Anything with Barbies TM is High Art. These dolls are so iconic. Humans are highly overrated as story-telling mediums. I want to use Barbies in a stage piece I’m writing called “Julie Lewis in the Circle”. I meant, “I want to abuse Barbies in the stage piece I’m writing.” Ruin them. Utterly. The things one can do with a Barbie that one couldn’t do with a human on stage. Rip their heads off, beat them with a hammer, rape them with a pencil. Grind their faces off with a Dremel. Melt them with an oxy-acetylene torch. Using Barbies allows me to go way over the top in my story of child abuse and its repercussions into adulthood; and yet allows me to keep the audience in their seats, watching, instead of running out into the lobby to dial 911.
Posts Tagged ‘performance art’
One Woman Performance Art
Sunday, August 15th, 2010Spalding Gray: I’m a Few Years Late
Monday, July 26th, 2010
It was surreal—I kept waiting to read that it was a performance piece. Couldn’t quite believe he was dead. It’s personally disappointing to me that a performer who had such connection with his audience and such success–that people wanted to pay to hear him –still could be suicidal.
Meisner Technique, Part One Zillion
Friday, April 9th, 2010
Sandy Meisner was a famous acting coach and not-so-famous actor. Some of his students were Robert Duvall, Diane Keaton, Jon Voight, Kim Basinger, Sandra Bullock, Syndey Pollack and Philip Seymour Hoffman. There is a famous tale (at least, a tale famous in the acting & film community) of Sandy playing a minor role on stage, crouching upstage painting a wall while two other characters are standing, having dialog downstage. In this tale as it is told, all audience eyes are on Meisner, not on the actors who are talking.
This story raises the question, “When is it okay to ’steal the scene’?” What if you are a stronger actor–how much do you flatten your work to compensate for the rest of the cast being too fake, phony and generally bad?
A couple years ago I was the Matchseller in Pinter’s play of the same name. For those who don’t know, there is a married couple and this weird Matchseller. The Matchseller does not speak throughout the play. When the couple is arguing downstage, I am left alone in a chair upstage. I arrange my matches in their precisely correct positions, for they are very important to me.
After the opening night, the director told me to quit being so involved in my task, as I was pulling focus from the other 2 actors.
“Hell, I say, if they want focus, let them be better actors, then.”
This, I said to myself, not to the director. But, really, should I be a crummy actor and just sit there in a chair because I have no lines and because other actors can’t act?
The Cavemen Had Storytellers, Too
Thursday, November 12th, 2009As performing artists, our role has been, since the cave-dwelling days, to channel the fears of our communities (however they are now defined) back to the community members, and to throw some hope, love, and explanations of a better way into the mix before we feed it back. Performers and storytellers used to explain the magic workings of the universe to the cave-peeps; maybe we still do.
Actor Writes Haiku about Performing
Tuesday, September 29th, 2009Grand practitioner //
Of truth in performing arts //
Rachel Rosenthal //
One man didn’t clap //
He must have hated the show //
My work must have stunk //
Someone’s not laughing //
Am I saying my lines wrong? //
I’m spoiling the show //
Someone is laughing //
This is the funeral scene //
Spinach in my teeth? //
Boiling inside me //
LoveFearLustRageHungerJoy //
Propelled by the script //
Seeking Advice on a Story-Line for a Live Show
Monday, July 27th, 2009Dear readers, dear, dear readers,
Once again, I solicit your kind advice on my projects.
I have these following items and wish to include them in a performance piece. I need your help developing a story-line:
- Chirpy’s feathers wrapped in a velvet cloth.
- Some of my baby teeth in a cute little pink box. (Thanks to my sister Deb for rescuing these from the moldy depths of the junk pile in my mother’s garage when we were selling her house.) Please consider, though, for purposes of artistic integrity, when offering your thoughts on how they might be used: it’s not a full set of teeth. Also, I have only Deb’s word that these are mine and not hers, having wiped all memories of my youth. Deb, to the contrary, claims we had an idyllic childhood.
