Subverse Aphrodesia

in zealous pursuit of emerging aesthetic
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About the Project
 
The Story
Four women lay their fears, doubts, anger, and dreams on the table as they prepare a late summer dinner party.
 
Fiona, Kitty, Stella and Mari became friends when insomnia brought them together at a university sleep clinic three years ago. Depite leading very different lives, they've continued gather seasonally for dinner.
 
Even when you don't sleep at night, you still have to get up in the morning.
 
 
Production
Insomniac Salad: A Kitchen Table Collaboration has been scheduled to run with the support of the Jason Miller Playwrights' Project at the Olde Brick Theatre in Scranton Sundays in Sepetember 2009. All shows at 4 p.m.
 
 
Press Release
 
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Listen
 
See
 
Press
'Insomniac Salad' elicits laughs at the Olde Brick Theatre, The Times Leader, Scranton edition, Sept. 13, 2009.
 
Four Women Cook Up Friendship On Stage, The Weekender, Sept. 2009.
 
 
 
 

AVAILABLE for purchase:

Insomniac Salad: A Kitchen Table Collaboration, saddle-stiched script. $7 ea. plus shipping.

 

 

 

Proceeds benefit the Jason Miller Playwrights' Project at Scranton Public Theatre.

 

 

From left: Maureen McGuigan. Alicia Grega, Sarah J. Stachura, and Roya Fahmy of Insomniac Salad.

 

 

 

 

 

 

 

 

 

Nine Principals of a Matriarchal Aesthetic by Heide Gottner-Abendroth*

 

  1. The attempt to change psychic and social reality through the use of modern magic

  2. A predetermined framework based upon the structure of matriarchal mythology – in other words, “diversity in unity”

  3. Transcendence of the traditional mode of communicating -- through collective participation all are simultaneously authors and spectators

  4. Total commitment of all participants in this welding together of thinking and feeling and doing in the form of concrete mythological image

  5. It cannot be evaluated by and interpreted by outsiders nor sold as a commodity in the art market and later stored away or exhibited in a museum

  6. It cannot be subdivided into genres because it cannot be objectified. It breaks down the barriers between art and life and is a complex process of social interaction

  7. It adheres to matriarchal rather than patriarchal values; the erotic is the dominant force and not work, discipline renunciation, rebirth is favored over war, a sense of community and sisterly love are preferred to authority, dominance and egotism

  8. Social changes brought about will aestheticize all of society and return art to its original role, allowing it to emerge as the most important social activity

  9. Matriarchal art is not “art,” rather it is the ability to shape life and thus change it; it is an energy and drive toward the aestheticization of society; it is the center of complex social action

 

The Dancing Goddess, 1991.