The Nature Theater of Oklahoma's Aesthetics Of

The Nature Theater of Oklahoma’s Aesthetics of Fun Rachel Anderson-Rabern

[A] big part of what we do is trying to track where the pleasure is, because if you lose track of that it gets ugly and pointless really fast. — Kelly Copper (in Y.J. Lee 2009:93)

With a bit of rock music, everything is fine. — ABBA (Andersson 1976)

It is nearly an hour into the performance. The four performers, who have been moving nearly continuously throughout the show, intensify their ecstatic dance in front of a red curtain. They stand in a line parallel to the audience, who watch from tightly packed perches on steep risers. It is a backstage dance: the audience, along with the performers, occupy the stage on the wrong side of the curtains. From this intimate perspective, it is easy to observe the performers’ smallest motions and physical idiosyncrasies. Anne Gridley’s long hair bounces around her body. Fletcher Liegerot has a handlebar moustache and tattoos. Robert Johanson makes regular eye

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82 Rachel Anderson-Rabern tising poster,tising website: their on Nature reiterates as Theater and from Franz Kafka’s unfinished novel,unfinished Kafka’s Franz from New of York,out based group Oklahoma,Nature devising of The a Theater name its takes Nature Theater of Oklahoma: putting the Nature the putting ‘w’ of Oklahoma: Theater mellowdrama 1995. in since reappear.ears bunny heads,the their and to up come hands smiles. performers’ audience The expands.energy the and increases joyous.The dancing is the it of desperate; pace is The mood strained.physically be to appear The not do movement,they frenetic but own their of sations sen- the to attentive seem they and engaged gestures.deeply sen are bodies performers’ The another,one cho- to their relation of in permutations onstage the positioning and physical their language. bodies,their different are onto mapped when different so yet another.one mirror exactly not do bodies four the gestures,technique; similar The without so generosity,and iterations.alertness alternate ment,abundant form with and dance They but repeat,turn frag- by that sequences into gestures,coalesce task-based which the through cycle square,jog.jazz part part Simultaneously, is that pattern a in bodies lessly upper performers’ the alone.dances cease- each move while, though feet the movement uals,their All through linked individ- separate four from emerges that montage fingers. gestural their a with is dance Their ears bunny hands,themselves their giving with faces shoulders,their their covering over objects sides,imaginary the throwing to out far arms chests,cigarettes,their their stretching slapping light. the catches that hair his in gel with clean-shaven is audience.Oberzan the Zachary of members individual with contact theatre and marginal aesthetics. marginal theatreand researchFellowship,devisedFellowship her into Mellon Dissertation supports FLAS the which and Les Halprin,Anna Waters, Goulish, Matthew and Carl Hixson and Weber. the of recipient a is She Lin with thinking/performing/training of pleasure the Theater,had Moscow Art has the and at acting FranciscoPortland,SanArea Bayin the Oregon.and in Shestudied groups numerous directed for has she University.College,Reed Clara Santaof at graduate A Faculty theatrehistory in member StanfordUniversity,recent at and Visiting Drama in Candidate PhD a is Anderson-Rabern Rachel PeterNigrini) Church,NewRiverside the YorkCity, DirectedPavolby2005. October Copper.Kelly Liskaand by(Photo aneighbor. downstairs traffic for foot noise minimize Theatre order to of in in rehearsal adopted first chairs, a dance Oberzan Johanson M. Zachary Figure and Robert (previous page) 1. 1. now! (Oktheater 2009b) (Oktheater now! and here you us,congratulate join we to decide you If place! his everyone,in everyone artist,forward! an for step be place We to a wants has who that Anyone theater the are us! welcome! with All is future,place his your of another! thinking be Anyone never opportunity,this miss you If only! today calling will It’s there you! calling is Oklahoma Nature Oklahoma! the of Great in for Theater The Theater hired being is Personnel Communication with the audience comes about as a consequence of spatial relationships: spatial of consequence a as about comes audience the with Communication mimed smoking familiar: somehow seem that actions physical together string four These York,together. New in working and living began Copper Kelly Pavoland year Liska the 1995, since together working as selves them- describe they 2002, until the ofOklahoma become Theater Nature formally not did group the Though . As protagonist Karl Rossman reads on an adver an on Amerika.reads Rossman Karl protagonist As

— Nature (Oktheater2009a) of Oklahoma Theater 1 Poeticsrolling in moment

Nature Theater of Oklahoma 83 - - . Theatre Poetics of YorktheCity, Riverside Church,New Figure Figure 2. Anne Gridley dances through strands of simple gestures during October 2005. Directed byLiska Pavol and Kelly (PhotoCopper. Nigrini) by Peter (the group’s first through devisedtheir work), devised ver - Poetics: A Ballet Brût Poetics:

, which premiered in the United States at New York’s the Kitchen in which premiered Romeo , in and the Juliet United States York’s at New

Poetics: A Ballet Brût as per Poetics: Organizationally, Nature Theater functions Nature in a way that sets them apart from Organizationally, their peers. Making do without the They are not, like Radiohole, a collective. They do not labor a under They like collective. the are Radiohole, guidance not, of a single Asso Elevator and Repair Builders Group, Service, as Wooster do the charismatic director, Like other they ciation. devising contend groups, with a long tradition of collaboration in per December 2009. December 2009. sion of both formance resisting making, and embracing its implications as they establish their own this process proceeds from the working relationship Theater, of For working Nature process. who founding are Liska members also and Pavol married. Copper Liska co- and Kelly Copper, “in as their press material states, direct usually, and Theater’s co-conceive shows, Nature formed at Theater’s the Public Under the Radar Festival in though January the 2008, show first performed in 2005. with its , joyous dances Poetics and a soundtrack that vari- “Dancing ABBA’s ously includes Wright’s and Gary Queen” typifies Nature Weaver,” “Dream That Theater’s aesthetic of fun. that any- however, is not to say, thing about Theater the Nature of Oklahoma or is that typical, is a “fun” transparent aesthetic In an experimental property. Group as well performance as community a that swell includes Wooster the institutionalized of next-generation performance makers such Association, as Elevator Builders Repair Service, and others Radiohole, even Theater newer of to Nature Oklahoma the - unconvention scene, ally twists contemporary experimental trends This throughout their process and performances. becomes progressively clearer from one production to which the this next, article illustrates by moving from bureaucracy, Theater the Nature bureaucracy, of reframes Oklahoma (NTO) and dialogue, simple tasks, stories as performance that is with all its unschol- profoundly, The four- fun. arly insinuations, person scene described above is taken from their production When Rossman enquires about he a findsposition, himself ina silly sea of pre-selected - perform ers playing trumpeting angels. He makes his way through the spectacle and into a short The novel bureaucratic delay. ends as Rossman rides a train but towards promised, unseen, employment within the Nature Theater itself. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28September 2021

