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From YouTube: Boulder Arts Showcase 7
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A
Well,
hello
to
our
audiences,
our
viewers
hi,
if
you're
new
to
local
theater
company,
my
name
is
pesha.
I'm
the
artistic
director
here
at
local
and
I'm
going
to
dive
in
because
we
have
an
hour
together
and
I
have
48
questions
for
you.
So
I
do
not.
I
do,
but
I
I
somehow
managed
to
get
you
narrowed.
The
list
down.
A
I
think
I'm
just
going
to
hold
them
up,
so
my
first
I'm
going
to
just
drive
in
so
as
a
as
a
theater
person
or
as
a
theater
director
yeah.
When
I
first
meet
a
new
play
and
a
local,
we
do
exclusively
new
new
work
and
I'm
getting
to
know
a
piece
of
work
or
the
playwright
who
is
who's
written
the
piece
of
work.
A
I
always
start
by
looking
at
the
characters
and
defining
or
sort
of
looking
through
the
moments
in
their
life,
and
some
of
these
moments
are
big
moments
that
create
kind
of
seismic
change
and
and
choices
in
a
character's
journey
and
sometimes
they're
little
tiny
moments
that
have
ripples
and
that
ripple
out.
And
so
my
first
question
for
you
as
a
way
of
sort
of
getting
to
knowing
you
and
your
background
is
what
would,
if
you
don't
mind,
sharing.
B
This
is
such
an
interesting
question
and
I
get
asked
it
in
different
ways.
It
seems
fairly
regularly.
It's
like
very,
I
think,
as
a
child
when
it's
so
creative
and
so
one
is
an
artist.
You
know
I
always
felt
a
sense
of
play
and
adventure
and
I
liked
doing
experiments
in
the
kitchen,
for
example
like.
C
B
Was
very
curious
about,
could
you
grow
popcorn?
You
know
like
what
things
could
you
grow,
my
mom?
What
are
these
crazy
things?
So
I
had
this
very
experimental
sort
of
free
way
of
playing
as
a
child,
and
then
I
kept
that
inside
of
me.
You
know
that
idea
of
like
the
innocent
playfulness
of
a
child
and
that
sort
of
morphed,
as
I
studied
art
in
high
school
and
in
college,
into
something
that
was
more
formal.
B
Child's
experience
that's
become
almost
like,
I
would
say,
being
an
artist
is
an
adult,
it's
being
it's
like
having
a
second
child,
you
know
and
that
you
protect
sort
of
that
curious
way
of
being
in
the
world.
That's
not
childish
anymore,
but
it's
childlike.
E
B
Is
your
way
of
so
interesting
to
me?
You
know
I.
This
is
a
very
back
to
childhood.
I
I
have
this
very
strong
memory
of
trying
to
understand
the
concept
of
god.
I
mean
I'm
just
going
to
go
there
with
you
pressure.
Let's
do
it.
B
I
remember
thinking
like
what,
because
you
would
study
you
know,
you're
like
six
or
seven
and
you're
lying
in
bed
at
night,
and
I
was
thinking
well
what
came
before
you
know
the
dogs
and
the
cats
and
the
dinosaurs,
like
what
pain
before
and
I
remember
sort
of
working
like
every
night.
I
would
get
a
little
further
in
this
little
in
my
little
mind's
understanding-
and
I
remember
thinking
well
what
came
before
god.
You
know
I'm
just
thinking,
but
god
is
a
word.
So
what
came
before?
B
And
so
this
idea
of-
and
it
was
a
very
you-
know-
a
child-like
understanding
of
it,
but
that
that
play
of
like
is
it
do?
Can
you
have
a
concept
without
the
word
you
know
and
did
the
universe
come,
but
oh,
but
we're
using
words
again.
So
I
think
that
that
was
sort
of
like
a
child.
Like
wonder
of
like
how
does
our
thinking
work
and
is
it
words
that
come
before
images?
I
mean
it's
like
the
chicken
and
the
egg?
B
You
know
which
came
which
which,
which
came
first,
so
that
curiosity
of
how
narrative
too
and
storytelling
shaped
the
images
and
not
to
get
people
too
excited.
But
when
we
do
do
our
exercise
at
the
end,
we're
going
to
be
looking
at
this
exact
idea
right
like
so.
Everyone
get
your
pen
and
paper,
but
but
it's
like
what
comes
first
and
we
think
we
know
what
the
what
another
person
mean,
what
another
group
of
people
mean
when
they
use
a
word,
and
in
fact
you
know
that
idea.
A
Is
that
we
have
no
idea
they're
slippery?
I
you
used
the
word
slippery
to
describe
words
in
something
that
I
read
of
yours
recently
and
I
and
I
I
just
keep
circling
that,
because
that's
so
that's
so
true
and
in
even
in
plays
when
we're
watching
them
and
we
sort
of
think
we're
putting
out
one
thing
into
the
world
they're
slippery
out
there
in
the
audience
and
we
we
don't
know
how
they're
landing.
B
B
You
know,
I
think
you
know
for
me
that
that
what
I
love
about
being
a
painter
is
that
I
can
put
an
intention-
and
I
can
put
words
in
the
image
and
it's
an
abstraction,
because
it's
abstract
language,
but
it's
also
abstract
sort
of
space
that
I'm
creating
and
then
I'll
talk
to
someone
and
they'll
have
you
know
a
theory
about
what
the
work
is
about,
and
it
has
absolutely
nothing
to
do
with
what
I
thought
it
was
about.
But
I
love
that
moment.
B
D
B
Was
like
sort
of
alice
in
wonderland,
like
being
behind
the
mirror,
looking
out
also
playing
with
the
idea
of
what
happens
when
you
can't
read
words
that
your
brain
makes
sense
of
it
in
a
very
different
way,
and
I
remember
someone
coming
and
saying
you've
painted
exactly
how
it
feels
to
be
dyslexic
like
that.
B
A
Well,
you
just
mentioned
sort
of
not
being
able
to
read
words
or
not,
knowing
what
they
mean
but
having
this
either
visual
or
even
just
emotional
experience
about
them,
and
I
we've
talked
before
about
the
fact
that
you
were
raised
in
mexico
is
that
right,
mexico,
city,
spain,
france,
is
it
ohio
where
you
were.
A
And
because
of
that,
you
spoke
and
you
currently
speak
many
languages,
and
so
I'm
curious
about
how
the
sort
of
image
of
various
languages,
how
that
helps
you
or
how
it
influences,
how
you
see
words
or
see,
text
or
see
imagery
and
the
impact.
That's
how
that's
had
on
your
on
your
art.
B
You
know
it's
it's
funny.
I
just
I'm
always
amazed
at
how
the
the
brain
is
wired.
You
know
with
language
and
how
you
know
as
a
kid.
For
example,
I
remember
I
couldn't
I
couldn't
remember
the
concepts
of
left
and
right
and
I'm
always
confused
coming
back
to
english
from
spanish,
so
I
had
to
learn
that
in
spanish.
B
The
word
for
left
is
it's
very
long
and
in
english,
the
word
for
left
is
the
shorter
word,
so
you
know
tricks
to
remember
how
to
go
between
languages,
and
I
very
fortunate
that
I
got
to
you
know,
move
between
countries
where
I
spoke
both
languages,
but
I
remember
the
first
experience
of
moving
to
france
as
a
teenager
and
not
speaking
a
word
of
french
and
suddenly
being
flat
down
at
age
12
in
paris,
and
you
know
having
to
figure
out
how
what
things
meant
by
sort
of
the
signs
watch.
B
The
tv
was
a
great
way
to
to
learn
a
new
language.
You
know
listening
to
music,
but
that
sense,
you
know
of
gosh.
You
know
the
first
time
you
get
a
joke
in
a
language,
that's
nice
and
it's
like
it's
such
a
relief.
You
know
because
it's
like
not
only
have
you
must
have
mastered
a
basic
sentence
structure
but
you've
also
kind
of
clued
into
cultural
humor.
B
So
I'd
like
I
like
watching,
you
know
how
a
viewer
that
could
be
me
or
it
could
be
you
looking
at
art
that
how
we
make
sense
of
all
the
clues
around
us.
You
know,
and
so
you
know.
Obviously,
if
you
see
a
sign
on
a
bathroom,
you're
gonna
learn
that
word
or
I
don't
always
think
of
france.
I
just
remember
so.
C
E
A
From
it,
have
you
in
your
art
or
I'd
say
in
the
last
10
years
or
so?
Have
you
worked
with
non-english
words
in
your
in
your.
B
Paintings
in
the
past,
I've
worked
in
spanish
before
and
translated
works
into
spanish
and
then
and
into
french
too,
and
that's
fun
to
you
know,
take
a
text
I
can
think
specifically
of
a
project
I
did
with
michael
joyce,
where
I.
D
A
B
And
so
I
also
welcome
that
mistranslation.
I
remember
someone
was
looking
at
a
painting
of
mine
basically,
and
she
said
well,
that's
terribly
translated
in
spanish,
I
said:
well,
that's
part
of
it.
You
know
that
that
I
want
there
to
be
a
mistranslation
that
I
want
like
that.
That
response
that
I
sort
of
didn't
get
the
the
wording.
Well,
that's
not
exactly
what
that
means.
B
E
B
Them-
and
I
feel
that
great
permission,
helen
sigsu
and
I
did
a
project
I
think
it
was
in
the
video
in
2013
called
the
interior
forest,
and
we
did
an
interview
at
the
end
of
the
project.
We
didn't
we've
done
it
in
the
united
states,
we've
done
it
in
france
and
I'd
worked
with.
You
know
hundreds
and
hundreds
of
people
to
draw
her
book
and
she
sort
of
turned
to
me
in
this
interview
and
said
you
know
alexander,
it
was
never.
It
was
never
a
forest.
I
said
why.
A
B
It
was
a
wild
garden
and
I
said
hello:
we've
been
working
on
this
project
for
three
years.
Why
didn't
you
tell
me
that
that
I
had
turned
your
garden
into
a
horse
and
she
said
why
I
just
loved
the
forest.
I
that's
part
of
what
how
you
made
it.
Yours
garden,
my
walled
garden.
You
turned
it
into
a
forest
and.
D
B
A
A
Guatemala-
and
I
I
mean
I'm-
I'm
I'm
very
moved
by
your
work
as
an
art
activist,
and
I
don't
even
know
if
that's
the
right
word
and
if
you
call
it
art,
act
or
community
activist
or
or
advocate,
but
I'm
really
curious
about
how
you
think
artists
can
create
community
right
now,
the
community
in
such
a
zoom-centric
world
that
I
don't,
I
know,
we'll
move
through
it,
but
I
don't
know
how
much
of
this
will
lose.
I
think
people
are
finding
a
comfort
in
it
so
yeah.
What
do
you
think
about
it's.
B
So
you
know
when
I
think
about
those
projects
where
I
invite
the
I've
invited
the
past
the
public
to
come
draw
with
me-
and
I
think
especially
ghost
town
took
place
in
the
summer
time
in
guatemala
city
and
we
were
in
a
room
with
one
door
and
a
lot
of
fans
and
about
a
hundred
people
drawing
side
by
side.
And
when
I
think
about
that
now,
you
know
sort
of
we
had
water
and
snacks
for
everyone,
and
it
was
great
that
we
would
have
you
know
a
gardener
drawing
next
to
an
heiress.
B
Their
drawings-
and
we
couldn't
do
that
today
with
corona.
You
know
it
just
wouldn't
be
possible,
so
no,
I
I
think
that
idea
of
of
coming
together
can
be
done,
there's
a
spirit
of
it.
You
know
that
could
be
done
online
throughout
through
almost
like.
You
know,
like
a
telephone
game,
you
know
like
you,
could
honestly
like
do
a
drawing
send
it
on,
but
I
think
there's
other
cumulative
ways
of
working
that
that
many
people
are
discovering.
