It's Been A Long, Long Time.

Damn.

Yeah, so its been a year since I finished my Fulbright in Manila, and two years since I started this blog. What a journey. This blog began as "Striving for Praxis" - because that intersection between theory and practice was what I was looking for when I left to go study theatre in the Philippines in August 2007.

Sidenote: I'm a Fulbright Alumni Ambassador, so if you're interested in help with your application, or want to know more about my experience go here: a YouTube video interview by IIE about my experience (I can't *stand* this video), and my essay on Fulbright application tips.

Since then, its been a wild ride - I directed a show (check out photos on my portfolio), traveled through some of Southeast Asia, moved to New York City, been hustlin' by babysitting, working random laborious gigs, and assistant directing shows in NYC. All the while, I've been living and loving life (including the down, dark, periods - and there were some, trust me), meeting amazing people, and working, sharing, and collaborating with them.

Two years ago, I was looking for the link between theory and practice. I had just left the love of my life, Smith College, with a BA in Government and Women's Studies, and I wanted to be a theatre director. Armed with post-colonial theory, feminist knowledge, American race and cultural studies, and one full-length play under my belt, I was ready to find a way to bridge academia and art. If that wasn't challenging enough, I was going to do it in the Philippines. On a Fulbright. While "finding myself" as a Fil Am and rediscovering my history, heritage, and culture! Go me! I was going to crack open the world!

Then the world cracked me open.
Like a fucking egg.
Not one of those awesome salty purple eggs that are tough and resilient.
I was a thin-shelled, pesticide-ridden, sad, non-organic cage-fed chicken egg.

Needless to say, the world gave me a well-deserved bitch slap and it hurt like hell.
Then I moved to New York City, (because one smack down wasn't enough), and found myself surviving. Then, soon after, thriving.

I found myself changed, calmer, humbler, growing.

I realized that so many decisions I had made in the past were driven by what was "right," and the insanely high expectations of myself were motivated by fear - fear of failure and hurt. I began to realize that failing, and surviving, was my best success. Now, I find myself gaining a truer, more honest and genuine confidence.

Which brings me to where I am now, and why "Striving for Praxis" has been renamed "The Center for Sustainable Foolishness."

Two years later, I am beginning to learn to bridge the gap between theory and practice, ideas and art. I am starting my first year at NYU's Tisch School of the Arts, in the Interactive Telecommunications Program (ITP). ITP is an interdisciplinary program, a playground for artists and technologists to come together, learn from each other, and create things with our (and each others) brains and hands. I've only been here two days, and it is a magical fucking place. I have very little background in technology and new media, but I am so privileged, excited, and eager to learn to make things that I cannot even yet imagine, with creative people whose interests and disciplines are diverse and wide.

My first day of school, my morning class involved learning to wire a microcontroller to an LED and make it light up. Then, my second class of the day lectured to us, "poetry drives you, not hardware."

I am so happy to be in an environment where I have so much learning to do, that I have no conception of what I can make and what I am capable of. It is freeing.

I am inspired by this quote:

"Start a huge, foolish project,
like Noah.

It makes absolutely no difference
what people think of you."

-Rumi

I've renamed this blog because I'm ready to be a damned fool.
I want to make mistakes and look ridiculous. I want to make bad decisions, freak out, cry, move forward, and learn and grow.

This will be where I will be posting my work, projects and ideas from ITP.

Thank you for witnessing my transformation from a true and sad dolt, to a joyful playful fool. Enjoy!

Two Weeks to Opening!

In celebration of the 60th Anniversary of the Fulbright Program in the Philippines, the University of the Philippines – Diliman, Department of Speech Communication and Theatre Arts and the Philippine – American Educational Foundation (PAEF) present Rody Vera’s Filipino Adaptation of José Rivera’s Marisol.

