Confinement, day…48?

So, I know there’s a typo in the title of my last post, but honestly, I don’t really feel like correcting it because sometimes it really does feel like we’ve been stuck in this mess for 250 days.

 

That being said, given that the situation has not changed much here yet (though deconfinement will slowly–hopefully–be starting on May 11), anyone who is reading this right now is probably wondering “Effie? Why are you writing right now if your life has basically been one endless string of sameness for the past seven/going on eight weeks?”

 

Good question, hypothetical/invisible reader.

 

 

The short answer: I had a mild anxiety attack last night.

 

The longer answer: I haven’t been sleeping super well these past few weeks, and frankly, the mounting stress from being inside all the time has a lot to do with it. Don’t worry, I’m not about to go parading in the streets, demanding that hair salons and restaurants and bars open up so other people can put themselves at risk for my illusion of “comfort”. But I will be honest here and say that it is getting increasingly difficult to stick to the rigidity I imposed on myself when I first went into confinement.

 

To give an example: a couple weeks ago, I added a trip to Mamiche, a boulangerie just shy of 1km from my apartment, to my usual grocery run. The walk there took me and the two friends I was doing my socially distant shopping with all the way down to the bottom of rue Faubourg du Temple, right up to where it crosses boulevard Jules Ferry and then ends at Place de la République.

 

This is a walk that I normally take very regularly. It’s part of my usual early Monday morning walks to the gym, my excursions to the library, the main artery through which I access the rest of the city (well, for the most part, anyway). I could feel the muscle memory in my legs pulling me forward as we reached the bottom of the road that day, and then, at the same time, it hit me that it had been almost two months since I had last walked that far, since I had last extended my spatial radius beyond my now-routine grocery stops. The city has become smaller for me, in a way (and there are some potentially good things about this, but I’ll probably get to those another time), and I don’t think I realized the extent through which I would have to go about “taking it back”, re-appropriating this manner of existing or walking in an urban space I had come to know almost like the back of my hand until that moment when I both wanted to freeze and turn back and also drop my groceries and keep. Fucking. Walking.

 

I didn’t do either, obviously. I settled on a very large cinnamon bun instead. But that moment has been eating at me lately, and that destabilizing feeling of confronting the unfamiliar in what should be familiar ended up coming back again last week when those same friends and I coordinated a taco run to El Nopal (the first time I had grabbed food that someone else made to-go rather than making it myself in…about as long as this quarantine had lasted). In both cases, the necessary adaptations and limitations to our social interactions didn’t necessarily help things: say hello from a distance, no hugs of greetings or goodbyes, orbit around each other while walking down the street as though there’s an invisible wall (or alligator, if you’re in Florida) separating us.

 

Sometimes, I wonder if these in-person yet very limited interactions are helping or hurting things. I want to say the former, but I am also someone who (as my dissertation, and literally almost anything else I have worked on will attest) is very intuitively aware of limits/rules/regulations/structures intended to orient or impede natural and sometimes instinctive behavior. I don’t want to hug my friends because I don’t want to put them at risk in case I somehow am an asymptomatic carrier, but this mental reminder to not enter into contact has its own darker side: it reminds me of how solitary I am now, and how long it’s been since I last felt the pressure of physical contact with someone else.

 

This solitude came to a head last night. I was scrolling through my instagram and noticed so many posts about the New York Times’ Cooking section sponsored “Big Lasagna Night”. Basically, everyone makes an absolutely epic looking lasagna following a particular recipe, and then at 7pm Eastern Time (yesterday), all the lasagna makers and their creations would gather together on a live stream and feast…together but apart.

 

And I wanted a lasagna. But the only thing that I could think of, the one thing that was just nagging me was that I didn’t want to make a whole lasagna for myself. I wanted to share my lasagna. Hell, I don’t have nearly enough fridge space to store a leftover lasagna, even if I had made one. Sure, maybe I could have strategized and somehow planned things out to make a perfect little lasagna for one, but that’s not the point of a lasagna. A lasagna is ultimate comfort food, yes, but part of the joy in making it is knowing that you’re about to share in that comfort with others, that you will all dig into the same groaning baking dish, and that a little bit of the love you put into making this incredibly involved dish will get passed on to someone else.

 

And that’s when I cracked.