I
found
zooms
just
so
revelatory.
B
Actually,
you
know
that
there's
an
intimacy
of
looking
into
like
look
and
get
to
see
into
your
house
right
now.
You
know
that
that
we
get
to
share
things.
You
know
and
those
wonderful
accidents
that
happen
with
someone
walking
by
in
the
past
or
I
I
was
on
a
zoom
and
I
stood
up,
and
I
forgot
that
I
had
my
flaming
red
slip
pants
on
right.
You
know
it
just
jumped
up
to
show
someone
something,
and
it
was
this
moment
of
great
hilarity.
So
I
think
it's
these
questions
of.
A
B
And
humor
is
such
a
good
way,
but
I've
you
know.
For
me:
it's
been
such
a
generative
time
to
work
in
the
studio.
To
you
know:
I've
been
able
to
be
in
in
berlin
and
to
sort
of
get
to
see
and
different
art
communities
and
mine,
in
los
angeles,
and
so
in
a
way
it's
it's
continuing
on
smaller,
more
intimate
scale
to
do
exchanges
with
the
hope
of
bringing
people
together
again.
A
A
B
Love
prince
we're
gonna
launch
here
in
berlin
and
new
ways
of
bringing
different
communities
together
for
me
now
in
a
more
international
way,
and
that's.
A
That's
exciting
yeah
I
was
I,
I
know
the
18th
street
project
pretty
well
just
from
being
raised
in
los
angeles
and
the
sort
of
art
access
issue.
The
lack
of
better
word
is
is
dear
to
my
heart,
around
sort
of
making
art
accessible,
not
because
everybody
is
necessarily
an
artist,
but
everybody
deserves
it,
especially
in
a
democracy
where
we're
encouraged
to
express
ourselves.
A
So
I
I
think,
a
lot
about
the
about
the
constraints
around
not
being
able
to
reach
our
neighborhoods
and
I'm
I'm
thinking
a
lot
about
how
we,
how
do
we
reach
neighborhoods
or
how
do
we
continue?
The
arts
access.
B
F
B
You
know
an
organization
that
I
love
in
downtown
los
angeles.
It's
called
the
heart
of
los
angeles
and
they
have
a
new
orchestra.
I
mean
they
do
so
many
incredible
things
and
their
visual
arts
program.
B
You
know
when,
when
kids
go
to
that
after
school,
it's
something
around
95,
96
percent
of
the
kids
graduate
from
high
school
and
then
most
of
them
go
on
to
college
and
it's
immigrants.
It's
the
united
states.
Often
parents
who
you
know
didn't
have
that
kind
of
formal
education
and
the
goal
of
that
arts
education
is,
is
not
to
make
everyone
into
an
artist.
You
know
it's,
of
course,
if
they
want
to
be
to
encourage
that.
B
But
it's
to
you
know
when
we're
talking
about
people
who
live
in
the
lowest
quintile
of
you
know
the
socioeconomic
strata
of
the
united
states,
it's
to
give
creativity
to
give
confidence
to
problem
solve
and
to
give
a
safe
space,
and
when
you,
when
you're,
taught
to
be
creative,
when
you're
taught
to
think
you
know
what
we've
been
joking
about
sort
of
having
being
an
idea
volcano
that
that
can
help
you
problem
solve
not
just
in
terms
of
your
creativity,
but
in
your
life.
B
You
know
how
can
I
get
from
here
to
there
and
and
what
you
know
the
possibility
of
having
a
formal
education.
So
I
agree
I
think
arts
education
is
is
fundamentally
something
every
child
should
have
access
to.
A
And
we'll
keep
we'll
keep
chewing
on
this
question
of
how,
in
this
age,
listen
about
how
we're
gonna
yeah
keep
working
toward
those
projects
when
we're
doing
this
on
soon.
All
right,
I
am
my
brain-
is
about
to
explode,
because
I
was
actually
just
told
that
we
have
like
five
or
six
minutes
until
your
tour,
so
I
gotta
speed
this
up,
so,
okay,
so
to
our
viewers.
For
those
of
you
just
getting
to
know
you.
A
So
not
only
are
you
a
painter
and
you
work
in
sculpture
and
photography,
but
you
also
are
a
publisher
and
I
I
got
to
immerse
myself
in
some
of
your
writing
this
week,
which
kind
of
blew
my
mind.
So
I'm
not
going
to
ask
you
20
questions
about
this,
but
I
do
want
to
put
a
plug
to
this,
because
if
you
want
to
know
alexandra,
this
is
what
you
need
to
read.
Weird,
I'm
a
little
scared.
A
No,
we
work
in
theater
and
let
me
tell
you
this
is
real
and
again
I
won't
ask
you
30
questions,
but
I'm
going
to
invite
our
audiences
to
go
to
your
website
and
find
it
because
you
got
to
read
this,
but
tell
me
about
the
so
tell
me
about
the
works
that
you're
drawn
to,
because
you
don't
do
you
don't
publish
you
know
rizzoli
books,
but
what
I
love
about
it
is
that
for
for
me,
I
think
it
means
that
you
get
to
be
an
audience
member.
B
People
are
saying
that
I,
you
know,
one
of
the
things
that
I
loved
doing
the
inland
sixty
project
in
paris
is
that
many
people
came
and
they
would
just
watch
us,
do
the
collective
drawing
and
I
would
say
well
why
don't
you
join
us
and
they
would
say
the
idea
of
like
I'm
an
amateur
and
since
I'm
here
to
impress
you
I
love
being
an
audience
member.
I
love
being
a
fan,
I
love
being
able
to
appreciate
other
people.
B
You
know
immerse
myself
and
immerse
our
team
in
in
another
person's
thinking
and
then
to
give
permission
to
another
artist
to
dream
as
big
as
possible
what
they
would
love
to
make
a
book
about,
and
I
think
pretty
much
every
creative
person
has
at
least
one
secret
book
that
they
have
in
their
heart,
and
so
you
know
at
x,
artists,
books,
we've
really
developed
a
methodology
of
working
with
artists
and
creatives
to
help
them
express
a
vision.
G
B
Might
not
be,
you
know
the
most
creative
form
of
their
vision
where
it
was.
You
know,
working
with
the
playwright,
sylvan
oswald,
who
had
his
secret
book
high
winds
that
has
beautiful
imagery
by
jessica,
fleischmann.
You
know,
and
what
is
that
book?
Is
it
graphic
design?
Is
it
theater?
Is
it
lgbtq
you.
E
B
Everything
and-
and
you
know
in
that
story-
I
really
loved
it.
It
was
like
encouraging.
Why
not
make
this
into
a
performance?
You
know
you
imagined
it
as
a
book,
but
what
could
it
be
and
then
for
me,
so
what
exactly's
books
are?
Is
that
possibility?
You
know?
Yes,
it's
going
to
be
something
that's
on
the
shelf
and
you
can
have
the
experience
of
haptic
in
your
hands
and
reading
it
and
you
know
being
comforted
hopefully
by
it
or
having
your
curiosity
peaked.
But
what
could
that
book
become?
B
You
know
the
first
year
three
of
our
books,
three
of
our
four
books,
were
performed,
live
which
I
hadn't
anticipated
and
then
we've
just
done.
Asha
hartman's
work,
which
is
a
grouping
of
three
plays
and
again
that
connection,
like
your
first
question
of,
like
the
written
word
into
the
moment,
the
moment
in
space
and
time
with
people,
so
you
know
it
really
is
imagining
how
a
book
becomes
space
from
the
moment.
You
know
I
I
like
going
back
and
forth.
B
A
That
is
you
mean
you
just
you
just
described
what
it
is
to
produce
plays,
because
when
we
or
become
devoted
to
a
playwright,
we
don't
know
what's
going
to
emerge
right.
We
sometimes
it
emerges
as
a
movement
piece.
We've
done
pieces
that
have
emerged
as
visual
art
pieces
or
as
non-scripted
so
yeah.
This
idea
that
they
start
here
and
then
and
who
knows
where
they
go.
H
H
G
Well
tonight
we're
going
to
be
talking
about
the
art
of
pitching,
and
this
is
something
that
I've
done
a
bunch
of
times
and
sometimes
with
success.
So
I'm
really
happy
to
share
my
knowledge
about
it
with
you
guys.
H
Definitely
with
success,
I
think
something.
That's
interesting
from
our
conversations
is
that
you
talked
about
the
art
of
pitching
as
being
not
just
about
pitching
material
specifically,
but
about
sort
of
synthesizing
who
we
are
as
artists
and
sharing
that
with
other
people
and
how
to
articulate
that
to
other
artists.
So
I'm
excited
to
hear
how
that
that's
sort
of
incorporated
into
the
general
art
of
pitching.
G
So
we're
going
to
start
with
talking
about
what
a
pitch
is,
and
people
use
pitch
in
my
industry
to
describe
several
different
things,
but
when
we're
using
it
in
the
sense
of
talking
about
a
story
that
we
would
like
to
sell
to
people,
it's
basically
a
distilled
version
of
that
story,
and
it's
personal.
I
mean
it's
best
when
it's
personal
when
it's
present
tense
when
you're
telling
it
in
the
present
tense-
and
it
feels
necessary
to
this
moment
and
I'll
get
into
a
little
bit
of
the
contents
of
what
a
pitch
is.
G
But
I
think
you
guys
should
have
I
sent
out,
and
it's
really
not
that
detailed,
but
it's
just
a
little
bit
of
an
outline
which
will
show
up
in
the
chat.
I
think
a
page
that
just
says
10
things.
G
Every
television
pitch
should
contain
an
order,
and
this
is
easy
to
get
your
hands
on
it
afterwards.
If
you
don't
know
how
to
grab
it
now,
but
I'm
going
to
go
through
all
of
these
things,
so
that
so
that
you
have
a
sense
of
where
this
this
lecture
is
going
to
go.
G
And
if
you
want
to
take
notes,
if
it's
helpful
to
take
notes
as
we
go,
but
we're
going
to
still
talk
a
little
bit
for
a
second
about
what
the
pitch
is
so
sometimes
in
writer's
rooms,
people
will
pitch
ideas
and
those
are
also
called
pitches
but
they're.
Basically,
just
people
talking
about
their
own
ideas
and
ideas
are
just
short
handed
as
pitches.
G
G
It's
like
a
way
of
colloquially
chatting
about
ideas,
but
what
we're
talking
about
is
more
of
the
formal
pitch
when
you
have
an
idea
for
a
television
show,
or
you
have
a
take
on
some
property
and
you'd
like
to
sell
it
as
a
show,
and
those
are
the
elements
that
we're
going
to
talk
about.
So
I've
had
some
success,
selling
original
ideas
and
some
success,
selling
ideas
that
people
were
like.
What
is
your
take,
so
I'm
gonna
be
blending
both
of
those
methods
into
this
conversation.
G
But
I
guess
one
of
the
things
that
I
wish
I
had
known
before
I
started
working
for
television
is
what
is
the
difference
between
just
talking
about
ideas
as
a
playwright
and
a
formal
pitch,
and
I
would
say
there
are
two
things
that
I
didn't
know
that
I
wish
I
knew
at
the
top
and
then
there's
10
more
that
we'll
talk
about
later
10,
more
things
that
I
wish.
G
My
younger
self
could
have
asked
my
older
self
before
I
ever
opened
my
mouth
in
a
room
full
of
executives,
but
these
are
the
two
big
differences
that
is
worth
talking
about.
The
first
thing
that's
different
about
playwriting
is
when
you're
writing
a
pitch
you're
selling,
a
full
idea
and
you're
selling
yourself.
G
So
having
a
full
idea
of
all
of
these
elements
up
at
the
top
is
really
going
to
help.
You
convince
people
that
you're
worth
paying
a
lot
of
money
for
at
the
top.
