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The Last Rat Conference Comes Home Again

By Nick Fracaro at 6:04 pm on Saturday, July 26, 2008

The RAT Conference from 1994-2004 was the single most transforming element of our theatre ensemble’s history. Our present day aesthetic and ethic developed directly from that ten-year collaboration with other theatre companies and individuals from around the country and the world. For many years we found our strength of purpose and community in this “Regional Alternative Theatre” confederacy.

Our theatre instigated and led many of the conferences including the final one in Argentina. Company members Melanie, Gabriele, Markus and I all were part of the RAT contingency which produced the Macbeth Project at El Rayo Misterioso’s 2004 Experimenta and then traveled to a farm on the outskirts of a small city thirty miles outside of Buenos Aires to collaborate further on the project with the theatre/art collective Willaldea.

Old friends from Willaldea are now in New York performing She and the Empty Living Room, produced through El Taller Latino Americano as part of the Underground Zero festival of experimental theatre tonight and at our Avant Yarde on Monday night.

I had traveled to Argentina three different years to work with the El Rayo and Willadea artists. Through them I also met many other artists who work in physically based international theatre. Following are my reflections from five years ago on what would be the last Rat Conference. (Of course indie theatre producers — rats — still exist across this country, perhaps in greater numbers and more vibrant than ever, even without the Rat Conference promoting, advocating and networking for their existence.)

The pilgrimage and its return to home works well as metaphor for our individual ensemble’s continuation of the work we and other theatres had begun with the Rat Conference.

******* ***** *****
El Rayo and Willaldea, Argentina
December 7-17, 2003

Cindy’s question at day’s end of the Argentina rat meet was sharpest. “How does one integrate the experience into one’s life without romanticizing it?”

RatMeet as pilgrimage as training technique.

RatMeets function less within memory/documentation and more as part and parcel of an ongoing process/journey. Likewise, rat is best without a past. Its present is prologue… with new pilgrims regularly joining the enduring procession defining and redefining motive and direction. So now Argentine, Mexican, Basque, and other new rats are able to lead the pilgrimage and training technique back into USA rat and elsewhere.

The pilgrim takes leave from a specific state, searches and researches for a way, beholds the new vista, and then returns back home. Each will then bear witness to the pilgrimage, performing before the unique hometown audience. In this way home also becomes an evolving place (and condition) layered with the instructions from the pilgrimage.

A pilgrim is not a guru or master teacher. He has no disciples or followers but only fellow travelers. To elevate one rat over other pilgrims is to actually degrade that rat into tour guide. The pilgrimage holiday also then becomes equally debased into a vacation. The RatMeet is the movable dojo. The school where peerless masters may transform themselves into adept peers and back again.

******* ***** *****

I travel from a place of privilege and I wear my origin almost indelibly. Most intricate and difficult to cast off is the image of tourista Ugly American. Like a mark of Cain it separates me from them as much if not more than my gringo lingo does. Apt metaphor then the necessity that half of our actual baggage would be shed on the difficult road leading to Willaldea. In trying to deliver it, Gabriele and I separated from the group and got completely lost in the dark countryside. We walked in circles for what felt like half a lifetime alternating between emotions of anger and panic. By the time we finally arrived at the circle of familiar faces eating dinner next to the fireplace, all elements of tourista had been stripped from us. Hugging friends Bruno, Yolanda, Guido, and Fabio, we knew we were home.

The naturalness in which they pursue their life in art is what inspires me most. Bruno has an injured hand so Guido now is the one who needs to get up at dawn for the milking. He explains how the cows accept him and Bruno almost as replacements for their calves that have been weaned. The cows need to be milked twice daily at twelve hour intervals otherwise their udders will dry up. Yolanda will feed the chickens and ducks each morning before she leads the actors through their training which is as physically intense as any that we found at Experimenta. The hours that we will schedule for our training and meetings are coordinated to the times needed to stir the milk and complete the other processes that will transform it into Mozzarella cheese. After their performance the actors will fashion this cheese into baked pizza to then serve with honest joy to their audience.

This naturally balanced rigor at Willaldea is in contrast to the narrowly stringent physical discipline I find at El Rayo and forces a comparison. El Rayo’s future goal is to be able to train as actors daylong instead of performing the multiple tasks they now do in order to keep their theater running. Monks in a monastery studying and training in a martial art would be one model for their actors’ laboratory. Aldo has expanded his traditional Kung Fu training by inventing a kata from studying the butterfly. He teaches these movements to Natalia who then teaches it to certain members of the ensemble. From the writings of Artaud he has abstracted certain tension/release exercises combining them with selected physical methodologies of early Grotowski. The ensemble also uses basic acrobatics, shamanism, massage, tarot readings and other practices as part of their daily training.

