ARCHIVE - Maria's blog http://www2.evergreen.edu/fashioningthebody/blog/63/atom/feed 2007-10-05T16:00:17-07:00 ARCHIVE - project proposal http://www2.evergreen.edu/fashioningthebody/project-proposal-0 2007-12-08T13:08:13-08:00 2007-12-08T13:08:13-08:00 Maria Fine Draft
Winter Project Proposal

This winter I would like to do two smaller projects. The first is to write a screenplay for a short film that will be 20 to 25 minutes long, and the second is to help Blythe and Mellissa as an assistant on their production of Genet’s The Maids. I have wanted to write and produce a film for a long time but don’t have much experience. Although film and theatre are different mediums and certainly have their own particular characteristics and challenges I think helping out with rehearsals, set building, and other technical aspects of the play will be helpful when it comes to directing and producing my own film.
The movie I want to write is going to be a comedy about free will. It involves two main characters, Cynthia and Evan, identified as a boy and a girl who are stuck in their lives and daily routines until a mystical experience happens and suddenly transforms the both of them into “extreme” (completely uninhibited and impulsive) versions of themselves.
The two biggest influences behind the idea for this film are the essay Theory of the Derive by Guy Debord in the Situationist International and the 1928 Film The Crowd by King Vidor. The spirit of the Derive and living life according to your inspiration in the moment is something which is embraced and exaggerated in the film in a hopefully funny and also hopefully interesting way, and it will explore what might happen if we were to fully live out the idea and how doing so might enrich or fulfill our lives and also how it could damage them. The movie The Crowd is an influence because of it’s themes of mechanization (and determinism) and especially because of how this was portrayed through the cinematography of the film. I would like to incorporate some aspects of the style of the film when I get to the process of storyboarding. Also I want to reference two particular ideas from the movie. The first is a scene where the main character first gets to the city and goes into an elevator and faces the wrong direction and gets corrected, and the second is a scene with a street performer and the hopelessness that this figure conveys and also it’s implications in terms of social class. ]]>
Fine Draft
Winter Project Proposal

This winter I would like to do two smaller projects. The first is to write a screenplay for a short film that will be 20 to 25 minutes long, and the second is to help Blythe and Mellissa as an assistant on their production of Genet’s The Maids. I have wanted to write and produce a film for a long time but don’t have much experience. Although film and theatre are different mediums and certainly have their own particular characteristics and challenges I think helping out with rehearsals, set building, and other technical aspects of the play will be helpful when it comes to directing and producing my own film.
The movie I want to write is going to be a comedy about free will. It involves two main characters, Cynthia and Evan, identified as a boy and a girl who are stuck in their lives and daily routines until a mystical experience happens and suddenly transforms the both of them into “extreme” (completely uninhibited and impulsive) versions of themselves.
The two biggest influences behind the idea for this film are the essay Theory of the Derive by Guy Debord in the Situationist International and the 1928 Film The Crowd by King Vidor. The spirit of the Derive and living life according to your inspiration in the moment is something which is embraced and exaggerated in the film in a hopefully funny and also hopefully interesting way, and it will explore what might happen if we were to fully live out the idea and how doing so might enrich or fulfill our lives and also how it could damage them. The movie The Crowd is an influence because of it’s themes of mechanization (and determinism) and especially because of how this was portrayed through the cinematography of the film. I would like to incorporate some aspects of the style of the film when I get to the process of storyboarding. Also I want to reference two particular ideas from the movie. The first is a scene where the main character first gets to the city and goes into an elevator and faces the wrong direction and gets corrected, and the second is a scene with a street performer and the hopelessness that this figure conveys and also it’s implications in terms of social class.
As far as my involvement with the play The Maids I am going to be attending rehearsals twice a week and acting as an assistant. My role will be flexible according to what is needed so it’s hard to sketch out here exactly what I will be doing from week to week but Blythe and Mellissa have said that they will want someone to discuss concepts in the script with, help with line notes, and to help out with set building and costuming and make-up. I’m almost viewing my time with them as sort of an internship to gain experience working with these things and observing, so I think it will be really useful and fun.
Some central themes in The Maids are performance, power, and gender (we are deciding to cast male identified actors to play the roles of two of the female characters in the play). I think the themes of power and performance especially relate to what I want to say about free-will in my screenplay as well. An essential element in becoming free in making your own decisions is discovering that you have options or other modes of being. I think the emphasis Genet places on performance and the trouble in pinning down the real self underneath the levels of artifice can be liberating in that it doesn’t leave you bound by any fixed mode of being. I think that the emphasis on power is also relevant because I do believe that power is relational, as Foucault stated in History of Sexuality. It’s interesting to consider how playing different moves and creating different experiences affects the game. In the majority of The Maids Claire and Solange are role playing the murder of their employer (Madame) while she is away. They are stepping outside of their identities and their reality in order to imagine or practice for something different. The actions of the characters in my screenplay are for the most part going to be somewhat less drastic than murder (although I haven’t completely ruled it out), but you will see a lot of things over the course of the movie and they are all acted out in real life. It will be interesting to reflect upon these two subjects together.
I think the greatest challenge for my writing will be to write a script which is actually funny and thought provoking at the same time. I definitely want to make some sudden jumps from funny to serious, and I’m scared if I write it poorly the philosophical ideas will either come off as boring and wordy, or as cheesy. I was really impressed how in “The Good Person of Schezwan” Brecht’s play addressed such serious subject matter but also managed to be entertaining. Although they are intended to be acted realistically I think a lot of the actions that the two main characters do will be so strange that they will be alienating enough to make the viewer be critical about what is going on in the situation.
The play is in dialogue with Orgel. Genet himself was attracted to men and in the introduction Sartre says that this play was not really written about woman but men. It is noted that the Maids do interact in a sexual way and although the characters do have a same sex relationship it is speculated that the fact that they are women is a mask for Genet to write about a sexual relationship between two males. This could be related to some of Orgel’s ideas about the fears and also the allowances of homosexual desire in Renaissance theatre. It is arguably different in a lot of ways, not the least of which is that men playing women in today’s theatre is not the norm. But I do think that these as well as other ideas about the sexually charged theatre and also about clothing somehow making the man or woman, is absolutely related to what we will be doing.
In Sartre’s introduction to the play he talks about how Genet said if he were to stage the play he would use male actors for all three parts and hang placards to the right and left of the stage stating that the actors were in fact men. I feel like this gesture might have made Brecht smile, since it was very much in line with his ideas about the epic theatre and the need for distance or alienation between the audience and the theatrical work. I feel like Brecht and Genet are interesting to compare since both were concerned with the artificiality of performance. However, in the play after the artifice of the actors is revealed and the theatre itself is acknowledged to be fake, the level of artificiality continues to spiral as the actors role play within the work and switch places as Claire pretends to be Madame and Solange pretends to be Claire. Then you see the artificiality of the characters themselves within their jobs as servants and their struggle the distance themselves from it, which is achieved by dreaming up different imaginary roles for themselves to play apart from the reality of their work. At this point is hard to place any sort of neat divide between performance and the real, because the real is continuously deconstructed. In some ways it’s as though the play was written as epic theatre with the subject offered up for criticism being reality itself. The circular nature of it which Sartre alludes to in his introduction is really the brilliant thing about it though, as one real is deconstructed as false and always seen through against another “real” which has already been previously been seen through as false.
My screenplay is in dialogue with Brecht also. I think mainly for the reason mentioned above about entertainment and content. Also I think that its method will be similar to how Brecht describes epic theatre and also its audience and its aims.
My Screenplay is also in dialogue with Guy Deboard and Situationists since they are the primary inspiration for the work.
My imagined audience for my movie is the general public. Basically anyone I can get to agree to sit down and watch it is an acceptable audience for me when I finish it. However, I agree with the Brechtian notion that we have to give the general public the credit of being smart. I don’t want to make my screenplay or the resulting film watered down or easy, but at the same time I want it to be entertaining.
The imagined audience for “The Maids” is probably going to be primarily Evergreen students since we are trying to book a space for it in the Communications Building. However there is a chance that we will try to find another venue downtown (possibly the Midnight Sun) and we have even talked a little bit about how the possibility of trying to show it in Seattle or Portland (Blythe’s mom is involved in theater in Portland) but we also realize that performing this far away might be hard to organize and may not be practical.
I think both of these pieces intend to raise lots of questions for the audience. I think one of the goals is the Brechtian idea to urge people to reexamine everyday occurrences. The working life and treatment of the maids in the play was very typical of their time. My screenplay is going to be more current but it is also going to deal with everyday issues that are sometimes overlooked.

