Questions for Cornerstone Theater- Jade Robinson

1. What was it about these specific LA urban communities that convinced you to settle the company in Los Angeles instead of in another highly populated city such as New York, Chicago, or Washington?

2. Would you ever consider returning to a piece and adapting it based on monumental current events? For example, would you be open to reexamining and incorporating material into Los Illegals (2007) because of Trump's recent move to dismantle DACA?

3. In the past, new theater troupes that have sprouted from Cornerstore (such as Theatro Jornalero) have developed short plays and toured these works to relevant sites; would you ever try performing these short plays in a street theater setting in order to reach a wider audience of individuals who might not typically step into a theater space and challenge them to learn about issues that potentially make them uncomfortable?

Comments

Jeremy Griffith - The Roof is on Fire

1. CONTEXT: What were the circumstances that framed the meaning and process of this project? There are many minority teens in low-income, low-opportunity areas who have unheard voices. Their self-esteem isn't cultivated and all of their portrayal in the media is negative. 2. CONTENT: What was the issue, need, idea or opportunity addressed by this project? Teen voices were unheard, opinions of them were based on negative media stereotypes, and many of them had very poor self-esteem. 3: FORM: What is the medium that was used to address or embody the content? Immersive theatre in the form of car-conversations that audience members could eavesdrop on. 4. STAKEHOLDERS: Which are the groups or individuals that were invested in the project? The teenagers were very invested because of their desire to free their voices. The adults who helped were invested because they wanted to help these kids start to change the narrative. And the d...

Geneva Heron Assignments

Assignment: Aesthetic Evangelists - Due 1/30 Three key ideas in the text that resonate with me: The first is the idea of the "new public art," or what we would call "community engaged art." The article discusses the transition from art displayed in public sites to community based projects that have the goal of collaboration and focus more on the process than the end result/outcome. This intrigues me because before this class I was honestly very unaware of this form of art-making and its growing prevalence. Another idea that resonates with me is when the author talked about community based public art of today drawing on the urban reform rhetoric of the past both consciously and subconsciously. This stood out because it's an old adage that history repeats itself and I think it's interesting that the times we live in now call for a callback to this type of work and a more curious examination of what this can do for people and their communities. Th...

Arts and Community Engagement 2018

Search This Blog