So
it's
not
just
the
ideas
that
you're
selling.
It's
not
just
the
story
that
you're
selling
but
you're
also
selling
your
ability
to
execute.
G
But
what
you
do
have
to
do
is
make
sure
that
when
you're
talking
about
your
ideas
that
you're
talking
about
them
in
a
way
that
it's
clear
that
you're
enthusiastic
and
that
they
come
from
a
place
of
honesty
and
interest,
curiosity
and
that
you're
paying
attention
to
what's
going
on
in
the
world-
and
you
can
discuss
how
other
people
might
be
interested
in
these
ideas
and
there's
places
in
the
pitch
in
the
structure
of
a
pitch
to
talk
about
that.
In
fact.
There's
one
primary
place
which
I'll
talk
about
in
a
second.
G
But
so
those
two
things
that
you
do
most
of
the
work
up
front
and
it
can
change
because
you're
going
to
have
people
buying
your
idea
and
they're
going
to
have
ideas
too.
So
it
the
pitch,
doesn't
necessarily
have
to
be
pristine
and
complete
from
the
moment.
You
sell
it
to
the
moment
it's
on
television,
but
you
do
have
to
have
a
set,
a
larger
sense
of
like
the
dna
of
the
show
and
that
pretty
much
won't
change,
because
that's
what
they're
buying
what
they're
buying
and
also
your
commitment
to
it.
G
And
then
the
acting
part
is
at
the
point
where
you're
pitching
it
you
shouldn't
feel
like
you're
acting
anymore.
You
should
just
sort
of
feel
like
this
story
is
so
exciting.
G
You
were
gonna,
write
it
anyway,
they're
lucky
that
they
showed
up
to
listen
to
you
tell
it
and
if
they
want,
they
can
buy
it,
but
you
know
you're
going
to
make
this
show
with
without
them
and
that's
when
people
get
excited
about
you
as
a
storyteller
in
the
room
when
you're
talking
about
ideas,
so
I
don't
know,
I'm
not
really
gonna
ask
any
questions
yet,
but
is
that
clear
so
far,
because
we're
gonna
start
to
move
on
to
the
this
thing
says
everybody?
I
don't
know
how
to
ask
this.
G
Everybody
should
have
this
if
you
don't
we'll
find
out
somehow
so
the
yeah
we're
good.
Okay.
Thank
you.
They.
G
Thanks
nick,
I
feel
like
I
should
be
miming
myself
riding
a
bike.
While
I
do
this,
so
you
guys
don't
think
that
was
just
a
shot
that
we
staged
for
this
in
that
intro,
but
no
okay,
so
every
pitch
should
contain
these
10
things.
The
first
thing
I
wrote
on
this
list
is
intro
and
when
I
say
ensure,
I
mean
intro
to
you
intro
to
your
world
intro,
to
who
you
are
your
intrinsic
commitment
to
the
material.
G
A
few
times
like
when
I
was
I
was
pitching
for
this
one
tv
show
I
might
reference
that
I'm
working
on
right
now
is
a
television
show
about
a
family
of
spies,
and
even
though
this
was
a
book
series,
I,
when
I
pitched
to
get
the
job,
which
is
also
something
you
do
it's
not
necessarily
always
your
own
idea.
Somebody
will
will
give
you
material
and
you'll
put
your
take
on
it.
I
discussed
that
before,
but
so
in
this
case,
I
pitched
my
take
on
that
material.
G
I
was
talking
about
myself
as
a
person
in
a
sort
of
a
blended
family
growing
up
and
by
blended
I
mean
I'm
just
adopted,
and
I
grew
up
with
two
siblings,
who
were
two
siblings,
who
are
my
blood,
siblings,
and
so
I
I
told
the
story
of
what
it
was
like
to
grow
up
in
a
family
where
the
two
people
who
who
are
raising
you,
don't
look
like
you
and
when
there
is
like
dissonance
in
a
family,
because
maybe
there's
there's
a
genetic
bond
that
people
don't
necessarily
account
for
and
and
similarities
that
you
don't
see
in
people
who
are
raising
you.
G
But
you
see
in
the
people
next
to
you,
and
that
was
my
pitch.
How
I
how
I
was
able
to
sell
my
connection
to
this
world
that
I
was
gonna
build
now
that
completely
disappeared
from
the
actual
show
that
I'm
writing
they're,
not
a
blended
family
they're,
not
adopted
they're,
they're,
literally
all
blood
siblings.
G
But
what
I,
what
I
think
sold
them
on
my
commitment
to
that
is-
I
was
talking
about
a
family
experience
that
I
had
lived
with
a
large
family,
that
a
large
family
with
a
two
siblings,
which
this
is
a
three
sibling
family
that
I'm
writing
about
that
were
messy
and
confused
about
confused
when
they
looked
at
their
parents
about
how
could
I
have
come
from
these
people
and
and
we
they
bond
with
each
other
as
siblings
and
so
like?
G
That's
just
how
I
was
connected
to
the
material,
so
the
intro
is
less
about
the
material
and
more
about
your
way
into
the
material
and
why
you're
the
absolute
best
person
to
tell
the
story.
So
if
it's
an
original
story,
that's
kind
of
already
taken
care
of
if
you're
talking
about
a
story
from
your
life.
So
if
I
was
going
to
write
a
television
show
about
three
adopted
siblings,
I
don't
have
ip
for
that,
because
I
am
the
I.p
for
them,
the
literal
ip.
When
I
say
ip
by
the
way
I
mean
intellectual
property.
G
We
I
think
we
talk
about
we'll
talk
about
that
later,
so
yeah.
So
one
thing
I
will
say
about
the
introduction
part:
if
you're
writing
a
television
show
or
if
you
want
to
pitch
a
television
show
on
material
that
already
exists.
It
seems
contradictory
to
be
like
well.
Where
am
I
in
this
material?
Because
if
you
didn't
write
the
original
material,
where
are
you,
but
that
is
exactly
what
people
do
when
they
make
television?
Is
they
make
it
from
themselves
like
we're
generating
stories
that
are
based
on
our
lives?
G
Even
when
we're
not
talking
about
ourselves,
and
I
think
we
find
that
in
our
writing
any
kind
of
character
that
is
not
literally
our
our
own
lives.
So
that's
that's
always
going
to
be
the
case
when
you're
pitching
is
draw
them
in
by
telling
people
who
you
are
and
why
you're
connected
to
the
material
with
enthusiasm,
of
course,
so
the
log
line,
the
log
line
is
number
two
and
the
log
line
tends
to
be.
G
G
My
log
line
your
log
line
our
log
line
in
our
show.
Basically,
the
log
line
is
how
is
what
you're,
pitching
the
same
as
what's
on
the
air,
so
you're,
basically
bringing
in
references
not
necessarily
television
references
but
but
like
ideas
of
the
kind
of
show
you're
going
to
be
writing
based
on
formats
that
are
out
there.
For
example,
you
could
say
something
like
my
show
is
a
darkly
comic
length
of
the
show,
so
a
darkly
comic,
half
hour
genre,
blended,
comedy
with
dramatic
elements
for
premium,
cable
or
network.
G
Or
streaming
services
is
it
traditional?
Is
it
non-traditional
about
a
blank
in
her
blank
or
about
a
family
of
blank
in
their
blank
living
in
blank?
Who
is
either
blank
or
blank?
And
I
know
all
those
blanks
are
ridiculous,
but
you're,
basically
just
saying
it's
a
half
hour
or
an
hour
which
both
exist
on
on
television
right
now
we
have
hours,
we
have
half
hours,
comedy
or
drama.
We
have
both
of
those
on
the
air
or
a
genre
blend.
We
have
those
on
the
air.
G
So,
for
example,
we
were
talking
nick-
and
I
were
talking
about
mike
white's
white
lotus
and
in
that
show
I
think
nick
will
tell
me
if
I'm
wrong.
That
was.
D
G
H
G
H
To
make
sure
I
wasn't
here,
I
think
it's
about
affluent
people
who
go
to
a
resort
and
they
don't
realize
what
their
footprint
is
sort
of
impressing
and
and
they
they
don't
realize
that
their
luxury
is
sort
of
on
the
the
backs
of
a
lot
of
people
and
and
people
are
sacrificing
their
own
livelihoods
in
order
for
them
to
sort
of
experience.
This
luxury,
and
this
this
week
of
of
fabulousness.
G
Right,
so
we
would,
if
we
were
pitching,
that
we
would
distill
that
to
basically
a
group
of
people
who
a
group
of
wealthy
or
a
group
of
privileged
people
group
of
privileged
white
people
who
show
up
to
an
island
and
are
in
for
a
treat
or
don't
realize
what
they're
in
for
or
get
more
than,
they
bargained
for
and
that's
something,
I
think,
that's
pretty
standard
from
a
lot
of
things
on
television.
So
so
we
would
get
into
more
of
what
you're
talking
about
the
footprint
that
the
thematic
stuff.
G
G
So
I
think
that
that's
pretty
clear
now
when
that's
the
log
line,
when
we
talk
about
tone,
that's
when
we
talk
about
how
it's
different
from
other
things
and
that's
number
three,
that's
when
we
talk
about
how
it's
different
than
things
on
the
ear
by
literally
referencing
other
television
shows.
So
I
mean
it
sounds
like
a
cliche,
but
it's
like
it's
the
flintstones
on
the
hamptons
with
I
spin
bikes.
G
I
have
no
idea,
I
know
what
the
hell
show
that
is
or
why
anybody
would
watch
it,
but
I
could
sell
it
if
I
tried
really
hard.
Maybe
I
don't
know,
but
I
would
not.
Obviously
I
would
then
go
back
and
I
would
pitch
my
intrinsic
commitment,
which
is
I'm
a
spin
instructor
and
I'm
really
excited,
but
also
then
I
would
talk
about
how
why,
like
like
cavemen,
are
interesting
to
me,
et
cetera,
et
cetera.
I
would
get
down
to
the
tone
when
I
got
to
the
tone.
G
It's
blank
meets
blank,
but
it's
different
than
you
think
because
of
blank.
That
sounds
crazy,
but
the
hilarious
unexpected
twist
is
often
where
you
start
to
differentiate
the
two
things
you've
just
described.
So
that's
a
tone
and-
and
I
can
throw
some
stuff
at
you,
real
quick.
If
you
want
to
just
write
this
stuff
down,
sometimes
it's
easier
to
have
a
shorthand.
Modern
examples
are
always
better
unless
it's
an
iconic
show.
G
So
the
sopranos
is
pretty
much
always
relevant
because
it
it
sort
of
established
a
certain
kind
of
television
show
that
we
were
we'd
never
had
before
on
on
premium
cable.
G
The
hilarious
twist
is,
of
course,
he's
got
a
conscience,
a
brutal
murderer
and
his
family
and
he's
got
a
conscience
he's
going
to
therapy
and
it
turns
out
that's
not
what
the
show
became,
because
it
became
so
much
more
than
that.
It
became
more
about
the
family.
But
let's
see
you
can
in
when
you're
talking
about
the
tone
references
you
can
use
are
pacing
the
kind
of
humor
the
look
and
feel
a
darkly
comic.
G
Whatever
you
can
talk
about,
if
it's
gritty,
if
it's
light-hearted
you
could
talk
about
if
there's
magical
realism,
if
it's
a
funny
noir
if
it's
frankly,
sexual
whatever
is
going
to
help
communicate
in
the
shortest
like
the
shortest
possible
language,
the
smallest
possible
words,
the
fewest
possible
words,
what
the
show
is,
and
this
and
those
three
things
and
I'll
say
them
again.
G
You
the
intro,
which
is
about
you,
the
log
line
which
is
about
how
the
show
is
similar
to
things
on
the
air
that
we
know
and
the
tone
how
things
are
and
that's
when
you
reference
like
things
that
are
already
out
there
and
crush
them
together
and
then
talk
about
how
your
show
is
different
than
those
those
three
things
are
what
is
going
to
actually
hook
the
people
into
the
premise?