ANNOTATED BIBLIOGRAPHY

Primary texts

Genet, Jean (author) and Jean-Paul Sartre (preface). 7-32, 33-100, 101-164. The Maids and Deathwatch: Two Plays. New York: Grove Press, 1982. This book contains the play itself and also a second play, Deathwatch which Sartre argues in the introduction is the same story as The Maids. Of course we will constantly be referring to The Maids itself, and I think it will also be interesting to read Deathwatch to see how it is similar.

The Crowd. Dir. King Vidor. Metro-Goldwyn-Mayer (MGM). 1928.

This film tells the story of a foolishly idealistic young man trying to become successful and in New York City. Despite his best efforts to “make something of himself” and rise above the crowd he becomes swallowed up in the work machine, at first living a painstakingly ordinary life and eventually ending up in poverty. The simplicity of the plot in this movie leaves something to be desired for me, but I love the style of the imagery. The inevitability of the dreariness of life that the movie portrays is a theme that the characters in my screenplay are rubbing against and trying their hardest to disregard.

Murderous Maids. Dir. Jean-Pierre Denis. ARP Selection. 2000.

This film is about the lives of the Papin sisters who are the subject of Genet’s play The Maids. Blythe saw this movie and recommended it to all of us to watch. She felt that this movie was more disturbing and more authentically showed the brutality of the murder than some of the other films made about Christine and Lea Papin. She also felt it spoke to the power relations inherent in the profession of being a maid in France during the time period.

Secondary texts

Foucault, Michel. Madness and civilization: A History of Insanity in the Age of Reason. New York: Random House, 1965.

One of the characters in my screenplay starts off as a self conscious and socially awkward office worker who is secretly obsessed with a TV therapist (modeled after Dr. Phil). After undergoing his “extreme” transformation and getting in trouble for acting out he is ordered to see a psychologist before returning to work. He is secretly thrilled to be undergoing treatment and to have the opportunity to confess and be “fixed” by the psychologist. It’s in this space that I think I’m going to write in a lot of the talk-y philosophical ideas I want to address through the work. I want to read Foucault’s critique of mental institutions and mental illness because I think it will be relevant to these interactions. I think it will also clarify for me what exactly it does to the power relation when the patient is absolutely thrilled to be there and plays within his role as patient. Also the question “what does it mean to be mad?” is relevant to what I’m writing. Hopefully in my screenplay I write I’ll show both some advantages and disadvantages of deciding to go against society’s expectations and be a little crazy.

Appignanesi, Richard. Freud for Beginners. New York: Pantheon, 1990.

I want to read this book because I read Foucault for Beginners at the beginning of the quarter and thought it was an easy, non intimidating read that helped me to get a good start on understanding some of Foucault’s concepts. I don’t want to study Freud in too much depth but I do want to learn enough to be able to kind of poke fun at the institution of psychology in the scenes where Evan is in the clinic. Psychoanalysis seems like an easy target for this. Electra complexes, anal retentive and expulsive personalities, incest, it all sounds like comedy gold to me. I want to contrast some of the absurdity of these theories with the grave seriousness in the demeanor of these old white men.



Freud was very serious.

The writing part of my project won’t require any technical proficiency. I do want to work on my writing so I’m planning on getting feedback from my peers, and discussing my work a lot. I am basically doing the play to acquire skills and my group knows I’m going into this with not much experience but they are thankful for the help. We will need to have space for the rehearsals and performances. We will also need access to materials for building sets, props and we will need costumes. My best friend is in media works and knows the costume shop and prop supplies at Evergreen by heart so she would be a good person to ask for help if we have any trouble figuring out resources at Evergreen. We also collaborate on art projects a lot together so I know she’d probably love to lend a hand here and there.
PERSONAL SYLLABUS

Week 1

Sketch out rough draft of screen play and the scenes you want to write
Go on a Derive (alone)
Initial meeting with cast (read through)
2nd meeting (rehearsal)
Re-read Sartre’s introduction to The Maids

Week 2

Watch Murderous Maids
Re-Read The Maids
Rehearsal
Rehearsal
Write
Go on a Derive (with a friend)

Week 3

Watch The Crowd
Go on a Derive
Read Deathwatch
Rehearsal
Rehearsal
Give your writing so far to a friend to read and set up a coffee date to talk about your work
Continue writing

Week 4

Coffee date about your writing
Go on a Derive
Read Begin Madness and Civilization
Rehearsal
Rehearsal
Give your writing to another friend and set up another coffee date
Continue writing

Week 5

Coffee date about your writing
Go on a derive
Rehearsal
Rehearsal
Finish Madness and Civilization
Continue Writing

Week 6

Derive
Rehearsal
Rehearsal
Read Freud for Beginners
Finish your rough draft of your story
Send it out to friends and set up coffee dates about your writing

Week 7

Selected Situationist readings
Try and go on 2 coffee dates to talk about your writing
Derive
Rehearsal
Rehearsal
Go to the Writing Center on Campus and have them edit your work

Week 8

Derive
Put your finishing touches on your writing and finish your final copy
Rehearsal
Rehearsal

Week 9

Dry tech rehearsal
Wet tech rehearsal
Final Dress rehearsal
Performances

Week 10

Performances




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ARCHIVE - In class writing, Script written about pan-opticon by group http://www2.evergreen.edu/fashioningthebody/in-class-writing-script-written-about-pan-opticon-by-group 2007-11-28T11:48:46-08:00 2007-11-28T11:51:03-08:00 Maria Sam is in a dark place. The voice of Panopticon comes from offstage.


