part of a series (never said it was going to be in order.)
5_There is good and bad fun. Good fun is essential.
To get it out of the way: Bad fun includes (but may not be limited to): fun that re-enforces, re-enacts or otherwise supports existing oppressive, mean and otherwise shitty power dynamics.
Good fun is why it’s worth leaving the house. It’s the pleasure of company and sharing laughs and tears with friends (new and old.)
In the Conjuring Aspirations I wrote about good fun this way:
We bring people together to share an experience and talk about things they care about. There is probably drinking. The time is relaxed and filled with pleasure, but death and politics are still discussed, people fall in and out of love, plans are hatched and action taken. Stories are told. Songs are sung.
We care about a good night out. (We think that’s a fair desire for your night out.)
What got cut for clarity and length was:
(The influence on our work of growing up in Cape Breton, Halifax [and Dartmouth] should not be overlooked.
A few years ago I realized, after many years of sublimation and denial, that my work and my interests were hugely impacted by growing up in Nova Scotia. My parents were hippy-back-to-the-land CFA’s (“Come From Aways”) so I make no claims on deep historic, cultural connections with Cape Breton or the east coast.
But growing up somewhere isn’t nothing.
The social impulse of theatre is what keeps it interesting and essential to me. The social is (can be) good fun. This needs to be as true for the audience as the artists.
All I’m thinking about these days is how to make good fun for the people who leave the house and come to the event. This doesn’t rule out tragedy or challenge. (it might, at times, require it) But it takes care and attention for our guests And an imagination of what we might like to do on a night out.