Okay,
so
those
represent
the
premise
of
the
show
pretty
much
in
as
small
terms
as
possible.
G
That
should
not
take
more
than
three
minutes
to
talk
about,
and
I
know
that
I
took
a
lot
more
than
that
to
talk
about,
and
those
should
be
pretty
small.
I
think,
probably
where
you're
going
to
spend
your
most
time.
Talking
is
when
you
do
the
teaser,
because
it's
going
to
be
probably
the
thing
that
you've
actually
written
out
in
your
head,
that
you
have
the
mo
or
written
on
a
paper
or
put
the
most
material
down
on
and
we'll
get
there.
G
It's
not
until
number
five,
but
the
next
three
and
the
next
one
thing.
No,
not
three
one
thing,
four!
So
we're
at
four
now
is
themes
this
one
you
can,
you
can
blow
by
pretty
quick,
because
the
themes
are
going
to
come
out
more
in
the
writing
and
the
themes
are
basically
your
opinion.
Your
point
of
view
like
what
what's
your
take
on
this
material?
What
are
you
saying?
What
is
the
show
about,
and
it's
really
annoying
when
you've
gone
through
a
pitch,
and
then
you
have
an
exam.
G
This
happened
to
me
several
times
and
they
understand
like
the
premise
of
the
show
and
they
understand
the
world.
They
understand
all
the
elements
of
the
pitch,
but
then
they
say,
but
what
is
it
about?
And
so
that's
why
I
put
it
up
at
number
four,
it's
something
you
should
probably
know
how
to
answer,
but
before
they
have
to
ask
you
and
so
the
way
to
think
about
this.
G
I
think,
when
you're
thinking
conceiving
about
the
story
that
you
eventually
want
to
write
and
put
on
the
air
is
think
about
it
like
what
are
the?
What
are
the
opposites
in
my
show,
where
is
the
tension
lie
in
the
material?
So
this
is
where
you
would
sort
of
quickly
hit
all
the
probing
and
penetrative
questions.
G
The
series
is
going
to
ask
like:
is
she
mentally
ill
or
is
she
full
of
magic,
or
is
he
a
murderer
or
is
he
a
messiah,
and
the
answer
is
maybe
yes
to
both
of
those
questions
he's
both
she's.
Both
this
is
a
show
about
identity,
slash,
family,
slash,
mortality,
slash
denial,
we're
talking
about
concepts
here.
This
is
the
thin
line
between
blank
and
blank.
So
this
is.
These
are
just
buzzy
words
that
will
get
you
to
talk
about
your
theme.
G
This
show
will
explore
the
cultural
consciousness
of
blank
while
affirming
the
idea
of
blank
and
nick
nick
is.
This
is
what
nick
nailed
earlier
on
when
he
was
talking
about
the
footprint
of
the
people
who
land
on
the
island
don't
realize
what
they're
crushing
this
is
when
you'll
talk
about
you'll
talk
about
like
race,
politics,
cultural
resonance,
class
struggles,
gender.
G
All
of
that
goes
in
the
theme,
so
this
is
basically
that
this
number
four
here
is
when
you
pull
out
of
the
show-
and
you
see
what
the
bigger
resonance
of
the
show
is
in
the
world
and
at
this
time
and
those
top
four
things
you
should
probably
get
through
in
about
five
to
ten
minutes
and
depending
on
who
you're
pitching
to
and
if
they're
familiar
with
the
material.
I
E
Am
actually
in
aurora
on
the
denver
aurora
line
in
colorado,
so
local
theater
has
its
roots
in
many
parts
of
the
colorado
area.
I
Yeah
you
know
colorado's
got
a
very
interesting
history
with
black
people
and
that
it's
not
generally
known,
but
you
know,
black
pioneers,
went
there
and
homesteaders
and
yeah.
Even
people
who,
like
to
ski
who
were
black.
E
Absolutely
absolutely
breaking
many
myths
here,
but
we're
delighted
to
have
you
it's
such
a
thrill.
I
am
and
blessed
because
of
an
amazing
opportunity
because
of
my
husband
being
a
local
theater
company
member
kajardo
lindsay,
and
so
that
gives
me
this
opportunity
to
be
a
guest
host
here
today
and
we're
also
the
parents
of
two
college
sons.
I
hope
seven
and
seth
you're
watching
and
taking
notes
and
thank.
E
As
harvard
professor,
I
wanna,
let
everyone
know
this
connection
between
you
and
local
theater,
that
many
moons
ago
you
were
the
professor
of
our
local
theater,
co-founder
megan,
matthews
and
so
years
later,
because
of
your
influence.
Undoubtedly,
she
and
the
other
co-founder
pesha
rudnick
created
local
theater
with
the
mission
of
expanding
the
canon
of
american
stories
and
playwrights.
I
Well,
she
was
a
brilliant
student
and
the
only
reason
I'm
doing
this
on
sunday
afternoon
is
because
of
my
affection
for
and
loyalty
to
megan
the
yesterday
we
filmed
brittany,
pacnett
cunningham,
the
co-founder
of
campaign
zero.
After
michael
brown,
we
did
her
family
tree
in
new
york,
so
we
drove
all
the
way
home.
We
got
home
about
10,
30
last
night
and
crashed
and
I
said
well
I
have
to
do
this,
so
I
watched
otis,
moss
iii
at
trinity
church
in
chicago.
E
Well,
I'm
gonna
jump
to
basically
something
that
I
read
about
you
in
terms
of
when
you
grew
up
like
many
african
americans
because
of
cultural
brainwashing.
There
was
this
distancing
of
wanting
to
see
our
connection
to
africa,
but
then
developing
into
a
love
affair
with
africa
to
want.
D
E
I
Well,
when,
when
I
was
growing
up,
africa
was
not
a
romantic
place
generally
in
the
cultural
imaginary
of
african
americans.
You
know
I
went
to
a
white
school
wait.
I
was
born
in
1950
brown
v
boards
in
1954,
I'm
from
piedmont,
west
virginia
now
the
piedmont
west
virginia
is
halfway
between
pittsburgh
and
washington.
I
I
know
you
people
out
there
around
denver,
not
so
good
on
the
geography
in
the
east,
but
it's
in
the
allegheny
mountains
on
the
on
the
potomac
river,
and
there
were
it-
was
an
irish
italian
paper
mill,
town
with
2
500
people
and
just
over
300
black
people
the
year
that
I
was
born
according
to
the
1950
census,
and
you
would
think
west
virginia
with
the
stereotypes
about
west
virginia
that
maybe
it
would
have
been
slow
to
integrate
because
integration
was
counted
by
county,
but
in
my
county
for
reasons
that
I'm
I'll
never
understand
the
people
there
voted
and
they
voted
to
integrate
in
1955
and
I
started
first
grade
1956.
I
C
I
I've
started
12
years
at
the
white
school
and
I
never
ever
experienced
any
kind
of
discrimination
from
a
teacher
in
the
classroom.
You
know
it's
not
like
richard
wright
who
writes
about
you
know
a
teacher
telling
him
you
lawyer,
you
can't
be
a
lawyer,
you
need
to
be
a
carpenter
or
a
bricklayer,
nothing
wrong
being
a
carpenter,
a
bricklayer,
I'm
I
was
the
I
was
I've
always
been
blessed
in
the
classroom.
I
I
always
got
straight
a's
and
I
was
a
number
one.
No,
if
you
asked
brenda
kimmel,
she
would
say
she
was
number
one.
She
was
my
rival
we're
best
friends
to
this
day,
but
despite
the
fact
that
it
integrated
in
1955
and
despite
the
fact
that
I
never
suffered
discrimination,
the
school
system,
like
all
school
systems
in
america
at
that
time,
was
not
big
on
what
today
we
call
black
history
or
african-americans
right.
We
used
to
call
it
negro
day
and
basically
everything
you
ever
learned
about
black
people.
I
You
learned
in
one
hour
and
it
started
with
the
fact
that
the
best
thing
that
ever
happened
to
africans
was
being
taken
into
slavery
and
shipped
over
across
the
ocean.
To
be
civilized
and
christianized
by
white
americans
in
in
north
america,
there
was
no
culture,
no
history
in
africa,
our
ancestors
run
around
naked
swinging
through
trees,
worshiping
fetishes,
you
know
it
was
cold
and
then
they
would
get
to
abraham
lincoln
and
say.
I
remember
mr
baker.
My
eighth
grade
civics
teacher,
looked
at
the
three
black
guys.
I
I
Names,
kwame
nkrumah,
oh
ghana,
became
independent,
57,
julius
niddy,
joshua,
n
como
nelson
mandela.
You
know-
and
so
I
a
patrice
lumumba
in
the
congo,
and
so
I
memorized
their
names
at
least
as
as
they
were
spoken
by
walter
cronkite.
You
know
on
cbs
news
and
and
I
memorized
the
names
of
the
countries
and
and
their
capitals
and
then
you're,
probably
too
young
for
this,
but
we
used
to
get
readers
digest,
condensed
books.
I
That
was,
you
know,
we
had
the
world
book
and
then
we
had
readers
digest
condensed
books
and
I
remember,
and
then
we
would
get
reader's
digest
and
my
father
left.
He
got
alfred
hitchcock's,
mystery
magazine,
detective
magazine
and
because
he
loved
mysteries
and
detective
stories.
So
in
reader's
digest.
I
I
I
went
to
piedmont
high
school,
I
graduated
and
I
went
to
tell
me
state
college,
to
junior
college
of
branch
west
virginia
university,
my
freshman
year
and
then
I
transferred
to
yale,
and
I
did
very
well
at
yale
and
I
at
the
end
of
my
sophomore
year,
I
applied
for
a
program
called
five
year
ba.
It
was
funded
by
the
carnegie
corporation
and
I
was
selected
and
I
went
to
tanzania
and
I
went
there
because
the
gates
family
were
episcopalians
and
in
the
anglican
communion.
I
Every
diocese
in
america
has
a
sister
diocese
in
the
developed
world.
It's
probably
true
all
over
the
west
right
and
it
just
so
happens
that
the
diocese
of
west
virginia
sister
diocese
was
what
was
then
called
the
diocese
of
central
tanganyika,
and
so
they
got
me
a
job.
I
was
pre-banned
because,
like
all
smart
little
black
boys
and
girls,
when
I
was
growing
up,
you
know
I
was
raised
by
a
doctor,
my
mother,
god
rest
her
soul.
She
probably
still
hasn't.
Forgive
me
for
being
not
becoming
a
medical
doctor.
I
My
brother
is
an
oral
surgeon
and
that's
five
years
older
than
I
am
so
he
kind
of
checked
that
box
for
me.
But
I
took
science
courses
at
yale
and
then,
when
I
went
to
graduate
school
in
cambridge
because
I
was
you
know
I
was
it
was
imprinted
on
me
to
be
a
doctor.
So
I
got
a
job
in
a
mission
hospital
anglican
mission
hospital.
I
In
the
bush
I
mean
in
the
center
of
tanzania
four
hours
by
land
cruiser
land
rover
from
the
capital
city,
the
doma
120
beds
for
50
000
people,
no
running
water,
no
electricity.
You
know
I
lived
with
the
missionary
european
missionaries,
there
were
about
half
a
dozen
of
them.
I
had
a
big
afro
and
when
they
you
know,
I
was
captain
black
man.
You
know
when
I
got
there
and
I
was
telling
about
black
power.
These
missionaries
like
freaked
out,
but
let
me
tell
you
what
happened
at
afro.
I
A
G
E
I
I
All
kind
of
medical
terms
like
where
that
means
breathe
deeply
and
then
because
it
was
a
mission,
these
are
anglican
missionaries,
but
they
were
serious
about
church.
