Category Archives: Art

Un espacio en Australia

by Caroline Brantley

This past October, I wrote a short, contemporary scene inspired by “La casa de Bernarda Alba” by Federico García Lorca, a Spanish playwright and poet assassinated during the Spanish Civil War for being gay. My scene sought to relate these events and the uphill battle of the LGBTQIA+ community to Australia’s current nationwide postal survey for marriage equality. By November 15, 80% of Australian voters submitted their postal surveys, with 62% voting in favor of marriage equality. This past Thursday, the Australian Parliament officially accepted the postal survey’s success and voted overwhelming in favor of legalizing same sex marriage across the country (!!).

In celebration of how far the LGBTQIA+ community has come and in recognition of the barriers we still have to tackle, I present the scene I wrote (in Spanish and English) a couple months back. Here’s to Lorca and all those who have risked or sacrificed their lives so that others may now live with pride.

Un espacio en Australia

Todos los papeles de esta obra (Bernarda, Adela, Angustias, Martirio, Pepe) reflejan los papeles originales de “La casa de Bernarda Alba” por Federico García Lorca.

Arriba el telón para una casa en un suburbio conservador de Perth, Australia, 2017. En Australia, hay una encuesta postal este mes sobre la legalización del matrimonio entre personas del mismo sexo. Esta escena específicamente está en un cuarto oscuro que es tranquilo y vacío con la excepción de ADELA. ADELA se sienta en una silla en el medio del cuarto, escribiendo en la computadora portátil con una cara de consideración y estrés. La única luz es de la computadora, y brilla en la cara de ella.

(Entra BERNARDA, encendiendo una lámpara)

ADELA: (suspiro)

BERNARDA: (severamente) ¡Adela! ¿Por qué no estás durmiendo? Es muy tarde y no quiero ver que estás cansada mañana durante la cena para Angustias y Pepe.

ADELA: Estoy cansada, pero no puedo dormir. Necesito el espacio para pensar.

BERNARDA: ¡Eres demasiado dramática! Duerme porque nosotras vamos a tener un problema mañana si tu estás de mal humor. Es la cena antes del matrimonio de Pepe y tu hermana; es un día feliz y no me gustan ánimos malos.

ADELA: (con vacilación) Mamá, tengo algo que necesito decirte.

BERNARDA: No estás feliz por Angustias.

ADELA: ¡Qué!. . . No, mamá. Yo—buenas noches.

BERNARDA: (escéptica) Igualmente.

(Cierra la portátil. Se apaga la luz.)

El día siguiente en una cena antes del matrimonio entre ANGUSTIAS y PEPE. La atmósfera es alegre mientras la familia de Angustias y los invitados hablan sobre chismes y nuevas cosas de la comunidad.

MUJER: Ay, Bernarda, ¡es una fiesta muy grande! Y yo sé que Angustias estará bonita mañana cuando ella se casará con Pepe. Pues, ¡claro! Todas tus hijas son hermosas. No tendrán problemas para encontrar un esposo.

BERNARDA: ¡Por supuesto, no! Pero mis hijas piensan que es una idea anticuada, especialmente Martirio y Adela. Ellas no quieren novios ahora—a veces son demasiado liberales y modernas para mí.

ADELA: (un poco amarga) Martirio no es liberal. . .

MARTIRIO: Sí, estoy de acuerdo con ella. Es una idea loca.

MUJER: Bien, Martirio, si no tienes un novio, ¿Qué te gusta hacer? ¿Trabajas?

BERNARDA: Sí, Martirio ha estado trabajando para la campaña de “No” contra la loca encuesta postal. ¿Pueden creer que las personas quieran implementar la habilidad para la gente homosexual para casarse?

MARTIRIO: No es “un derecho”, es horrible. Quieren terminar la importancia del matrimonio.

ADELA: Voy a tomar una bebida.

(MARTIRIO sigue a ADELA)

MARTIRIO: (tranquilamente) Flaca—fue una noche muy tarde.

ADELA: (con sorpresa) ¿Qué?

MARTIRIO: ¿Estabas hablando por teléfono a las cuatro?

ADELA: No es importante para ti.

MARTIRIO: Dime con quien te hablaste anoche.

ADELA: Vete.

MARTIRIO: (pausa) Con una chica. (ADELA mira a MARTIRIO, están enojadas) Eres homosexual.

ADELA: Y tú eres homofóbica. Mi cuerpo y mi vida me pertenecen, y no hay nada que puedas hacer. ¡No es el lugar para crear una escena, pero yo sé que tú quieres atención!