 

I managed to get to sleep last night eventually (mental exhaustion post-crisis tends to help with that), so I was at least able to convincingly pull myself back up to teach again this morning. If nothing else, at least that’s a break in the monotony of the everyday now (though the stress of needing to be ON IT, mentally, hasn’t been helping much).

 

Before I drifted off though, I did have a small moment of clarity, and that was that I missed writing here. Even though my thoughts are more ramble-y than usual, there is something therapeutic about writing all this down and shooting it off into a very public online platform for who knows how many (ok, like…4?) people to read. And on that note, I think maybe in the next few days, I’ll finally get around to doing what I told myself I would do, and kept coming back to last night: write posts about my dissertation, about the unanswered questions in my dissertation, basically, anything to keep at least some part of myself back in the theatre (at least until they reopen again).

 

 

Oh, and hopefully my next entry will be less morose.

Countdown

8 weeks.

 

 

That’s all that stands between me and my dissertation defense.

 

 

It’s odd being at this point, to be quite honest. On the one hand, I am almost in shock that it’s so close, given how much time I have spent thinking about this thing. On the other hand, I have this little nagging voice in my head that’s almost poking at me to push it back. It’s not because I don’t think I’m ready (I mean, it’s pretty much a universal truth that a PhD student is never fully happy with their dissertation because there is always more than can be done). It’s more that I’m somewhat…terrified.

 

 

Because this is it. This is the last degree program I will do, the last time I will be able to call myself a “student” in an official capacity (barring, of course, a second PhD, which…no). I mean, I haven’t left school since I started kindergarten in 1995. It’s been a while.

 

 

And with all these deadlines come sacrifices in other things. I’ve been seeing quite a bit of theatre since coming back from the Christmas holidays, but I honestly haven’t really felt the urgency to sit down and write about anything as much as I did last year (or even earlier this year). That’s the problem with having too much other stuff on your plate.

 

 

Full disclosure: that “other stuff” isn’t entirely dissertation related. For those (many) who haven’t been keeping up with what’s going on politically in France, there are certain major (and incredibly unequal/ill thought-out/nonsensical/etc.) changes being implemented this year that directly affect my line of work as a high school teacher (especially because the school I’m at is private but nevertheless under contract with the State to follow the national curriculum). Dealing with this mess—the strikes, the long conversations with my colleagues over what the f**k the Ministry of Education is thinking, if they’re thinking at all, and, yes, the sideline participation in some marches—has taken up a lot more of my free energy than anticipated. The dissertation, of course, is still priority number 1, but this mess has taken a close second.

 

Honestly, one thing that still keeps me going job-wise is the fact that I am teaching a literature course again. I always make sure I “show up” for my students, but getting to introduce a new crop to basic literary theory and comparative analysis and all the other things that make me love what I do (and which facilitate a kind of critical thinking that is becoming increasingly endangered, especially under the new educational reforms…again, I have some very choice words for the Minister of Education about this) taps into a part of my brain that always lights up in these situations, and inevitably gives me that extra oomph I need to carry on.

 

Then again, maybe messiness is part of the whole journey of the end of the PhD. In any case, it does match pretty well with what’s going on inside my head so…there’s that…?

 

 

It hasn’t all been nonsense, though. This past week, my sister flew over for a quick visit, and though the beginning of the week was a bit annoying because I had to work, by Thursday—my last day of work before another 2 week (yes!) holiday—, we were able to fully relax and, yes, eat so much yummy food.

 

 

 

I mean, I finally managed to go eat at La Cave de Belleville, a feat in itself considering that it is just over 5 minutes from my house, yet I have never managed to do anything but get a bottle of wine from there because I always forget to reserve a table.

 

 

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The wine we chose that night was a very earthy red from the Jura. Upon making our selection, our server had to take a minute to double check that this was actually what we wanted, but the enthusiastic “Yes!” that Isabella (who joined us) and I answered with when she asked if we liked biodynamic wines seemed to convince her. And yes, it was indeed rather “dynamic”. The slight fizzy effervescence helped.

 

 

My sister also got to experience her first raclette dinner thanks to the machine I acquired during the winter sales (a necessary investment, as far as I’m concerned, as I have already used it three times this season).

 

 

 

And we made plenty of time for museum and expo-hopping, including the exhibit on the history of shoes at the Musée des Arts Decoratifs, wherein I learned that, yes, there is such a thing as a too-high platform.