I
had
to
go
to
chapel
every
day
before
we
went
to
into
the
hospital,
so
my
vocabulary
has
words
like
I'm
talking
food,
I'm
talking
t
for
and
that
I
give
you
a
million
dollars.
If
you
guess
what
that
means,
I
have
no
idea
what
that
means
holy
holy
holy.
I
H
E
E
I
And
they
were
there
like
checking
the
box,
so
they
could
get
into
heaven.
I
They
never
had
any
of
the
african
nurses
around
for
social
events
and
like
dinner
until
I
came-
and
I
got
on
him
about
about
stuff
like
that.
So
finally,
after
fighting
with
them
about
these
attitudes.
After
about
I
arrived
in
august,
and
then
I
left
in
december-
and
I
went
into
dar
salam-
and
this
there's
a
point
to
this
story-
so
just
bear
with
me.
It's
almost
finished
and
the
I
I
met.
I
always
wanted
to
go
to
zanzibar,
which
at
the
time
was
part
of
tanzania.
I
They
were
one
country
and
sansborn
was
exotic
with
cloves
and
spices
and
the
slave
trade,
and
you
know
it's
very
arabic
in
its
own
culture,
and
so
you
would
basically
go
down
to
the
dock
and
hit
your
right
on
a
fishing
boat.
The
fishing
boats
were
called
daos
dhow
in
swahili
and
you'd
pay
a
few
shillings
and
there
were
seven
shillings,
a
dollar
and
they
would
let
you
ride,
and
I
met
this
white
guy
who
just
graduated
from
harvard
and
just
got,
kicked
out
of.
I
What's
now
namibia,
he
thought
he
was
going
to
go
to
to
it
was
then
called
southwest.
Africa
was
fighting
for
freedom.
He
thought
this
white
boy
was
going
to
go,
not
be
noticed
by
the
south
african
secret
police
he'd
last
about
five
minutes.
They
kicked
him
out.
He
ended
up
in
tanzania
which
had
provided
a
home
for
all
the
freedom
fighters,
people
fighting
against
portuguese
for
their
independence
against
the
apartheid
regime
in
south
africa,
rhodesia,
et
cetera,
et
cetera,
et
cetera,
et
cetera.
I
So
halfway
across
the
indian
ocean,
he
told
me
that
his
fantasy
was
to
go
from
the
cape
to
cairo,
like
cecil
rhodes
wanted
to
build
a
railroad
from
cape
to
cairo,
my
fantasy,
because
of
that
boy
about
who
my
red
readers
digest
was
to
cross
the
equator.
I
flipped
the
coin
I
won,
and
he
and
I
hitchhiked
across
the
equator.
I
We
took
two
months
and
we
went
from
dar
to
kinshasa,
went
through
pygmy
villages
and
we
sailed
all
the
way
down
the
congo
river.
That's
what
I
learned
that
black
people
could
swim
because
all
these
villages
along
the
river
like.
I
Know-
and
I
was
thinking
man
I
wish
the
races
could
have
to
see
these
photographs
I'm
taking,
because
all
these
all
these
people
can
swim
and
I'm
trying
to
be
flooding.
Of
course,
and
then
I
I
flew
to
nigeria
from
kinshasa,
and
then
I
flew
to
accra
because
the
point
of
the
it
was
a
pilgrimage
going
to
the
grave
of
w.e.b
du
bois.
Who
was
my
hero
and
he
renounced
his
american
citizenship
in
1961,
moved
to
ghana,
where
he
became
the
editor
of
the
encyclopedia
africana
and
he
died
in
ghana.
I
The
night
before
martin
luther
king's
march
on
washington
and
I
have
a
dream
speech
and
I
made
a
pilgrimage
to
his
grave
and
I
have
a
photograph
they've
since
moved
his
grave
to
a
mausoleum.
But
I
have
a
photograph
that
I
took.
My
little
nicker
mat
camera
of
that
grave
and
then
in
you
know,
I
think,
by
this
time
it
was
about
april
and
I
flew,
but
I
flew
back
to
europe,
but
it
was
a.
I
Because
in
those
days,
air
miles
were
what
you
the
way
we
think
of
today.
Air
mileage
was
the
amount,
the
distance
as
the
crow
flies
between,
say,
jfk
and
dar
salam
airport,
and
there
were
11
000
air
miles
so
and
I
was
terrified
of
flying.
I'd
only
been
on
an
airplane
one
time,
and
so
I
said
well,
I'm
going
to
go
for
it.
I
I
had
500
for
the
year
I
had
a
backpack,
a
pair
of
sandals,
a
couple
pairs
of
underwear,
and
I
took
three
books
with
me:
don
quixote,
moby,
dick
and
john
hope,
franklin's
from
slavery
to
freedom,
and
I
got
on
that
plane
and
jfk
praying
all
the
time
I
prayed
myself
across
the
atlantic,
and
I
flew
from
new
york
to
london,
to
amsterdam,
to
paris,
to
rome,
to
athens,
to
tel
aviv,
to
addis
ababa
abba
to
nairobi
and
then
darcel
over
a
two-month
period.
I
E
That
is
impressive,
and
I
wish
I
had
a
map
to
be
able
to
pinpoint
all
of
the
places
that
you
went,
because
it's
so
incredible.
You
mentioned
w.e
du
bois,
and
I
know
that
from
a
speech
that
you
gave
back
in
january
of
2004,
you
talk
about
how
he
made
this
assessment
of
the
20th
century,
saying
that
the
biggest
problem
would
be
the
color
line
and.
J
E
I
That
dr
du
bois
wrote
and
for
those
who
don't
know
william
edward
burkhardt
dubois
was
the
most
arrogant
black
man
who
ever
walked
on
the
face
of
the
earth
and
probably
the
smartest
the
first
black
person
to
get
a
phd
in
the
history
of
harvard
in
1895,
and
he
wrote
a
classic
book
that
I'll
be
teaching
in
three
weeks
called
the
souls
of
black
folk,
and
I
encourage
you
all
to
read.
I've
done
a
norton
critical
edition
of
that
book
and
I'll
be
doing
a
new
edition
of
it.
I
But
I
love
this
book
and
he's
in
it.
He
says
the
problem
of
the
20th
century
is
the
problem
of
the
color
line
and
it's
the
most
quoted
sentence.
Excuse
me
from
that
book.
He
was
a
visionary.
I
mean
we
don't
remember,
but
world
war,
one
many
of
the
major
battles
of
world
war,
one
were
fought
in
east
africa
and
they
were
fought
over
the
colonies
because
there
was
tremendous
wealth
in
that
little
village
called
kilimantini.
Where
I
lived.
I
There
was
a
german
graveyard
of
germans,
german
soldiers
who
had
died
in
world
war,
one
because
battles
were
fought
in
tanganyika
because
there
were
tremendous
resources
all
throughout
africa,
and
these
europeans
had
sent
in
berlin
in
1884
and
just
carved
it
up
like
a
piece
of
pie
and
just
gave
it
to
each
other
that
no
human
beings
lived
there.
I
would
say,
as
we
face
the
21st
century,
the
problem
of
the
21st
century
is
the
problem
of
the
color
line,
as
it
reflects
economic
inequality.
B
I
B
I
14,
which
established
birthright
citizenship
and
gave
black
men
in
the
south,
the
right
to
vote,
equal
protection
clause
and
then
the
15th
which
gave
all
black
men
the
right
to
vote
the
when
when
they
were
being
passed
and
then
16
black
men
were
elected
to
congress
between
1870
and
1877.
I
There
were
eight
major
massacres
of
black
people
throughout
the
south,
and
I'm
citing
that
to
say
co-terminus
with
black
progress
has
always
been
a
backlash,
and
that
backlash
to
be,
ultimately,
though,
it's
justified
in
terms
of
racist
stereotypes,
demeaning
images
and
beliefs
about
the
nature
of
our
people,
really
the
causes
of
economic
scarcity,
the
threat
of
inequality.
I
You
know
it's
easy
to
be
liberal
if
you
have
enough
money
in
the
bank
right,
but
if
you're
unemployed,
if
you,
if
you
think
that
the
arc
of
economic
progress
which
was
basically
part
of
the
the
fairy
tale
of
american
situation,
comedies
that
we
were
raised
on
in
the
50s,
you
know
leave
it
to
beaver
something.
You
were
too
young
to
know,
but
you
know
I
wanted
to
grow
up
and
have
a
house
like
beaver
cleaver.
You
know
live
in
that
kind
of
suburban
neighborhood.
I
I
You
worked
hard,
you
went
to
church,
then,
even
if
you
like,
my
father,
worked
in
the
paper
bill
with
all
these
other
italian
and
irish
descended
people,
your
kids
would
go
to
college,
and
then
they
would
become
doctors
and
lawyers,
whatever
teachers
and
their
kids
would
go
to
college
and
they
would
move
back
home
and
you'd
buy
your
house
and
you'd
have
two
cars
and
two
colored
tvs.
Well,
that
inevitable
arc
of
upward
mobility
ended,
and
so
someone
had
to
be
blamed
just
like
jewish
people
were
blamed
all
throughout
european
history.
I
In
times
of
economic
scarcity,
which
culminated,
of
course,
the
most
dramatical
horrendous
examples,
the
holocaust
and-
and
we
could
see
that
with
black
america
in
the
history
of
black
people,
the
relationship
between
race
and
economics
is
inscribed
in
the
term
slave
or
enslaved
person.
A
slave
is
a
racialized
economic
being,
though
civilization
itself
is
coterminal
with
slavery,
slavery
is
co-terminus
with
civilization.
I
The
word
slave
itself,
etymologically
comes
from
slav,
so
there
everybody
had
slaves,
and
we
know
the
jewish
people
were
enslaved
by
the
pharaoh,
but
the
transatlantic
slave
trade
was
the
greatest
mass
enforced
migration
of
human
beings.
In
history,
12.5
million
africans
were
shipped
across
the
atlantic
ocean
between
1501
and
1866
about
50
percent
died,
so
10.8
million
arrived
in
the
new
world.
Guess
okay,
so
hold
that
thought
10.8
million.
How
many
do
you
think
came
to
what's
now
the
united
states
of
that
10.8
million
who
survived
the
middle
passage,
take
a
wild
guess.
I
E
I
I
E
E
I
000
wow
only
388
000
africans
came
from
africa
to
north
america.
Another
42
000
came
in
the
intra-american
site
trade,
so
that's
440,
000.,
all
the
rest
went
to
places
south
of
key
west.
A
million
went
to
a
country,
that's
now
haiti,
a
million
went
to
no,
no,
I'm
sorry.
770
000
went
to
the
countries.
Now
haiti
950
000
went
to
cuba.
A
million
went
to
jamaica,
you
ready
for
this.
5
million
went
to
brazil,
5
million
and
the
reason
they
had
such
higher
numbers
was
two
reasons.
One.
I
The
slave
trade
ended
in
the
united
states
so
january
1st
1808,
so
you
couldn't
import
any
more
africans
and
secondly,
because
sugar
was
the
world's
first.
You
know
universal
commodity
crop
before
the
new
world
opened
up.
Big
sugar
plantations.
Only
rich
people
like
kings
and
queens
and
bishops
too,
as
the
song
says,
could
afford
sugar.
I
E
How
many
years
it
can't
be
much
that's
brutal
work
brutal,
I
would
say
38
7,.
I
You
know
when
we
think
of
it,
I'm
sitting
in
cambridge
massachusetts,
so
you
kind
of
think
that
brazil
is
somehow
straight
down
south
below
us
right.
But
it's
not
it's
halfway
over
to
africa,
so
that
if
you
look
at
it
on
a
real
map,
brazil
is
very
close
to
africa
and
because
of
the
currents
and
the
winds.