84 Rachel Anderson-Rabern 2009 2008 2008 2008 2007 2005 premieres. Copper.Kelly of and location Liska and Pavol Date by conceived and directed productions All Oklahoma of Theater Nature New to 1993,Yorkmoved in Copper Dartmouth later.years two her joined Liska where Nigrini.Peter designer from and graduating Oberzan After Zachary with working began and also Dartmouth,they at where years undergraduate their during 1990s the in met with”conversation performers,Copper 2009a). and (Oktheater friends,Liska colleagues and/or Theater’s relative accessibility evident in evident accessibility relative Theater’s the Nature to pares WoosterTheater Service,Nature Repair citing Elevator and Group com- theatre.Stasio experimental Marilyn for accessible unusually is that work in results how interaction.some- spectator/performer conversation the collaborative within ongoing This course themselves,of performers them,and the surrounds among that community the from responses and stories glean Copper and Liska as conceivers/directors,conversants the between and conceivers/directors,performers as between Copper and Liska between planes: of tiplicity mul- unusual an throughout collectives,of continues performance history then American the by inspired connotations utopian problematic minds.carries word Collaboration,this though creative two of ideology working the standpoint: relational a from performances their erates Columbia. at studied also both who and Gridley Johanson projects,Anne Robert student including for recruited and cast they collaborators,as and especially performers current their of many to them duced University.Columbia at directing in intro- Liska also and studies graduate into forays Their quently,College,Brooklyn MFAat obtained playwriting and in pursued Copper both degrees; 2002.in Sub Oklahoma Nature of the Theater formed and theatre-making in themselves film,of photography,mediums the in reimmersed eventually Copper art, and visual Liska and experimentation of period independent occasionally and collaborative occasionally an Following that form a kind of street vocabulary; or perhaps the gestures only seem adolescent because adolescent seem only gestures the perhaps or vocabulary; street of kind a form that irreverence and discovery of gestures adolescent from developed motions employ performers stuff.”stern in interest “less an and accessibility in rooted aesthetics performance sophisticated and sistent con- of realization the in part a play fact in do qualities NTOthese of that work the from clear concerns.conscious However,socially or political by motivated overtly is not it is that group colleagues”purist (2009). cally technologi- their than accessible more humanity,them makes what is it) put might Oberzan as (for compassion “universal”of touch softening stuff, that stern and less of made is Oklahoma of New at York’sUS the 2008,in in and Europe 2009: Nature March “[...] in Theater Rep Soho 2.

With a creative team that shares directorship of the group,the gen- Nature of inevitably directorship Theater shares that team Withcreative a In performance a to apply to terms strange like seem humanity glance, and first compassion At together under the auspices of Nature of of Oklahoma. auspices Theater the under together working began New four to York,moved the also Nigrini 2000s and early Oberzan independently,the in and there is no room for sternness in the performance’s gestural,world.performance’s everyday the in sternness for The Poetics,room no is there Life and Times:and Life Burgtheater,1. Episode Vienna,Austria. Germany.Hamburg, Hamburg, Kampnagel Juliet. and Romeo Germany.Hamburg, Hamburg, Kampnagel Solo. Rambo TanzquartierChorègraphie. Vienna,Austria. Wien, YorkNew Rep, Soho Dice. No City. YorkNew Church, Riverside the of Theatre City.Brût. Ballet A Poetics: , a solo performer work that premiered in premiered that work performer Solo,solo Rambo a encountered 2 se

Nature Theater of Oklahoma 85 - performers Poetics Poetics , a purging , of Poetics ; have the performers hurl their T-shirts into No Dice; have the performers T-shirts hurl their feels a little like Poetics prom: a rite of passage and a game

. The modes they use to . magnify unpretentious, the everyday low-cost, are Poetics youthful, Performed to a recorded soundtrack of dance-worthy music from the 1970s and ’80s includ- relies on generous space Poetics and the sparse latter props, of Theater which adheres Nature Accessibility arises in part from the and group’s stories interest feelings, that in are thoughts, are indeed going through puberty. Liska and Copper heighten this are impression indeed for going the through audience puberty. towards the end of when the they piece, pull back the red curtain that cloisters the performers and audience in the same Behind a backstage the ballet space. curtain, dancer poses in the ethereal output of a with fog a machine, cavernously empty auditorium space behind her. She dances a graceful gradually balletic interspersing solo, her technically proficient pirou- ettes and arabesques and with smoking the bunny gestures, other ears, gestures we’ve already The sudden juxtaposition of the seen. ballerina’s physical control with the everyday physical- ity of the four amateur dancers and is the striking, ballerina’s relative training is evident in the uniquely flowing quality When of she even begins the her to audi- smallest dance, movement. ence quickly quiets as though an adult has suddenly entered and silenced a raucous slumber as the ballerina incorporates the choreography of However, the four the amateur dancers, party. audience releases its breath and learns to thankfully laugh has again; “adult” a this sense dancing of humor. ing “Last Donna Dance,” Summer’s of dress-up that is Though self-consciously the performative audience but earnestly enacted. and bounces claps, in the their enjoyment laughs, seats, of the experience is more than skin deep like any and, important rite imprints of irreplaceable passage, memories that last much longer than the rite itself. to in order to Liska prove and that it is possible to produce a Spatially, minimalist spectacle. Copper seat the audience along the back wall of and the use stage, an empty auditorium as a The backdrop performers for dance particular on dance an save sequences. empty for stage, one segment staged in punctuated rolling with chairs, occasional consumable (and consumed) props: coffee Theater in and displays sodas, disposable slices Nature spectacle cups, of as pizza. a theatrical form that is achievable through modest means: amateur spatial dancing positions, bodies, They redefine therepeated and spectacular loud choreographic cheap music, movement, food. as an outpouring of enthusiasm rather than an overflowing conglomeration of material objects. Their subversion of theatrical spectacle maps an intoxicating catharsis onto expectation followed by a Theater celebration dismantles of Nature theatrical its disappearance. conventions of spectacle even as they build new forms of spectacle out of material as unassum- ing as self-styled bunny ears and a ballerina who dances with a sense of fun. so pervasive they When become choosing all source but American invisible urban in culture. material for they their gravitate pieces, towards those everyday stories that are embedded in our culture’s and collective consider unconscious, how such stories become lost or marginal- this approach evolves partially from John Inspirationally, ized because of their very familiarity. Cage’s writings and the group’s respect for his attempts to cultivate attention toward the unob- trusive elements of the everyday world They that make surround a us show (Reed about 2007). Rambo instead of one about Hamlet; serve the audience peanut butter sandwiches (instead of, wine and cheese) as they did during say, the audience and then politely ask for them back due to budgetary constraints as they did dur ing These modes freely they enable That are diverse and is, compassionate. clear of ironic taints. of the amateur status of the bodies that form them. Though Gridley, Liegerot, Johanson, and Johanson, Liegerot, of the amateur status of Though the Gridley, bodies that form them. Though Oberzan are as somewhat not they untrained awkward. literally are, dancers, teenagers, the choreography of everyday gestures does not necessarily present apparent technical challenges when analyzed step it by is step, clearly demanding for nonprofessional dancers to learn and the then internalize such a prodigious Watching quantity of precisely ordered motions. end result of this effort in performance for is if like watching youth on the cusp of maturity, their ages are charted in terms of their technical dance ability then the four Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28September 2021