MARTIRIO: (Mas ruidosa) Cállate. Cuando le diga a Mamá—

ADELA: ¿Por qué necesitas decir a madre? ¿Porque no tienes nada interesante en tu vida? Si estás tratando a arruinar el día con mi sexualidad—

MARTIRIO: Pues, si ninguna de nosotras tenemos un novio en el matrimonio de nuestra hermana, al menos mi amor por hombres es auténtico. Va a ser muy interesante—cuando yo le diga a madre sobre tu secreto y tu “novia”.

(Llega ANGUSTIAS con BERNARDA)

ANGUSTIAS: ¡Están ruidosas! Dime el chisme.

ADELA: No es chisme.

BERNARDA: No tengo tiempo para sus problemas.

MARTIRIO: Es solo el problema de Adela. Mi hermana loca tiene a correr a Nueva Zelanda para casarse, y todavía ella no sería normal.

ANGUSTIAS: ¡Martirio!

ADELA: ¡Basta! Mi sexualidad no es vergüenza. No debería una cuestión política. Ustedes me tratan como una enfermedad, pero pronto puedo casarse en Australia. Y, Martirio todavía sería soltera porque ella siempre pone su nariz en los asuntos de otros. (ANGUSTIAS empieza a llorar, BERNARDA está enojada) Y madre, mamá . . . he tratado a decirte, iba decirte, pero era demasiado—

Bernarda: Basta.

Corta el escenario a negro.

La escena final: un cuarto oscuro. Tranquilo y vacío con la excepción de BERNARDA, quien se siente en una silla al lado de un escritorio. ANGUSTIAS entra.

ANGUSTIAS: (con hesitación) Son las dos en punto.

BERNARDA: Sí. Deberías dormir. Necesito pensar.

ANGUSTIAS: Pienso sobre ti, mamá. Estoy preocupa por ti.

BERNARDA: Estoy bien—es cierto. Y te quiero una montaña, y necesitas volver a Pepe.

(ANGUSTIAS sale)

BERNARDA: (murmurando) Es cierto que amo a todas mis hijas. (Completando la encuesta postal sobre apoyo para el matrimonio homosexual de Australia y sellando el sobre) Sí, Adela.

Fin.

A Space in Australia

All the roles in this work (Bernarda, Adela, Angustias, Martirio, Pepe) reflect the original roles from “The House of Bernarda Alba” by Federico García Lorca.

 

Curtain up to a house in a conservative suburb of Perth, Australia, 2017. In Australia, there is a postal survey this month about the legalization of same sex marriage. This specific scene is in a dark room that is quiet and empty with the exception of ADELA. ADELA sits in a chair in the middle of the room, writing on her laptop with a face of consideration and stress. The only light is from the computer, and it shines in her face.

 

 

 

ADELA: (sighs)

BERNARDA: (severely) Adela! Why aren’t you sleeping? It is very late and I don’t want to see you tired tomorrow during Angustias and Pepe’s dinner.

ADELA: I am tired, but I can’t sleep. I need space to think.

BERNARDA: You are too dramatic! Sleep, because we are going to have a problem tomorrow if you are moody. It is the dinner before Pepe and your sister’s wedding; it is a happy day, and I don’t like bad spirits.

ADELA: (hesitantly) Mamá, I have something that I need to tell you.

BERNARDA: You are not happy for Angustias.

ADELA: What! . . . No, mamá. I—good night.

BERNARDA: (skeptically) Same to you.

(ADELA closes the laptop. She turns off the light.)

The next day at the dinner before the marriage of ANGUSTIAS and PEPE. The atmosphere is happy while Angustias’ family and guests talk about gossip and new things for the community.

MUJER: Ay, Bernarda, what a big party! And I know that Angustias will be pretty tomorrow when she marries Pepe. But, of course! All your daughters are beautiful. They will not have any problems finding a husband.

BERNARDA: Of course not! But, my daughters think that this is an outdated idea, especially Martirio and Adela. They don’t want boyfriends now—sometimes they are too liberal and modern for me.

ADELA: (a bit bitterly) Martirio is not liberal. . .

MARTIRIO: Yeah, I agree with her. That is a crazy idea.

MUJER: Well, Martirio, if you don’t have a boyfriend, what do you like to do? Do you work?

BERNARDA: Yes, Martirio has been working for the “No” campaign against the crazy postal survey. Can you all believe that people want to implement the ability for homosexual people to marry?

MARTIRIO: It is not “a right”; it’s horrible. They want to end the importance of marriage.

ADELA: I’m going to get a drink.

(MARTIRIO follows ADELA)

MARTIRIO: (Calmly) Flaca (skinny girl)—It was a very late night.