I
In
fact,
if
you
wanted
to
sail
from
congo
or
angola
to
portugal,
it
was
faster
to
sail
to
brazil
and
then
sail
to
portugal
than
to
sail
up
up
the
coast.
So
there
was
a
massive
slave
trade
out
of
congo
and
angola,
and
so-
and
we
now
know
because
of
something
called
the
transatlantic
slave
trade
database.
C
B
I
That
25
of
our
african
ancestors
for
those
of
us
who
are
americans
came
from
senegambia
and
another
25
came
from
congo.
Angola
about
18
came
from
eastern
nigeria
ebo.
So
we
now
know
that
because
of
this
great
database-
and
you
could
google,
while
you're
sitting
there
watching
it's
called
the
transatlantic
slave
trade
database
and
dr
david
altus
and
david
richardson
assembled
all
these
scholars
and
they
looked
at
36
000
shipping
records
of
slave
voyages
and
then
counted
the
enslaved
africans
put
on
these
ships.
I
I
So
that's
the
complex
history
of
the
relationship
between
race
and
class
and
we
haven't
americans
have
never
gotten
over
it
that
that
inscribed
relationship
between
race
and
and
economics,
affirmative
action,
which
enabled
me
and
my
generation
to
go
to
yale.
I
show
up
at
yale
on
september
69,
I'm
one
of
96
black
kids,
the
class
of
66
at
yale
had
six
black
men
to
graduate
my
class
said
96.
You
know
who's.
A
I
Class
sheila
jackson,
lee
congresswoman
from
houston.
She
had
barbara
jordan
c
curt
smoke,
the
first
black
mayor
of
baltimore.
He
was
a
rhodes
scholar.
Two
years
before
I
became
a
melon
fellow
to
go
to
university
of
cambridge.
He
inspired
me
to
want
to
go
to
graduate
school.
In
england,
there
was
a
little
nerdy
pre-med
kid
always
forget
his
name,
who
was
in
our
client.
Let
me
see
oh
yeah
ben
carson.
I
Ben
carson
and
his
wife
candy
was
in
the
class
behind
us.
We
were
the
biggest
class
of
black
kids
ever
led
into
yale
in
history
because
of
affirmative
action,
which
is
was
the
system's
attempt
in
response
to
all
of
the
protests
following
dr
king's
assassination
to
respond.
It
was
like
a
pressure
cooker,
letting
off
some
pressure,
and
so
they
integrated
elite
institutions
like
harvard
or
yale
or
you
know,
boulder
or
university
colorado
whatever
it
was,
they
let
more
black
people
in
and
what
it
did
primarily,
though,
was
expand.
C
So
john,
I
want
to
do
a
little
snooping
for
our
guest
or
for
your
guest.
What
are
among
what
is
among
your
favorite
items
in
the
room
that
you're
sitting
in.
J
Oh,
how
nice
of
you
to
ask
lisa?
Well!
This
is
just
our
very
comfortable
family
room.
This
is
where
we
sit
and
watch
television
and
there's
a
lovely
painting
in
the
background
which
is
painted
by
my
daughter,
phoebe's
partner,
nathan,
redwood
who's,
a
magnificent
painter
and
those
are
two
blue
ducks.
I
can't
explain
them
at
all,
except
that
they
were
my
wife's
mary's
inspiration
in
an
antique
shop.
C
Indeed,
indeed
so
so
I
think
that
being
in
your
home,
for
this
gathering
is
kind
of
poignant,
because
my
senses
that
you
really
gained
traction
on
this
manuscript
because
of
the
sheltering
at
home
that
we
had
to
do
for
covet
19..
So
maybe
you
could
talk
a
little
bit
about
that
and
you
know
I
know
that
the
point
of
the
poems
is
very
different,
but
it
you
know
you
pulled
that
little
shaker
thing.
Everybody
was
always
like.
Oh
who's
super
productive
during
covid,
you
have
to
have
been
super
productive
during
covet.
C
J
I
will
read
it
you're
right
lisa.
This
was
my
sheltering
in
place
project.
I
said
yes
to
this
book
in
december
with
great
trepidation,
because
I
had
five
months
of
very
hard
work
ahead
of
me.
I
was
working
on
a
tv
series
with
jeff
bridges
in
los
angeles,
and
I
thought
but
like
it
was
just
simply
too
important
to
try
to
get
this
book
out
before
the
election.
So
I
said
yes
and
braced
myself
and
I
was
afraid
I
would
never
make.
J
It
was
like
mid-april
along,
came
the
coronavirus
and
I'm
one
of
those
lucky
people
who
had
an
obsessive
project
to
occupy
myself.
J
Distract
myself
from
the
horrors
all
around
me
and
to
and
to
address
them
in
a
completely
oblique
and
fun
way.
Inaudible,
poetry,
this
by
the
way,
is
a
follow-up
to
another
book.
I
wrote
under
very
different
circumstances
last
year,
but
it
covers
first
of
all,
impeachment
second,
the
corona
virus
and
third,
the
the
arrival
of
the
of
black
lives
matter,
activism
in
the
streets,
so
it
was
astonishingly
eventful,
six
months
of
my
life
and
I
had
the
the
great
privilege
it
was
almost
a
gift
to
me.
C
Two
of
us
had
spoken
about
rhyme
and
its
stickiness
and
its
ability
to
sort
of
stir
memories,
and
I
think
that
there's
the
news
cycle,
which
means
that
people
go
very
quickly
and
forget
them
very
fast,
because
there's
a
new
group
of
people
that
are
piled
on,
but
your
verse
kind
of
brings
them
back
in
a
way
stirred
up
and,
and
some
of
them
are
still
around,
and
some
of
them
have
been
cashiered,
because
that's
what
how
vulnerable
it
is
to
be
in
the
trump
administration
or
near
the
trump
administration.
C
So
I
think
that
rah-rah-rah
gets
at
this
a
little
bit
that,
like
sort
of
sense
of
like
you,
know,
team
loyalty
and
how
fragile
it
may
be.
Nonetheless,
I
wonder
if
you
would
read
that.
J
Yes,
rah-rah-rah,
I
love
your
word
stickiness.
J
C
H
J
C
Well,
I
recently
saw
kind
of
your
satire
ography
in
a
way
and
and
and
there
was
a
sort
of
rather
market
break
in
it-
you
you've
returned
with
a
fire
to
it,
but
there
was
this
break
that
you
know
between.
I
don't
know,
maybe
99,
1999
and
2011
or
maybe
even
earlier
in
1988
and
2011,
and
I
was
like
going
well.
I
wonder
what
happened
at
that
time.
It's
like
it
could
have
been
cliffhanger
or
pelican
brief
or
a
civil
action,
or
you
know,
playing
dick
stockton,
dr
dick
stockton.
C
J
Well,
it's
it's
been
an
interesting
career
in
a
lot
of
ways.
It's
broken
down
into
three
acts.
If
it
was
a
play,
it
would
be
a
three-act
play.
The
first
act
was
the
1970s
in
new
york.
When
I
was
almost
completely
a
new
york,
theater
actor
I
was
in
12
broadway
shows
I've
been
in
25
of
them
so
far,
but
all
but
all
through
the
70s.
I
was
virtually
performing
on
broadway
every
night
and
my
big
break
was
a
tony
winning
debut
in
1973
of
a
new
play
called
the
changing
room.
J
J
I
did
terms
of
endearment
and
footboos
and
and
the
twilight
zone
movie
and
the
world
according
to
garp
and
buckaroo
bonsai
and
harry
and
the
hendersons
just
a
whole
tumble
of
extremely
different
movie
jobs.
And
then
I
returned
to
new
york
in
the
late
80s
to
do.
J
J
In
the
early
90s
I
was
approached
to
be
to
star
in
a
re
an
absolutely
ridiculous
television
series
called
third
rock
from
the
sun,
and
that
was
an
entirely
new
act
in
my
life
and
the
most
fun
I
have
ever
had.
I
went
for
six
years.
I
was
just
in
an
incredible
ensemble
of
comic
actors
in.
J
More
theater
than
film
really
stood
performing
for
a
studio
of
an
audience
once
a
week
and
and
then
ever
since
then,
having
done
three
chapters
of
very.
C
J
Serious
stuff,
like
love,
is
strange,
a
wonderful
film
to
horror
stuff
like
dexter
and
completely
loopy
comedy
because
of
third
rock
from
the
sun.
I'm
still
in
that
game,
like
daddy's
home
too
satire
intermittently.
I
have
dipped
into
that.
I
did
satirical
radio
on
wbai
york
when
I
started
out
I'd.
I've
done
saturday
night
live
hosted
it
three
times
in
the
80s,
but
I've
never
been
an
entirely.
I
haven't
been
a
political
activist,
somehow
or
other
the
trump
era
has
dragged
me
into
the
public
arena
satire.
J
I
I
have
been
writing
rhyming
doggerel,
all
all
this
time
for
various
purposes,
most
notably
for
nine
children's
picture
books,
which
are
entirely
written
in
rhyming
verse.
Almost
dr
seussian
verse.
J
This
came
along
just
out
of
the
blue.
It
was
a
bright
idea
by
my
literary
agent
after
I
had
performed
a
parody
of
gilbert
and
sullivan
in
a
new
york
public
theater
gala,
in
which
I
rewrote
the
lyrics
to
suit
michael
t
flynn.
I
performed
it
in
the
character
of
michael
t
flynn.
Shortly
after
his
egregious
scandal
and
firing.
I
say
instead.
J
My
agent
david
cuny
made
the
connection
between
that
and
the
possibility
of
an
entire
book
of
poems,
and
that
book
was
dumpty
versus
for
the
the
age
of
trump
in
verse
it
was
called,
and-
and
this
book
is
merely
the
sequel
to
that,
with
more
events
coming
tumbling
at
us.
C
At
quite
a
ridiculous
pace,
it
seems
so
one
of
the
things
so
rhyme
because
of
the
children's
books,
but
also,
I
remember
I
kind
of
squirreled
away
a
story
about
tartuffe
and
college
that
you
had
mentioned
to
me,
because
I
wanted
to
hear
it
and
because
we
were
talking
about
the
power
of
rhyme-
and
it's
like
you,
have
this
three
with
satire,
but
certainly
you
have
an
even
longer
history
with
rhyme.
I
wondered
if
you
had
the
inclination
to
perhaps
share
it
with
us.
Yes,.
J
Yeah
I
played
tartuffe
as
a
senior
in
in
college
in
the
translation
by
the
brilliant
richard
wilber,
who
is
one
of
the
great
rhyming
poets
I
mean
not
just
noted
for
his
rhyme,
but
his
rhyme
and
his
meter
is
unbelievable
and
he
managed
to
capture
the
rhythms
and
the
music
of
moliere
better
than
anybody
in
english
and
yes,
you're
right
after
all
these
years.
J
J
Our
senses
are,
quite
rightly
captivated
by
perfect
works.
Our
maker
has
created
some
glory,
clings
to
all
that
heaven
has
made
in
you
all
heaven's
marvels
are
displayed.
How
can
I
look
on
you?
Oh
flawless
creature,
and
not
adore
the
author
of
all
nature,
feeling
alone,
both
passionate
and
pure,
for
you,
his
triumph
of
self-portraiture.
C
Sticky,
yes,
it
is
indeed,
but
in
such
a
good
way,
not
like
it's
funny
that
you
you
know
you
had
mentioned.
I
wanted
to
go
back
to
just
a
little
bit
because
I
know
that
you
sort
of
had
I
remember
the
new
york
times,
op-ed
piece
for
dumpty
that
began
by
saying
something
along
the
lines
of,
and
in
fact
I
think
I'll
read
it,
because
that's
you
write
so
beautifully.
I
shouldn't
make
up
stuff.
