Gender Across Borders
By GAB Editorial Team
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Podcast Description
Gender Across Borders (GAB) is an international feminist community where issues of gender, race, sexuality, and class are discussed and critically examined. We embrace people of all backgrounds to come together to voice and progress positive gender relations worldwide. Stay tuned for exclusive interviews, reviews, and roundtable discussions!
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GABcast: Kick-Ass Girls and Feminist Boys | What early books influenced your decision into becoming a feminist? On this week’s episode, we speak with Jessica Stites (Associate Editor of Ms. Magazine) who breaks down an article that she wrote regarding young adult fiction for feminists. Click here to subscribe and the transcript is after the jump: Emily: Welcome to the Gender Across Borders Podcast. [music] Kyle: Welcome back to another fun-filled episode of the Gender Across Borders podcast. I’m joined by – with Jessica Stites, Associate Editor here at Ms. Magazine and we are in the recording studio right now. I have Colleen, as usual, on the line and we’re going to be talking about recent articles that she did in the previous issue of Ms. Magazine, which was entitled “Kick Ass Girls & Feminist Boys” and it listed a number of young-adult novels that she felt are important to read for burgeoning feminists. Welcome Jessica. Jessica: Hi, I’m happy to be here. Kyle: OK, well first on the list, how did you go about choosing the top 10 feminist books for young adults? Jessica: Well, agonizingly. I was – I know that top 10 lists always generate a lot of controversy and even though I’m a young-adult fan, I haven’t necessarily read every young-adult book in the world. So, that’s sort of what I set out to do [laughs], perhaps with a little bit of hubris. What I did is I went on Good Reads, the social networking around books website, and I created a list that people could vote on of their favorite young-adult books and I kind of seeded it with my favorites. So I put in like 70 or 80 books that I thought were especially important and then I sat back and watched what people added and once – it was pretty popular, 100, 200 people voted – but once I had gotten a pretty good sort of top 200 list, I set myself the task of reading the top 50 to make sure I was – fortunately I had read a lot of them as a kid so it probably ended up being like an extra 20 books but I just wanted to be sure that I had sort of read everything that could possibly be on the table. And then it was just a lot of hand-wringing and agonizing and swapping things in and out of the list and thinking about, you know representation and covering different bases. I wanted it to have it be over a span of time so I was both representing really wonderful recent works that Ms. readers might not know about yet and the classics that everyone remembers from their childhood, like you know Madeleine L’Engle’s A Wrinkle in Time was sort of a natural for me and so that people reading Ms. of all ages would probably remember that one because it came out in ‘71 I think. Kyle: Yeah, speaking of which, like how, what has been, like, the reader reaction to this list you’ve made? I imagine most people [inaudible]. Jessica: Yes, I’ve gotten some online reactions. People seem to generally like it. You know, some of these were kind of obvious, like The Hunger Games, which came out recently and has just been hugely popular and has this very, sort of kick-ass – as I say in my title – young-adult heroine. But, one piece of feedback I got was that I hadn’t fallen strictly within the bounds of YA, that some of them were a little young and that was something that I might take more into consideration next time. So, I had put in Are you There God? It’s Me, Margaret, which is sort of a coming of age novel many of us probably remember as kind of the facts of life novel from the 70s, from 1970 actually. Some people think, well that’s more targeted to girls going through puberty so it’s a little young, same thing with Roll of Thunder, Hear my Cry, but I just couldn’t leave that off the list because it’s such a wonderful book. Colleen: I’ve spoken to a number of people working in education and literacy that are trying to find books that are both feminist and also portray any women of color in any sort of positive light and possibly even have a[...] | 12/13/10 | Free | View In iTunes |
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GABcast: The Thambo Project | “How can we change the world through art?” On this week’s episode, we talk with The Thambo Project, who aims to answer that question. Click here to subscribe and the transcript is after the jump: Announcer: Welcome to the Gender Across Borders Podcast. [music] Kyle: Welcome to the Gender Across Borders Podcast. I’m here with Evan Hilsabeck, of the Thambo Project, joined with a colleague, Colleen, and I guess to start things off, Evan, would you be able to tell us a little bit about your group? Evan: Sure. Well, the Thambo Project has been around for about five years now and it grew out of a group that was doing work in colleges, well, in one college in Southern Minnesota, as a way of using theatre and performance for exploring ways that we can build justice in communities and really address issues of justice and privilege in a very direct way, and the members who eventually formed the Thambo Project thought that