86 Rachel Anderson-Rabern gated aesthetic property of fun. of property aesthetic gated uninterro- and marginalized often the investigate to audiences invites accessibility resultant The class? English school high your from remember you hero? do your What Rambo today? is Why job office your at do you questions: did relatable What and simple with investigations their guide to references,choosing esoteric instead few Nature includes engage; Theater to audiences

in Europe,by in followed result.final produced the then transcribed group The eventually and ily,conversations phone the edited and culled then coworkers.Copper and Kelly friends,their fam- as well as group the of members between conversations phone informal of hours 100 over from generated work scriptless initially an 2008,as in followed award Obie an dice.the of rolls Cage,deterministic John using by niques, inspired also MFA his for tech- project aleatory 2005,final with in Liska’s choreographed Pavol of out oped March 2009. This slightly misleading chronology reverses the order of things.of order the 2009.reverses March chronology misleading slightly This premiered and 2008; January in Festival Radar the Under Theater’s Oregon,annual Time-Basedpresented 2007; in Festival Art attention.critical increased to performed internationally They and ally nation- toured has 2002,Oklahoma Nature in of the formation Theater group’s the Since We’re guess. I between in somewhere few. very by paid but many.lot Amateursby area lovedpaid Professionalsby but arefew loved by audiences.to present they product the as well as process devising group’s the through threads that quality aesthetic the pleasure,is and it ideals own their of lens the through them around by,represented tions by,prompted as well as world performance.everyday the interpret they As inter-humanof rela- quality the to Oklahoma,Nature refers of the fun Theater of work the represent,they inter-humanproduce,which the prompt” relations of 2002:112).or ([1998] In sociability.as theory “relational,”aesthetic his describes He basis artworks the to “on relating of moments produces or exhibits either that art from arises significance aesthetic that proposes book decisions.his performance-based In and related process- of combination a as aesthetic their pursue to them enables principle guiding This (Y.J.forms theatrical devised developing of process is”the pleasure in the where 2009:93).Lee consciously they “track as unexamined the rescues of gradually realm “fun”Oklahoma the from ideology.and process company’s this of show,Withsuccessive each Nature of the Theater aesthetic emergent an as example, fun through pleasure. charting definition and a Here,seek I out 2009 and into 2010, was funded in its initial exploratory stages by a $16,000 grant from the from grant $16,000 a by stages exploratory initial its in 2010,funded into was and 2009 out resources.improved increasingly their despite modest remains aesthetic material $2,000,their approximately and of budgets with performance. both a producing for by compensation began financial They until wasn’t works. new for rehearsals and plans with performances interspersing by momentum ative cre- maintains schedule,group touring the continuous Nature almost Throughout Theater’s Ohio’s with Wexnerpartnership in theatres European 2010).the eral (Copper for Arts Center 3. “Fun” is something of a catchall term that signifies the experiential process of enjoyment of process experiential the signifies that term catchall a of “Fun”something is politics. identity of issues skirt part most “everyday” the their for that does true is it But experience. Gen-X experience, immigrant experience, urban as seen be also Itcould it. describing of way one only that’s artists—though as ence experi- middle-class white US and everyday European their own with do NTO to everyday has explores The Though Kelly Copper and Pavol Liska have been working together for over a decade,a it over for together working been have Liska Pavol and Copper Kelly Though ’s work-in-progress showings in the mid-2000s that the group received any received group the that mid-2000s the in showings work-in-progress Dice’s No and Solo Rambo 3

, which the group worked on through - and on Life worked group 1,Times:the Episode which , which were commissioned by sev- Julietby and commissioned ,Romeo were which Relational Aesthetics,Bourriaud Nicolas Chorègraphieexclusively toured ,has which

— Poetics:Public the at Brût Ballet A Nature (2008) of Oklahoma Theater at Soho Rep in Rep Soho at Solo Rambo at the Portland,the at Dice No No Dice,won No which Poeticsand Poetics first devel- first No Dice No

Nature Theater of Oklahoma 87

No Dice when does it — reviewed hours Times the four-plus Seattle , Downtown Art, New York City, 2007. Directed by Pavol Liska and Kelly 2007. by Pavol Directed City, York Art, , New Dice Downtown No

ing the artistic motivation she shares with Liska, she says, “We start out with some ing the “We artistic motivation she shares she with says, Liska,

Critics have called the Nature Theater of Oklahoma “New York’s best break-out company” Critics York’s have called Theater “New the of Nature Oklahoma In an interview with Young Jean Lee, Copper Jean answers Lee, this question by posing others. In an Young interview with Copper. (Photo by Peter Nigrini) (Photo by Peter Copper. 2007) “one of and of 2007 even the (Villagevoice best ensemble theater companies in world” the More Lee provocatively, 2009:89). (Y.J. Rockefeller MAP fund who and then completely funded later picked up Wien, by Burgtheater Theater rehearsal is and Nature unusually and production successful their costs. abroad, touring success contributes to the financial structure of the group: they earn approximately 98 percent of their All income of from their touring shows and to commissions. date have been optioned Center Arts, for the or commissioned by Wexner organizations including Ohio’s Soho Rep, Because they operate mostly on Wien. a and Burgtheater show-by-show Wien, Tanzquartier basis with relatively little support they from decided grants, to forgo filing for nonprofit status and instead carry on rather atypically as a theatresmall-scale companyfor-profit (Copper 2010). Figure Figure 3. From left: Zachary Oberzan, andAnne RobertGridley, M. Johanson work through obstacles of silly hats and wigs for in March 2009, proclaiming that, “Depending on your perspective, its either brilliant, boring, “Depending on its boring, your either perspective, brilliant, in proclaiming March that, 2009, This latter review or is some (Berson perhaps of 2009). the opening both” most up interesting, a contradictory critical space that houses both brilliance and and renewing boredom, a question that emerges in the midst of the laughter and smiles (or furrowed brow if you find yourself checking your watch) at the group’s zaniness and goofiness: Just what are they doing? Describ extremely basic What’s question the like: least thing we can do and have it be a show? [...A]t the heart of our investigation is this wondering about the tipping point This feeds fascination “tipping the with point” the Lee 2009:89). Y.J. turn (in into theater?” They they look “least for thing” group’s the exploration of the artistic potential of the everyday. To can use as a creative springboard in order to transfigure the ordinary into the performative. the that group end, often plays with dialogue they’ve recorded from as phone in conversations, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28September 2021

