Image provided by: University of Oregon Libraries; Eugene, OR
About Street roots. (Portland, OR) 1998-current | View Entire Issue (Oct. 28, 2016)
Street Roots • Oct. 28-Nov. 3, 2016 TEATRO, from page 10 Who has agency to really interpret those? I don’t feel comfortable navigating those territories; I’m not a political playwright, so when I entered the room with the cast, I told them we need to think from the start about these big myths around homelessness. We brought people in to talk to us about these myths and we needed to shape these characters to encapsulate these myths and debunk them at the same time. The characters are abstractions that represent mental illness, dementia, drug addiction, abuse and isolation and yet they each have their own story to debunk that myth. No, the drug addict was not always a drug addict. It isn’t that he doesn’t want a way out There is an invitation to hear these fictionalized stories that are based on, not reality, but on huge misconceptions that we (housed people) have. I urged my actors to separate their mind from representing a “real” character, per se. This is very hard for actors, they want to play the honesty. But once I got them past the idea of each of them as a real character and we went into the “Tim Burton Land” (chuckles) as far as, like, exaggeration. There is an amplification through the simplification that happens. Once you amplify it, the message becomes very simple. S.Z.: There was definitely an ethereal feeling to the play. It is reminiscent, as I understand it, of El Dia de los Muertos, where this “veil” is lifted and for a few hours, the living and the dead can, metaphorically, see through from one side of life or death to the other. Will you talk a bit about the visual imagery in the play of the skeletons La Catrina and El Catrin? G.E.: In knowing that the expectation of the audiences here is that you are going to go to a Day of the Dead show, you have to see “la muerta.” You have to be able to recognize theatrically that death is present. I didn’t want to put all of the olvidados in typical calavera (skull) makeup because I felt that would take away from these abstractions that I was trying to achieve. n^nle’s News Page 11 play that is not mine. I think that requires a In looking at all of the iconography and very different set of skills. growing up in Mexico, La Catrina/El Catrin Yes, there are not a lot of Latina have a very specific political creation. They directors, just from what I know as being a were created specifically by (José part of the LTC. We have some really strong Guadalupe) Posada to mock the class system. To basically say to the rich: “You are (Latina directors) like Lisa Portes. She was just awarded the 2016 Zelda Fichandler going to die as well. Yes, right now, you may Award which recognizes an outstanding be wearing these beautiful silks and you think they are worth something, but you will director. She is the head of the directing take those to your death same as the beggar school at DePaul University. I jumped into directing because I was on the street.” It was important for me to give that a nod like, “If I want to see my own work done, then I have to do it” I and say, “I see you. think that attitude is You are not just a kind of common. So beautiful, hatted icon. you see more of this I know who you are "He was obviously homeless, hybrid popping up in and why you are but he looked like Santa Claus the Latina theatrical here.” That is why, community, especially with the character of — a jolly, chubby male with a now. La Catrina, or big, white beard and 1 didn't Anastasia, I was very understand. Bid he choose S.Z.: Why now? specific with (that this? Is he crazy? So I decided actress) about being to sit down with him and have G.E.: At least this woman who coming from New lunch with him and hear his suffers from denial York, the director role and dementia that the stories. After that, I was like: is disappearing a bit. whole time she thinks Oh, it's people. Everybody has Or at least it is that she is rich and a different story." allowing itself to that she doesn’t breathe, morph in a belong there and that different way. It’s one her family is coming of the oldest roles to pick her up. that have been untouched by current trends To make her then embody La Catrina in the form and the necessity - the need of and to transform El Vagabundo, the Tramp, the audience. The true form of directorship into El Catrin was a nod to Posada. This is is shifting, which is really exciting. my version of Posada’s print in 2016 in If it would have stayed at the white Portland, Oregon. straight male level, than we would never get anything new. S.Z.: I’ve heard you speak about your connection to the Latina/o Theater Commons, or LTC, a movement that takes a commons based appràach toward American theater. There aren’t many women directors in theater in general, and even fewer Latina directors, can you speak to your experience as either or both? G.E.: I don’t consider myself a director. I am new in that way. I do devise theater, which is quite different in that it’s a strong writer-in-the-room directing a body of actors towards the enacting of a script. I don’t have any experience in directing a FARMERS’MARKET WEDNESDAYS 2-7PM S.Z.: Previous to writing and directing El Muerto Vagabundo, what was your experience with homelessness? G.E.: Really just what I see in New York City. In the other cities I have lived in, it wasn’t that apparent Of course, it was there, but I don’t recall ever really coming face-to-face with homelessness until New York. Homelessness is abundant there. My very first experience was when I was in San Diego, I had my first job and there was a man across the street who would sit and have lunch and he had his bike and all of his stuff. He was obviously homeless, but he looked like Santa Claus - a jolly, chubby male with a big, white beard and I didn’t understand. Did he choose this? Is he crazy? So I decided to sit down with him and have lunch with him and hear his stories. After that, I was like: Oh, it’s people. Everybody has a different story. You talk to the homeless in New York and the only thing they are thinking about is, “I can’t fall asleep because I am going to be robbed.” The homeless in NYC are not as tribal as you see here in Portland where people (on the street) will protect each other a bit more. In New York it is not like that. People are really sleep deprived and have gone nuts. They don’t want to go to sleep because they will get robbed by other homeless. So there is this level of stress, and you start to see that “craziness” show up and you realize that it is stress. It has nothing to do with drug use, this is a tremendous amount of stress that just makes the brain shut off. My experience with people experiencing homelessness is not being afraid to start conversations. We, as a society, hold this fear of the homeless. I want to know how to help. S.Z.: Was there a takeaway from the experience of creating and putting on this production that stands out to you most? G.E.: The rehearsal room can be a sanctuary for many. We did have two actors who have had direct experience with homelessness, one of them just recently. One actor was sent to audition from a homeless shelter. And then there he was in our cast and at our theater. And that was sanctuary. That was the place that led him to gather himself and get a job and find a place to stay. I think the theater, maybe like the streets, brings people together that would have not otherwise crossed paths and it put us in a very vulnerable position. I think we (the cast and crew of “El Muerto Vagabundo”) will all remain friends and that is really powerful. How do you share health At Health Share, we believe good health is more than what happens inside your doctor s office. Good health starts in your community and includes staying active, eating healthy food and getting regular check-ups. Share your healthy habits with family and friends. We can all have better health when we share it together. P TO $10 MATCH WITH EDT CARD We're passionate about helping our community access healthy food that they can trust. By shopping at our market, you'll get extra food dollars while supporting local farmers and community. 3029 SE 21st Ave. btwn Powell & Division health Better health together. www.healthshareoregon.org Cuts & Checks Barbershop Blood Pressure Program / Terrell Brandon Barber Shop North by Northeast Community Health Center/ Legacy Emanuel Medical Center