was pretty useful and very powerful and sort of unique to the work that was going on there, and so we’ve since then founded a non-profit organization to expand that work and have been doing workshops and performances in schools and communities for the last five years, so it’s been an, it’s been an exciting, exciting adventure. Kyle: Where’s the name come from? Evan: [laughs] The name is a word in Zulu. One of the sort of founding members of our organization was from South Africa and we thought we were very hip and edgy by picking a Zulu name, and it’s a word in Zulu that that is the root word for the words that mean bone and thread and it has a greater metaphorical meaning of strength and interconnectedness or strength and community, which is something we felt was, exemplified the work we did and sort of shared our vision of the world I think. Colleen: On your website, when you describe your group you mention the Theatre of the Oppressed; could you explain that a little bit please? Evan: Sure. Yeah, the Theatre of the Oppressed is the basis of our work, sort of, theoretically the Theatre of the Oppressed is a group of practices that was created by a Brazilian director and theoretician named Augusto Boal in the early 70s, I believe, and Boal created a theatre form that was extremely interactive because he was working in a, under a heavy military dictatorship and civil expression was oppressed and his form of theatre broke down the boundary between the audience and the actor and created an equal playing field – he called them spect-actors – that is completely permeable and so his idea was that the theatre is interactive because it is a way to rehearse and to explore for social change, to explore methods of creating more just communities on a small level, and so that’s the work that we’ve adapted and have continued to use to explore very viscerally, in an interactive format, ways that we can create a more just world. Kyle: You’ve done two- or three-hour workshops before, would you be able to walk us through what you would do in a typical workshop? Evan: Sure. The majority of our work is done over the course of several weeks in a sort of longer setting, but we’ve done a couple workshops and conferences and that sort of thing, and the idea is, as sort of, as a way to explore this method, usually we come in with a pre-ordained topic. For example, a couple of years ago we did a workshop that dealt with nuclear weapons and the way nuclear weapons were being used in the world was sort of the general theme of the whole conference, and so we begin to explore that idea physically and part of what Boal, one of Boal’s techniques is called Image Theatre, in which we explore a topic without words, but by creating images with our bodies individually or with our bodies as a group, as seven or eight people, and what that does is enables us to explore the way a topic affects us creatively, intellectually, and to get many ideas that come off of the very open framework of these bodies. And then we would u[ | 11/29/10 | Free | View In iTunes |
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GABcast: Artemisia Gentileschi, A Woman Like That | Fun fact: Guess which article is the most read on GAB? On this week’s episode, we talk with Ellen Weissbrod and Melissa Powell, creators of a documentary which explores the life of the renowned 17th century artist, Artemisia Gentileschi. Go here to learn more about the filmmakers or contact them for a screening. Click here to subscribe and the transcript is after the jump: Welcome to the Gender Across Borders Podcast. Colleen: Hello, and welcome to the Gender Across Borders Podcast. I’m here with Ellen Weissbrod and Melissa Powell, directors and producers of the film, “a woman like that,” a documentary film about the Italian artist Artemisia Gentileschi. We’re here to talk to them about the film. I’d love to start, if one or both of you could just give a brief synopsis of the film for those who haven’t watched it yet who are listening. Ellen: It’s the story of Artemisia Gentileschi through my journey to tell that story, and we call it to a “coming of middle-age” tale, about if she could do this thing four hundred years ago–make art, as a woman–I had to be able to do it as well. And it’s about how I was at a certain point at in my life, where I had made films but never personal films. And I was committed to telling her story, and I was disappointed in the other tellings of her story. There was an exhibition of her work coming to New York, and I thought, “Well, I make documentaries. This is what I’m going to do.” Colleen: Is that when you first found out about her, when that exhibit came to New York? Ellen: No, I read a book about her in 1990, after I had done my first feature documentary and I read a review of a book in the TLS about Artemisia, and I thought, “This is crazy. How did I miss her?” I grew up in New York, I went to museums all the time, and I had never heard of this woman who obviously had an incredible career. Colleen: So this story struck you immediately and stuck with you until you were finally able to bring to fruition exactly what you wanted to say about her? Ellen: Exactly, exactly. You know, it sounds crazy, but I’m just very moved by her story and by the stories that she told. It just really struck a chord, you know? It seems unbelievable that she could have had this life. I mean, it’s hard enough to imagine doing it now. She traveled all over Europe. She