88 Rachel Anderson-Rabern as those they applied in applied they those as such techniques staging aleatory by relationships,determined spatial as imposed randomly from No Dice, No

live performer attempts to synch his performance as it exists (in three versions) on the screens the on versions) three (in exists it as performance his synch to attempts performer live mouth,the Oberzan’s as live the from hear we dialogue the mouth silently Oberzans recorded motions.same same the the exactly) T-shirtthree not The (though roughly through going and live, one apartment. wearing and Oberzans,his filmed four in three watches text audience The same the performing Oberzan of versions filmed separate three project him behind screens dia audience,multime- the three before speaks and projections.stands performance,Oberzan In as multimedia through itself performance the ment.into migrated rehearsals apartment These for text Oberzan’s Stallone.became Sylvester then starring conversation movie recorded the The preceded that of story the retell to Oberzan Zachary asked Liska Pavol group,which the during for material erating gen- of means call,recurrent phone performance.a a and from process derived of piece The beginning.the from goal the of part is it goal; a into coalesces from,distinct from,performance.than inextricable rather become really that never process The way,performance.this processes the In constructing marks to open most are groups devising that,turn,process explorations.in the their form conduct experiences they ensuing which The by means the show.with a fuse make explore to choose they materials source and questions The they time every performance and process for blueprints unique own effect,their constructing are,they in because most than more process the foregrounds Oklahoma,work of the Theater Nature like group devising a it”of generated case (2007:215).that the process In the of scars) However,writes,(and Bial hallmarks Henry the moment’s as bears given ‘performance’ “a before.came that moments rehearsal already-hidden the eclipses easily itself performance the performance,analyze since that conversations in lost often is that word operative an is Process mind. in process a have wejust mind, Wein goal a have never investigation.the conduct to order in added already always are that rocks matters, the that but rock additional final the pile,not rock it’s the of analogy the experience.to accumulated Returning of consequence a as gradually occurs transformation the that transformation,rather the but catalyzes that choice single a or object single a of tion addi - the not is transformation.it that Perhaps to led have decisions process-related and actions creative of series point,a some then at theatre into turns time.it over If performance structing two? the between edge an stitute con- intuition artistic does How logic? of limits the mean? are really What us around world the of conception our transformation? does defines What that moment precise the ception: is What simplistic.from per Rather,far basic,of is be paradox but may foundational a with contends it we add in order to achieve the definition ofdefinition “pile”? the achieve to order in add we must stones many how Exactly pile? a then one,it add is we If stones? of pile a constitute stones ordinary,the which transformed,nontheatrical,tipped,be the theatre.or can or into 4. .edu/entries/sorites-paradox/). See the online Seethe the group’s 97-minute one-man show,one-man 97-minute group’s the Solo, Rambo Nature integration epitomizes Theater’s question,Copper’s in Implicit “Attheatre,”into turn it con- does of point process what the is analogy,this By theatre?”into turn it asks does that Nature “When investigation Theater’s This is the performative version of the Sorites Paradox, which asks questions like: Do two Do like: questions Paradox,asks Sorites which the of version performative the is This First novel the from story Blood. the detail,obliged, recounting prolific Oberzan by in Rambo Solo,Rambo and for more detail and additional examples (http://plato.stanfordexamples additional and Stanforddetail more for EncyclopediaPhilosophy of , which the group rehearsed and staged inside Oberzan’s apart- Oberzan’s inside staged and rehearsed group Solo,the Rambo which Poetics . They also explore the narrative meaning that arises Julietthat and meaning .Romeo narrative the explore also They and No Dice.at No threshold Somewhere,a suggests, is Copper there 4

— PavolLiska(in Y.J.2009:94) Lee -

Nature Theater of Oklahoma 89 - - Rambo Solo First Blood First First Blood in all its unpracticed First ’s performance text was published in 2009 by 53rd . In the a catharsis Blood. sense, of First Rambo Solo Rambo Solo. Rambo Solo’s finale:a boisterous trailer for Oberzan’s one-man , and Rambo with Solo, a budget of that’s just exactly $200, what Oberzan ” (Nature Theater 2009). Oberzan’s Theater infectious 2009). anxiety (Nature operates Hamlet” . After the show, the group sells copies on DVD. the group sells copies on DVD. After the show, . Blood First Rambo Solo ends with an In unexpected the coda. initial generative conversa- “Obviously Rambo it’s Solo, not But grand for literature. me it is just as grand Rambo Solo is It self-consciously gestures collaborative. toward the multiplicity of However, Nature Theater subverts Nature this danger through two distinct approaches: they However, 5

, it is Blood, impossible to escape Oberzan’s which First charismatic inspires pleasure, the

This explosion is the final battle in what Copper calls Oberzan’s “one-man war.” This explosion is the final battle in what Copper “one-man calls war.” Oberzan’s , on is Rambo one the Solo, level, realization of Oberzan’s though personal more dream, Paraphrased from the performance Paraphrased of State Press. State First Blood that was faithful to in First the which novel, he could play all On the his parts. own and 5. through the text, through which the captures text, his impromptu retelling of fits as and well starts, as through the demanding precision of his as physical indi- performance, cated by the former selves that ghost him on the screens behind Critic his David back. Ian Lee watch to see if Oberzan will “We survive or the burst telling, from (2009). anxious joy” writes, WhetherLee or“anxious identifies notjoy” drives theThe the audience performance. is familiar with form This and pleasure structure expands of beyond the the piece. boundaries of a single self through the three and projected then selves, explodes into an array all of played characters, by in the Oberzan, trailer for his one-man film of releases the tension Oberzan Lee does pinpoints. burst from the telling: four relatively stable images explode into a seemingly infinite cascade of theatricalized personas. for a tale Oberzan about wages Rambo, this war by living Appropriately, off the land: creating is his “land” studio apartment. in the Oberzan’s case, something out of However, nothing much. the thefilmed audience images, watchesVia as Oberzan walks through the plot of to conjure etc., an his epic using his his his M&Ms, his shower loft kitchen, bathtub, rod, bed, His process within of all telling, the warring constraints imposed adventure by story. his own it seems evolves from memory his of Initially, the everyday lifestyle. novel and his own body, as though Oberzan might take over his tale as the celebrity presence of Sylvester Stallone took Oberzan remarks that Stallone’s over physique the is character (In ridic- of the Rambo. play, ulous within the context of the novel; how could a recent prisoner of war develop such huge muscles?) and just as universal as broadly it functions as and a the validation storytelling, resulting of occasional pleasure, inco- Theater stages Nature Oberzan’s delight herence. in talking about a pop novel he clearly loves, for as he says in

