The past few weeks

I hurt myself about four weeks ago–a growler fell off my table, hit a chair & shattered–and a very sharp piece of glass landed on the top of my foot. Who the fuck cares, etc. etc.   I had surgery about two weeks ago to sew together the tendon that lifts my left fourth toe (the toe I’d wear a wedding ring on). 

Is this the foot I’m supposed to cut open?

Tomorrow the doc unwraps the dressing and we get to see what’s under there!  (For those of you playing along at home, this means Mad King Thomas has had 66% of his left feet repaired at the same place, from injuries incurred by freak accidents in Decembers of odd-numbered years. I’m buying Theresa a force field for Christmas next year, since they sold out of the anarchist-feminist revolution she’s been wanting.)

Growing a tendon. This means lying around, letting blood run out of my foot, and not using my toes. From doing this I learned: I love my toes. I use my toes unconsciously, as a person twirls hair around a finger without noticing.  When I am nervous about falling or hurting myself (not infrequent on crutches), my toes flex–they intuitively express my desire to secure my situation. Maybe it is why we curl our toes when we are happy and in love. 

Last week it was 47 degrees and I crutched outside.  My mom brought out for me two chairs and some pillows.  The sun shone on my skin and the wind touched me and I could have stayed there forever.  I’ve been inside for 359.5 hours and during the 0.5 hours I was out, some guy with bleached braids and a terrible headband leapt out of a car, threw money on me, jumped over me, all while his friend filmed it.  I asked over and over what this was for, and all they would say was: “For fun”.  It was a fake excuse to not tell me what they were doing.  “For fun” means “for us only, because we like it” when I feel certain what they meant was “for fun on youtube, but you don’t get to know because you’ll probably say we can’t do it”. 

It taught me a lot about public performance and how NOT to do it, which is useful since all I want to do right now is make work out in the world, not in the black hole of the theater.  How to be transparent about your goals and your end.  People will be interested in what you are involving them in, and will want to see the final product, because most days, you don’t wake up thinking that a stranger will show up in your lawn and throw money on you.  Now there will be a weird video of me, hurt foot propped up, unwashed hair and pajamas on, with that rude man and his money falling everywhere, and I won’t even get to see it! I just wanted sunshine.

What else have I been doing?

Playing video games–Minecraft, mostly–and thinking about why I play video games and why I want real life to be more like video games and if maybe it’s just immature of me to want the world to reward me so concretely and regularly.  Getting frustrated that I made a diamond pickaxe that I promptly lost in a lava pit.  Loving this game that allows me to obsessively smelt glass to build an enormous sun room and then feeling bad about myself that I don’t work this hard at actually making my life the way I want it.  My friends have a server and I spend hours lost in the fiction that my friends and I have a whole earth to ourselves to do with as we please. (Which is true in real life, except there are seven billion other people trying to do the same thing.) What beautiful fictions we create, and how much I sometimes wish the world were just us and our whims. Why so many video games are horrific (Bioshock, Halflife 2 [I only play oldish games]) but why I like them despite cringing every time I come across another grotesquely mutilated body.  How much I feel like I’m having a kinetic experience although I am in fact stuck in bed.

It seems we can justify doing anything for hours and hours as long as it becomes notable/unusual.  A guy obsessively diagramming Donkey Kong vs. Steve Wiebe obsessively diagramming Donkey Kong so he can capture the world title.  Me writing this blog entry vs. Vladimir Nabokov writing Pale Fire.  I realized yesterday (I am slow) that I am ambitious and that from ambition I derive frustration and unhappiness, but also joy and a sense of accomplishment.  I don’t look ambitious, maybe, because I am a hermit and I like stability, but I also strive always to live up to who my childhood self thought I would be.  It’s a complicated goal because my childhood self was unable to decide where to go, what to do, what was worthy of my very best love. But as a child you know better than any adult that growing up means you get to do all the fun stuff, you get to make the world your own. Adults know better than children how much stupid work is involved in getting to do all the fun stuff, and you never know for sure if you’re writing Pale Fire or just a blog entry. Which is why we all play so much Minecraft.

The view from my minecraft house.

I’m also pretty sure that my obsession with the real vs. the artificial just means that I’m getting old. Never trust anyone over 30.

What else? Pinterest. Scanning the internet endlessly for images that oof my brain, collecting them, allocating them.  Join me if you like.