Sam: What is this place?

Panopticon: A prison!

Sam: I'm talking to a dang prison? Why am I here?

Panopticon: You were arrested for talking to yourself. That's disturbing the peace.

Sam: If you're a figure of my imagination, how come you're patronizing me and not playing along with my psyhcosis?

Panopticon: Why should I? That's not my job.

Sam: You're not answering my question! What are you?

Panopticon: I'm a prison. I'm circular with cells arranged around a central well, from which prisoners an at all times be observed. I'm a structure.       Panopticon.

Sam: So you're watching me?

Panopticon: I might be.

Sam:  Do you even exist? I'd rather be kicked in the head. How do I get rid of you?

Panopticon: Wait for legislation, the pills to come. Or... just try an forget... (evil laughter)


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Sam is in a dark place. The voice of Panopticon comes from offstage.


Sam: What is this place?

Panopticon: A prison!

Sam: I'm talking to a dang prison? Why am I here?

Panopticon: You were arrested for talking to yourself. That's disturbing the peace.

Sam: If you're a figure of my imagination, how come you're patronizing me and not playing along with my psyhcosis?

Panopticon: Why should I? That's not my job.

Sam: You're not answering my question! What are you?

Panopticon: I'm a prison. I'm circular with cells arranged around a central well, from which prisoners an at all times be observed. I'm a structure.       Panopticon.

Sam: So you're watching me?

Panopticon: I might be.

Sam:  Do you even exist? I'd rather be kicked in the head. How do I get rid of you?

Panopticon: Wait for legislation, the pills to come. Or... just try an forget... (evil laughter)


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ARCHIVE - Obituary for an object http://www2.evergreen.edu/fashioningthebody/obituary-for-an-object-0 2007-11-28T00:44:13-08:00 2007-11-28T00:44:13-08:00 Maria
New life was breathed into Shoes when her owner's one pair of sneakers wore out and for two months she wasn't able to find a pair she liked. Moving away from the city, this pair of heeled shoes found herself hiking down nature trails, kicking soccer balls and walking across miles of pavement. Suddenly she was taken on dates.

For a brief and glorious period at the end of her life she was able to escape her limitations as a fashion "don't" and live an extraordinary life far beyond the expectations of many normal work shoes or boots. When Maria finally did find herself a pair of sneakers she liked she was thrilled but found herself a full two inches shorter. At this point Shoes were worn and tired after a life full of adventure and peacefully passed on.


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New life was breathed into Shoes when her owner's one pair of sneakers wore out and for two months she wasn't able to find a pair she liked. Moving away from the city, this pair of heeled shoes found herself hiking down nature trails, kicking soccer balls and walking across miles of pavement. Suddenly she was taken on dates.

For a brief and glorious period at the end of her life she was able to escape her limitations as a fashion "don't" and live an extraordinary life far beyond the expectations of many normal work shoes or boots. When Maria finally did find herself a pair of sneakers she liked she was thrilled but found herself a full two inches shorter. At this point Shoes were worn and tired after a life full of adventure and peacefully passed on.


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ARCHIVE - Paper #2 http://www2.evergreen.edu/fashioningthebody/paper-2-2 2007-11-28T00:18:15-08:00 2007-11-28T00:18:15-08:00 Maria Fashioning the Body Paper #2
Scott Turner Schofield and Brecht’s Notes on Theatre

    In this paper I want to make the argument that many aspects of Scott Turner Schofield’s Play, “Becoming a Man in 127 Easy Steps” were in line with the qualifications Brecht laid out describing his idea of the epic theatre. The play was effective in the ways that Brecht talked about in terms of inciting critical response and helping the audience to see a clearer version of reality by including its complexity. However, at the end of this paper I come to some places where I think the play might not so easily fit on either side of the epic theatre/traditional theatre binary from Brecht’s description. Maybe it’s just an effect of taking this class, but it appeals to me a little bit that Scott’s play resists (or transcends?) this binary in some ways and isn’t easily categorized.
    First I want to examine the story of the play. In his notes, Brecht says that the regular theatre has plot whereas the epic theatre has narrative. He also says that traditional theatre’s story has a linear development whereas the epic theatre moves in curves. Lastly, he talks about how traditional theatre follows an evolutionary development, whereas epic theatre jumps. Each of these statements has to do with the structure that the story, or more appropriately to use his terms, narrative, takes in the theatrical work.
The structure of telling stories which Scott used in his performance fit very well in with the idea of montage or jumping around. Not only were the stories separate montages but there was also at least an implied element of randomness in their order (and possibly even to which stories he got to telling). Scott literally asked us, in the between the stories, which ones we wanted to hear next. Placing the scenes of the play in a random order seems to defy any traditional linear structure or an order which uses them portray growth or evolution. Brecht never said scenes needed to be random in order to produce a work of epic theatre, but the effect is very in line with the epic theatre. Also it promotes the idea of being able to let the scenes stand for themselves. Instead of just being parts of a larger plot they are worthy of being individually included for their complexity within themselves. ]]>
Fashioning the Body Paper #2
Scott Turner Schofield and Brecht’s Notes on Theatre