was a freelance artist four hundred years ago, and she was a single mother raising her children alone. Melissa: When women weren’t even able to own property. Ellen: Right. Colleen: Watching the film, you’re struck by how the story itself is incredible, but you also, Ellen, shared a lot of your own personal feelings and thoughts in the film. When you first read this story, did you feel like it was something that drew something out of you, or was it that by exploring Artemisia as an artist, your own story came about. Ellen: Yes, I think it was more like the second. Exploring Artemisia’s story… I am not someone who would want to be in front of the camera, and it was never my intention to be in front of the camera, but there didn’t seem to be any other way to tell the story. And throughout making documentaries, all these other people had always been so generous with me. I do like interviewing real people and not experts, and I like that conversation. And even in this film, when we started it, outside the Met and outside in St. Louis, people are so ready to share and be part of a conversation. As a director, I had always made documentaries in a style so that my questions weren’t even in the film, I wast his omniscient puppeteer. It seemed in this film, that that would be really wimpy of me if all these other people expressed all their things and I certainly had a lot to say about why I was so moved by Artemisia. Kyle: In the documentary, you talk about how Artemisia is probably definitively the most im[...] | 11/8/10 | Free | View In iTunes |
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GABcast: Nist.TV | Yes Virginia, there is a feminist Youtube. Click here to subscribe and the transcript is after the jump: Emily Heroy: Welcome to the Gender Across Borders podcast. [Music] Kyle Bachan: Welcome to the Gender Across Borders podcast. On today’s episode I am joined by Anne Jonas, creator of http://nist.tv/. Can you tell us a little bit about nist.tv? Anne Jonas: Sure. Nist.tv is a compilation of a bunch of different videos from across the internet that have some sort of feminist content or deal with a feminist issue. They’re videos that can be lectures, they can be entertainment, they can be panels, they can be PSAs, but they’re all brought together under one banner for the benefit of people being able to find them more easily. KB: So how did you get the idea to create this platform for feminist videos? AJ: Well, I work for the Participatory Culture Foundation, and we’re the creators of the software that runs Nist TV, which is called Miro Community, and it’s an open-source platform that allows people to bring together videos and when I first started my supervisor said, “Ok, well, we want you to create a site about something you’re passionate about in order to have a sense of what’s needed.” And I said, “Well, I’m pretty passionate about feminism. I wonder if I can do a site about that.” And the more I got into it, the more I found there was so much content out there, and it kind of grew from there. KB: What did they say when you showed them the final project? AJ: I think they were really excited about it and supportive all along. I think that they also didn’t quite realize how much was going to be out there and the extent to which it was going to be pretty huge. There’s thousands of videos on the site. So I think that they were excited about that and saw it as a useful example for the kinds of communities that we’re creating on the software site. KB: Ok, so that leads into my next question. When you were first starting up how did you choose the content for Nist TV? How did you go about curating all the hundreds of videos or thousands of videos that are now on it? AJ: I started with organizations that I knew about or people that I knew about. So I went through and thought, OK, what are the feminist organizations that I know of? And I would go to their websites and see if they had a video feed, and if they did then I would add that in, and then I would look at if their video feed was on youtube, or on blip.tv, or on vimeo. I would look at what other feeds they were linking to. So if there were people following them, or if there were people that they were following, and I kind of followed that trail. And then I looked, whenever something came up on twitter, like “Look at this feminist video” then I would check that out. I did a lot of googling and searching within the platform for “feminist”, which was mostly depressing but often led me to good content as well. And then more and more things would come in. KB: And users can submit content as well, right? AJ: Absolutely. Yeah. Anyone can submit content. And the way that it works is that it’s embedding different videos, so as long as they’re able to be embedded across the web it can be any kind of video. It can be from anywhere. KB: Oh so Nist TV doesn’t host the videos, but they’re like an open pool for different videos that are running on the internet. AJ: That’s right, yeah. The idea was to make more accessible and more findable a bunch of video that was already out there but that people wouldn’t necessarily be able to access. Or they might be able to access some of it, but now know that there was all this other content that they would probably be interested in if they were interested in some of this other stuff. So, it’s bringing it all together but nothing’s hosted on the site itself, which I like because I think it allows it to have a wider breadth of information. KB: Has there ever been a scenario where you’ve censored con | 10/25/10 | Free | View In iTunes |
