typically finds materiality/reality through a dynamic , almost animistic to props/objects where their power over me and somewhat interpersonal exchange/use becomes critical action for the performance scenography and spectacle. In these frames, I naturally arrive at an internal logic that can exist for me to be free yet/without constraints, and therefore the content of my work seeks to live with, in, at, on, and of this duality, or tension.

2. Postmodern. There's consistent intersections of contemporary media, symbolic gestural movement, and juxtaposing subjects in my work to enact a crisis-of-ambiguity. A myriad of phenomena are given primacy in spectacle to mirror an overt saturation of our current experience of Beinh in Society. Forms are meant to show contradictory fields of values that modern humanity is forced to reckon with. The necessity to create, out of patchwork sources, an ad hoc ritual language is often apparent. In pattern also is a highlighted failure to coherently devise new, potent and lasting rituals. Inadequate philosophy, religion, and culture entrap the postmodern human in a futile game that is rigged against the evolutionary inheritance of their psyche. Will our psychology adapt before culture has exponentially disappeared before our very eyes? Does that which is in us stand a chance to ever stride along side, or even, preclude, the impulse of culture (as it once must've relation been? )

3. Theatricalized. A narrative basis - however abstract - is buried deep in my work and is rooted in a spirit of intention. I embrace non-literal means so that an active interpretative can be made by any audience as to my motive without any meritable judgement held against their cloak. By this practice, I am no more authority to what transpires as is my audience. My work is not about the inner narrative so much as it _is_ that very narrative, in that it is inner, and simultaneous, and of -threaded in my program so that it may be a vehicle for its structure to be passed through, yet more mechanically engaged than my audience, whom with virgin ears/eyes witness a birth of my unknown with imaginations so active to