    In this paper I want to make the argument that many aspects of Scott Turner Schofield’s Play, “Becoming a Man in 127 Easy Steps” were in line with the qualifications Brecht laid out describing his idea of the epic theatre. The play was effective in the ways that Brecht talked about in terms of inciting critical response and helping the audience to see a clearer version of reality by including its complexity. However, at the end of this paper I come to some places where I think the play might not so easily fit on either side of the epic theatre/traditional theatre binary from Brecht’s description. Maybe it’s just an effect of taking this class, but it appeals to me a little bit that Scott’s play resists (or transcends?) this binary in some ways and isn’t easily categorized.
    First I want to examine the story of the play. In his notes, Brecht says that the regular theatre has plot whereas the epic theatre has narrative. He also says that traditional theatre’s story has a linear development whereas the epic theatre moves in curves. Lastly, he talks about how traditional theatre follows an evolutionary development, whereas epic theatre jumps. Each of these statements has to do with the structure that the story, or more appropriately to use his terms, narrative, takes in the theatrical work.
The structure of telling stories which Scott used in his performance fit very well in with the idea of montage or jumping around. Not only were the stories separate montages but there was also at least an implied element of randomness in their order (and possibly even to which stories he got to telling). Scott literally asked us, in the between the stories, which ones we wanted to hear next. Placing the scenes of the play in a random order seems to defy any traditional linear structure or an order which uses them portray growth or evolution. Brecht never said scenes needed to be random in order to produce a work of epic theatre, but the effect is very in line with the epic theatre. Also it promotes the idea of being able to let the scenes stand for themselves. Instead of just being parts of a larger plot they are worthy of being individually included for their complexity within themselves.
     To use an example from Brecht, I feel like each of the scenes in the Good Person of Schezwan illuminated different aspects of Shen Teh’s effort to be a good person but there was not necessarily one point which was the most important. The final scene in the courtroom did not seem more dramatic or intense then some of the other scenes in the play which seemed equally problematic. Even the wedding scene, which might have been the most emphasized scene in other dramatic works, didn’t carry especially more weight to me than the part in the beginning when she had all of the people living in her house, or the scene where her friend burned his hand. However, each of these scenes seemed to have slightly different things to say. Likewise in Scott Turner Schofield’s performance I didn’t feel like there was one story which could easily be pointed to as the most important or moving story for every person in that room and as the climax of the play. They all illuminated different aspects of his experience and described his points more fully.
    In looking at the form of the work I think it’s also important to note the pieces which were not random, the introductions in the beginning and also the story at the end about the kids that he babysat for. It also had the form of having many small narratives within a larger narrative or idea (telling the stories inside the fort). The larger narrative, including the parts where he addressed the audience in between, was slightly difficult to classify and therefore harder measure against a Brecht’s binary between epic and traditional theatre. Was this part still theatre? We did literally build a makeshift kind of a fort, so in reality we were talking with Scott underneath it. Scott seemed to be addressing us in his real life persona in the present time. But these interactions were definitely scripted at parts and at least planned at others, so it must have been theatre to some extent. I think questions about the form of the play, Scott’s character as himself playing himself, and the role of the audience all definitely have relevance to what Brecht was talking about in his work and raise some interesting questions about how we define these types of theatrical moves and whether we can classify them as Brechtian or not.
    Brecht also differentiates between traditional theatre with its “eyes on the finish” versus epic theatre with its “eyes on the course”. He says on page 193 of his Notes on Theatre that the epic theatre “regards nothing as existing except in so far as it changes, in other words it is in disharmony with itself.” I agree that as a general statement about life, Brecht’s concept of nothing existing “in so far as it changes” is a pretty accurate description. Everything in life changes. It’s interesting to contrast this idea of change which Brecht says in inherent in the epic theatre with the concepts of growth and evolutionary determinism mentioned earlier as characteristic of the traditional theatrical model. If Brecht is saying characters and stories don’t evolve or grow by the end. Certainly, he also says that we are meant to learn something from it. Maybe the problem with the idea of growth or evolution is that many people interpret those phrases to be aimed at something. Some right answer maybe? While Scott does project that it is important for people to find their true selves he doesn’t advocate any particular direction, (he even gives shout outs a couple of times to queer femmes who lean closer to the feminine side of the binary), and leaves some actually comfortable room for ambiguity. Perhaps it is those moments where we feel a sense of the disharmony to which Brecht refers which are our greatest clues to the directions we should take in order to be happy (for the moment). Maybe they should be treasured, because without them we might not have anywhere to go (besides a generic so-called right answer, which may not necessarily fit). In fact it is the moments when Scott shares his own disharmony with his body with the way he is socially perceived in the world, and with his identity, which are some of the most insightful, probably more so than any tidy “right answer”.
This talk about right answers leads us to another binary distinction Brecht makes when he says that the traditional theatre presents the characters as alterable instead of unchanging. People change and we also can change the paths we take and possibly the conditions in which we live. Scott showed us many ways in which this was possible from changing the chemistry of our bodies (like by taking hormones) to how we interact socially to how we view things by offering his unique insights, experiments and experiences. Also in the question and answer section at the end he mentioned that not all of the stories are written yet so even the piece itself can change along with Scott as he creates it as he goes.
    If we acknowledge the fact that the world and all of us change it puts us in a better mindset for trying to inspect and understand the reality of our time as opposed to a more generalized (and incomplete and therefore false) sense of reality. How I conceive of Brecht’s ideas about reality and the theatre’s function have a lot to do with how I understand his ideas about pleasure. Brecht says “nothing in the world needs less justification than pleasure” on page 181, he no doubt believes that theatre should be entertaining but he also distinguishes on the same page between weaker (simpler) and stronger (more complex) pleasures created by theatre. On page 183 he says, “It is the inaccurate way in which happenings between human beings are represented that restricts our pleasure in the theatre.” Despite it’s lack of a clear “right answer” such as the binary system of understanding gender, representations of individuality of gender in Scott’s work may resonate with many in the audience as the most accurate representation of gender seen in many works because it doesn’t place gender into a neat binary like it is so often represented and shows the reality of the complexity of the issue.
    Bearing this in mind looking at the table Brecht gives as a model for breaking down his theory it’s kind of charming that at points I have trouble neatly comparing “Becoming a Man in 127 Easy Steps” to some of the binaries that Brecht sets up in describing the traditional versus the epic theatre. For me things become a little murkier when it comes to questions of reality, or truth versus fiction in the work, and also the roles of both Scott and the audience.
    I think it’s interesting and relevant to note the Scott is playing himself especially since Brecht’s comments that the actor should distance himself a bit from the character he plays distance in order to maintain an effect of alienation which causes us to be more critical. I think several aspects of Scott’s approach contribute to such an effect. Although Scott is playing himself he approaches us in a conversational way. This structure reconfirms that as a spectator you are not the same person as him and keeps you from getting so swept up in the character that you lose all sense of yourself and forget you are watching a play. Also using a conversational style of addressing the audience also suggests a structure where we could potentially answer back which aids the idea that we are capable of creating our own thoughts and critical responses to the work.
However, I would be lying if I didn’t say that at times during the stories I felt a completely swept up in Scott’s character. While I certainly had a rational and critical response to what happened in each of the scenes, I want to resist the binary that says I could not do this without feeling or identifying with him at least a little bit. I couldn’t find this quote when I looked again for it in the text but I know somewhere it said that the alienation effect made you cry when the characters laughed and laugh when they cried. I cried when Scott cried, and I laughed when he laughed. Scott also acted the stories out realistically. Of course he was playing himself, but instead of telling the stories in a detached, nostalgic way, he reenacted them fully as though they were happening precisely to him in the given moment. The points in between when he broke out of them and addressed the audience again provided little anchor points of alienation where we were invited to maybe process what just been shown and remember our distanced roles as audience members before we were swept up again in the next story.
    Also, there is the question of how Scott is playing himself when he is acting as himself addressing the audience in present time. No doubt some of this is scripted. But is our whole hearted belief that we are seeing “the real Scott” consistent with Brecht’s ideas about theatre and how an actor should act? Especially when the “real” Scott’s lines are rehearsed? At one point he even takes off all his clothes and stands completely naked. This could be argued is the ultimate example of a lack of costume. But then so much of the piece could be seen as about some sort of performance. Sometimes the “real” Scott is somewhat at odds with the body he is showing us. He alters it. This does go along with Brecht’s ideas are alterable. He dresses differently. He talks about how people used to comment on his short hair cut when he still went by a female pronoun. All of this could lead us to ask if the “real Scott” is in the body, even if it is related to it? And if we can’t pinpoint the so called “real Scott” how could Scott even attempt to alienate himself from something intangible?
    Further, when it comes to the set, the reality and theatrical again merge. Really Scott is having a conversation with us. He is on stage but to some degree we build kind of a “real” fort. There are curtain like drapings above us. At the same time we are inside the fort, Scotts also sometimes builds other forts on the stage so we are simultaneously looking from the outside and the inside, an impossible situation in reality. This impossibility again alienates us a bit from what is happening on stage. However it’s a good example of how the real and not real sometimes tangle or at least have an interesting relationship in Scott’s work. We are simultaneously sucked in, but are also kept at a distance.
It is sometimes problematic to directly ask which side of the epic versus traditional theatre binary Scott stands on with this work because he undoes some of the very concepts and definitions on which these binaries rely. However the piece was as moving and thought provoking and entertaining and effective as how I felt Brecht described the Epic theatre should be. Scott Turner Schofield was absolutely charming and brilliant as himself, selves, as a producer of theatre and an actor. His piece was complex and moving both in content and in form and I feel so lucky that I got to see him come to Evergreen and perform.