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GABcast: Chloe Sullivan v. President Laura Roslin | And now it’s time to take a journey through the stacks of sci-fi DVD sets with GAB editors Carrie and Kyle as they discuss the progression of key women characters in TV–Chloe Sullivan from Smallville and President Laura Roslin from Battlestar Galactica. How did these characters break the traditional stereotypes of women portrayed in TV? Or how did they conform? Click here to subscribe to the podcast! Transcript after the jump: Kyle Bachan: I feel like we’re in … what’s that TV show? Literature Theater? Where the guy sits in a big chair and is surrounded by piles of books? and smokes a pipe? Carrie Polansky: Yeah! [laughing] Masterpiece Theater. KB: Yeah, Masterpiece Theater, that’s the one. Emily Heroy: Welcome to the Gender Across Borders podcast. [Music] Legendary Chloe Ad 1: It began with a simple concept: the retelling of Clark Kent’s young life. 2: We never imagined that within that canvas we would come to meet a young woman who would change the story forever. Her name is Chloe Sullivan. Carrie Polansky: Welcome to another Gender Across Borders podcast. This is Carrie, and I am with Kyle, and we are going to be talking about female characters in television shows today, focusing first on Chloe Sullivan of Smallville, and then going into some other programs that we are familiar with and that have interesting female characters and feminist themes. And basically we’ll be going through and critiquing how these shows portray their female characters; if they’re doing a good job or if there are ways things can be improved. So, Kyle, do you want to start off by giving some background into how this project came about in the first place? KB: Ok, sure. Basically, I was contacted by an organization who, I guess, makes advertisements for Women Characters who, I think, have been very influential in television, and they were spotlighting Chloe Sullivan, who’s a character on Smallville. Basically Chloe Sullivan is a character that was introduced into the Superman Mythology, the adaptation of it, as kind of a side-kick character. So she was more the go-to girl whenever Clark would need information on the bad guy who was going around killing people, or a tip on how to get into this base or whatever. [Music plays] Chloe Sullivan: Hey! I was gonna ask you for the low-down on your V-day with Lois, but something about you being here with me tells me it didn’t go over so well. Clark Kent: Do you have the passports and ID cards ready? CS: Or, we could get right down to business. All the materials you would ever need to escape your life and start a new one. CK: Thanks Chloe, you’re a life saver. CS: [laughs] If by that you mean sweet on the outside and empty in the middle, that’s pretty much exactly how I feel right now. KB: She didn’t really have a lot of dimensions to start with, in Smallville, but as Smallville went from its first season to, I guess it’s on its tenth season now, Chloe’s kind of grown into more of her own character. So she’s no longer a tent pole for Clark Kent, but she’s an independent character that could potentially have her own TV show if they so chose to go that way. Smallville Clip: CK: Congratulations Chloe. Within 24 hours you managed to tick off the entire school. CS: Well, you don’t earn your press pass by making friends. CK: Don’t you think the police should be handling this? CS: I uncovered a murder. CK: With your new ability. You broke into the Luther Corp plant the other night, didn’t you? Something happened. CS: Wow. I’m impressed. There may be some journalistic genes behind those baby blues after all. CK: Chloe for some reason people are telling you things they don’t want you to know, and it’s not a joke. CS: No. But it is every reporter’s dream. KB: Just over the weekend, it’s lucky that this happened, they’ve actually announced at DC Comics that she’s actually going to be introduced into the comic series now. She was originally created for the TV show, b | 10/11/10 | Free | View In iTunes |
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GABcast: The Daddy Shift | Why are more men staying at home to take care of children? Does the recession have anything to do with it? And is this switch in traditional parental roles a blip, or a longterm shift? On this week’s podcast episode, we are joined by Jeremy Adam Smith–author of the acclaimed book ‘The Daddy Shift’! Click here to subscribe! Transcript after the jump! The Daddy Shift Transcript Jeremy Adam Smith (JS)- And you know, the gist of her criticism was that caregiving is not a desirable activity. If it were more men would be doing it. There was this kind of this discomfort I saw with the very idea of caregiving as being a worthy human activity when it fact the argument in my book is that caregiving is an essential human activity. It should be an essential part of every human life. Emily Heroy- Welcome to the Gender Across Borders podcast! Sound clip: Interviewee- I think fatherhood parenting in general should be whatever makes sense for you or your family and for us it makes a lot of sense for me to be home with the kids. Reporter- It makes economic sense because his wife Martha is the bread winner. He sometimes works for non-profits on social issues but says its minimal income that would all pour back into