October 21. 2005 » jUSt Otit 25
From left, former nightclub dancer Calpernia Addams inspired the made-for-television movie Soldier’s Girl and served as a consultant for the film Transamerica.
Pfc. Barry Winchell, who was beaten to death by fellow
servicemembers in 1999 at Fort Campbell, Ky., for failing
in love with the transgender nightclub dancer.
Addams and James will also present a sneak preview
of Transamerica, a film that will be released in Decem
ber about a trans woman who discovers the son she
never knew one week before her sexual reassignment
surgery. After bailing him out of jail in New York, she
returns home to Los Angeles with him on a cross-coun
try journey in which she struggles with issues of coming
out, parenthood and self-acceptance. Writer/director
Duncan Tucker contacted Addams and James and
engaged them as consultants for his script, verifying the
accuracy of his portrayal of a trans woman’s experience.
Lead actress Felicity Huffman talked with Deep Stealth
on numerous occasions to work on getting her voice
right for the role.
Nov. 11 at Pacific Northwest College of Art, 1241 N.W.
Johnson St.
The film version of their beautiful and strange
performance titled Them, in which the androgynous
Osseus hangs naked and hairless suspended from the
First Street bridge over the Los Angeles River, inspired
viewers at the first Enteractive Language Festival. Meld
ing equal parts dance, performance and contortion, they
will return this year with a live version of a new piece
that evolved out of a performance created last year titled
Modem Prometheus LLC. The performance will no doubt
leave Portland audiences astounded by their dark and
strange movement style.
1-fest will explore the Language of the Body
through live art, “install-actions” and interactive
opportunities 8 p.m. Oct. 28, also at PNCA.
Among the performers is Paul Couillard, who has been
working as a multimedia artist, curator and arts organizer
since 1985. Focusing on performance art with forays into
E
ne such example is Calpernia Addams and Andrea
James, two Bay Area filmmakers/consultants who
'comprise Deep Stealth, which produces media with
os Angeles artists/mutation collaborators Mark Ste
an awareness of the truth and value of trans peoples con
ger and Hannah Sim will perfonn together to create
tribution to society. Trans and out with their “stealth,”
Osseus Labyrint, a dynamic and fluid performance
a slang term used to describe those who live without ques duo, during Language of Random Mutations 8 p.m.
tion in their chosen gender, they use their
experiences to both educate and entertain.
In many societies and subcultures, the
decision to live deep stealth is a matter of
survival. Living stealth often means leaving
all parts of the past behind and starting
over. Addams and James have adapted their
experiences with deep stealth and through
voice, makeup and video consultation, edu
cating others in the trans community on
ways to better pass as their true chosen gen
der. Turning the function of trans “passing”
on its ear, they use stealth not as a tool for
promoting invisibility, but one of power to
be tapped into.
They will explain how to engage in
media activism on a grassroots and national
level during Language of Deep Stealth
8 p.m. Nov. 17 at The Old Church,
1422 S.W. 11th Ave. Addams will discuss
Soldier’s Girl, a 2003 Showtime film that
told the tme story of her relationship with
Osseus Labyrint melds equal parts dance, performance and contortion Nov. 11.
Q
L
Continued on Page 26
RICHARD
back was a difficult one, but it was not enough to break
the spirit of the organization.
McCobb and Newman work hard to ensure that their
festivals are not only inclusive, but welcoming to viewers
of all walks. In order to inspire greater audience participa
tion, events are kept inexpensive and approachable.
“Sometimes when people hear ‘performance art,’ they
feel immediately alienated because of its reputation of
being highbrow,” McCobb says. “We wanted to create
something that was open to everybody.”
2 Gyrlz events lack the scripted feel of many produc
tions categorized as “performance art” and create the feel
ing that the performers are not acting because they are
being coached to do so, but because their very survival
depends upon it.
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