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ARCHIVE - BEAUTY PARLOR PRESENTATION: "OBAMA GIRL" http://www2.evergreen.edu/fashioningthebody/beauty-parlor-presentation-obama-girl 2007-11-27T08:42:27-08:00 2007-11-27T08:42:27-08:00 Maria
We introduced obama girl by showing two youtube videos, the "Obama girl vs. Giuliani Girl" video, a popular video (http://www.youtube.com/watch?v=ekSxxlj6rGE) in which the Obama girls and off with the Giuliani girls and by showing another youtube video where she appears on "wallstrip" a (http://www.youtube.com/user/wallstrip) (http://www.youtube.com/watch?v=wmoBmaz4rUI) a user page on youtube which makes daily comedy videos about the stock market.

After presenting the videos and giving everyone a moment to recover we began to deconstruct Obama girl, beginning with the question of who the actress who played her was. We revealed that her real name was "Amber lee" showed her modeling website (http://www.amberleeonline.com), and also a page describing how she was Howard Stern's girl of the month (http://www.howard.tv/missHowardTV/June2007) in June 2007. From this information we could see that Amber lee was an actress hired for the part of Obama, in fact she was discovered because of being on Howard Stern. It was also briefly discussed that Amber lee (the person) didn't know who she would be voting for when she made the first video. This shows how constructed the whole thing was, and separates her body from her character.

That point was even further driven home in the next video we showed called, "Obama Girl vs. McCain Mama" (http://www.youtube.com/watch?v=86HEv_Wtyj8) , in which the interveiwer literally asks her "so you are just the body?" to which she replies, "yes". The interveiw also showed clips from the "I've Got a Crush on Obama"video which initially made Obama Girl famous on youtube.

To find out more about who else was involved in the creation of Obama Girl we went to the website which procduced her videos, named "Barely Political" (www.barelypolitical.com). We talked a bit about their name, how it might have been a play on "Barely Legal" while simeltaneously addressing the fact that the site had more to do with entertainment than really informing about any political issue at hand. We didn't get to showing this but it's interesting to look at the lyrics of the "I've got a crush on Obama" and see how little they really have to do with anything political whatsoever. (http://www.anysonglyrics.com/lyrics/o/Obama-Girl/Crush-On-Obama-Lyrics.htm). We also looked at the tag line "Bare and Balanced" that they used for the site. We mused how it was interesting that in order to produce this phrase not only had they added the word "bare" but it was neccessary to take out the word "fair". ]]>

We introduced obama girl by showing two youtube videos, the "Obama girl vs. Giuliani Girl" video, a popular video (http://www.youtube.com/watch?v=ekSxxlj6rGE) in which the Obama girls and off with the Giuliani girls and by showing another youtube video where she appears on "wallstrip" a (http://www.youtube.com/user/wallstrip) (http://www.youtube.com/watch?v=wmoBmaz4rUI) a user page on youtube which makes daily comedy videos about the stock market.

After presenting the videos and giving everyone a moment to recover we began to deconstruct Obama girl, beginning with the question of who the actress who played her was. We revealed that her real name was "Amber lee" showed her modeling website (http://www.amberleeonline.com), and also a page describing how she was Howard Stern's girl of the month (http://www.howard.tv/missHowardTV/June2007) in June 2007. From this information we could see that Amber lee was an actress hired for the part of Obama, in fact she was discovered because of being on Howard Stern. It was also briefly discussed that Amber lee (the person) didn't know who she would be voting for when she made the first video. This shows how constructed the whole thing was, and separates her body from her character.

That point was even further driven home in the next video we showed called, "Obama Girl vs. McCain Mama" (http://www.youtube.com/watch?v=86HEv_Wtyj8) , in which the interveiwer literally asks her "so you are just the body?" to which she replies, "yes". The interveiw also showed clips from the "I've Got a Crush on Obama"video which initially made Obama Girl famous on youtube.

To find out more about who else was involved in the creation of Obama Girl we went to the website which procduced her videos, named "Barely Political" (www.barelypolitical.com). We talked a bit about their name, how it might have been a play on "Barely Legal" while simeltaneously addressing the fact that the site had more to do with entertainment than really informing about any political issue at hand. We didn't get to showing this but it's interesting to look at the lyrics of the "I've got a crush on Obama" and see how little they really have to do with anything political whatsoever. (http://www.anysonglyrics.com/lyrics/o/Obama-Girl/Crush-On-Obama-Lyrics.htm). We also looked at the tag line "Bare and Balanced" that they used for the site. We mused how it was interesting that in order to produce this phrase not only had they added the word "bare" but it was neccessary to take out the word "fair".