- #30 adult tooth along with the dental abscess which triggered its removal. Huge though the abscess remains, even in its 1-year post-removal dehydrated state, I wonder why the damn cutter didn’t just take it out and leave me my tooth which is so useful for eating filberts. I rage against surgeons whose only answer is to cut. I suppose if you’re an elephant, everything looks like a dental surgeon to you. I told the hygienist that I was still in mourning for my unnecessarily removed tooth. She said I should get over it. She is heartless. The abscess is in one of those bug-collector jars…all magnified from every side in its Zombie glory.
- Lovely amethyst-colored small glass apothecary jar containing with tiny hairs I have pulled from my jaw line. Jar is full.
- Tupperware boxes, sized to fit under a bed. 9 of same. Each with a dead cat of varying age. It’s hard to tell Forty from Manny at this stage (they were both all black and both have lost considerable weight since being boxed) but the rest have distinctive cute little faces. Please take into consideration that any use of these during a performance piece must ensure that they remain intact for future brooding and melancholia…or future performances.
- One uterine fibroid tumor.
- One (almost complete) Phyllodes tumor preserved in formaldehyde. About the size of a walnut. Several slices have been removed for diagnostic purposes. Nevertheless, it retains an elegant, shimmery and somewhat rubbery appeal. Attendant “negative margin tissue” is not available for performance purposes, having been used for research. Possible use as a juggling ball, along with the fibroid above, as both are round; what would I use for a 3rd ball?
- Grandma’s fur coat.
- Mother’s fur coat.
- 400 naked Barbie knockoffs (the Dollar Store kind.)
What is the story arc here? How do you see the show unfolding? What sort of costume shall I wear? You don’t think this show will close after one night, do you?
Carlos Andrés Gómez
Thursday, September 25th, 2008.
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Carlos Andrés Gómez
a performing artist
real beautiful deep love stirring glue hypnotic stunning stun-gun raw alive guts exposed sexual committed human compassionate intense focused believes feels searing art craft bodily mindmelding holy fire present
he is present
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Michelle Shyman
Michelle is..
an actor, performance artist, screenwriter, indie filmmaker…

SHE wants YOU to cast HER in lead roles where sexy middle-aged women have hot affairs with younger men.
Senryu 38: Many times I’ve said// “I love your work.” I was false.// I loved his body. //
…then I put stuff about awards & nominations…
I was nominated for Best Supporting Actress by Women in Film/Seattle for my work in Apart From That. My screenplay Service Dogs has won 2nd and 3rd place slots in several screenplay competitions.
…then I write something funny…
Senryu 92: I wrote a screenplay.// My brilliant, unique story:// Tits and car crashes. //
Michelle can currently be seen performing in … well, is currently writing … a multi-media live / filmed performance with elements of insanity.
…then I talk about some of my projects, past & present…
- --Judge for NW High School Film Fest
- –99th percentile reTweeted poet on Twitter (on-and-off)
- –Creator of Coaching Actors On Set: A Class for Directors
- –Teacher of Coaching Actors at the inaugural Ellensburg Film Festival
- –Executive Director of the Women in Film/Seattle “Nells” Awards (2006)
- –Film Festival Director for Lake 2 Sound Student Film Fest (2005=2006)
- –former Correspondent for Cinema Minima
In my work, my goal is to present fictional narrative entertainment that inspires people to change the world.
The lovely talented insightful passionate sensitive responsive intuitive Michelle is also available to coach actors on-set (I work for the director.)
…she doesn’t like to admit…
Senryu 12: Why be sensible? // Life is tough and painful. // Just become a clown. //…you know…
Senryu 255: Only second place // In the comedy finals // But won the Angst Fest //…um…
that she also does corporate work.
If she’s broke.
Senryu 111: Once. Until. And then // Danger. Lose. Reverse. Then win; // Resolve. Three-act-ku.//Pages
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