Everything Interesting Happens at the Edges
Everything Interesting Happens at the Edges
May 14, 2018, 12:20 am
Filed under: feminism, Leadership, Non-Profit, theatre | Tags: American theatre, American Theatre Magazine, edges, Fringe, inside, marginalization, Monica Byrne, outside, outsider, periphery
I remember reading about this concept in a book or a magazine or publication of some kind. I wish I could remember what the book or magazine was or who wrote it — but the memory is just at the edge of my consciousness, the way the beach is at the edge of the sea, the way the spaces between us are the places that intrigue, the way disparate parts meet each other somewhere, the way the edge of a bubble is what is vulnerable to popping. The margins, the edges, the fringes are where we are drawn again and again. That is where the action is.
I was thinking about this idea again while watching the first stages of the inspiring, intrepid Monica Byrne calling out large institutions of American Theatre. I could not help but imagine how the insiders of the American Theatre Bubble would react and respond to her criticism. I thought — “They’ll label her an outsider. They’ll question her credentials. They’ll dismiss her as someone outside the bubble, throwing stones. They’ll say she’s only criticizing because the big institutions haven’t produced her work.” I have no idea if anyone actually said that or thought or whispered it in their boardrooms — but I have seen it happen before in theatre and in many other arts and arenas. And it is why and how I am usually dismissed myself — so I’m pretty familiar with the pattern.
Seeing it outside of my own experience, though, I started to understand that criticism usually HAS to come from the edges, from the margins. Those of us at the edges have much less to lose by telling truths. (And to be clear, I think Monica is as much a theatre artist as any of the major theatres that she has tweeted to, if not more so — but there is a very narrow band of insiders that I mean to point to, the ones with deep pockets and endowments.)
Before I quit being a teaching artist, I had a lot to say about the field and what I saw happening in arts organizations but I did not feel free to share any of those things until I was prepared to give them up. My sense of freedom to say what I felt needed to be said was in direct proportion to how much I wanted and/or needed to keep my jobs. That is, while I was an insider, it was not in my interest to directly confront or address any inequities, injustices or problems in the field. Inside, I was relatively powerless to point out things that needed change.
It is not an accident that I started this blog around about the time that I realized I was not going to be enfolded into the arms of my theatre establishment. I am able to say what I say because I am in the margins.
I can almost guarantee that should, by some crazy miracle, one of my shows be suddenly snapped up by a major regional theatre or a Broadway producer and whisked into rehearsal, that you’d be hearing from me on this medium a whole lot less.
This would not be because I’d suddenly lose my brain, or my interest in changing the system. It would be because a) I’d be busy in rehearsal and b) it would not be in my best interest to compromise the one place in theatre it might be possible to make a real living. (Though you might hear a lot from me once it was all over!)
This is why you I’m blogging now. I’m in the theatre bubble enough to be able to see it but not enough to be risking my livelihood or relationships in talking about it. I’m not a complete outsider. I am a part of theatre community but I’m on the periphery and it is almost always the periphery that can point to real change or possibilities.
If you’re an institution, if you’re on the inside, and you don’t know what to do to fix the status quo, look to the fringe. Look for who is missing, bring them in and ask for their perspective. I’ve seen institutions try and make change from the inside. They ask employees to fill out surveys or do exit interviews. But those folks can never be fully honest. This is not because they lack honesty or awareness. This is because even if they’re done working with a theatre this time, they’re thinking about next time, or the way this gig might lead to the next. I have been honest at such things because I was asked to be and realized too late that honesty was not the savvy move.
A while back, I wrote a post called The Woman in the Room and it was about what it takes to stay on the inside, to tenaciously hold on to the little patch of ground one might have gained. It was for all my friends who were berating themselves for their complacency in the face of sexism in American Theatre. I said then and I will say again, that if you are a woman on the inside of the establishment (and/or anyone whose representation is negligible in the theatre,) you have to do what you have to do to stay there. We need an inside (wo)man. We need you in there. Fight when you can while you’re on the inside. Maybe gain some more ground to bring more women (and people of color, disabled people, transgender people and non-binary people) inside the establishment doors. Support those on the outside who are more able to fight for you and bring them inside when you can. And hang out at the edges. They are the most interesting places after all. They are where change is happening. Where change is possible.
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Originally published at artiststruggle.wordpress.com on May 14, 2018.