 

 

 

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I know this because I tested them.

 

 

Moving forward, I promise I will try and get back to including some theatre reviews/commentary on here again (since I assume there are some people who miss it). That all might depend on how many edits (and re-edits, and re-re-edits) I will have to do between now and March 27, aka, D-Day for turning in my finalized dissertation.

 

 

Speaking of which: does anyone have any info on how to generate a table of contents on Word (or on other software)? If so, I may know someone (me) who is looking for advice.

 

 

This is getting very real.

First post for a new decade

They say absence makes the heart grow fonder.

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Clarion Alley Mural Project, San Francisco

 

 

 

Yes, I know. It’s kind of a lame excuse, but, hey, it’s better than the usual “oops, I just got so busy with things that I forgot to write.”

 

 

Though, that bit is true.

 

 

This last month has been rather hectic to say the least. Not just with the usual end of term grading binge and holiday prepping, or with the strikes, which somewhat altered my theatergoing plans.

 

 

And yes, as an aside, I didn’t go to the theatre as often as I had planned last month, but that’s not to say I have any feelings of resentment over what’s going on. On the contrary, I actually support what’s going on, in large part because it directly affects my line of work (because of course teachers and other public servants are so privileged that our pensions must be snipped away at. Unless, of course, we’re cops…obviously), but also because, to be quite frank, in this general environment of increased neoliberalization, seeing that mass worker mobilizations can still do…something…is slightly encouraging. Slightly, only because who knows if it will actually amount to anything significant. It’s hard to stay optimistic.

 

 

 

In any case, it is also quite hilarious (well, infuriating but also hilarious) to read the news about this and see mostly comments along the lines of “well, yes, we understand why people are striking, but why must it be so disruptive?”. I mean, I suppose that people could just go out into the streets one day for a couple hours, make some little signs, wave them around, say a couple of slogans that could later be printed onto t-shirts or pins to be sold for the low price of X euros and then go home—perform at protest, evoke the idea, the gestures of protest—, but what good would that do?

 

 

 

But this is part of what the general tide has turned towards, perhaps. Going through the motions for a moment of illusory subversion, a quick rush to think “yes, I feel good about myself right now” without daring to take that extra step into more difficult territory.

 

 

 

It’s somewhat similar to what I’ve seen in some pieces over the last few years. It’s what Olivier Neveux categorizes as theatre that is essentially “political” in name only, when in reality, it operates within—and even to some degree, reinforces—existing power structures and dynamics.

 

 

 

So, yes, I’m mentally (and physically) preparing myself for a lot of cold walks in the coming days. So be it.

 

 

 

But beyond that, I was also sent into something of a tailspin regarding my dissertation—well, more precisely, my dissertation defense date—that kind of cracked me in the last few days leading up to the break. Chalk it up to stress, or a general feeling of being so close only to potentially have things collapse from under you, but by the time I was ready to board my flight for San Francisco, the only thing on my mind was that I needed to get out of the city for a bit. Clear my head. Relax.

 

 

 

And I did, relax, actually. In fact, to really hammer that bit home, I did something I had never done before for a flight to California: I upgraded to business class.

 

 

To be honest, this was always one of those things I always told myself I would do one day, but never did. Mostly because I never thought I had enough money set aside to do it, as well as just generally feeling guilty about the thought of spending money on a one-time treat like this. Besides, once I saw the “other side”, could I ever go back?

 

 

 

Well, friends, let me tell you: I’ve crossed the Rubicon. Business class is very nice.

 

 

And it’s not just the fact that the seat turns into a full-on bed so that I could actually sleep (okay I slept for only two hours but, hey, that’s more than zero), or that I actually had enough personal space that I could get a good amount of work done (yes, I finished grading exams because I am also very responsible when I relax). It was getting a 15-minute facial (and mimosa because I get started on my relaxing early in the morning as well) in the Air France lounge. It was getting a complementary glass of champagne on arrival, a three-course dinner with actual silverware, and then a light lunch before landing, again with actual silverware. It was the amenities kit with a toothbrush/paste, eye mask, ear plugs, and hand creams that was offered after we were all seated. Hell, it was the fucking facial cleanser in the bathroom.