daycare so it’s preferable to care for the children himself. And he’s noticing, he’s not alone. Colleen Hodgetts (CH)- Hello my name is Colleen Hodgetts and I’m a senior editor at Gender Across Borders. Kyle Bachan (KB)- And my name is Kyle Bachan and I’m also a senior editor at Gender Across Borders. CH- Welcome to this episode of the Gender Across Borders podcast where we will be interviewing author Jeremy Adam Smith who wrote the book, The Daddy Shift: How stay at home dads, breadwinning moms and shared parenting are transforming the American family. Jeremy, welcome! JS- Thanks so much. CH- We wanted to jump right in with a couple questions on the research that you did in order to write the book. Could you tell us a little bit about how you picked the families that you ended up featuring in the book? JS- Well, very half-hazardly I think is probably the short answer. I was really looking for families I felt were representative of the diversity of reverse traditional families and of course also they had to… I mean everybody’s story is interesting but I felt like I needed stories that were in some way illustrated a dilemma or conflict that reverse traditional families face. The book doesn’t try to sell you or anyone on stay at home fatherhood or breadwinning motherhood. The book takes for granted that families are going to be negotiating the roles over time and I felt it was very important to get beyond this idea that wow there are fathers who take care of children which I think is still, to this day, the way stay at home fatherhood is reported in the mainstream media. I wanted to take that for granted and then ask and explore so how do these families overcome the challenges they face—or not overcome and what prevents them from overcoming those challenges? What I was really looking for in the book in constructing these stories was to create a dialogue between them. So for example, the story of Ben and Michelle, it’s about two people, a husband and a wife who by the way, divorced after the book was published who really were not comfortable with their roles and were struggling with them a little bit. And then as the book progresses, the couples become increasingly comfortable and also there’s an autobiographical thread that runs throughout the book where I sort or tell the story of how I became increasingly comfortable with my role as my son’s caregiver. KB- Speaking of the families that you interviewed, you said that you interviewed them to find out what challenges they faced… did you happen to speak with any of the stay at home dads about any problems that might have had reentering the work force or pay inequality? JS- That is a really interesting question. That was not really covered by my book. | 9/27/10 | Free | View In iTunes |
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GABcast: M.I.A./The Bechdel Test | Does M.I.A. consider herself a feminist? Which recent movies passed the Bechdel Test–> and is a ‘barely passed’ still a pass? On this week’s episode of GAB’s podcast, we are joined by Maria Guzman (Heartland Feminist, Senior GAB editor) and Anita Sarkeesian of Feminist Frequency! Click here to subscribe to the podcast! Full transcript after the jump! Emily Heroy: Welcome to the Gender Across Borders podcast. My name is Emily Heroy, Executive Editor of Gender Across Borders, and I’d like to welcome you to GAB’s new-found podcast. We are an international feminist community where issues of gender, race, sexuality, and class are discussed online. But now, we have taken that discussion to the airwaves. Stay tuned for exclusive interviews, pop culture reviews, round table discussions, and much more. [“XXXO plays”] Maria Guzman: Hello, my name is Maria Guzman and I am from Kansas and currently living in San Francisco. I consider myself a feminist and my areas that I explore that through are my sense of politics, specifically immigration and, of course, reproductive rights. I’m a scholar in art history and cultural studies and a lot of that has to do with popular culture, so lately I’ve been finding that a lot of what I want to explore has to do with music and entertainment, so I’ve been working on that lately. The artist that I’d like to expand upon for this podcast is a figure that I’m fascinated by at the moment. Her name is Maya. [Music plays] So far I’ve written two articles about her latest work which has attracted criticism because she maintains a very confrontational approach that seems to distinguish her from other artists working today, and I think that this appeal is based on her self-proclaimed outsider status and it’s something that lends itself and is informed by many genres of music, specifically hip-hop and punk rock. I grew up listening to punk and I was one of the few I guess minorities or women of color, or however you might put it, and it was something that I always wished would manifest itself for me somehow while I was experiencing that. And although I did appreciate a lot of the literature and music and ideologies that I was exposed to, I still felt like there weren’t a lot of figures that I could relate to besides, you know, Poly Styrene or Bow Wow Wow, the lead singer, so there weren’t a lot of figures that I could identify with, and the closest I could get to was actually Grace Jones, which is another female artist who’s hard to categorize. So lately M.I.A. has kind of been the closest that I’ve come across in popular culture that seems to be an intersection of