Daniel Waterhouse has been looking at a needle under a microscope:

“What think you now of needles?” Hooke asked.

Daniel plucked the needle away and held it up before the window, viewing it in a new light. “Its appearance is almost physically disgusting,” he said.

“A razor looks worse. It is all kinds of shapes, except what it should be,” Hooke said. “That is why I never use the Microscope any more to look at things that were made by men–the rudeness and bungling of Art is painful to view. And yet things that one would expect to look disgusting become beautiful when magnified. … True beauty is to be found in natural forms. The more we magnify, and the closer we examine, the works of Artifice, the grosser and stupider they seem. But if we magnify the natural world it only becomes more intricate and excellent.”

-Neal Stephenson, Quicksilver

On Nakedness

I saw Young Jean Lee’s Untitled Feminist Showlast weekend. It was done entirely in the nude. Or naked, if you prefer. (I prefer. Nude suggests prudishness, euphemism, excuses. Naked is so much more honest. But the phrase “in the nude” is funny, and should be used as much as possible.) At any rate, there were no clothes! It was a really good choice. Probably the smartest thing about the whole show. (And I don’t mean simply from a marketing perspective, though a show with all naked ladies, all the time does have a broad appeal.)

Something happens when you see people naked for over an hour. They stop being naked and start just being people. Actually, it happens remarkably quickly. The opening dance (which seemed to be a ritual of sorts) functioned as a chance to get all the gawking out of the way. Yes, these people are naked. Yes, it’s a lot of jiggling flesh. Yes, you can see their naughty bits. Here, let’s just flash some cootches at you now, so you can stop craning for a better view, guessing if you’re seeing labia or not. I like that approach, the approach that yells, LET THERE BE NO QUESTION OF LABIA!

Nakedness, poorly done, can be distracting. When you keep stepping out of the performance to wonder why they’re naked, or how much anatomy you can see, or if it’s a choice purely done for shock value or mass appeal. In Untitled Feminist Show, nakedness was integral, deeply tied to concept. Something about their nakedness made the performers more human. Not “more human” in a “becoming more individual we-are-each-unique-snowflake-people” kind of way, but “more human” in a way that called to mind the overarching human-ness, the body-ness, the thing we all share by inhabiting flesh.

In this show, as our friend Naomi put it, nakedness was a costume. I found myself quickly drawn to watching faces, not forgetting nakedness, but absorbing it, accepting it as a thing containing the performer. It was not the absence of something, but an active presence. Like the most effective costumes, it did not distract from the faces, if faces were what was going on. Neither did it hide, or settle on being merely decorative. Sometimes the costume was what was going on, and it didn’t shy away from that role. Rather, the nakedness-as-costumes encased and accentuated, was something that underscored and interacted with the performers, integrated in the performance.

Mad King Thomas has talked about using nakedness in our dances. It was a big question in our last ( also ostensibly feminist-themed) show, All Sparkles, No Heart. We joke about how we can’t be naked on stage until we’re older and our boobs are saggy and our bodies are wrinkly. There are too many hot young bodies on stage (if I can be so bold as to include us in the hot young category). But really we’re waiting for the time when nakedness is integral to whatever dance we’re making. When we use nakedness, we want it to be because we have to be naked. Because nakedness is right. And maybe we’ll give up, and get naked on stage just because it’s fun, or liberating, or a good way to get press and sell tickets. Who knows? But in the present, it’s heartening to see a show that does naked not for nakedness’ sake, but because the show asks for nakedness.

This I wrote in early July 2011 but didn’t post. Here it is now in honor of Tara, who will heal beautifully.

I stepped in the pothole of extreme ligamental destruction one year and 8 months ago.

I haven’t run, really, for twenty months. I haven’t jumped for twenty months. I haven’t danced fully, I haven’t hiked. I’ve done a lot of physical therapy, some 16 months of it. Nearly two babies worth. And my ankle still isn’t mine again, isn’t whole again and I am so fucking tired. I’m ready to be done with this. I am not interested in healing, I am interested in healed. Fixed. Perfect. Strong.

I am tired and I am jealous. I am jealous of everyone who is moving around like it is no big deal. Like anyone can do it. I am so jealous of the people who have never been hurt, who somehow, magically, don’t get fucking hurt. I am jealous of Theresa who bounces around the kitchen like bouncing is fun! and easy! and full of whee! I wish I had that. I wish there wasn’t this fear, pretty regular and pretty unrelenting, of reinjury. I wish there wasn’t this knot of nausea in my stomach. I wish that this entry didn’t make me want to cry.