 

I mean, let’s be honest, in brief, it was just the general feeling of being treated like a human being instead of a mass in a seat.

 

 

 

Now, to be fair, I have had very good experiences on Air France in economy class, so this isn’t so much a dig at them, per-say. It’s more the same general comment about air travel that’s been repeated ad nauseum over the years.

 

 

In any case, it was a lovely experience, and a good way to get started on my holiday.

 

 

 

And it was a good holiday too, even if I did spend the majority of it working.

 

 

I did, at least, make it out for one solo adventure in San Francisco. My parents had gone down to Orange County to visit my sister, and I elected to stay behind to finish my dissertation draft (which I did…somehow). As a sort of reward to myself, I decided a walk and a visit to the SFMOMA was in order.

 

 

And eating, lots of eating.

 

 

I started with a croissant and café au lait at Tartine (because I can never leave France behind entirely) before venturing on a stroll around the Mission to kill some time before lunch (aka the reason I came out here in the first place).

 

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Never say no to coffee in a bowl

 

I mean, I actually managed to visit the namesake Mission, for once.

 

 

 

But yes, lunch.

 

 

 

Lunch was tacos.

 

 

Now, yes, the taco scene in Paris is not too terrible (special shout-out to El Nopal), but let’s be honest, it cannot beat what I can find here. And hell, I’m not even remotely an expert. I just like a good lengua taco now and then to accompany my usual order of carnitas, and also a small salsa bar.

 

 

Well, anyway. Taqueria Vallarta more than satisfied all of that. And it filled me up for my trek to the SFMOMA as well.

 

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Yeah, I know it’s blurry but meh, I was hungry

 

The museum was lovely, as usual, but nothing stood out to me so much that it left an impression. I think it was more the general feeling of being surrounded by art that made me the most happy, or that just got me out of my head for a moment.

 

 

 

After that, I popped over to Good Mong Kok Bakery to grab a red bean cake, and then it was off to City Lights Bookstore to see if I could find anything that struck my fancy. Unfortunately, I didn’t this time around, but, then again, I’ve got two rather large books on deck, and my bookshelf is pretty much full at this point. In any case, it was nevertheless a good way to end the adventure, as well as to mark the closing of the year and decade.

 

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Sweet spot when no cars are zipping by

 

 

Yes, this is going to turn into a slight end of decade post. I say slight because I more or less did this in my birthday post (the perks of having a birthday so close to the end of the year, I guess). But I’ll add a little something here:

 

 

The 2010s for me have been, above all, the decade of Paris. Studying abroad in Paris, moving to Paris once and then back again, and spending all my time when not in Paris thinking about how I would get back. The Paris of my 2010s, and consequently my 20s, was a Paris of studying, of dealing with bureaucracy, of my first real job (which consequently, was also my first real teaching job). It was days spent at the BNF that turned into evenings. It was all-nighters (or close to them) being pulled at Reid Hall, seated behind a window in a little attic room, a pile of paper fortune-tellers acting as a testament as to how long I’d been there.

 

 

 

I’ve dealt with the dormitories, the landlord who got into a straight-up argument with me over giving me my security deposit back, the apartment that was too big (yep, figured out that was a thing), and then my spot now.

 

 

 

In short, over the past decade, as back and forth as my time here was, Paris became home.

 

 

And at the risk of getting overly sappy, I’ll end it at that. I’d say here’s to an excellent 2020, but the idiot-in-chief may or may not have just started WWIII so….eh?

 

 

 

 

At least I have whisky…

 

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The only time I will ever elect to sit by a window for a flight this long

Back to Genet (and turning 30…)

 

So, I’m actually writing this while balancing my laptop atop two large rolls of paper towels, minding the first layer of a carrot cake I’ve got baking in my oven. This is the first time I’ve actually made my own birthday cake (because why not), and of course I’ve decided to be ambitious(…ish).

 

 

But more on that in a minute.

 

 

After a (very) quiet October, my theatre-going has ramped up again, with, as a little bonus, a return to a writer (and a play) that not only largely defined a large part of my graduate work from my first masters all the way to—and even through practically the first half of—my PhD.