C
Readers
of
this
page
have
every
reason
being
suspicious
of
the
political
museums
of
an
actor
I'm
suspicious
of
them
myself,
and
I
thought
that
was
so
interesting
because
I
do
think
that
something
I'm
I'm
very
curious
about
like
was
it
a
particular
moment,
a
final
straw,
or
did
you
just
have
the
cumulative
effect
of
all
that
stable
genius
that
like
brought
you
into
this
fray.
J
I
think
final
straw
is,
is
the
word
for
it,
besides,
which
sir
being
invited
to
express
myself?
Absolutely
I,
it
was
quite
a.
I
was
quite
intimidated
by
the
challenge
of
writing
a
new
york
times
editorial,
but
I
wasn't
going
to
say
no
right.
My
experience,
the
things
that
you're
most
afraid
of
are
the
things
that
you
should
really
do.
Oh.
J
He
a
man
who
so
completely
self
unself
aware
has
no
sense
of
irony,
really
has
a
complete
absence
of
sense
of
humor.
You
never
actually
tell
no
hear
him
tell
a
joke
or.
J
Dismissed
him
as
a
lousy
entertainer
in
a
sense,
I
was
wrong
because
in
fact
donald
trump
gets
bigger.
Crowds
than
I
will
ever
get
gets
bigger
responses
to
his
sort
of
cloddish
sense
of
humor,
but
I
mean
that's
the
harsh
truth.
All
of
us
performers
are
preaching
to
the
choir
you're.
Only.
E
F
So
the
topic
of
my
my
sort
of
series
of
conversations
is
writing
for
time
and
place.
I
think
that
is
a
it's
a
lot
of
what
I
tend
to
do
in
my
work,
and
so
I
thought
that
the
best
way
for
me
to
share
with
you
what
I
know
is
to
talk
about
at
first
to
talk
about
process.
F
F
So
I'm
I'm
working
on
a
play
about
18th
century
paleontologist,
george
cuvier,
I'm
working
on
a
musical
about
four
mixed-race
chinese
polish
american
singers
from
the
1930s
and
40s
called
the
kimloo
sisters,
I'm
working
on
a
mystery
set
in
the
north
woods
of
minnesota
in
the
present
in
the
time
of
covid,
I'm
working
on
a
play
about
the
invention
of
the
birth
control
pill
in
the
1950s
and
I'm
working
on
a
play
about
the
future
where
people
have
colonized
the
moon
and
in
the
way
that
people
have
colonized
other
countries
in
the
in
the
world
we
live
on
now.
F
So
I
I
share
all
of
that
with
you,
so
that
you
have
a
sense
of
the
span
of
topics
that
that
that
I
I
or
any
of
us
can
write
about,
and
I
think
that
there's
one
thing
that
all
of
those
projects
have
in
common-
and
that
is
that
they
are
a
way
for
me
to
talk
about
today
and
to
talk
about
the
themes
and
the
issues
that
I
I
feel
passionately
about
before
I
was
a
playwright.
I
was
a
journalist
and
I
think
it's
that
sensibility
that
I
bring
to
my
work.
F
Each
play
for
me
is
a
process
of
discovery.
I
think
a
lot
of
writers
will
say
that,
but
but
hopefully
each
play
is
a
process
of
discovery
not
only
of
the
play
itself,
but
also
of
the
world
and
on
behalf
of
the
community
at
large.
F
So
research
obviously
plays
a
huge
role
in
that,
as
does
received
communication
or
being
a
conduit
for
the
voices
that
float
around
me
around
us.
For
me.
Sometimes
that
is
the
the
voices
or
the
stories
of
my
ancestors
who,
who
I
tend
to
do
a
lot
of
research
and
and
commune
with
as
much
as
I
can
and,
and
sometimes
that
has
to
do
with
environment
or
or
current
events.
Or
what
have
you
and
for
me,
a
play
will
begin
sometimes
with
those
voices.
F
F
He
was
the
first
person
to
prove
the
theory
of
extinction
while
at
the
same
time
fighting
against
the
idea
of
evolution,
and
so
for
me,
I
wanted
to
talk
about
extinction
and
also
talk
about
what
it
means
to
be
both
right
and
wrong
at
the
same
time,
in
such
a
strong
way,
and
sometimes
my
plays
begin
just
with
the
time
and
a
place
so
the
the
play
about
the
north
woods
of
minnesota,
for
example,
is
it's
a
play
for
audible,
and
so
it's
a
it
has
to
be
an
oral
experience
and
one
of
the
places
that
I've
been
in
my
life
that
feels
like
the
most
sensory
is:
are
the
northwoods
of
minnesota,
the
boundary
waters,
those
big
skies
and
lakes
and
beautiful
trees.
F
So
so
those
are
the
seeds
of
where
play
can
begin
and
sometimes
those
ideas.
Those
initial
ideas
can
expand
into
the
thing.
I
call
theme
this
idea
of
extinction,
maybe
or
with
the
story
about
the
the
mixed
race
performers
from
the
1930s
and
40s.
It's
really.
F
F
What
is
the,
what
is
the?
What
is
the
content
that
we're
trying
to
express
through
time
and
through
place?
As
we
know,
anytime,
a
play
happens,
it's
in
some
kind
of
setting
or
I
and
I
I'm
sorry,
I'm
being
so,
theatrically
biased,
a
screenplay,
an
audio
play,
tv
show,
etc.
C
F
Things
that
I
do
is
find
the
environment,
it's
very
hard
for
me
to
understand
the
story
I'm
telling
without
knowing
what
what
its
context
is.
So
so
what
makes
a
good
environment
for
me
it's
interesting.
F
So
I
thought
I
would
share
a
bit
about
my
play:
the
paper
dreams
of
harry
chin,
which
is
about
a
specific
time
and
several
specific
places,
but
as
a
way
to
talk
about.
Why
pic?
Why
kick
that
topic?
And
why
pick
those
places
and
times
this
is
a
play
that
was
commissioned
by
the
history
theater
in
2014.,
and
it's
it's
a
play
about
the
chinese
exclusion
act
and
the
the
chinese
exclusion
era
and
the
way
that
that
period
of
history
impacted
one
family.
F
So
in
2014
it
was.
We
were
under
a
different
president,
and
still
there
was
a
lot
of
alarming
to
me.
Rhetoric
swirling
around
about
immigration
and
and
the
chinese
exclusion
era
is
a
time
period
that
I
knew
only
after
I
stopped
studying
anything
in
school.
I
didn't
learn
about
it
in
college
or
in
high
school
or
any
other
time
in
my
school
life
and
and
that
felt
alarming
to
me
that
there
was
this.
F
If
you
don't
know,
60
plus
year
history,
where
chinese
people
were
excluded
by
name
were
not
allowed
to
immigrate
to
the
us
and
it
only
ended
in
1943
and
even
then
it
switched
over
to
a
quota
system,
and
so
chinese
people
were
effectively
excluded
until
the
60s
and
it's
a
huge
part
of
my
history,
not
my
personal
history,
but
the
history
of
the
community
that
I
belong
to
and
and
still
wasn't
talked
about,
and
it
felt
like
the
way
that
that
immigration
politics
were
were
moving
forward
at
this
time
and
continued
to
do
so.
F
It
felt
like
we
were
on
the
brink
of
starting
to
make
the
same
mistake
again
as
a
country,
so
it
felt
like
a
very
appropriate
time
to
revisit,
and
so
the
history
theater
and
I
were
hoping
to
work
on
a
project
together
and-
and
so
I
I
thought-
maybe
this
is
the
right
project
for
that
collaboration.
Their
mission
is
to
tell
stories
true
stories
about
minnesota
and
the
midwest,
and
so
I
was
certain
that
there
was
a
story
that
came
out
of
the
chinese
exclusion
era
this
60-plus
year
period
in
history.
F
Sometimes
research
is
collecting
facts
or
digging
into
the
information
that
we
need
in
order
to
portray
a
story
with
accuracy
and
compassion,
but
sometimes
research
is
just
about
surfing
and
collecting
ideas
and
digging
into
our
own
subconscious,
drawing
connections
between
things,
and
all
of
this
is
sort
of
circling
around
the
idea
of
theme.
For
me,
what
is
this
about.
F
F
Of
time
and
place
writing
for
time
and
place
and
we'll
talk
about
concept
and
character
and
story
and
use
time
and
place
to
dig
into
it,
you
can,
as
you
gather
your
images
you
can
print
them
out.
I
have
I'll
share
with
you.
You'll
see
my
very
messy
office
right
now,
but
I
told
you
I'm
working
on
this
project
about
the
north
woods
and
I
just
want
to
show
you
my
wall
of
images.
This
is
what
I've
got
so
far:
characters
place,
setting
sky.
F
So
you
can,
you
can
create
a
wall
if
you'd
like
you,
can
I
sometimes
use
these
images
as
my
computer
background
or
if
I'm
really
having
a
hard
time,
I
often
need
like
for
a
character.
I
need
to
like
find
a
person,
and
so
sometimes
I'll
put
that
as
my
phone
background.
F
So
I
see
it
every
time
I
go
to
text,
but
basically
I
build
for
myself
an
environment
within
which
I
can
dive
into
this
work
and
I'll
say
if
you
discover
anything
concrete
as
you're
scratching
collecting
journaling
about
it,
then
just
move
it
gently
into
your
planning
document
and
start
to
see
if
there
is
a
before
and
and
after
start
to
think
about
how
this
thing,
this
concrete
thing
that
you've
landed
on.
How
does
that
lead
logically
into
the
next
thing?
What
questions
does
it
bring
up
for
you?
F
How
could
you
make
it
more
awesome
and
as
you're
scratching
journaling
planning?
If
anybody
starts
speaking,
then
you
can
go
ahead
and
start
working
in
your
script.
D
H
Thank
you.
You
should
do
a
little.
You
should
do
a
little
chit
chatting
with
people
who
do
the
airplane
wi-fi's.
So
I
want
to
give
you
as
much
time
as
possible
to
share
your
exercises
with
our
audience
here
tonight,
because
I
know
that's
why
they're
here,
but
I
want
to
provide
a
little
bit
of
context
for
everyone
before
we
launch
into
that.
H
D
Oh
well,
it's
a
very
good
question.
As
a
clown
teacher
sort
of
my
big
goal
is
to
try
to
help
people
be
a
little
bit
more
playful,
a
little
bit
more
open
a
little
bit
more
ferocious
a
little
more
vulnerable.
A
lot
of
that
work
has
to
do
with
kind
of
going
back
and
noticing
how
we're
socialized
over
time
and
how
that
socialization
has
diminished
our
capacity
to
be
fully
expressive,
and
we
try
to
undo
that
a
little
bit.
D
You
today
is
is
sort
of
what
I
tried
to
do
and
there's
a
lot
of
different
ways
to
do
that,
and
it
takes
a
little
while,
but
you
know
ultimately,
I
think
I
I
hate
to
put
a
big
definition
on
what
the
clown
is.
It
feels
a
little
bit
like
you're
putting
a
butterfly
on
a
cork
board
right.
You
know
what
I
mean
with
pins,
but
I,
but
I
think
ultimately
the
clown
is
very
personal.
It's
very
unique
to
each
individual
and
it's
at
the
end
of
the
day.
D
It's
who
you
would
be
if
you'd
never
been
told
no
right.
What
would
you
be
like?
How
would
you
live
in
your
body?
How
would
you
have
your
your
your
voice
and
breath
connection,
to
your
delight
and
to
your
despair
and
and
to
your
ability
to
celebrate
and
and
also
grieve
without
feeling
that's
a
place
of
shame
or
a
place
of
weakness?
You
know
yeah,
I
guess
that's
the
best
way
to
put
it.
H
Yeah,
excellent
and
so
you've
been
doing
a
lot
of
this
work
and
then
sort
of
a
companion
work,
the
laughing
club
for
the
last
year,
and
I'm
just
curious.