Guido migrated to Argentina more than 25 years ago with a small group from the original urban art village in Milan, Italy. That Milan collective still exists and member Roberto gave a presentation at this year’s Experimenta. The ostensible artlessness of Willaldea’s life style is actually grounded in a complex philosophy that studies the relationships found within the microcosm/macrocosm and finding a balance between the economic, social, and artistic realms in life. The individual’s ability to contaminate and alter the whole is a principal concept and is evidenced by how much influence the arrival last year of Yolanda and her Odin based training has transformed the theatre.

A constant element in Willaldea’s soundscape was the young calf bawling daylong. Roped off to the tree to be weaned from milk, alone and separate from the herd and mother, the plaintive wails were perfect articulation of the fear and pain found in all experiences that truly transform. Both of these very different ensembles of Willaldea and El Rayo have proposed avenues for future collaborations. Rat has contaminated each of them and vice versa.

Crossposted at International Culture Lab.

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Avant Yarde Event Monday Night

By Nick Fracaro at 12:05 pm on Saturday, July 26, 2008

Please join us for the next Avant Yarde event featuring a short play with actors who have lived and worked with our good friends from the South, the nomadic Argentine theatre group Willaldea.

She, and the Empty Living Room

A chamber play in one-act. An exploration of (anti)communication, disobedient tongues, a missing left foot, a dance, a relationship, a poem, or a broken heart. She and the Empty Living Room is a play in translation (literally) about the act of translation, repression/oppression, and the language in your head that turns you into someone else.

empty living room

Conceived and Directed by April Sweeney
Text by Carolina Sotolano and April Sweeney
Performed in Spanish and English by: Markus Hirnigel and Carolina Sotolano
Film by: Miklos Buk, Sound by: Joan JubettMonday,

Monday night, July 28th at Avant Yarde
214 Dean Street (Between Bond and Nevins)
Brooklyn

6pm-9pm: Potluck Barbecue and Performance.
Please bring your favorite barbecue item or prepared dish to share.

Presented by International Culture Lab
FREE admission with your favorite dish
Limited seating for the performance
RSVP to:gaby@intlculturelab.org

The Avant Yarde is located in a four-story private artists’ residence in the landmarked area of Brownstone Brooklyn. The site hosts artist salons, art potlatches, and commissions and installs temporary sculptures throughout the year. Avant Yarde proposes an alternative to the traditional performance and gallery space, attempting to position the exchange and experience of art outside the confines of the market while also examining conventional notions of public and private space within the community.

Curators: Russell Busch, Katie Merz, Paul Benney, Nick Fracaro, Gabriele Schafer

Avant Yarde accepts proposals for installations and sculptures on an ongoing basis. Write to avantyarde@intlculturelab.org

Current Installation

Big New Fountain by Charles Goldman

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We all still wish they all could be…

By Nick Fracaro at 3:33 pm on Thursday, July 10, 2008

I am mostly with E. Hunter in her theory about sex and geography.

How is sex geographic? Or maybe it’s atmospheric? More likely. I can only speak for myself, but the humidity of the south really does have a positive effect on one’s libido. I’ve confirmed this theory with exactly one other southerner who also agreed that California can be rather dry. Ahem.

But I think she needs to add that nobody can represent the essence of wet dreams better than California. All those hard and healthy tanned bodies on that primordial beach.

And what about those California girls?

I have a theory myself here about California Girls, on why they have evolved to the top of the food chain. A generally unknown historical fact is that woman could vote, own property and work outside the home from the moment that Los Angeles was founded on Sept. 4, 1781. So my theory is that the East Coast girls and Southern Belles and others never really caught up with this 139-year lead the California girls had in their independent style and class.

And for further elucidation on why we all still wish they all could be California girls, consider this 40-year evolution of the musical film/video tribute to the species. From the Beach Boys in 1965 to David Lee Roth in 1985 to the current Dresden Dolls. Two fun blasts from the past, then the “Brechtian punk cabaret” musical duo Dresden Dolls. Their reinterpretation of the David Lee Roth video in Shores of California is inspired in its breakdown of the stereotype. And an especially nice visual cue having facial tissues dispensed during these repeating lyrics.

Why all these conflicting specifications
Maybe to prevent overpopulation
All I know is that all around the nation
The girls are crying and the boys are masturbating
The girls are crying and the boys are masturbating


Beach Boys “California Girls” 1965

David Lee Roth “California Girls” 1985

Dresden Dolls “Shores of California” 2007

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