What I want to express here is that a bum ankle is not the end of the world, I know this. It is not a tragedy. But it was a big ass, deep pothole, and it swallowed a bit of my soul. It is a slow and uncertain recovery, and the waiting, and the living of a life you do not choose, that doesn’t feel full, is hard and gets harder over time. It wears you down. You get used to it, and by you I mean I, but sometimes then you remember how things were and you are angry. Angry about the present, scared about the future. Pissed that there are so many questions.

The pothole has since been filled so no one else will fall in. I’m glad that happened before the government shuts down. What I lost there is buried under asphalt, a stupid final resting place for a stupid chapter of existence.

Young Jean Lee! Young Jean Lee! Young Jean Lee!

Young Jean Lee’s Untitled Feminist Show comes to the Walker this weekend! Raise the alarm! Sound the call! Gather the masses!

Seriously, Mad King Thomas has been excited for this show ever since, oh, what? Six months ago? A year ago? Whenever the promo came out and we saw those three little words: Young Jean Lee. We marked our calendars, we speculated about how early we could get tickets, we planned holiday vacations around it.

Okay, so we’re a little in love. It started back in 2007 when we saw Songs of a Dragon Flying to Heaven while we were in the early stages of working on Premium White Morsels. Here was a woman who dared to speak boldly, take risks, hop straight into the middle of racism and thrash around until we laughed, wildly and uncomfortably.

It was breathtaking, brilliant, inspiring, as was the question-and-answer session following the performance and the workshop we took the next day. She talked about how she started writing that play by trying to write the worst play possible. She talked about hating identity plays, and then making herself write one. How uncomfortable it made her. It’s all over her artist statement:

“When starting a play, I ask myself, “What’s the last play in the world I would ever want to write?” Then I force myself to write it. I do this because I’ve found that the best way to make theater that unsettles and challenges my audience is to do things that make me uncomfortable. I work with stories that I find trite and embarrassing, I keep the development of the text as open and unstable as possible throughout the rehearsal and performance process, and I emphasize rather than hide problems in the text and production. I’m constantly trying to find value in unexpected places. My work is about struggling to achieve something in the face of failure and incompetence and not-knowing. The discomfort and awkwardness involved in watching this struggle reflects the truth of my experience.” -Young Jean Lee

And that is part of the genius of Young Jean Lee’s work. She is not only unafraid of making the audience uncomfortable, but she delves into the places that make her terribly uncomfortable. Well, maybe she’s terrified, but she looks that terror in the face and proceeds to craft a show that confronts with humor, cleverness and audacity. As the promo quotes her saying, “My work has never been about lecturing and bullying people. “It’s been about tricking and confusing them into submission in a playful/fanged way.”

She’s really a terribly articulate woman. I love reading interviews with her, and she is one of the few artists who makes staying for the Q&A worth it. Lee manages to take the inevitably stupid questions that audiences limply throw at her and unfurl relevant answers.

Young Jean Lee is also responsible in part for our obsession with failure. She’s said some pretty brilliant things about embracing failure (she pretty much asked a fellow artist whom she was interviewing to slap her if her plays ever stopped risking failure) but if you want accuracy, you’ll have to look them up, because at this point everything surrounding Young Jean Lee is mythic, and I can obviously only give embellished praise.

She leaves the door open for failure, but mostly invites devastating success. Sure, maybe a little failure has snuck in as well. I didn’t love Church, her last Walker appearance. But even her failures (if we are so bold as to call it that, since it was not as striking and brilliant as Songs) are beautifully rendered, eloquently scripted, and worth taking a risk on.  

Hopes & Dreams & Money (one of these things is not like the other)

Here’s the deal. Mad King Thomas is working our three asses off to TOUR OUR DANCES next year. Target cities are Albuquerque, San Francisco, Seattle and Portland (in order of likelihood).  We chose these cities for a lot of reasons, but mostly because they won’t have four feet of snow (sorry, Duluth.)

Touring is exciting because our dances are best LIVE. You know how some musicians kind of suck on recordings, but make your fibers tingle when you hear them live? It’s sort of like that. We’re working on our studio skills (by which I mean we’re learning how to get good footage), but in the meantime, it’s time to take this show on the road! As part of “touring”, we want to:

  • Give workshops! And take workshops too!
  • Spread the awesomeness gospel!
  • Go on bike rides in cities all over the US!
  • Make site-specific dances and put them on YouTube!
  • Perform our dances, alongside the work of some other fantastic local people!