If
you
could
talk
a
little
bit
about
why
the
work
that
you
do
is
so
important,
especially
right
now,
with
with
what
performing
artists
are
facing
and
the
work
that
you're,
maybe
doing
on
the
friday
laughing
club
and
we'll
share
a
little
bit
more
information
at
the
end
of
this
program
about
what
laughing
club
is.
D
I
I
think
this
is
be
really
I'll.
Be
super
honest
with
you
back
in
march
when
everything
just
shut
down.
I
was
freaking
out
because
I
have
no
idea
how
to
move
forward
with
the
work
that
I
do,
because
it
demands
a
kind
of
visceral
and
kinesthetic
connection
in
the
room.
It's
sweaty,
it's
it's!
You
know
it's
wild
and
I
was
like
how
do
I
do
that
through
a
computer,
and
so
I
began
to
think.
D
Okay,
maybe
there's
another
way
to
proceed,
and
for
many
years
I've
been
doing
some
research
and
some
it's
called
laughter
yoga
that
was
invented
by
amanda,
dr
victoria
and
I've
always
wanted
to
as
part
of
sort
of
every
theater
program.
D
I've
I've
been
involved
with
to
start
a
laughing
call
like
every
monday
morning,
or
something
right
where
you
just
get
together,
and
you
laugh
for
no
particularly
good
reason
about
nothing
in
particular
just
to
get
your
voice
moving
to
just
get
your
body
open,
and
so
I
began
to
look
closer
at
this
and
think.
Well,
maybe
what
I
can
do
to
start
is
to
begin
ongoing,
wellness
practice
that
is
based
on
this
laughter.
D
Yoga
principle,
but
bring
because
in
my
investigation
of
it
it
was
very
particular
to
to
that
person's
research,
and
so
I
thought
why
don't
we
find
a
way
to
bring
some
of
the
work
that
I've
been
doing
over
the
years
in
terms
of
the
clown
work
and
the
mask
work
and
all
of
that
to
to
to
find
a
way
to
address
some
of
the
more
complicated
emotions
of
the
moment
such
as
I
don't
know
about
you,
but
rage
is
one,
maybe
some
anxiety.
Okay,
how
about
some
grief
got
that
right.
D
All
these
things
right
that
we're
dealing
with,
and
we
discovered
that
laughter
laughter
is
a
huge
portal
to
be
able
to
get
in
there
and
get
in
touch
with
some
of
that
stuff
right,
and
so
I
began
to
investigate
that
more
and
more
and
and
over
a
course
of
a
couple
months,
I
managed
to
put
together,
put
together
a
really
sweet
hour
progression
of
a
way
for
people
to
connect
for
people
to
stretch
out
on
their
laughter.
Even
it's
even
if
it's
fake
at
the
beginning,
it
doesn't
matter
your
body
doesn't
know
the
difference.
D
You
know
you
can
fake
it
till
you
make
it
and
you're
getting
into
some
toxin
you're
purging
toxin.
You
are
you're
getting
you're,
releasing
endorphins,
it's
really
good
for
your
cardiovascular
system.
It's
really
good
for
your
respiratory
system
and
your
immune
system
and
guess
what
else
you
burn
like
40
calories.
So
I'm
like.
Why
am
I
not
doing
this
every
damn
day,
yeah
right.
D
I
did
it
for
every
damn
day
for
a
while
and
then
and
then
we
begin
to
focus
it
down
and
into
a
really
sweet
like
happy
hour
laughing
club
on
fridays,
and
it's
been
really,
it's
been
really
really
a
beautiful
practice
for
people
who
show
up
again
and
again-
and
I
probably
will
I'm
guessing-
do
it
forever.
H
Absolutely,
and
what
I
was
impressed
by
with
laughing
club
is
that
you
do
use
a
lot
of
the
exercises
that
you
use
in
a
clown
class
as
well.
I
think
there
are
a
lot
of
similarities
in
that
and
something
I
wanted
to
sort
of
talk
about,
and
so
this
is
the
book
that
you
wrote
with
your
creative
collaborator,
virginia
scott,
that
we
referenced
there
and
and
we'll
message
everyone
about
this
at
the
very
end.
H
But
what
I
think
is
so
remarkable
about
this
book
is
that
we're
talking
about
this
previously
is
that
it
gives
a
sort
of
trajectory
of
your
curriculum
and
so
part
one
focuses
on
warming
up
the
actor
or
the
performer
or
the
individual's
curiosity,
both
physically
and
mentally,
and
the
second
part
moves
into
something
that
I
would
sort
of
call
the
essential,
christopher
bass
exercise,
which
is
the
one
that
everyone
who
has
worked
with
you
talks
about.
It's
it's,
I
would
say
it's,
maybe
an
infamous
exercise,
which
is
the
make
us
laugh
exercise.
H
Could
you
could
you
just
sort
of
describe
for
our
audience
what
that
is
and
what
your
objective
is
with
that
exercise.
D
Oh
goodness,
sure
you
know
it's
sort
of
like
that.
As
you
know,
I
work
for
theater
delegate
loon
for
many
years
and
one
of
the
one
of
the
french
expressions
for
like,
let's
just
be
honest
about
it,
is:
let's
put
the
cat
on
the
table:
mm-hmm,
that's
what
they
think.
Let's
put
the
cat
on
the
table
like
wow.
Here
we
go,
that's
what's
up
and
so
and
so
and
and
so
the
thing
is
like.
Okay,
we're
investigating
the
clown,
we're
investing
in
the
comic
world.
D
I
want
to
do
a
diagnostic
on
you
and
my
way
of
doing
a
diagnostic
is
say
you
come
over
here.
You
come
out
there.
You
come
down
here
to
the
middle
of
the
stage,
the
sweet
spot
and
you
make
us
laugh
you
see
what
happens
it's
impossible,
it's
almost
impossible
until
you
get
to
the
point
where
you
realize
you're
failing
miserably
it's
awful
and
you
cop
to
that
and
then
you're
hilarious
yeah,
because
you
become
human
in
front
of
us
right,
because
the
whole
thing
is.
D
If
you
know,
if
you're,
if
you're
really
good-
and
we
laugh
at
you-
we
can
celebrate
that
if
you're
really
horrible
and
you
pretend
you're
really
good-
which
most
people
do,
we
hate
you
a
little
bit
because
you're
you're
lying
if
you're
really
awful
and
you
and
you
admit
that
you're
awful
in
that
moment,
we
love
you
so
much
because
you're
being
honest,
and
so
it's
getting
to
that
kind
of
really
honest
relationship
between
the
actor
and
the
audience
that
conversation
that
happens.
You
know
that
that's
true
and
that's
the
way.
D
You
begin,
I
think
you
know
there's
some
there's
other
clown
teachers
who
do
different
versions
of
that
called
the
circle
of
fire
and
all
that
you
have
to
stay
in
the
center
until
you
make
everybody
laugh
and
it's
brutal
and
people
are
crying.
What's
that
you
know,
I
don't
want
to
I'm
not
trying
to
traumatize.
I
don't
want
to
traumatize
anybody,
but
I
want
you
to
be
honest.
Yeah,
let's
begin,
let's
begin
with
being
honest
in
the
conversation,
so
I
guess
that's
kind
of
the
deal.
H
H
It
tests
an
actor
or
a
performer's
medal,
and-
and
something
that
I
was
talking
about
with
the
dear
friend-
is
that
those
who
think
they
are
the
cleverest
in
the
class
are
typically
the
ones
who
have
their
their
tricks,
their
masks
their
as
you
say
in
in
this
book,
they're
gizmos
that
they
use,
and
so
what
are
you
looking
for
in
an
actor?
Is
it
the
same
thing
every
time
in
an
actor?
Is
it?
D
The
thing
that
I'm
most
interested
in
quite
honestly
is
is
what
each
individual's
actors
catch
places
right.
If
they're
traveling
in
a
certain
way
and
they
hit
a
place
and
they
go
sideways,
they
go,
I'm
not
gonna
go
there.
I'm
not
doing
that
right.
What
if
they
continue
to
press
through
that
and
what's
gonna
what?
What
is
the
vista
going
to
become.
C
D
The
other
side
of
that,
what's
the
catch
place
right,
the
cash
place
is
generally
bumping
right
up
against
the
billboard
you
built
for
yourself
in
high
school
right,
I'm
this
kind
of
person
who's
that
likes
these
kind
of
things
right.
This
is
the
billboard
that
I
claim
to
right
and
and
and
also
I
think,
every
actor
has
part
of
their
talent
that
they
like
that
they
have
confidence
in
that
they
lead
with
right.
And
that's
amazing-
that's
great.
I
don't
want
to
take
that
from
anybody.
I
don't
want
to
mess
with
that.
D
I'm
just
not
interested
in
that,
because
that's
not
a
place
of
discovery
or
growth
that
that's
a
place
of
defense
right,
that's
a
place
that
you're
gonna
you're
gonna
cling
to.
But
if
I
push
that
aside
a
little
bit
okay
but
where's,
the
other
part
of
your
talent,
that's
interesting!
That's
the
part
of
your
talent
that
you,
like
where's,
the
part
of
your
talent,
that's
still
a
mystery
to
you
and
that's
my
job
as
an
educator
is
to
try
to
get
in
there.
You
know
I
don't
care.
D
If
anybody
succeeds
in
any
exercise,
I
ever
do
I'm
interested
in
whether
they
grow
or
not
whether
they
make
a
discovery
along
the
way.
That's
what's
interesting
to
me:
they
can
have
a
breakdown,
they
can
fall
apart.
They
can
have
a
celebration
all
of
these
beautiful
human
juicy
human
opportunities,
but
that
doesn't
lie
in
the
place
that
where
your
confidence
is
that
lies
in
the
place
of
your
growth
and
the
mystery,
and
I'm
really
interested
in
the
mystery
of
each
individual
and
what
that
means.
And
then
how
can
we
push
into
that
to
discover
something?
D
H
Well,
let's
do
it,
let's,
let's
initiate
this
here,
so
I'm
gonna
pass
the
baton
to
you.
Do
you
want
to
give
us
any
sort
of
preamble
before
we
hop
in
to
hop
into
the,
and
you
do
you
say,
exercises
in
your
book
and
you
you,
you
sort
of
specify
why
you
say
exercise
and
I'm
curious
if,
before
you
hop
in,
if
you
could
just
explain
yeah
exactly
it
is.
D
D
C
D
Up
against
something
you
don't
want
to
go,
there
don't
go
there.
You
know
it's
up
to
you
and,
and
one
of
the
things
there's
a
lot
of
people
here,
which
is
amazing.
If
you
want
to
keep
your
camera
on,
keep
your
camera
on.
If
you
want
to
lurk
in
the
shadows,
lurk
that's
fine.
H
D
D
Okay,
because
I
want
to
get
you
stretching
out
in
your
body
and
making
the
sound
that
goes
along
with
it
to
match
it
all
right.
So
if
you
need
to
get
a
pillow
to
yell
into
or
to
laugh
into
or
to
rage
into
whatever
you
need
to
do,
get
a
pillow.
If
you're
fond
of
your
downstairs
neighbors,
you
might
want
to
get
some
cushions
to
stomp
on.
If
you
don't
like
them
very
much,
I
would
say:
let
them
complain.
D
Whatever
you
want
to
do,
but
I'm
just
going
to
walk
you
through
what
I
do
in
laughing
club,
it's
it's
short,
it's
a
it's
a
20-minute
progression
and
again
go
as
far
as
you
feel
like
you
can
go
tonight
and
if
it's
something
that
you
want
to
continue
later
on,
come
and
see
me
again,
I've
had
people
coming
every
week
for
11
months
and
it's
just
a
beautiful
community
and
a
really
and
a
really
gorgeous
group
of
people.