Marisol is a surreal tale of an apocalyptic Philippines, a Manila on the verge of collapsing from the pressures of poverty and violence. The play revolves around the character of Marisol, whose guardian angel leaves her to survive in a world that is dangerous and falling apart, without the protection of her faith. The themes in Marisol ring true to a present-day that is local as well as global.

To commemorate six decades of international exchange and mutual understanding between the United States and the Philippines, Krystal Banzon, 2007-08 American Fulbright Student Scholar directs this original adaptation of Rivera’s Puerto Rican/American play, in collaboration with an entirely Filipino cast, design, and production team. The cast is made up of eight talented artists, Marjorie Lorico, Mailes Kanapi, Nicco Manalo, Sigrid Bernardo, Virgie Sorita-Flores, Tao Aves, Miela Sayo, and Chic San Agustin. Set design and poster design by Lex Marcos, technical direction and lighting design by El Abquina, sound design by Roxanne Pagdanganan, costume design by Sigrid Bernardo, and the stage manager is Hazel Gutierrez.

Marisol runs from May 14-17, 2008, 7pm at the Teatro Hermogenes Ylagan, Faculty Center, UP Diliman, Quezon City. Admission is free. Seating is on first come, first served basis. Please arrive early to ensure seating.

A show not to be missed.

Great News! The 60th Anniversary of the Fulbright

Our production of Marisol has the honor of being one of the events to celebrate the 60th Anniversary year of the Fulbright Program in the Philippines! To commemorate sixty years of international exchange and mutual understanding between the United States and the Philippines, Marisol will have a gala performance the evening of May 16, for Fulbright alumni and other special guests. We hope to have guests from the U.S. Embassy at the performance, as well as any incoming U.S. scholars that have arrived. We look forward to getting together to celebrate this honored and prestigious tradition.

Established in 1946, the Fulbright Program aims to increase mutual understanding between the peoples of the United States and other countries, through the exchange of persons, knowledge, and skills. (http://www.iie.org)

“May sakit ang sanlibutan, Marisol…. -- Anghel

In celebration of the 60th Anniversary of the Fulbright Program in the Philippines, the UP – Diliman, Department of Speech Communication and Theatre Arts and the Philippine – American Educational Foundation (PAEF)

present

MARISOL
By José Rivera
Filipino Adaptation by Rody Vera

Directed by Krystal Banzon
2007-2008 American Fulbright Student Scholar

May 14-17, 2008 at 7:00pm
Teatro Hermogenes Ylagan, Faculty Center, UP Diliman.

And Our Cup Runneth Over...

We were in rehearsal this afternoon working on Act I.1 when an awesome delivery was made. A great big thank you to The Family of Cristina and Ramon Mendoza for this amazing donation. We have enough caffeine, sugar, and liquids to keep the cast of Marisol going through the long hours - five cases of Coke Zero, two cases of Wilkins Bottled Water, and ten cases of Eight o'Clock FunChum Apple Drink!

The ourpouring of support for Marisol has been more than we could have asked for. Thank you all for your belief in this project.

We are still inching our way toward our minimum financial goal of PHP 200,000! If you would like to make a financial donation, click on the PayPal donation button in the right hand nav bar.

If you are in the Philippines and interested in making a material donation (GLOBE phone cards) or in sponsoring a specific part of the production (program, poster, post-show reception) please contact me and we can discuss other ways for you to help!

To read more about this project and what Marisol is all about, click here:
"Why Marisol?"

A Great Donation!

Marisol is all set for rehearsal thanks to this generous donation by Daniel Mendoza and Family! I can now say my actors won't starve (they're practically Actor's Equity with this kind of treatment! Joke lang!) during long, intensive rehearsals.

We've got a lifetime supply of Sky Flakes, Nescafé, styro cups, and napkins. Maraming, maraming salamat to the Mendoza Family.


Donations come in all sort of shapes and sizes - cracker and coffee shape, cash/check/credit shape, lovely break-a-leg email shape, complementary massage shape... ;)

But if you're just so eager to help, but you're so far away and you can't go grocery shopping with me, you can click on the PayPal DONATE button in the right hand nav bar! Any goodness of any shape and size will forever be appreciated.