did. His filmdid. then became part of filmed version of behind him. Copper behind describes “It’s him. Oberzan’s like process: he’s engaged in performance in a ‘one man war’ Thickening with the his combative own image of (2010). himself performing” layers of images, tion with Liska, tion Oberzan with mentioned Liska, that he had always wanted to make a one-man film version of outside of rehearsals for selves we each become in our everyday lives and and the fantasies, collaboration we engage with by It including within also, three ourselves. separate images of Copper returns and the Liska, audience to the collaborative reality of Oberzan’s everyday Copper rehearsal and experience. Liska helped to shape that experience not only as co-conceivers but and also co-directors, as lis- teners and witnesses. formances as well as The his group adopted also Stallone-like inserts vocal itself tones. into the After piece over as an a hour collaborative of presence. an he Oberzan-centric invites staging, two members of the audience to engage in a brief (and silent) moment of audience participa- In the he tion. live chooses performance, different audience members In each each night. of the three he recorded brings versions, Kelly Copper and Pavol Liska out from behind the camera and uses them to Though per help it develop masquerades “solo” his as Rambo a narrative. formance, imbue Oberzan’s performance with a series including of his obstacles, previously recorded per Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28September 2021 and directed by Pavol Liska and Kelly Copper in conversation with Zachary Oberzan. (Video/photo by Peterby(Video/photo Nigrini)Oberzan. Zachary directedPavolwith byconversationand in Copper Kelly Liskaand Oberzan’sNew performs York he as Oberzan of The upstage recordings play apartment. Zachary three in separate combines shot that videos still a in synchronize to fail Figure ThreeOberzans mediated 4. 90 Rachel Anderson-Rabern with other downtown performance makers. He described how his passion for making theatre making for passion his how makers.described performance He downtown other with inspire,work. deliberately their sometimes apology.shape,with to not and room them give that constraints unique become budgets Their relish, with these of all forth Nature puts work: Theater from supplies office stealing about as simple T-shirts;as or hats pirate conversations and literature; boas pulp feather cheap as ish cartoon- as be might that pieces costume dancing; polished) than mances.(rather Enthusiastic Nature perfor of Theater’s personality cohesive the reasons,to artistic contribute or practical Solo).(Poetics(Rambo pizza bottles for choices,like coke made small props and whether These ) for equipment multimedia lerina),the or bal- trained professionally audience,a the and seat to enough big auditorium,stage empty a (the for larger-scalethose requirements,with as technical productions such tour occasionally they act.when creative Even a into payday modest a as mundane as something even transforms 2009c).(Oktheater recording the group of The audio the in imbedded direction,is verbal which Liska’s of tune the to floor camera.the the on at roll triumphantly performers them The wave and air the in bills dollar toss joyfully performers as camera video handheld a operates Liska 2005. in Pavol paid got company the time first the chronicles website their on example,video a shoestring.the For appropriating and cultivating by limitation potential this transcend they but unintentionally,or Intentionally work.the impacts challenge every out? locked hallway,being the of in frustration space the the about to piece rehearsal a make or arrives,our keys adapt with someone until down,around it wait break reschedule, to we try locked,is do space rehearsal the to door the If obstacle? this with deal we do How choice: a requires process.hurdle its Each throughout encounters group a obstacle each through oped devel- artists. is individual performance for the stability of financial aesthetic less The and shows the for resources fewer mean means. budgets financial Lower tight within Oklahoma,work who groups,Nature those of like of obstacles.Theater true with especially fraught perhaps is This periods.activity,long Everyday over place illustrates,often description is process Breuer’s as take that endeavors creative of part often bed,are the these of side wrong the on up getting Bon”Bini (1976:29).the annoyances, at setbacks,Minor coffee major have go and off pissed door.front the in work don’t get they [...T]hey lock studio the in work they lock.if studio Or thirty.eleven around arrive people three or two Those,usually, the in work don’t keys whose process.working Bluntly,Mines’ Mabou describing article an wrote Breuer wrote,he “Usually performance.1976,the In marks Lee turn in that process the for blocks building become to piece.the Inevitably,of form theatrical eventual small, fuse practical,considerations everyday the as investigation,well entire as the shaped consideration case,space.prosaic this that In staging the of meaning and moment every Liska talked about the powerful benefit of practical and creative limitations in an interview an in limitations creative and practical of benefit powerful the about talked Liska budget,shoestring a on working are they that fact the hide to try not Nature does Theater developed in Zachary Oberzan’s apartment Oberzan’s Zachary in developed Solo Rambo , the impression is tempered by shoestring by tempered is Solo,impression Rambo the — because the group had no budget for rehearsal for budget no had group the because — a choice that ultimately impacted ultimately that choice a Rambo SoloRambo live, 2008. Conceived Conceived 2008. live, Poetics - Nature Theater of Oklahoma 91 - -

, Chorègraphie Chorègraphie , Fletcher , Poetics No Dice and obstacles to enhance their cre- generates in a New York apartment. When a downstairs neighbor com- apartment. in York a New Poetics , the performers adopt accents, different from one another, which they the No performers different Dice, adopt from accents, one another, moment. performers, who lack dancerly vocabulary, attempt to describe their move- who lack performers, dancerly vocabulary, Poetics to use everything as (in Many creative Benson potential material” 2006:44). obsta-

—

The Nature Theater The of Nature Oklahoma also purposefully plained about the the group noise, adapted by setting a segment of the show in rolling chairs. a became The quieter a chairs, option, part of the choreography of the piece having first sur renewed because, “I wanted to figurerenewed outbecause, howto deal with everything as material and not obstacles cles have become part of the fabric of the For materiality Theater’s example, of shows. Nature they rehearsed much of Figure 5. retellingThroughout hisFigure of Rambo , Solo Zachary Oberzan maps out his for imaging/remembering spectators by using the tools in the room. On film, furniture pieces become hiding places, and in the audience theatre members co- are opted. Liska and Soho Kelly Copper Rep, 2009. in Conceived and by conversation with Pavol directed Zachary Oberzan. Nigrini) (Photo by Peter faced as a solution in to another a Likewise, moment logistical in problem. Liegerot enters the stage while eating a piece Copper of describes pizza. this choice as the The budget result for of the budgetary show considerations. was on the so small the side, group decided to spend the money in a way that would benefit them throughout the perfor By allocating mance. money for pizza they ensured themselves They many nights of free food. also and decided a to cigarettes, new include pair coffee, of sneakers for each performer Retroactive (Copper interpretation 2008). makes these performance moments into carefully which urban landscape, constructed instances of everyday activity plucked York’s from New they though may they be, actually emerged from a process that adjusted to the practical circum- stances of the In ative material. attempt to maintain throughout Liska the and performance. Copper settled on the particular accents based on those that were most difficult for the actors In to replicate. (2008) professional dancers listen to recordings of the original performers (non-dancers) of as the , Poetics The professional in move ments dancers the according throughout then, moment, the piece. attempting to render the to fractured what and they often hear, confusing audio into definitive The different movement of professional dancers in response to the same choreography. audio indicates the wide breadth of possibilities In for both interpretation. the struggle of execution links with the struggle In of an communication. environment where mastery of the material is uncertain and the even performers impossible, must focus with Their extreme focus attention and on struggle their create task. dramatic moments: acts of The content of the tasks allows this attempt sincere making attempts honest, despite difficulty. to take place within a sphere of irreverence and fun: Can the funny accent continue? Can the non-dancers manage to dance? Can the non-dancers describe the dance? Can the - profession als make nearly incoherent description into choreography? How many tasks can the performers pay their attention or heads will to Will explode, at they once? burst into kinetic tasks? In this disappears, with its “problem” “obstacle” insinuation the of process-oriented term environment, and struggles become creative opportunities. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28September 2021

92 Rachel Anderson-Rabern In their earlier works like works earlier their In guy.a was Romeo explored.be to landscapes combative and murky to open arenas,is utopian but and pretty labor,and, like Copper and Liska, freer to immerse themselves in a process that is not confined creative to the divide to freer are time.partners same Coordinating the at job same the exactly form per to attempt necessarily not would but efforts coordinate or combine put,might Simply they together.work to continuing while themselves separate to partners creative for space a is there that individualcontribution. Applyingthis distinction to performance making, coordination suggests wayin which coordination differs from collaboration involves its emphasis on independence and strategies.crucial working collaboration,One distinct between as coordination,cooperation and MakesIt What Work term the term “collaboration”stitute the “coordination.”with review,literature his In homogeneity.sub- from to partnerships is protecting this of do necessity to the way one Perhaps Oklahoma, “sometimes[they] have the same brain, sometimes [they] don’t.” Thissharply defines 1996). Canning (see path creative interesting least or controversial least the pursue to tend might groups choice,the each then on agree must company collective a in everyone imposes.model If collaborative this challenges the of many unearthed groups devising inist way,same fem- the of think research to thing.Canning’s pressure same Charlotte the prefer or word the the “collaboration”around from accumulated come have that implications impossible the negative.of be Many needn’t utopias, combat imagined so with correlate doesn’t ration collabo- real-world combative.as be Just to freedom the includes that atmosphere an within agreeing,conceivers disagreeing,and creating directors and two of cases be halls.might It rehearsal locked of memories dreams,be connections.smells,good might missed bad of It and 1976,about in pretty,talking audience be “process” reading not might either. list a be might It reality.everyday to down back relationship working his her reminded bringing Breuer Lee As conflict. no or structures,little performance with and process hierarchical resist fully utopia,work.success- this everyday artists In of realities the to relationship little with process investigations.devising Nevertheless,earlier utopian in a for name a “collaboration”as persists Rules: The WoosterGroup some eat and works like Richard Schechner’s Richard like works reading from know conflict-free, we is although that methodology creative a suggests it sense 1950s,the ’60s,of idealized ’70s. collectives its and performance In the with association its since 2009). don’t”brain,Blogway we same (Off-Off sometimes is it what than prettier sounds it and word hippie always area.not murky ‘collaborative’ It’s a is this say time.would long I very a conjures: term “We’ve this contradictions the collaboration,identifies Copper together worked their about queries to relationship.response working In their prospect, discussing that when in inherent idealism dynamic,the creative and their reference Liska Pavol and Copper Kelly cess for the audience is in response to the humor of performers interacting and the energy of energy the and interacting performers of humor the to response in is audience the for cess individuals.verbal,multiple or communication,among physical pro- whether experiential The Well More often, in partnerships of any kind, including the partnerships within Nature Theater of Nature of within Theater partnerships kind,the any including of often, partnerships More in is,”it what sound than Liska “prettier with work her makes collaboration that says Copper Collaboration as a “hippie word” hearkens back to the baggage this word has accumulated has word this baggage the a to word”as back “hippie Collaboration hearkens — I think I — — eat some hot dogs or something. or dogs hot some eat I think we’rethink I ([2001]2008), Paul W.Mattessich and his research assistants distinguish ([1986] 1988) that creative and personal tension was certainly present certainly was tension personal and creative that 1988) ([1986] Poetics:and Brût Ballet A — we’reworkin’ (1973) and David Savran’s Environmental David and (1973) Theater — our way towards each other [...] So let’sSo [...] towardsother way each our together get — No Dice,stages No Oklahoma Nature of Theater it’s often combative. Sometimes we have the combative.have often we it’s Sometimes — Nature (2007:73) of Oklahoma Theater — Nature (2008) of Oklahoma Theater — Breaking the Breaking that’s a sort of sort a that’s Collaboration: - Nature Theater of Oklahoma 93

a woman’s top — , Romeo and Juliet , progresses Rambo with Solo, . She exits. A young She exits. Romeo . and Juliet Figure Figure 7. Robert M. Johanson delivers filler words with the same commitment he shows text in Shakespearean toward 2008. by Directed Germany, Kampnagel, Hamburg, Liska Pavol and Kelly (PhotoCopper. by Peter Nigrini) Peter , for example, utilize for group example, action , in the form of Poetics retellings of Shakespeare’s — begins, the Romeo narrow and begins, stage Juliet is bare except for a small No Dice and adopts a different and comparatively static strategy. Romeo and adopts Juliet a different and comparatively static strategy. Romeo and Juliet. , the climax , involves dozens of volunteer performers Poetics joining with the and suspect , Kampnagel,Romeo and Juliet —

Both performers have The faintly young undressed woman’s qualities black about them. And And they Juliet were was young a and girl. they fell in love. Romeo was a guy. Well But then they made HE the made awful, the awful realization that their families were And then they decided to ENEMIES. fuck it SWORN and get married anyway because they loved each other I so don’t much And, remember so what they secretly got married. When Nature Theater’s When Nature bra peeks over the top of and her the dress, young man’s tight leggings narrowly avoid awk- They bring to mind ward two exposure. children dressed up as Shakespearean characters for Playing they at begin Halloween. Shakespeare, the game in the age of technology: each wears and deliberate When their diction, ges- they heightened speak, dialect, visible white earphones. tures parody bad It Shakespearean is acting. like seeing Shakespeare through a melodramatic telescope wielded by an uncertain tenth grader. The man speaks: man enters, wearing man brown enters, leggings and a sleeveless faux-Shakespearean shirt with a ruffled He bib delivers front. a The different monologue on the He same exits. theme. This staging sequence The repeats, man reenters. and speaks departs. woman alone, reappears, with each successive monologue contributing progressively to impressions, tangled memories, and dialogue from ecstatic dance. In ecstatic dance. four main Though performers still in mining joyful the physical everyday expression. for inspi- Theater’s Nature ration, somewhat like Instead of many most physical of bodies, the play, single performers In soliloquizing the onstage. absence of fun ecstatic emerges movement, from the crowd of ordinary voices that make up the speech of individual performers: a guy and a girl. The backdrop of cardboard a prompter’s sim- box that unassumingly rests downstage center. plistically rendered blue and gold curtain does It not is open. a nod to soon-to-be-subverted and theatrical serves conventions, only as a painted A frame young for woman, the stage space. dressed in a peach-colored spaghetti-strapped gown that might have come from the rack of a ’70s and thrift wearing shop, a entersgarland theof spaceartificial and flowers in her hair, stands just behind the cardboard She prompt delivers box. a monologue that appears to be sev- eral integrated many bodies onstage. many Both bodies onstage. Figure 6. is Gridley Anne an Figure ingénue playing dress- up, clothed in a costume cobbled together from thrift and stores closets in Hamburg,2008. Germany, Directed byLiska Pavol Nigrini) (Photo by Peter and Kelly Copper. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28September 2021

94 Rachel Anderson-Rabern Copper.Kelly and Peterby(Photo Nigrini) Pavol Liska by Directed Germany, 2008. Hamburg, Kampnagel, wearingtights. fragmentedpoints, plot and voices crowded of web a in caught exposed: emotionally Johanson’sM. Figure Robert 8. and physically both is Romeo Gridley and Johanson speak every line with endearing sincerity,endearing with line every speak linguistic Johanson the and that Gridley ensuring Um’s,of mosaic bal Well’s,I Remember’s,Think’s,Is Don’t Right’s.and I That Throughout, ver a emphasis,in operative resulting with phrases and words ordinary recurring track also ers “k”in vengeance.“knife”a pronunciations,with perform - Shakespeare-ish the these Amongst happened in a town called Montague”2008). called Oklahoma (Nature town of a Theater in happened it earnestly: think and “I formally speaks she dignity,as pose genteel a into arms her raises and great with stage the on Danes.herself Claire plants Next,and woman DiCaprio the Leonardo starring version movie the and romances school Juliethigh and recalled ,through meandering Shakespeare’s of memories fractured continues,with monologue packed man’s The 6. happens next. How does he die? How does the brother,the does How die? he next.cousin,does happens the How die? The author has added emphasizing caps to suggest the performer’s spoken emphasis. performer’s spoken the suggest to caps emphasizing added has author The of Oklahoma 2008) Oklahoma of Romeo and JulietRomeoand , yew,”the pronounce they and multisyllabic the “dee- becomes Shakespeare: satirize “do”almost that pronunciations with packed accents,English tremulous with pentameter.poetic speak They with language ordinary poses juxta- that emerges text ary play,Shakespeare’s second- a from digressions hysterical and son.of traces accurate Amid per first in responses laged delivery,stylized col- the speak sincere yet comic and tumes cos- found of aid then,the with Johanson lovers.and Gridley star-crossedShakespeare’s of able,plot were the they as best recount,to as people asked they which in conversations phone of pieces together stringing storytelling,simple through of process the scious.explores group The rary Westernuncon- cultural contempo- the in tragedy love famous most Shakespeare’s of presence the Julietdeconstructs Nature Theater’s dance,of medium the through connections emotional and ing position- spatial between ship relation- the deconstructs .Brût Ballet A While show,first Oklahoma’s of Nature in Theater perform also Johanson,Robert and Gridley The two performers,two The Anne 6 (Nature Theater deconstruction Romeo and Romeo Poetics Romeo Poetics: - - Nature Theater of Oklahoma 95 no, not that no, one, — Figure 9. Robert and fold Figure Gridley M. Anne their Johanson stories together in a intimate moment that is rare equal parts epic and prom crescendo date. awkward 2008. by Pavol Directed , Kampnagel, Germany, Romeo and Hamburg, Juliet Nigrini) (Photo by Peter Liska and Kelly Copper. - - - Romeo and than Juliet consciousness, lin- consciousness,

By staging, with By no staging, visible ily equate with deep or spe- Rather, cific understanding. it creates a common springboard from which Nature Theater tells the story of recol- with all of That story, lection. its hesitations and false starts, is even more a part of Nature Theater’s is Shakespeare’s play. many Theater retellings creates seams, within Nature a single climate monologues, of accep- Perhaps this tance. is another The instance performers of do the not group’s shift compassion. Though their the style of delivery to embrace or reject regardless any of retelling, its accuracy. performers immerse themselves in a performance style with obvious and constraining artifici- the ordinary language itself escapes claustrophobia by expressing ality, a range of emotions and associations connected Theater to focuses the Nature our contemporary attention world. on a world in which people and make the mistakes, mistakes themselves then become building blocks for Did new Romeo stories. compare Juliet to or the was sun, it the moon? Or the sky? Or the Juliet’s cousin or Who her was brother? that guy that died Tybalt Was west? guistic minutiae, and guistic filler minutiae, words Theater allows Nature of Oklahoma to develop an aesthetic that stages the unpol- unfinished business ished, In of this memory-making. they focus case, on the process of recollecting images and phrases from a story that is prolifically embedded in the As the audi- canon. Western this ence everyday discovers, familiarity does not necessar bally cringed as though tak- ing (and failing) an unwelcome At Gridley one point, pop quiz. utters someone’s plaintive con- “I feel like if I fession, don’t know it then I’m stupid” Theater of (Nature Oklahoma This attention on per 2008). sonal self- patchwork patchwork never devolves into In a addition gimmick. to incit- ing laughter from the audience, this strategy foregrounds the process of remembering that each contributing storyteller Some sincerely encountered. some people digressed, stalled, some became passionately and some opinionated, ver Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28September 2021

96 Rachel Anderson-Rabern tention.In inat- common of chaos the on relies that order and Oklahoma,beauty of then,work produces terms companion “aesthetics”the through and performance the “poetry.”Nature of Theater of demand.form properties structured such the ment acknowledge yet,reviewers And both herence”2009).(Kois Both “amateurism”arrange- and deliberate the “incoherence”over gloss amateurism,”of of kind inco- the “aesthetics a of others be “poetry to and 2009) Signore (Del to reviewers some to appears bodies ordinary by delivered language Ordinary one? other the character refers to this as learning to listen to the cosmic murmur: cosmic the to listen to learning as this to refers character to.attention In paying worth it language,make and they gesture day work.recording,their By of every- structuring, content reproducing the and into tion-value audience.the for attention that stage them of attention,all actor’s and the them. maintain of tasks front these in of audience All moment,them,the the render to in to attempt they as even headphones through conversations audience.the In with connection live a establish to struggles him,he behind as screens multimedia the performances,onto past mapped balance.off In slightly forever them ing attention,focus keep- to which on tasks or points concrete with them provide can Copper and audi- the to propose to them do.want to I actors my want I what me,that’s around and to attention pay I that things of number the increase to want responds,being human a as “I that story a with it Elizabethan),frame and (parodied delivery theatrical with (recollection) acceptance.process of solitary rite a pair They communal a into process others,solitary with this Nature than fashions self Theater one’s with communicating about making.more performance be own can their recollection of Though assemblage the through process this enact whole,doubly a and into parts scattered and parate Kelly Copper.Kelly Peterby(Photo Nigrini) New and Art, Pavol York Liska by Downtown Directed City, 2007. dialogue. mundane with expressions exaggerated pairs and eyelashes false adopts Gridley Anne balance. off slightly forever them keeping attention, focus to which on tasks them feed can Copper and FigureIn10. If atten- their extend Copper Cage, and John Liska of writings the by influenced Significantly purpose,Liska and Pavol mission Oklahoma’s Nature of the Theater about asked When don’t hear yourself right now,right yourself hear don’t myself.hear don’t right? I And Weourselves.hear don’t — you could then hear the cosmic murmur...Becosmic HEAR! the to hear able then could you , they carefully structure the act of recollection, of assembling dis - recollection,assembling of of act Juliet the and structure ,Romeo carefully they NoDice, the performers wear earpieces so Liskaso wearearpieces performers the , the actors listen to prerecorded phone prerecorded Julietto and listen ,Romeo actors the , Zachary Oberzan must replicate his own his replicate must Solo,Oberzan Rambo Zachary we think we all know.all we think the performance so that Liska that so performance the throughout earpieces wear ers ment.In move- choreographed of strings complex replicate and remember must non-dancers of cast the performers.the In for craft Copper and Liska that tasks difficult intentionally through then and material source through first manifests ness productions,Theater’s aware- life.Nature everyday In into halls performance and rehearsal beyond extends that process a of stage another is awareness this attention.Liska,pay For to ence audi- the inviting that: exactly doing are awareness of light spot- the into it lift and ordinary 2006:51). Worksthe take that Benson (in living of way a ence Because you Because (pause) No Dice,Johanson’s No Robert No Dice,perform - No the Poetics, Nature Theater of Oklahoma 97