But it turns out touring is expensive. You have to get to the place, you have to sleep somewhere, and eat, and pay for venue costs, and nobody comes to the shows because they’re like, “Who the fuck is Mad King Thomas?” and then you have to buy beer after the shows because you are sad that nobody came.  Which is why we’re asking you, today, to help us by donating a little bit of cash at this page:

Online fundraising for Mad King Thomas

If you give today, we get 98% of the money donated. Tomorrow & ever after we get only 90%, so it’s slightly more efficient to give today.

Thank you for any money you may give, and thank you also for reading our blog even if you DON’T have money to give. If you have connections in any of our tour cities, let us know! We’re still looking for venues, places to stay, bicycles to ride, and more!

Huzzah!

Money, More Money, and asking for it

So, I haven’t blogged in a LONG TIME. I’ve tried… I have several half-written entries, and even more in my head. I want to, and somehow, it’s hard to find the time, make it happen, get it right. But today, today it’s easy! Why? Because I already wrote this e-mail last night to our entire e-mail list, and now I’m gonna be lazy and just post it again for the world.  Voila!

Okay, yeah, so probably everyone who even looks at this blog is already on the e-mail list. But if you’re not, and you want to be, that’s easy too! (Man, once you start soliciting, it’s hard to stop.)

Without further ado, and e-mail to the friends, family, and curious onlookers of Mad King Thomas:

So, it’s November 16, and you decide to check your e-mail. Like any other day, you open your inbox, expecting to find a notification from the bank, a couple of groupon deals, three of your newest matches on okcupid, and maybe even an e-mail from a friend or your mom berating you for never calling. BUT SUDDENLY YOU ARE STRUCK BY AN ONSLAUGHT. GIVE GIVE GIVE. MILLIONS OF E-MAILS SAYING GIVE TO THE MAX!You are hit by a force so powerful, you nearly get knocked off your chair. If you’re like me, you are filled with a rage, the rage of someone whose entire inbox is GIVE TO THE MAX. The rage of someone who just wants an e-mail saying “I love you.” The rage of someone who has just been knocked off their chair. The rage of someone who is about the spend their next two months of groceries on giving to the MAX. And if you’re like me, you take that rage, and you go to www.givemn.org, and you give your rageful dollars to all your favorite arts organizations, theaters, performance-makers etc. And at the end, you don’t feel rageful anymore. But you don’t check your e-mail again for the rest of the day.  

So, first of all, I want to say, “I love you.”  

Then I want to say: YES! It’s true, Mad King Thomas has finally hopped on the bandwagon! We’ve gotten FISCAL FUCKING AGENCY through Springboard for the Arts, and we’re joining the masses who are participating in Nov. 16 GIVE TO THE MAX day! (What is Give to the Max Day, you ask? Oh, how the people at www.givemn.org would love to tell you!) Mostly, it means you can make tax deductible donations to Mad King Thomas now! 

All you people out there who have been clutching hundred dollar bills, just waiting to throw them at us, your day is finally here! We would be so fabulously, graciously honored to accept your money, though part of us wonders why you didn’t throw it at us before, while we were on stage, in the form of one hundred $1 bills. 

Honestly, we would be delighted and honored with any amount you’d choose to give us. We have a whole range on our giving page, and it tells you exactly how your donation could support us. We’re fundraising to become more financially stable as an art-making trio, but with the specific goal in mind of touring out West next Spring. (Which you hear about in subsequent e-mails! But friends in Seattle, San Francisco, Albuquerque, and Portland, now might be a particularly wise and self-serving time to give. I mean, if you want to see our faces on your stages. We have no exact plans, but we have hopes and dreams and stews in the making!)       

Not to ignore or deny the Minneapolitans! You can give too! After all, it’s giveMN, and Minnesota is our chosen home and base of operations. We’re gonna keep making our crazy dances here throughout the crazy winters and the crazier summers and our craziest heads. In fact, our next dance is in the Walker Choreographer’s Evening! (Which you will hear about in subsequent e-mails! Friends in Minneapolis, St. Paul, and the scary suburbs, it is ALWAYS a wise time to give.)
 