ADELA: (surprised) What?

 

MARTIRIO: Were you talking on the phone at four?

ADELA: It’s not important to you.

MARTIRIO: Tell me whom you were talking to last night.

ADELA: Go away.

MARTIRIO: (pause) With a girl. (ADELA looks at MARTIRIO, they are mad) You are a lesbian.

ADELA: And you are homophobic. My body and my life belong to me, and there is nothing that you can do. It is not the place to create a scene, but I know that you want attention!

MARTIRIO: (louder) Shut up. When I tell Mamá—

 

ADELA: Why do you need to tell our mother? Because you do not have anything interesting in your life? If you are trying to ruin the day with my sexuality—

MARTIRIO: Well, if none of us have a boyfriend at our sister’s wedding, at least my love for men is authentic. It is going to be very interesting—when I tell our mother about your secret and your “girlfriend”.

 

(ANGUSTIAS arrives with BERNARDA)

ANGUSTIAS: ¡You are so loud! Tell me the gossip.

ADELA: It’s not gossip.

BERNARDA: I don’t have time for your problems.

MARTIRIO: It is only Adela’s problem. My crazy sister has to run away to New Zealand to get married, and she still would not be normal.

ANGUSTIAS: Martirio!

ADELA: Enough! My sexuality is not shameful. It should not be a political question. You treat me like an illness, but soon I will be able to marry in Australia. And, Martirio still will be single because she always puts her nose in other people’s business. (ANGUSTIAS starts to cry, BERNARDA is mad) And mother, mamá . . . I had tried to tell you, I was going to tell you, but it was too much—

Bernarda: Enough.

Cut the scene to black.

The final scene: a dark room. It is quiet and empty with the exception of BERNARDA, who sits in a chair next to a desk. ANGUSTIAS enters.

 

ANGUSTIAS: (hesitantly) It is two o’clock.

BERNARDA: Yes. You should sleep. I need to think.

ANGUSTIAS: I think about you, mamá. I worry about you.

BERNARDA: I am fine—truly. And I love you a lot, and you need to return to Pepe.

(ANGUSTIAS leaves)

BERNARDA: (murmuring) It is true that I love all my daughters. (Completing the postal survey about support for marriage equality in Australia and sealing the envelope). Yes, Adela.

End.

Men Do It

By Madison Frilot

Center stage, there is a stool.
Beside it, Chelsea stands under a single fluorescent light bulb with a pull chain,
wearing all black:
a loose shirt that falls sloppily off her shoulder, black jeans,
and tall black stiletto heels.
On the other side of the stool there is a small table.
Lying on top the table is a pack of cigarettes and a crystal ashtray.
The stage is pitch black.
We hear a lighter strike and we watch a cigarette be lit, unable to see anything else.
She then pulls the bulb’s pull chain and stands under it for a moment,
scanning the audience.
She walks to the stool and takes a seat, legs crossed, takes a few short puffs and puts out the cigarette in the ashtray on the table. She returns to her position.

CHELSEA: I have a prophecy. A motto. A golden rule I’d call it. Everyone has one. Or maybe a few. It’s something you live by- values, morals, what have you. Maybe it’s religious, maybe it’s not. Ha. Mine sure isn’t. (beat) But I’ll get to that.

{She takes out another cigarette, lights it, takes a luxurious drag,
dramatically puts it out, and continues.}

Charles? Charles was a stunner- at least top 12 in the looks category, I’d say. A total stunner. He had the lightest blue eyes, they sparked. I swear I could even see my own reflection in them. Muscular, tan skin, and golden locks. I even called him Goldilocks once. (beat) He didn’t like that. He came and went.

{She takes out another cigarette, takes a drag, puts it out.}

Steve wasn’t as… charismatic. But he was cute, and he was there. He was there a couple times actually. Longer than most… But he had this horrible anxious vibe and grew out a weird mustache so I stopped returning his calls.

{She takes out another cigarette, takes a drag,
changes her seating position to something more casual, knees apart,
puts out the cigarette.}

Oh, don’t forget about Jonathan. First black man I’d ever been with.

{She stands up, lights another cigarette, takes a drag and puts it out.
Then she walks across the stage.}

Charlie. He was older. Much older. He moved slower and constantly nagged me- (mocking) “Honey can you hand me my Rogaine?” and I had to repeat myself over and over. I felt as though I was constantly startling him too, and God knows I can’t possibly tone this down so I blocked his number.

{She turns to the table, hastily walks to it,
quickly lights a cigarette, takes a quick drag, puts it out.}

Nicolas had this… this hardness about him. I was attracted to his decisiveness and agency. But then he hit me.