 

 

Les Bonnes by Jean Genet, directed by Robyn Orlin, Théâtre de la Bastille, November 9, 2019

 

I find it almost amusing that, despite having written a good part of my first masters’ thesis on productions of this play, I had never—until this performance—seen it live. Despite that, and just based on the sheer number of recordings of live productions I’ve watched, I went into this half-expecting it to fall into a trap that is not necessarily present in all of Genet’s pieces, but, I would argue, is very much a factor here: pacing.

 

 

Generally, when first getting introduced to Genet, one of the first things that comes up is his pointedly ritualistic aesthetic. While this is of course very evident in his writing—and this goes for his novels as well as his plays, what with their constant repetitions of gestures/phrases, circular structures, and evocations of the divine or a process of ascension towards a moment of transcendence in the lowest, most abject of settings—, what it has also led to is a tendency to almost always literally translate that to the staging. Les Bonnes (The Maids) is only one act long but is often stretched to close to 2 hours or more, in part because of the tendency to really “amp up” the ritualistic aspect.

 

 

 

I mean, I can remember at a certain point during my research, after watching the I-can’t-remember-which-number version of the piece, thinking ‘We get it. It’s meant to be precise and de-li-ber-ate. But is there really only one way to evoke this…?’

 

 

 

Thankfully, this version did not fall into that trap.

 

 

It also—and this is a rarity for this piece, despite it actually corresponding more closely with Genet’s original intentions—featured an all-male cast.

 

 

Yeah, funny how this need to emphasize ritual makes exceptions for certain things. Then again, this piece did originally premier in 1947, and back then the biggest issue was people not believing that their maids would ever speak of them in the way Claire and Solange—the maids of the title—do of their mistress (who is only ever referred to as Madame).

 

 

Different times.

 

 

 

Anyway.

 

 

What may have partially contributed to this piece’s divergence from the “standard” aesthetic was Orlin’s background as a choreographer. That, and the fact that she grew up in South Africa. With the dancing, the influence was seen in, of course, the way the performers moved and carried themselves, but more significantly (for me, at least) was its effect on the overall rhythm of the piece. Namely: it actually had one.

 

 

This isn’t to say that the piece was sped through, but more that there was both a sense of reverence AND a sense of urgency in play (often tricky things to try and strike a balance between, but also elements that underscore a number of Genet’s dramatic works). Honestly, it was almost like seeing the piece with fresh eyes.

 

 

As to Orlin’s origins, these, according to her director’s note, had a more direct influence in her approach on the casting. Though her version still highlights the commentaries on class division and the sometimes ambiguous dynamics of dominant/submissive relationships, Orlin (who is white) chose to integrate an additional element through her casting of two black actors in the roles of Claire and Solange and a white actor in the role of Madame. It’s a move that evokes the apartheid-era South Africa Orlin grew up in, as well as the very much still-present racial disparities not just in South Africa, but in much of the West as well (including France).

 

 

 

And the way she has the public confront these disparities is rather fascinating, in that it is based in a way of consuming media and information that is both familiar and yet, when it is transposed to a theatre setting, rather destabilizing.

 

 

 

The stage at the Bastille was rather bare, save for a clothing rack stage right, two stools upstage center with a small camera propped on a tripod in between them, and a DJ booth stage left. A video screen on the back wall played scenes from a 1970s film version of the piece, first as a sort of way to set up everything that happened before the opening scene (mainly the arrest of Madame’s husband, the appropriately-named Monsieur, based on a false tip letter sent by Claire to the police, which is brought up several times in the course of the piece), and then, through the use of freeze frames, as a sort of virtual scenic design.

 

 

 

As for the camera, the actors—especially in scenes featuring only Solange and Claire—spend a good chunk of their time when on stage playing to it rather than facing out and playing to the audience. What this meant was that, physically, their backs were facing us, yet at the same time, the projection of their faces on the screen—and therefore in the environment of the ‘virtual space’—meant that they were still performing to us. Yet, this manner of performing, and more precisely of consuming performance, through a video screen (as though on a Youtube channel, or, perhaps more relevant here, through camming) is both isolating and voyeuristic. Isolating in that it evokes private moments at home when one streams a new video from a Youtube content creator or adult cam performer. Voyeuristic in that there is the sensation that we are not meant to be seeing this. Indeed, we can’t be seeing this because if Solange and Claire’s roleplay sessions as Madame in the latter’s absence become exposed, the two are, for lack of a better word, fucked.

