COVID Playwright Updates
During 2020-21 I have continued to develop my play Super Perfect via Red Stitch Theatre INK script development program. It's been a privilege to still have this work held by the company and the brilliant team of artists developing it with me during this strange and turbulent time.
My play THE GOOD SAMARITAN was recently named a Featured Finalist for American Blues Theater's Blue Ink Prize (in Chicago). My hour-long drama GRANITE SPRINGS was selected for the 2020 Orchard Episodic Project. And I was recently commissioned by the National Theatre of Genoa, along with an international roster of playwrights.
I am writing this on the fourth day of France’s third lockdown, in a rare moment of solitude. My children are with their dad who no longer lives with us—we separated between the first and second lockdowns. Most of the time, it’s just me and the girls. Sometimes cookies get made. Not a lot of writing gets done.
Deadline 2037 was given a virtual staged reading at the 2020 Playwrights Festival presented by Mill Mountain Theatre and the Playwrights’ Lab at Hollins University in Roanoke, Virginia in July. My new play Lucia will be presented in a virtual staged reading on April 8, 2021 in the Discovery Reading Series presented by Hollins University. My short play Local Deity was given a virtual staged reading as part of the August 2020 Mind the Gap Theatre Workshop, presented by the New York Theatre Workshop and Arts West, and my five-minute radio plays Helen & Moira and Work Friends were read at Hollins University’s Playwrights’ Lab No Shame Theatre in July 2020.
During COVID, I began my first year as an MFA student in playwriting at Hollins University’s Playwrights’ Lab, in Roanoke, Virginia, with all classes and events on line. The program is an intensive six-week summer low-residency MFA; students take from 4-5 years to finish requirements. We’ll be online in 2021 too.
Thanks to the invitation of WPI, we have started rehearsing for a new version of WKTE after a nine-year hiatus in HK. Before visiting Montreal, we are trying our best to realise the production in our home city engulfed by intensifying censorship and control. It is still unbelievably hard to accept the fact that art making has now become a risky act. But it is equally difficult for us to betray what we trust: in theatre solidarity and spiritual support will be gathered, as there will always be singing, in and about the dark times.
I am currently working on an experimental research on performative writing, live and documented performance and fictive restrospectral publication called 'Modification as a mode of resistance' as part of my MA program in Live Arts and performance Studies Program at Theatre Academy of University of Arts in Helsinki, Finland. In autumn 2020, I have co-organized a performance festival in Helsinki called LAPSODY Para-matter, where I also performed a co-authored trilogy called Things Other People Do and Double Dare. My dystopian essay The Sludge Puddle Rainbow was developed into a podcast by European Theatre Collective and I was selected as one of the 6 resident artists of veiculo Sur international artist residency.
I feel that my life in pandemic has been somewhat dream-like. I was very often under the impression that reality is in a certain entropy and that I live in a sequence of déjà vus, bad news, nature retreats, home office, online yoga classes and mild chronic pains. I was nevertheless able to see the Adriatic sea and swim in it, and travel the neighboring countries for the artistic residencies. I have continued to work on several projects in different media, and 2020 might have even been the year in which I was the most over-worked and maybe for the first time, paradoxically or not, relatively satisfied with a financial payoff of all that work. Among other things I had an online reading of All Adventurous Women Do as a part of IVP Chicago festival, directed by Anna Bahow with an amazing cast; just had a premiere on an online edition of Berlinale Film Festival as a co-writer of the feature film Celts directed by Milica Tomović; and collaborated on several theater, literary, film and visual arts projects. On top of it all - I started working on a debut novel with a working title ‘The National theater’. My biggest aims for 2021 to keep the sanity in an information over-flow, to find better work-life balance and to go to the coast again.
One of the things that I've been working on during the pandemic is this Field Guide to Creative Collaboration in Digital Spaces:
En cuanto a la actualización de las actividades. En lo personal en plena pandemia he realizado "OTRA COSA" dentro del programa Intervenciones del Espacio Doméstico, un proyecto del Museo Universitario Chopo que realizó con 7 artistas diferentes y que mi creación es una reflexión sobre el teatro en el contexto de pandemia y cómo habitamos el espacio y las relaciones que allí se suceden. Ese trabajo puede verse en la siguiente liga: http://www.chopo.unam.mx/01ESPECIAL/artesvivas/escenaviva.html
Formé parte del equipo que montó La Compañera en Santiago de Chile, bajo la dirección de Carla Romero, colaborando artísticamente en la puesta digital que estrenó en el segundo semestre de 2020.
Me he dado a la tarea de corregir y ensayar la versión digitial mexicana de La compañera para su próximo estreno a principios de Mayo.
En paralelo continúo elaborando una escenificación de un texto no dramático: "Ella existe"
Para mi la vida a partir del covid ha sido un intenso replanteo de una pregunta que indago hace años ¿cómo vivir? ¿cuál es la mejor manera?
Hace cuatro meses me mudé de la Ciudad de México al campo en donde tengo mucho más trabajo, y por ahora, menos comodidad, pero un mayor equilibrio y un contacto con el entorno más vital y menos mediatizado. No sé si es lo mejor para mi, aun no sé si es lo que quiero, sigo poniéndole el cuerpo a la pregunta de cómo vivir.