a lot of my own experiences and also a lot of the perspectives that I admire. I’d just like to expand on where I’m coming from with my readings of Maya. She’s somebody that elicits these very strong reactions from all of my friends and acquaintances and you either love her or you hate her, so this is sort of my exploration of why I love her, because she challenges me and towards the end I’m going to explain how she challenges me. Basically, I like how she lends herself to various music genres, and as a fan of punk and hip-hop, it’s great for me to be able to recognize songs. For instance, “Born Free” was immediately something that I could get into because I recognized that it was a sampling of Suicide’s “Ghost Rider”, and I’m a big fan of Suicide, so she immediately engaged me in that way. [“Born Free” plays] But she kept the message in “Ghost Rider” and sort of contemporized it. And what I like about her is that she personalizes these issues and makes them seem very contemporary, which they are, through her music. So hip-hop and punk are notable for their political history. There are various artists that we could name right now: N.W.A., The Clash, The Sex Pistols. I wanted to consider her work along this tradition and address the politically charged issues that she talked about. | 9/13/10 | Free | View In iTunes |
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GABcast: Guerrilla Girls on Tour! | On the first episode of GAB’s new podcast, we are joined by several members of the Guerrilla Girls on Tour! But who is this touring theatre group really? What are their aims and aspirations? And did Justin Bieber really write their theme song? Listen on to find out! Full transcript after the jump! [Guerilla Girls on Tour Theme Music] Kyle Bachan: Welcome to the very first Gender Across Borders podcast. My name is Kyle Bachan. I’m a senior editor here at Gender Across Borders. Colleen Hodgetts: And I’m Colleen Hodgetts. I’m another senior editor at Gender Across Borders. KB: Today we’re joined by the Guerilla Girls on Tour. We have Aphra Behn, Maya Deren, and Julia Child on the line. Before we start things off, could you tell us a little bit about Guerilla Girls on Tour? Guerilla Girls on Tour: Yeah, sure. In 2001, the Guerilla Girls, an organization that was founded in 1985, decided to split into three new and independent groups and members of Guerilla Girls who were theater artists…. We tour around, we put on plays and performances, we’ve tried to develop our own sense of feminist theater that incorporates the audience into our shows. Our shows are interactive, and we also carry on the tradition of Guerilla Girls by making them humorous and using humor as a weapon to shed light on women’s issues. KB: Ok, so, my first question is how can theater be used to alter or influence stereotypes about gender? GGOT: Theater is such a little fantasy playground, I feel like with a simple prop or a costume, especially one as un-gendered as a gorilla mask, can sort of leave people up to their own devices in terms of deciding what people are demographically in terms of gender and race and class and all of that good stuff. I mean clearly, our name is the Guerilla Girls, so people are assuming that we as actual performers are women. But we play a smorgasbord of gendered characters on stage. That’s one way. And those are the only ways. [Laughter] CH: That leads to a question of mine that I had, actually. You said that the audience makes assumptions about your gender, but what assumptions, if any, do you make about your audiences, and how much of a role does that take in your performance? GGOT: Well, we always hope for an audience of idiots. [Laughter] I’m just kidding. No, we don’t assume anything about our audience, but we do often perform for university audiences, so we expect a healthy portion of eighteen- to twenty one-year-old folks. But we’ve performed at a lot of commuter universities too, and community colleges where there’s a lot more diversity of students, and then we always have a big group of local feminists that come, or people that are just there to be antagonists, and these are trends that come up a lot, so we assume that all of these groups will be represented, but people have a surprisingly wide array of value systems that we are delighted and horrified by wherever we go. Yeah, we always hope that our audiences have a sense of humor, of course, but we don’t assume that they will. [Music] GGOT: Do you believe in equal pay for equal work? Men’s voices: Yes. GGOT: Gentlemen, because of your answer to that question, I need to tell you that you might be feminists. Me too! You know what, I don’t want to alarm you, but you might be feminists too. KB: Ok, on that note then, going around to universities and young people, what advice would you have for, I guess, aspiring young playwrights or actors who wish to break the mold of traditional theater? GGOT: Well, one of the things they can start using is video. And they can really start interacting with their audiences through using technology. Whether they create a flash mob and record it, and use that as a back drop for their piece, or whether or not they’re streaming their performance live, whether or not they use the interactivity of live performance as stream that you have people interacting with that can affect the actual performance as it’s hap | 8/27/10 | Free | View In iTunes |
| Total: 8 Episodes |
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