The moral of the story is pretty much this: we love you, and we love making art. We love it when you love it too!Please consider making things more awesome (in many ways) but specifically today supporting us with that weird green paper, on the MAXIMUM day! We truly truly truly appreciate it.  Love and is this annoying yet?

Theresa, on behalf of Mad King Can-you-believe-we-got-fiscal-sponsorship-just-by-the-seat-of-our-pants-in-time-for-Give-to-the-Max-Day!?!? Thomas

Jérôme Bel

Tonight or tomorrow, go see Cédric Andrieux, by Jérôme Bel, at the Walker.  I saw Bel’s The Show Must Go On in 2004.  The room was crackling with an intensity I’ve almost never felt watching a performance. People danced in the aisles! At a serious dance show!

During the talkback after the show, I learned that I could actually use all the baggage an audience brings as a choreographic tool, even though you can’t possibly know what all that baggage is. Bel said he used extremely popular songs BECAUSE of the associations people would bring to each song, not IN SPITE OF them.  This strategy agreed with what I knew from my competition dance days and disagreed with what I’d been learning about dance academically and artistically. It became a fundamental part of how and why I make work, and allowed me to start building a bridge across the chasm between my shiny, sexy, fairly stupid dance lessons and my newfound interest in weird, conceptual, sometimes way too unsexy art. 

Justin Jones interviewed Bel, in anticipation of the show this weekend…it’s pretty great! Also, you can see another of Bel’s dances, Veronique Doisneau, in its entirety on YouTube.  Here’s the first part, to get you started: 

Part 2. Part 3. Part 4.

…it suggests too that pain is brief.

It is okay to be goofy, it is okay to be funny. Tears are good but they are always archival, they pull us back and down, they mourn, they seek to repeat, but laughter throws us forward, levity raises us, the body opens. Laughter is always unruly. The goofy is the body’s blooming in the mind. Let us laugh so hard we disrupt the tragedy! It’s hard to think when we laugh and that is one reason, once it was invented, we could not live without it. It is a way of sleeping while feeling intensely awake. The body is jostling itself into rejuvenation. …

We laugh not only at the fantastical but also at the truth that is shown to us out of place, devoid of decorum, in disjuncture from our expectations of ettiquette, of consistency. To laugh always takes us to the site of rupture, it may be how our body is attempting to educate our consciousness of the moment of its death. Laughter is always brief in its triumph over pain, but in its intensity it suggests too that pain is brief.

-Dean Young, the Art of Recklessness

I’ve been devouring this book. It’s a book about poetry that seems to get this chaotic, violent, benevolent thing called a body and how it and the mind get together and make birds. All I ever want to do is post every second or third sentence, just say, “Look! There it is! He’s got it! That’s how it works!” It feels like he’s seen into my brain and composed this book as encouragement, inspiration, critique and explanation.  To being more recklessness. To finding broken things. To making. To dancing freakingout poems.

All Sparkles, No Heart … a last, dying gasp

I can’t believe we’re already three weeks out from All Sparkles, No Heart.  I don’t get to see any of our cast members on a twice-weekly basis, I don’t have to worry about gold lamé fitting anyone.  It was a big glittery fiction, and now it’s gone.

I planned to have a blog entry up during the show to ask for audience feedback, reactions, anything. I obviously failed, but your thoughts are still welcome (you might say we crave them).  What images stayed with you? What questions did you have? What associations did you make? This is why God made comments sections on the internet!

Photo by Matthew Xavier

In other news, we’re part of this year’s Choreographers’ Evening at the Walker Art Center! Wheee! It’s a snippet we cut out of All Sparkles, not because it wasn’t worthy, but because it refused to be part of a larger work.  Seriously, we couldn’t make it fit. Thankfully, Mr. Schlichting allowed it a chance to see the stage, this November. Come and see!

Mad King Thomas and the All Sparkles!

You may know by now about this thing we’re doing, this epic undertaking that makes me cranky when I’m not working on it and happy when I am.  We might have mentioned it.  It’s happening in a little less than two weeks (oh shit oh shit oh shit oh shit oh shit).

Since we’re too busy making it to blog about it these days, check out the Walker blogs for some stuff from us and our great Momentum colleagues. Or pick up the Walker magazine–the one with Prince on the cover, be still my heart–and check out our interview there.

p.s. I am SO EXCITED to have our picture on the Walker homepage: