Today’s Gag

March 28, 2014
1404-Dead-BlogCopyright © 2014 Jim Sizemore.

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Today’s Gag

January 28, 2013
0901womanblog1Copyright © 2013 Jim Sizemore.

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Athol Fugard On Playwriting VI

December 5, 2012

Paris Review, The Art of Theater No. 8

Interviewed by Lloyd Richards

images-4For a long time I thought that drinking had a great influence on my imagination. Not that I’ve used alcohol at any of the few desks where I’ve done my writing; I’ve always sat down at my desk very sober, but alcohol was there as a part of my life. Especially at night, after a day working, I used to enjoy my whiskeys, my wines, my beer. And then with the last carafe at night I brainstormed, putting down ideas for the next day. It was a critical aspect of my writing cycle and it led me to believe that if I decided to give up drinking I would end up not writing any longer.

(My) marriage has survived on the basis of one absolute rule: total privacy. It came about quite unconsciously, without any fuss; we never addressed ourselves to the issue. I think two writers living together can be dangerous. I never know what (she) is writing, what her novel is about, until the first copy comes from the publisher. And she, by and large, knows nothing about the play that I’m working on until she sits down in a preview or a first-night audience. We exchange sighs of relief or groans of despair at the end of the day, but it’s as general as that. They are noises, like two draft animals stabled together, blowing and groaning away.

(W)hen I wrote The Bloodknot, nobody in South Africa wanted to touch it. If I hadn’t got hold of Zakes, whom I had already known from some previous work we had done in the theater, and said, “Let’s do it,” and then tried to sort out the traffic on the stage—in addition to taking on the role of Morris—the play wouldn’t have got done. It was the same with Hello and Goodbye, People are Living There, Boesman and Lena, Sizwe Bansi is Dead, The Island, and Statements After an Arrest Under the Immorality Act.

I only started enjoying the luxuries so taken for granted in the American theater when I came to Yale. I had never had designers in my life. I had never had dramaturges—I’m still trying to discover what to do with that animal; what do you do with a dramaturge? I think they are asking themselves that question as well. God knows I have no conceits as a director. Someone has to organize the traffic. That’s what I do: I see that people don’t bump into each other on the stage. I look after the six-foot rule.

The six-foot rule is that no two actors must come nearer to each other than six feet unless there is a crisis. Get closer than six feet and you’ve got a crisis in the action. So I organize the traffic. I also understand the text, because I wrote it. With those two contributions to the event, I have discharged my responsibilities as a director.

If you’d like to read what playwrights such as Arthur Miller, Sam Shepard, Joyce Carol Oates — and many more —  have to say about the art and craft of writing for the stage, type “On Playwriting” into the small sidebar window and tap the “Search” button.

Part VII of the Athol Fugard series will post next Wednesday.


Today’s Gag

March 26, 2012
Copyright © 2012 Jim Sizemore.

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Today’s Gag

February 27, 2012
Copyright © 2012 Jim Sizemore.

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Today’s Gag

February 20, 2012
Copyright © 2012 Jim Sizemore.

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Smooching the Mooch

October 13, 2010

By Jake Jakubuwski


Frankie was a gigolo. Mamie was the lady who supported Frankie. Frankie was twenty years younger than Mamie and Mamie was my mother’s aunt. Being just a kid, I didn’t know that Frankie was a gigolo. In fact, at the time, I didn’t know what a gigolo was. I only knew that he and Aunt Mamie were “together” and that Frankie spent a lot of time “stepping-and-fetching” for Mamie.

Frankie also had a lot of time (and Mamie’s money) to spend at the corner bar, and to buy supplies so he could do his “work”—fancy brushes, expensive oil paint, rolls of canvas to cut to size and attach to wooden rectangles. According to her, Frankie was an “artiste,” and she was going to make him famous. All Frankie needed was encouragement and the right break—and zero worry about where his art materials, meals and booze came from. What I don’t recall in those early years were pictures that Frankie actually painted—never mind the number of  dusty stretched canvas’ in their bedroom smeared with random colors. As far as I was concerned, there was nothing noteworthy about any of them—but what does a 13-year old boy know about art, right?

On a personal level (too personal, in my mind), Frankie insisted that I call him “Uncle Frankie” and he had a nasty habit of getting soused (most days by noon, sooner on Sunday) and when well-lit he’s say: “Come here and give Uncle Frankie a kiss.” Yuck! First off, I didn’t feel good about giving smooches to mooches—uncle, or not. Secondly, Frankie always smelled of last night’s beer, stale cigarette smoke, and some sort of embalming fluid he absolutely swore was an exotic, enticing cologne (attractive to Mamie at least). Finally, for me, just entering puberty, the idea of kissing a guy was simply revolting. Don’t misunderstand—except for his yucky compulsion to kiss the only other male in the house, Frankie never put a hand on me or made an improper advance. In fact, Frankie was a real part of our family. After all, he shared the bedroom of the lady who contributed the most to the rent and other expenses incurred by my grandmother, another aunt, and my mother—when my mother was around. So that gave him some stature in the pecking order. Unfortunately, I was at the tail end of the line, which made me fair game for Frankie’s boozy expression of affection.

I don’t know how Mamie and Frankie got together. One day Frankie was unknown to me and the next I had a new “uncle.” For some time it had not been uncommon for me go to bed on a Friday night and wake up Saturday morning with a stranger sleeping next to me. Just another barfly that came home with the crowd and spent the night. By way of explanation, and to make their presence more palatable, they were often introduced as “Your Uncle Fred from over near Laurel.” I had more Uncles and aunts then any kid for miles around (although I never woke up with an aunt in my bed!). But Uncle Frankie, it turned out, came to stay and become my smooching nemesis. And he was the mooch who (according to the family wisdom) was the cause of Mamie’s impending bankruptcy and future residency in the County Poor House.

I don’t remember the last time Uncle Frankie asked me for a kiss, or what finally happened to him. I had heard that as Mamie’s money began running out, he did too. Then, I heard he was in a detox unit. Six or eight years ago someone told me he had died. Mamie died nearly penniless in a two-room apartment in Eastport—just outside of Annapolis, Maryland. Over her bed hung a painting by Frankie—bold lines in primary colors and smears and splotches of the same tints. As an adult, I still couldn’t see the “art” in his work. But, as I say, what do I know? In any case, the painting wound up curbside awaiting a truck to take it to the dump. It seems to me that even the trash scavengers wouldn’t take the time to salvage the frame. I guess, when it came to art, they were as uninformed as me.

Several years later, My mother and two aunts were sitting around talking about Mamie and Frankie—those two had always been a favorite family topic—and the consensus was that it was Frankie’s fault Mamie died destitute, or nearly so. Translation: “There should have been some left for us!” My mother castigated that “damned gigolo” for taking everything Mamie had and giving her nothing in return.

I piped up and said: “But he did! He gave her hope. He gave her love and stability, at least for a while. He provided an older woman with whatever it was that she needed at the time. And in return Mamie gave Frankie a life-style he couldn’t manage on his own.” I wasn’t trying to defend Uncle Frankie so much as to just point out that it really does “take two to tango.” And Frankie and Mamie did—at least in the early years—really, truly do some fancy dancing!

So, finally, I’m now very happy to give him a little smooch for all that . . .

Copyright © 2010 Jake Jakubuwski.

Jake Jakubuwski spent nearly two decades as an active locksmith and door service technician. He has been writing physical security related articles since 1991. Seventeen years ago, Jake wrote his first article for the National Locksmith Magazine and has been their technical editor for fifteen years. Pure Jake Learning Seminars©, his nationally conducted classes, are designed for locksmiths and professional door and hardware installers. For more information, click the “Pure Jake” link in the sidebar blogroll and under the “business” label. (To locate more of Jake’s short pieces about growing up in the South Baltimore area, copy and paste—or type—his name into this blog’s sidebar window and tap “search.”)