To read more about this project and what Marisol is all about click here: "Why Marisol?"

And it Begins!....

This week marks both a halfway point AND a beginning!

The Beginning: On Monday we had out first read-through of Act One of the Filipino text of Marisol, and it went great! The cast, writer, and I are working collaboratively to flesh out and negotiate how tone and character context change from the English version to the Filipino version. The whole thing is still a work-in-progress, and we are all excited about the fantastic possibilities. Already a cast member had commented on how beautiful it is to be able read something in your own language.

The Halfway Point: And, if you have been following the blog, you know that we've hit the PHP100,000 mark in JUST A WEEK.

Thanks to amazing donors like you, we're halfway to our minimum goal of PHP200,000. The support, both monetarily and otherwise, that has turned out for Marisol has been amazing. I deeply appreciate all the wonderful emails and good vibes being sent all the way across the world. The show is gonna be phenomenal because of all of you. This network of international support is something I hope to develop into a network of international collaboration someday. Thank you again for all your good energies.

Please help spread the word! If you know of any friends who have enjoyed my past work, or want to support a good cause, please direct them to this site. I hope more of you can be a part of helping us reach our goal by donating to the production budget of Marisol. A donation, no matter what size, will help tremendously. Please click on the PayPal donation link in the right hand navigation bar to make a contribution!

To read more about this project and what Marisol is all about scroll down to the blog entry before this or click here:
"Why Marisol?"

Thank you all for your support and generosity.

Maraming, maraming salamat!
Krystal

Krystal's New Project - "Marisol"

What in the world is Krystal up to now?:

Marisol by José Rivera
Filipino adaptation by Rody Vera
Directed by Krystal Banzon

May 14-17, 2008
Teatro Hermogenes Ylagan

In collaboration with the University of the Philippines – Diliman Department of Speech Communication and Theatre Arts, Dulaang Laborytoryo, the J. William Fulbright Program, and the Philippine-American Educational Foundation (Philippine Fulbright Commission)


How is this connected to her Fulbright research?:

The scope of my Fulbright research in the Philippines is to examine contemporary Filipino theatre and examine and identify the ways that theatre is used to strengthen Filipino cultural production and address, pinpoint, and communicate contemporary Philippine issues. During the opportunities I’ve had to watch and participate in theatre during my time here, I’ve seen that current issues affecting the Philippines – the Diaspora, globalization, political and religious extremism – seep into Filipino theatre, in the same way that any art form reflects the life, culture, and context it is surrounded by and created within.

Since my research deals with questions and themes surrounding contemporary Filipino theatre, I thought one of the strongest ways to pinpoint exactly what contemporary Filipino theatre is (what it could be made of, what it would address, how certain issues translate and transform in Filipino culture today) would be to create a piece of it.


What is Marisol about?:

Marisol depicts a surreal world of violence and contradiction, religious and political revolution, and the disintegration of deeply held beliefs. The play revolves around the character of Marisol, a Puerto Rican woman whose guardian angel leaves her because God is becoming too old and senile to take care of the world.

Marisol’s guardian angel comes to her in the middle of the night saying, “The Seraphim, Cherubim, Thrones, Dominions, Principalities, Powers, Virtues, Archangels and Angels… are going to kill the King of Heaven and restore the vitality of the universe with His blood. And I’m going to lead them”. The Angel then leaves Marisol to survive in a world that is dangerous and falling apart, without the protection of her faith. Throughout the play, Marisol journeys through an apocalyptic urban landscape searching for her lost friend, June.