{After a moment of silence
she picks up the pack and takes out a cigarette for every name she mentions,
dropping it to the floor and moving on to the next.}

Tom. Zander. Marcus. Another Tom. Thor. Jenna… I was curious ok? Cameron. Jack- or was it Zack? Billy. Sebastian. Claire- (defensive) Look, I’m no lesbo I just had to make sure. Wyatt. Asian John. White John.

{She holds up the last cigarette left in the pack and walks downstage with it.}

I’ve been called things, sure. Many things. Some men stay longer than others. I prefer a weekend fling to a one-night-stand after all. But that’s only so I can have the time to figure out something wrong with them to avoid wondering. But I’m not looking for love, not me. Men do it. So why can’t I? Are they given shit? Tom #2 told me I was his seventh girl of the week. Because of that, I don’t ask many questions, nor do I answer them. Would you? (rest) They’re like puppies- the more attached you get, the harder it is to ignore their calls.

{Chelsea then walks to the light bulb and swivels back towards the audience.}

I’ll quit smoking the moment I meet a decent fucking man.

{Standing under the bulb, Chelsea lights the last cigarette.
She then pulls the pull chain and lights go out.
She takes a puff and we watch the warm light intensify,
then she walks offstage with the lit cigarette, heels clacking.}

Janelle Monáe – “My Message is to Rebel Against Sexism”

Janelle Monáe the R&B and soul musician, composer and recorder producer is performing tonight (Wednesday October 16th) at the House of Blues here in Boston. Tickets still available Here.

An advocate of female empowerment, Monáe talks in this interview about her message:

Songs Include: Tightrope (ft. Big Boi), Prime Time (ft. Miguel) Dance Apocalyptic, Q.U.E.E.N (ft. Erykah Badu), and Cold War

UPDATE: We are the first to report that October 16th has been declared Janelle Monáe Day by the Boston City Council! They chose to honor Electric Lady #1 for speaking up for the oppressed. More details will follow soon!

Terms You Should Know #1: Street Harassment

Here is a definition of Street Harassment, courtesy of StopStreetHarassment.org:

Unwelcome words and actions by unknown persons in public places which are motivated by gender and invade a person’s physical and emotional space in a disrespectful, creepy, startling, scary, or insulting way.

There are various definitions of street harassment, but all of them specify that street harassment occurs in public, between people who do not know each other, and is a physical or emotional intrusion.  The harasser usually makes reference to the victim’s appearance or gender.

Why this term it is relevant:

According to a nationally-representative poll,

87 percent of American women have experienced street harassment, and over one half of these women have experienced “extreme” harassment including being touched, grabbed, rubbed, brushed or followed by a strange man on the street or other public place.

Street harassment is not a compliment.  It is, in fact, harassment, and should be treated as such.  Let’s lower the numbers!

See Hollaback, The Everyday Sexism Project, and Can I Get a Smile? to start.

NPR highlights the story of an artist inviting social change

Sick of street harassment in her neighborhood, Tatayana Fazlalizadeh has been plastering an important message around the city of Brooklyn:  Stop harassing women on the streets.  We don’t want it.  It is offensive.  We are not obligated to give men our time or attention

Some men, of course, still don’t believe street harassment is an issue.

Anthony Williams, a featured interviewee, believes street harassment is what he is “supposed” to do.  It is his right to try to “acquire” an attractive woman he sees.  He can say what he pleases to her in hopes of her reciprocation.

These are the men Tatayana Fazlalizadeh is targeting with her socially conscious art.


Interestingly though, one of the most upvoted comments on this article, by a man, asserts that all men are not like Anthony Williams.  But Tatayana isn’t targeting the “good guys” out there.  So why is such a comment relevant?

Of course, not all men think they are supposed to harass women about their appearances.  And not all men believe women are objects to be acquired.

To those men who wouldn’t think of partaking in street harassment, we sincerely appreciate it.  We are glad that you are disgusted that others of your gender would be so inconsiderate and offensive. But this article isn’t directed at you.

Men shouldn’t feel the need to rally in defense of their gender when issues such as street harassment arise.  Those who do so make this mistake are diverting attention from the issue at hand.

It is easy to dismiss a social concern by claiming that it isn’t ubiquitous enough to merit the attention of the general population.  But the facts are that street harassment is incredibly prevalent all over the world.

So no, not ALL men harass women on the street, but a great many do.  Progress occurs when the “good guys” stop worrying about defending themselves and commit to reprimanding the guy who shouts “nice tits” at a girl walking down the street.

The original article