1, 1:29–32. 1, 28, 2:42–60. 28, . Polar Music. . Arrival 108:88–94. , ed. Studies The Reader: ed. Performance Second Edition, BOMB , Amber Reed writes, “No Dice’s cre- Amber Reed writes, No Dice, PAJ: A Journal of Performance and Art and A of Journal Performance PAJ: PAJ: A Journal of Performance and Art and A of Journal Performance PAJ: (8 December). http://nymag.com/arts/theater/reviews/55811/ (8 December). . Trans. Simon Pleasance and Fronza Woods. Dijon: Simon Pleasance Woods. and Fronza Trans. Aesthetics. Relational . London: Routledge. Experience. Theaters in Women’s the USA: Staging Feminist and things...things go unrecorded. (Nature Theater and of things...things (Nature Oklahoma go unrecorded. —

December).

conceivers, performers, and contributors, manifest and this contributors, centrality performers, through meaningful conceivers, aes- seattletimes.nwsource.com/html/thearts/2008822140_zart06nature.html seattletimes.nwsource.com/html/thearts/2008822140_zart06nature.html (1 November). Routledge. York: New 215–16. Henry Bial, Les presses du réel. 2007:28) In her introduction to the published script of We just talk, and just talk, We (11 solo.php (8 December). Replacing Kafka’s bureaucratic (and Theater unseen) of Nature Oklahoma with realized and In this short passage, Johanson speaks the word “hear” InsideIn five his this Johanson times. accompanying short speaks “hear” passage, the word which funny can accent, only be imagined with words on there the is page, a simple and genu- ine Communication reminder: is listen. happening all around you. References “Dancing Queen.” 1976. Anderson. and Björn Stig Ulvaeus, Benny, Andersson, Downtown.” “Working 2006. Sarah. Benson, “Theater Review: http:// Sandwiches and Nearly 2009. Four Hours Misha. of Chatting.” Berson, In VII: Performance “Part Processes.” 2007. Henry. Bial, [1998] 2002. Nicolas. Bourriaud, Mabou Mines.” Work: We “How 1976. Lee. Breuer, ators seem to understand to and their sil- hamstrings the centrality of such things as joy, co-directors, and These delight creators, liness, to any serious appraisal (2007:iii). of life” co- By thetic tracking structure. their own pleasure throughout foregrounding a - accep process, utilizing source tance, material that requires them to listen before treating they their speak, source material and with refiguring Theater compassion, the utopia Nature ofcollaboration, crafts performance environments that combine serious life appraisals with irreverent aesthet- They and structure creating experiential transmitting, possibilities by for staging, ics. audiences, spaces for fun without erecting Though boundaries they of eschew irony the or uto- disrespect. pian image of collaboration in their daily they working resurrect relationships, Kafka’s utopian exercise of absolute inclusion. Theater of Nature Oklahoma devises landscapes of fun through their York’s New modest work, they substitute coke bottles and Figuratively, “theater that accepting has a place for everyone.” M&Ms for welcoming trumpeting their angels, audience with unintimidating objects as they Not only sketch do their process they offer of attention meaningful attitudes to the everyday. of acceptance with which to approach and view they the do world, so with a light and aestheti- and sincere They enthusiastic, delivery combine with passionate, obstacles cally unusual touch. exacting these staging) props, that tools With and supply (accents, tinges their of the ridiculous. they own develop sensibilities, the fun on the and most accessible edges of the cosmic murmur, devise their own supremely enjoyable aesthetics at the margins. Canning, Charlotte. 1996. 1996. Charlotte. Canning, www.nytheatre.com/nytheatre/showpage.php?t=ramb8065 “Rambo Solo.” 2009. David Ian. Lee, Theater of “Nature Oklahoma.” 2009. Jean. Young Lee, Copper, Kelly. 2008. Phone interview with author, 24 April. 24 Phone interview 2008. with author, Kelly. Copper, 3 March. Email correspondence 2010. with author, Kelly. Copper, http://gothamist.com/2009/03/29/opinionist_rambo_ “Opinionist: Rambo Solo.” 2009. John. Del Signore, “Rambo Redux.” 2009. Dan. Kois, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00025 by guest on 28September 2021

98 Rachel Anderson-Rabern Oktheater.2009b. “About.” Oktheater.2009a. Blogway.Off-Off Oklahoma).”(Nature 2009.of Copper Theater Kelly for Questions “9 http://ooblogway Oklahoma.Nature of 2009.Theater Oklahoma.Nature of 2008.Theater Nature Oklahoma.of Theater 2007. Mattessich,Paul W.,R.Murray-Close,Barbara Marta Monsey.and 2008.[2001] Collaboration: MakesWhat Villagevoice.2007. Oklahoma.”“Nature of Theater Stasio,Marilyn. 2009. Solo.”“Rambo Schechner,Richard. 1973. Savran,David.1988. [1986] Reed, Amber.2007. “Introduction.”In Oktheater.2009c. “We’reMoney.”the in .blogspot.com/2009/03/9-questions-for-kelly-copper-nature.html(6 April). Press.State 53rd CA: It Work. award/best-break-out-theater-company-493829 (15 November 2009). award/best-break-out-theater-company-493829November (15 December). (7 categoryid=33&cs=1 Group. Press. State Canyon,53rd CA: Saint Paul: Fieldstone Paul: Alliance. Saint ed. 2nd Oktheater.org.www.oktheater.org March). (1 Environmental Theatre.New York:Books. Hawthorn Oktheater.org. Breaking the Rules: the Breaking The WoosterGroup.New York: Communications Theatre No Dice. No TranscribedCopper.Kelly by arranged and Canyon,Modjeska . Modjeska Canyon, CA: 53rd State Press.Solo.State Canyon,Rambo 53rd Modjeska CA: Julietand .Romeo manuscript. Unpublished Variety.www.variety.com/review/VE1117939914.html? , transcribed and arranged by Kelly Copper,Kelly by arranged Dice,and No transcribed i–iii. Modjeska Oktheater.org.www.oktheater.org/videomoney.htm (6 April). http://oktheater.org/info.htm(6 April). Villagevoice.com.www.villagevoice.com/bestof/2007/