To get an introduction of the type of content on the site we also looked at a few of the blogs posted there. One about how a woman shouldn't be elected president (http://www.barelypolitical.com/post/3903/women-presidents), and one on "feminism" (http://www.barelypolitical.com/post/3389/whats-wrong-with-feminism).

Next we read a quote from Gonzalez which talked about how cyborgs were a conglomeration of different parts, and compared Obama girl and celebrity to a cyborg. We didn't talk about it, but in terms of Gonzalez it's interesting how in other ways Obama girl compares to descriptions of cyborgs from the same article. For example which boundries or thresholds are being crossed and also the blending of old and new. I think another quote which for me, really encapsulates a lot of my own personal discomfort with the concept of Obama girl is when Gonzales is talking about the concept of a hybrid on page 275, and she says "what makes the term (hybrid) controversial, of course, is that it appears to assume by definition the existence of a non-hybrid state- a pure state". I think the most discomforting thing about Obama girl is that one of the thresholds it proposes to cross is between that of a (pure?) idealized woman and politics. It's not just how Obama girl presents her interest which is "funny", but the fact that this girl (who may in pop culture represent an ideal form of woman) chooses Barak Obama as her subject matter that is also "funny". The contrast between the pretty girl (ideal) and intelligence is part of the joke. In this way instead of cutting edge, to me Obama girl seems like a throwback. Anyways, I'm digressing from the presentation. So we presented Obama girl as a mass of parts. Many things, and as we talked about next, people, made her up.

We went to the "about us" page on "Barely Political" and looked at the team that made her up.
 (http://www.barelypolitical.com/page/about-us.). We also took an extra minute to look at the creator Ben Relles. And looked at the "beliefs" listed on a website for a marketing company he is involved with (http://www.agency.com  ) and compared them to the values which went into creating Obama girl. It was also mentioned in an interveiw with the creators that they would not disclose who they were voting for and didn't wish to harm or endorse Obama's campaign. It was also mentioned that the merchadise section of the Barely Political website was huge. (http://www.cafepress.com/barelypolitical/3445802).

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ARCHIVE - panopticon http://www2.evergreen.edu/fashioningthebody/panopticon 2007-11-05T20:30:06-08:00 2007-11-05T20:31:54-08:00 Maria

http://www.cfp2005.org/Program.html
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http://www.cfp2005.org/Program.html
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ARCHIVE - cut ups http://www2.evergreen.edu/fashioningthebody/cut-ups 2007-10-23T00:04:35-07:00 2007-10-23T00:04:35-07:00 Maria hands
machinery
flexible
adaptive
graceful terrible expression to the rage of man

no better proof of the manifestation of design on the part of the Creator than in the small most finished
most finished piece
most finished piece of mechanism

anatomist
the hand indeed the most servicable as well as graceful instrument with which man is endowed.






hard
soft
tender
deliberately tantilizes him
reaches his fingers under
too soft
too tender

kept quiet for twenty four to fourty eight hours

sampling examining

wash the world in ivory soap

ivory soap slaughterhouse
the animal is being slaughtered

bloody bleeding liver
would this patient be better off if he gave up his fine wines?
]]>
hands
machinery
flexible
adaptive
graceful terrible expression to the rage of man

no better proof of the manifestation of design on the part of the Creator than in the small most finished
most finished piece
most finished piece of mechanism

anatomist
the hand indeed the most servicable as well as graceful instrument with which man is endowed.






hard
soft
tender
deliberately tantilizes him
reaches his fingers under
too soft
too tender

kept quiet for twenty four to fourty eight hours

sampling examining

wash the world in ivory soap

ivory soap slaughterhouse
the animal is being slaughtered

bloody bleeding liver
would this patient be better off if he gave up his fine wines?
]]>
ARCHIVE - (old) the Form of the form http://www2.evergreen.edu/fashioningthebody/old-the-form-of-the-form 2007-10-20T17:11:58-07:00 2007-10-20T17:16:56-07:00 Maria INSTRUCTIONS CAREFULLY BEFORE FILLING OUT THIS FORM


1.*

FAMILY NAME                                                                    INDIVIDUAL OR FIRST NAME

[_][_][_][_][_][_][_][_][_][_][_][_][_]                         [_][_][_][_][_][_][_][_][_][_][_]

                *PLEASE CONVERT NAMES INTO THE NUMERICAL FORMAT USING THE TABLE BELOW FOR FILING PURPOSES

A E F G H
010203 04 05 06 0708 
 J K L M N O
 0910  1112 13 14 15 16 
 R S T U V W
17 18 19 20 21 22 23 24 
      
 2526       

                 >EXAMPLE:        [N][A][N][C][Y]      [S][M][I][T][H]     ]]>
INSTRUCTIONS CAREFULLY BEFORE FILLING OUT THIS FORM


1.*

FAMILY NAME                                                                    INDIVIDUAL OR FIRST NAME

[_][_][_][_][_][_][_][_][_][_][_][_][_]                         [_][_][_][_][_][_][_][_][_][_][_]

                *PLEASE CONVERT NAMES INTO THE NUMERICAL FORMAT USING THE TABLE BELOW FOR FILING PURPOSES

A E F G H
010203 04 05 06 0708 
 J K L M N O
 0910  1112 13 14 15 16 
 R S T U V W
17 18 19 20 21 22 23 24 
      
 2526       

                 >EXAMPLE:        [N][A][N][C][Y]      [S][M][I][T][H]    
 
                                                      WOULD CORRECTLY APPEAR ON FORM AS:
                                                      FAMILY NAME                                INDIVIDUAL OR FIRST NAME
                                                                       
 [19][13][09][20][08]                   [14][01][14][03][25]
                                                                        

                 PLEASE NOTE: THIS INFORMATION IS BEING GATHERED FOR FILING PURPOSES AND YOU WILL WILL NOT BE INITIALLY MARKED DOWN FOR YOUR RESPONSE TO THIS SECTION
                                                       
2.