 

 

 

But then, when Madame does eventually make her entrance, she pulls out an iPhone and, after filming Solange and Claire in close to extreme close-up, turns the camera on the audience commenting on some pieces certain patrons were wearing. It was a moment very much anchored in camp—Madame’s coat made up of a bunch of child-size pink puffer jackets attached together added delightfully to this effect—with an added palpable threat. Madame could loosely slap Solange or Claire’s visors (worn as part of their uniforms) to the sides of their faces, sometimes swiping at their dreadlocked hair in the process, without even the hint of a potential rebuttal. She, in the end, is more powerful than perhaps anyone wants to let on.

 

 

And I think before I move on from this, I just want to say that should Orlin ever decide to stage another of Genet’s pieces, I would be one of the first in line to buy a ticket.

 

 

 

Actually, to be perfectly honest right now, I did not get a good amount of sleep last night (oh hi winter cold and your nonsense), so my brain is having a bit of trouble concentrating/remembering things. Though this could also have something to do with a big milestone that I’m going to be hitting tomorrow, November 16.

 

 

 

Turning 30 is something that, even up to now, seemed both inevitable and so far away. Though I think I’ve been able to avoid most of the absolute ageist nonsense that is often marketed toward women regarding reaching this particular birthday, I have nevertheless spent the past week or so reflecting on the last decade of my life, trying to figure out the best way to summarize it.

 

 

Because I went through—and did—a LOT over the last ten years.

 

 

I graduated from my undergraduate program, then 2 masters programs, and started my PhD.

 

 

I lived in so many different places: Irvine, Paris, Boston, and now back in Paris again.

 

 

I visited new countries I’d never seen before, both solo and otherwise:

 

  • Czech Republic (Prague)
  • Spain (Barcelona)
  • Scotland (Glasgow and Edinburgh)
  • Poland (Krakow)
  • Iceland (Reykjavik)
  • Canada (Montreal)
  • Italy (Rome and Bari)
  • Croatia (Dubrovnik)
  • Sweden (Stockholm and Uppsala)
  • Germany (Berlin)
  • Hungary (Budapest)
  • Belgium (Brussels)
  • Netherlands (Amsterdam)

 

And I saw more of the countries I call (and called) home, as well as the country I call my homeland.

 

 

Speaking of the homeland, I also got my Greek citizenship and with that, a passport that has changed my life in more ways I could imagine.

 

 

 

I ate so many delicious things, discovered my love for red wine, whiskey and bourbon, and upped my tolerance for all things spicy.

 

 

But with that I also had to learn (and am still learning) how to cultivate a healthy relationship with my body. Developing an actual love for working out (and discovering HIIT training) when I was 24 helped.

 

 

I fell back in love with theatre again. I performed on stage fewer times than I would have liked, but I also saw shows (Hamilton in London, Natasha, Pierre & the Great Comet of 1812 in Boston, and Bovary and Sopro in Paris come to mind) that reminded me why I love theatre in the first place.

 

 

And with all the moving and show attending and studying and starting over, I found my independence. I learned that, yes, I could do things on my own. I could move to a new country, a new city and figure out my life, deal with apartments that were absolute shit, live in dorms and realize that what mattered there was less the accommodations and more the people I was sharing the space with, and find a sense of determination and stubbornness that would help me deal with almost any “no” that came my way.

 

 

And I learned how to advocate for myself.

 

 

Hell, I travelled by myself.

 

 

And as for love, I felt love—and loved—and knew love in many ways, two of them more significant than the rest. And there was heartbreak. But there is also hope. And there is the feeling of telling someone you care about them, and knowing you’re cared for in return. And there are also those things that still haven’t changed: like getting the courage to open your heart up to someone. But then there’s also that feeling of being held, of feeling someone pull you into them, steady you for a moment, and knowing that maybe being vulnerable wouldn’t be such a bad thing sometimes. That maybe someone will be there to catch you.

 

 

I laughed a lot—so many more times than I can even remember. Yes, there were tears too (and oh god with a PhD there are always tears), but it’s the laughter that stays.

 

 

I still feel like I barely know what being an adult is, but at the very least, I do have an ever-growing list of recipes to keep me well-fed while I figure that out.

 

 

 

So, with that, farewell to my 20s. You were, in the ups and downs, truly wonderful.