And what exactly is Krystal doing with this American play in the Philippines? Why Marisol? Why not a Filipino play?:

Originally in English by Puerto Rican playwright José Rivera, and set in pre-9/11 Manhattan, I will be collaborating with award-winning Filipino playwright Rody Vera to translate it into Filipino and adapt the setting to present-day Manila. I approached Rody last year about whether or not he could see Marisol adapted to the contemporary Philippines. After he read it, he said yes and I saw that we shared the same vision for the reimagination of Marisol – and so here we are!

Several themes allow me to believe that this transformation/ reimagination of José Rivera’s volatile and lush, though incredibly specific text is possible: the similar colonial subjectivity of Puerto Rico and the Philippines which allows for many literary, as well as religious symbols to be shared between the respective cultures, the motifs of poverty, violence, and urban disintegration that is entangled in the themes of revolution, politics, extremism, terrorism, and religion.

I believe that Marisol has very relevant themes that tie to both Philippine history and present day, and that the power of theatre as a collaborative art will allow these themes to be shared, explored, and examined. This sort of project allows for a dialogue between the cast and artistic team, who are of different cultures, to discuss the issues that are important and pressing in Filipino society today, within a framework that forces us to embody these discussions and topics on the stage and communicate them to our audience.


What will the adaptation look like?:

I read Marisol a few years ago. This text seems to be a story that I keep returning to – and after reading more of José Rivera’s plays I think I’ll always be returning to his incredible and phenomenal work. It is important to me that I stay true to Mr. Rivera’s vision and message for Marisol because I deeply respect his work and the specificity of his choices. I love the story. I want to stage his story, with his characters, and his vision and ideas, just reimagined in another country and cultural context.

Rody and I have discussed adjusting certain themes because the cultural context has changed. One of the themes that does not have a direct translation and will be significantly adapted is the idea of race, since race in an American context does not exist in the same way here. There is no direct parallel in Filipino culture for the racial dynamics of Puerto Ricans/African Americans/White Americans/Nazi skinheads. The idea must still be integrated into the text since it is such a major and specific theme in the play, but the context must change. One idea we have is to focus it on the concept of “cleansing” – in the same way that the Nazi skinhead is trying to racially and ethnically cleanse by burning to death homeless people of color in New York City, “police goons” are increasingly burning down squatter settlements in Metro Manila to make way for malls, condos, or just to “clean” areas of the impoverished.

We also want to examine the roles and relationships between the extremist, the church, and the poor. The image of the Angel and an angelic violent revolution brings up the complexity of the extremist as both “bad” and “good” at the same time. The “extremist” may advocate violence, but she also urges people to question deeply held beliefs and challenge entrenched institutions. This wanting of systemic change that is felt to be impossible is so relevant to the Philippines, a whole country that is gearing up for a revolution that right now is played out only in dreams. The Philippines is so connected to Marisol, a story about an angelic revolution that is a nightmare. I think in the same way that the first time reading Marisol was frightening and deeply moving for me, these topics will be frightening and jarring for a Filipino audience, but also incredibly exciting, meaningful and relevant.


My Vision for Marisol in the Philippines:

Being able to work and collaborate in adapting such a volatile script to another culture and country’s social realities will push me to examine and understand better Filipino society, help me pinpoint the links in how theatre is used to communicate socially relevant themes, as well as interact and share with artists who have lived in the Philippines all their lives and understand it on a level that I will never know. One way to learn is to do and create. This adaptation of Marisol is attempting to be a transnational work, reflective of contemporary Filipino sensibility.

Ultimately, this is what I hope for my production of Marisol – a growth and deeper understanding of Filipino culture, history, and reality for myself, my artistic team, as well as for an audience that is living in a current Philippine reality that is always shifting, richly complex and contradictory.


How you can help.

I'm trying to raise PHP 200,000 = USD 5,000 for the production costs of the show.

1) Donate. Any amount will help.
2) Spread the word.
3) Send me good vibes :)

Even if all you can do is number 3, I still really appreciate it!

BUT if you can spare number 1 - I've created a PayPal account, and you can swiftly and securely donate as much or as little as you can, by clicking on the DONATE button below