GENDER
(CHECK ONE)

                 a. MALE [_]          NOT MALE[_]

                 b. IF OTHER PLEASE SPECIFY
                 _______________________________________________________________________________

                 c. HAVE YOU BEEN THIS GENDER CONTINUOUSLY FOR THE LAST SIX MONTHS?  YES [_] NO [_]

                          d. IF NO, FOR HOW MANY MONTHS HAVE YOU BEEN YOUR CURRENT GENDER? [_]
                               
(ALSO PLEASE AFFIX A SEPERATE PIECE OF PAPER DESCRIBING YOUR GENDER BEHAVIOR FOR THE LAST 12 MONTHS ALONG WITH A BRIEF JUSTIFICATION AND 2 REFERENCES WHO CAN VOUCH FOR YOU AND WHOM YOU HAVE KNOWN FOR AT LEAST 12 MONTHS)*
                               
                                       
*PLEASE NOTE: ALTHOUGH YOUR ANSWERS TO THESE QUESTIONS MAY PUT YOU IN A "SPECIAL GROUP" THIS WILL NOT BAR YOU FROM OUR SELECTION PROCESS, NOR WILL IT IN ANY WAY, SHAPE, OR FORM, CREATE ANY CHANGES IN OUR AFFECT TOWARDS YOU. WE ARE EXTREMELY BENEVOLENT AND CAN TOLERATE MEMBERS OF SPECIAL GROUPS. IT DOES NOT BOTHER US, REALLY. 
                  

3.

GONADAL SEX
(CHECK ONE)

                    
a.MALE [_]         [_] NOT MALE

                               b. IF NOT MALE, WHY?
                               ____________________________________________________________________________



                 


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ARCHIVE - (old) 1st beauty parlor entry http://www2.evergreen.edu/fashioningthebody/old-1st-beauty-parlor-entry 2007-10-16T15:53:12-07:00 2007-10-16T15:53:12-07:00 Maria
The uniformity and utilitarian set up of the room seemed to give an ambience of indifference to the individuality of the bodies in the space. It seemed to be more set up for the purpose of functionality than for anything else. The attitude of the architecture seemed to reflect the general etiquette of indifference and distance a person is expected to uphold in a locker room, although there were a few structures which allowed for more privacy.

The main part of the room contained rows of lockers with benches in between for people to sit and change. There were two smaller stalls off to the side for private changing. The entire space was divided in two by a wall, with a nearly identical set up on both sides. The lights were off on one side and on the other.

Behind the last row of lockers was a sauna room. The room was warm with a bench along the perimeter, it was dimly lit and I couldn't find any light switches.

Before entering the shower area there was an 8 foot horizontal mirror. The one person we encountered in the locker room was standing in front of it, looking at herself.

The shower are had 4 tree like shower structures, three of these trees did not have dividers in between the shower heads. 1 tree had dividers but no doors (unlike a stall). If someone was concerned about privacy and wanted be obscured from people's view the best spot for this would have been to be in the very back section of this one special shower tree, otherwise people showering on the sides of the tree or walking into the shower space would be able to see them, because there weren't any doors. These dividers might have been effective in minimizing your interaction with the people next to you.

In front of the shower area was a 4 foot wall, which reached just above my stomach and would have covered my stomach and lower half from immediate view if I would have used the space. ]]>

The uniformity and utilitarian set up of the room seemed to give an ambience of indifference to the individuality of the bodies in the space. It seemed to be more set up for the purpose of functionality than for anything else. The attitude of the architecture seemed to reflect the general etiquette of indifference and distance a person is expected to uphold in a locker room, although there were a few structures which allowed for more privacy.

The main part of the room contained rows of lockers with benches in between for people to sit and change. There were two smaller stalls off to the side for private changing. The entire space was divided in two by a wall, with a nearly identical set up on both sides. The lights were off on one side and on the other.

Behind the last row of lockers was a sauna room. The room was warm with a bench along the perimeter, it was dimly lit and I couldn't find any light switches.

Before entering the shower area there was an 8 foot horizontal mirror. The one person we encountered in the locker room was standing in front of it, looking at herself.

The shower are had 4 tree like shower structures, three of these trees did not have dividers in between the shower heads. 1 tree had dividers but no doors (unlike a stall). If someone was concerned about privacy and wanted be obscured from people's view the best spot for this would have been to be in the very back section of this one special shower tree, otherwise people showering on the sides of the tree or walking into the shower space would be able to see them, because there weren't any doors. These dividers might have been effective in minimizing your interaction with the people next to you.

In front of the shower area was a 4 foot wall, which reached just above my stomach and would have covered my stomach and lower half from immediate view if I would have used the space.

Over to the left f the shower space there was also a sectioned off bathroom area. There were 6 stalls, and 4 sinks. There was also a bench in the bathroom. There was also a mirror off to the side of the sinks (about 5 feet).


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ARCHIVE - Essay #1 http://www2.evergreen.edu/fashioningthebody/essay-1-0 2007-10-05T16:00:17-07:00 2007-10-05T16:00:17-07:00 Maria Maria

Concept Rhyming Paper #1

Foucault

 

    I chose the word discourse as the topic of my paper. I wasn't able to access the Old English Dictionary definition of the word so instead I'm using the Dictionary.com definition. Hopefully this doesn't make the result too different.

 Dictionary.com gave these definitions for the word discourse:

 1. communication of thought by words; talk; conversation: earnest and intelligent discourse.

2. a formal discussion of a subject in speech or writing, as a dissertation, treatise, sermon, etc.

3. Linguistics. any unit of connected speech or writing longer than a sentence. 

-verb (used without object)

4. to communicate thoughts orally; talk; converse.

5. to utter or give forth (musical sounds).

 

    I think the two definitions given here which might be closest to what Foucault meant when he used the term in History of Sexuality are definitions two and five. I think he meant something more specific than just general communication (which is the way I most commonly hear the word used today), as the first and fifth definitions suggest or the vague, "anything longer than a sentence" explanation given as the third definition. I think he also meant something more than simply to utter or give forth, as definition six suggests. I'm not sure whether the "musical sounds" part of that definition is a poetic way of referring to words and speech in general, or whether it is actually alluding to a more musical or poetic type of speech or music quite literally, but if that is part of the definition I think Foucault meant something more technical than that.

    In Foucault for beginners they define Foucault's use of the word discourse more along the line of a technical mode of discussion complete with its own terminology and jargon. My interpretation of the term from reading History of Sexuality aligns with this definition.

]]>
Maria

Concept Rhyming Paper #1

Foucault

 

    I chose the word discourse as the topic of my paper. I wasn't able to access the Old English Dictionary definition of the word so instead I'm using the Dictionary.com definition. Hopefully this doesn't make the result too different.

 Dictionary.com gave these definitions for the word discourse:

 1. communication of thought by words; talk; conversation: earnest and intelligent discourse.

2. a formal discussion of a subject in speech or writing, as a dissertation, treatise, sermon, etc.

3. Linguistics. any unit of connected speech or writing longer than a sentence. 

-verb (used without object)

4. to communicate thoughts orally; talk; converse.