 

 

Now bring it on 30.

 

 

There’s a heatwave, and I don’t want to leave the library just yet…

For those who are unaware, there is currently a rather annoying heatwave sweeping through large swaths of Europe at the moment, including France (well, not all of France; Brittany was spared). Now, I’m normally someone who actually quite likes the heat, but there is just something about the lack of open water, as well as the whole living on the top floor of a non-air-conditioned building (as well as the skylight that has no curtain or way of covering it, making any attempts to shut out light during the day useless), and the absolute ‘fun’ of those moments when you absolutely have to take the metro to get anywhere that is starting to test my patience a little…

 

 

Bref, I’m ready for my holiday.

 

 

 

I haven’t felt much impulse to write lately, mostly because I have sort of stopped seeing things this last month. The season has, of course, wound down, but I think I also may have come very close to suffering from show-fatigue. Besides, I think I said in another post that I wanted to focus more on writing my other, more relevant stuff.

 

 

 

Speaking of which, I’ve advanced a good amount, but what with end of the year exams and grading–as well as a decision I made myself, which I am ultimately glad I did–I missed an end of May deadline to turn in new pages to my advisor. I have yet to hear anything regarding this from her part, however, so I’m just going to go ahead and assume all is well.

 

 

Well, hopefully it will be well enough to send literally all the things by my own personal deadline of July 10th. I’m planning on using a good amount of my vacation time to try and tackle the bits of my dissertation that aren’t show-critique related (aka: the bits that make it all make sense). I’m still trying to figure out what point–if any–I’m trying to make with this otherwise rather sizable collection of somewhat disconnected pieces. The heterogeneity of the theatre space? Probably something like that. Everything existing in multitudes? Also maybe. There’s the whole cultural politics thing to consider in this too, and how it relates back to the idea of a public, government-subsidized theatre. What is the role of a theatre in such a system? There is something to be said about how, given the current system of governance in France, the theatre has returned to somewhat of a ‘moralistic’ role: theatrical programming is designed in such a way to impart values, perhaps, or support certain ideals (‘le vivre ensemble‘ has been on my mind quite a bit lately), and while the content can vary (there is no overt propagandizing, if that’s what you’re thinking I’m getting at), there is, to some degree, a lack of questioning of a certain set of [neoliberal / universalist] values that are often taken as a default.

 

A better theatre, for me, would be one that recognizes disagreement, the possibility for disaccord or the opening of new avenues or systems of thinking, and, while doing so, shatters the very universality it is otherwise said to stand in for. It’s the question of autonomy and emancipation as it relates both to the work and to the spectator, but it ends up focusing more precisely on the latter, in particular, through recognition of a capacity for singular thought as well as the validity of the choice in whether to engage or not. I’ve seen this kind of theatre here a few times, though funnily enough, none of the productions were from French companies.

 

 

And anyway, I’m not sure if the above makes any sense or it’s just rambling. To tell the truth, I’m only writing here now to kill a bit more time before I venture out into the outside world where the temperature reads 93ºF but feels as though it’s 101ºF (of all the things I have accustomed myself to, the only one that is still giving me trouble is switching to reading temperature in Celsius). I had been reading for most of the day, then thought I’d get back to writing, but, wouldn’t you know it…writer’s block. My brain is tired.

 

 

Otherwise? I’m feeling…reasonably confident about this. I say a lot that I just want it to be done, but I also want it to be good, and be certain in myself that I have something to say, and am not just regurgitating what others have already said before me. The problem is that sometimes, to me, what I write feels so…obvious…but, then again, maybe that’s how one’s own work (particularly work of this kind) feels all the time. Subjectivity and whatnot.

 

 

It’s hard to get the narrative in your own head to change sometimes.

 

 

In better news, though, I think I may start frequenting a workout class once a week, depending on what my schedule is like come September. ClassPass has finally arrived here, and the HIIT course I tested today left me feeling absolutely exhausted but also amazing. The home workouts are still fine, don’t get me wrong, but I was starting to miss the thrill of the challenge after a while, as well as the chance to really test my limits.

 

 

And I think I’m starting to legitimately go stir-crazy, so I may just bite the bullet now, pack up my things, and march out the door. Normally a walk would suit me just fine in moments like this where I can’t seem to get out of my own head. We’ll see how long that lasts…