5. to utter or give forth (musical sounds).

 

    I think the two definitions given here which might be closest to what Foucault meant when he used the term in History of Sexuality are definitions two and five. I think he meant something more specific than just general communication (which is the way I most commonly hear the word used today), as the first and fifth definitions suggest or the vague, "anything longer than a sentence" explanation given as the third definition. I think he also meant something more than simply to utter or give forth, as definition six suggests. I'm not sure whether the "musical sounds" part of that definition is a poetic way of referring to words and speech in general, or whether it is actually alluding to a more musical or poetic type of speech or music quite literally, but if that is part of the definition I think Foucault meant something more technical than that.

    In Foucault for beginners they define Foucault's use of the word discourse more along the line of a technical mode of discussion complete with its own terminology and jargon. My interpretation of the term from reading History of Sexuality aligns with this definition.

    Foucault makes direct references in his work towards the desire to treat sex in a technical or clinical way when he describes our approach towards discourse about sex as a "scientia sexualis" or science of sexuality as opposed to an "ars erotica" or art of sexuality, which he says is the norm in other cultures.

    I think the second and fifth definitions given by the dictionary work with this interpretation in a general way because I see a link between something treated in a technical manner and also something which is officially studied or discussed as opposed to being more open to interpretation. Also specifying discourse as formal or official I think gives the impression of it having more of an effect towards shaping cultural norms and perspectives. If there is a formal statement about an issue there are probably others considered less normal or credible. The formal discourse seems like it would be the one used by authorities in power.

    I think the word "dissertation" used in that same definition is very much in the spirit of "scientia sexualis" because it involves a hypothesis and an expectation of defense or 'evidence' which I think goes back to the idea of this kind of discourse being treated as something loosely based off of a scientific model.

    I also thought that it was interesting that the word "sermon" was used in the dictionary's definition because of the ties Foucault makes to religion when he talks about the religious tradition of confession and how this ritual is carried on and used in more modern times, in for example, the psychiatrist's office. Although he is talking about a different kind of discourse perhaps there is a somewhat similar or related dynamic in sermons because the information in the discourse is presented as knowledge by a person in a position of power or authority. However I think the scientific or technical part of this is important to note. On page 64 Foucault talks about linking "the production of truth according to the juridico-religious model of confession, and the extortion of confidential evidence according to the scientific rules of discourse." In the Foucault for Beginners book it notes that Foucault sees the historical shift that took place when the focus of speculation on the world moved more and more towards a science of man as opposed to something focused on god.

   However Foucault also says many times in the introductory chapter that it is not through repression that sexuality is controlled but by the implementation of a structure of discourses surrounding sexuality. So it's not controlled simply by having people preach to us to repress ourselves in certain ways, but it's more enforced by how we talk about it. It is the "regime of discourses" as Foucault calls it on page 27, which influences how we think about the topic of sexuality and how it relates to ourselves and others.

    And confession is a vital step. As Foucault says on page 59, man is now turned into a "confessing animal". In the same manner confession was once given in church information is collected from individuals in the process of discourse. Foucault says "Rather than a massive censorship beginning with the verbal proprieties imposed by the age of reason, what was involved was a regulated and polymorphous incitement to discourse." (34) He went on to say on page 44 that the discourse it "required" worked through "questions that extorted admissions, and confidences that went beyond the questions that were asked", creating a panopticon like power dynamic where the one who was listening had the authoritative position in the relationship. This could be the religious leader, the psychoanalyst, the teacher or someone involved in the criminal justice system. There was no clear "center" of authority from, which all of this discourse was controlled. Instead, on page 30 Foucault says that in the nineteenth century one could find "many centers" of power. He says on page 33, "we are dealing with less a discourse on sex than with a multiplicity of discourses produced by a whole series of mechanisms operating in different institutions." The information given in confession is the data or as Foucault puts on page 26, "the object of analysis" used by these institutions to shape how we talk about and think about sexuality.

    However, Foucault points out that these discourses fall pitifully short of actual science. On page 54 he says, "when we compare the discourses on human sexuality with what was known at the time about the physiology of animal and plant reproduction we are struck by the incongruity." He goes on to say on page 55 that "the learned discourse on sex that was pronounced in the nineteenth century was imbued with age old delusions but also a systematic blindness."

    I think it's also interesting to look at the level of meticulousness and close attention to detail which was recorded in an effort to create a more realistic structure out of an abstract thing. Foucault says the system "compels everyone to transform their sexuality into a perpetual discourse" (33). This seems to be in an attempt to solidify or create tangible evidence out of something abstract, but it's easy to see how you could completely miss the point amidst too much data. The farm hand that pays a child for sex was a good example. In an effort to understand why he did this action according to Foucault he was kept under surveillance for the rest of his life where his "brainpan”,” facial bone structure" and other parts of his anatomy were searched for "possible signs of degenerescence". Of course there may be something we could learn about this individual and why he acted this way, but the level of inspection and insignificant details which made up the scientific discourses of the experts probably didn't yield much good information, certainly nothing you would want to base a real science on, and definitely a lot of meaningless excess information.

   I think it's interesting when Foucault says on page 43 "the homosexual was now a species". The statement for me seems to resonate with the inhumanity of the process where people were clinically studied and shaped into named scientific categories. The label, how we describe people (as what they are, and not just what they choose to do) suddenly becomes hugely important. While I do think things like sexual orientation can be a big part of a person's sense of self, especially when you consider all of the cultural importance of gay and other sexual communities, it is still interesting to remember, as a girl in seminar pointed out this week, that many of the terms still used today like "homosexual" where originally medical terms which where created by doctors who used them to describe what they felt was an illness. The use of the word "species" which Foucault uses in the quote above is especially chilling, since it takes people outside of their humanity and puts them into a whole separate category. But even the idea of a "person type" still seems a little creepy to me. We are people no matter what we do. Although the move from what we do to what we are is still commonly made today. Often people will ask or wonder "am I a _____?" or "are you a______?" without giving much thought to the form of the question.

Sexuality becomes more than just an action or something that is pursued for pleasure in this 'science'. It is something that has to be justified. There needs to be a reason for it as well as its 'peculiarities'. And even further, Foucault states on page 65 that psychiatrists could see it as a "cause for any and everything".

    I think the definitions given in the beginning of this essay are not perfectly descriptive of Foucault's usage of the term discourse. I think it is important to stress how technical the mode of discourse was and how it was attempting to impose a scientific type of authority and make knowledge claims. I think having knowledge of the power dynamics of institutions and the mechanisms of power within and also shaping the discourse itself are important to acknowledge in looking at how Foucault uses the term discourse.

 

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