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Theatre of Affect and Burning Man a Dissertation

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Theatre of Affect and Burning Man a Dissertation UNIVERSITY OF CALIFORNIA, SAN DIEGO Performing Black Rock City: Theatre of Affect and Burning Man A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Drama and Theatre by Heather Lee Ramey Committee in charge: University of California, San Diego Professor Marianne McDonald, Chair Professor Richard S. Cohen Professor Nadine George-Graves Professor Emily Roxworthy University of California, Irvine Professor Stephen Barker Professor Anthony Kubiak 2014 © Heather Lee Ramey, 2014 All rights reserved. The Dissertation of Heather Lee Ramey is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2014 iii EPIGRAPH And now, I, the amazing Mumford, will pull a rabbit out of this hat. First, I wave my magic wand and say the magic words. Ah la peanut butter sandwiches!... Nothing. This trick never works. The Amazing Mumford, Sesame Street The heart of a place is the home, in the heart of the home is the fire pit, the hearth. All tentative explorations go outward from there, and it is back to the fireside that elders return. Gary Snyder, Practice of the Wild iv TABLE OF CONTENTS Signature Page…………………………………………………………………. iii Epigraph……………………………………………………………………….. iv Table of Contents……………………………………………………………… v List of Figures..……………………………………………………………….. vi Acknowledgments ……………………………………………………………. vii Vita …………………………………………………………….……………… xi Abstract………………………………………………………………………... xii The Burn Event Nutshell Photo Essay………………………………………… 1 Introduction: The Commons and the Production of Culture..…………………. 15 Chapter 1: Welcome Home: Performing the American National Project at Burning Man……………………………...………………………..................... 32 Chapter 2: Hot Theatre: Fire and Catharsis at Burning Man.…….……………. 90 Chapter 3: Mutating Black Rock City: Documentation, Simulation, and Cultivation. ……………………………………………………………………. 125 Chapter 4: Ah La Peanut Butter Sandwiches! or the Psychonautics of a Theatre Artist at Burning Man..………………………………………………………… 161 Glossary………………………………………………………………………... 201 Bibliography…………………………………………………………………… 210 v LIST OF FIGURES Figure Photo Essay.1: Photo: Amanda 8000 feet above Black Rock City. Photo by Thom van Os.*………………………………………………………... 1 Figure Photo Essay.2: Scooter arrives in Black Rock City. Photo by Heather “Scout” Ramey………………………………………………………….………. 3 Figure Photo Essay.3: Art Map from What Where When Guide 2010.*………... 5 Figure Photo Essay.4: Photo: Splinter sets up camp Photo by Heather “Scout” Ramey.*…………………………………………………………………………. 6 Figure Photo Essay.5: Photo: Scout Dust Gear Selfie. Photo by Heather “Scout” Ramey.*…………………………………………………………………. 8 Figure Photo Essay.6: Photo: The Man Burn 2011. Photo by Heather “Scout” Ramey.*…………………………………………………………………………... 10 Figure Photo Essay.7: Photo: The Temple Burn 2009. Photo by Heather “Scout” Ramey.*…………………………………………………………………………… 12 Figure 1.1: Photo: The Gypsy Wagon by Beany Calloway. Photo by Scott Williams.*..……………………………………………………………………...... 60 Figure 1.2: Photo: Wonder Wagon by Tom Bates and Gretchen Roosevelt. Photo by Heather “Scout” Ramey.*………………………………………………. 68 Figure 1.3: Excerpted from the book: "Burning Man Live: 13 years of Piss Clear, Black Rock City’s alternative newspaper” edited by Adrian Roberts. (Roberts)… 78 Figure 1.4: Excerpted from the book: "Burning Man Live: 13 years of Piss Clear, Black Rock City’s alternative newspaper” edited by Adrian Roberts. (Roberts).... 79 *All images published with permissions from the Burning Man Project and Black Rock City LLC. vi ACKNOWLEDGEMENTS My heartfelt thanks to the entire faculty of the Drama and Theatre joint doctoral program at UC San Diego and UC Irvine for admitting me into this excellent program, and to the professors who directly guided me through the process of coursework with generosity: Drs. Stephen Barker, Jim Carmody, Jorge Huerta (Emeritus), Nadine George-Graves, Anthony Kubiak, Marianne McDonald, Ian Munro, John Rouse, and Emily Roxworthy. I am also grateful to have encountered the works and guidance of the remaining faculty members of the joint doctoral program: Ketu Katrak, Daphne Lei, Bryan Reynolds, Janet Smarr, and Frank B. Wilderson, III. All of these scholar- professors have shaped my thinking, my scholarship, and my overall life in different ways and through the process I have grown in directions I could not have expected. I also want to thank the UC San Diego Theatre & Dance staff and faculty from other disciplines without whom I would not have made it through this process. In particular, I want to thank Eva Barnes, Allyson Green, Tara Knight, and Robert Castro each of whom took time to discuss my ideas and encourage me in my work and journey through graduate school. Thanks go to staff members Mark Maltby for his constant support, and to Marybeth Ward for her love and the many conversations about my work and the process of dealing with the ups and downs of graduate school. My thanks also go to the Theatre Forum team for publishing my article “Framing Metropolis: Performing Theatre of Affect at the Burning Man Project, 2010” and specifically to Jim Carmody, and Ted and Adele Shank for their thoughts and stewardship. I also want to give special thanks to Gabor Tompa for his lengthy and interesting discussions and for including me on his production team for Tonight We Improvise. My deepest thanks to vii Kyle Donnelly and Gregory Wallace for the incredible gifts they have given me as a practitioner, and for taking so much of their precious time and energy to guide me through the often difficult process of navigating the spaces between practice and scholarship. I cannot begin to describe the depth of my gratitude and love for their unprecedented kindnesses and for including me in their work. Lastly, I would never have written this dissertation without the gentle and continuous encouragement of Jim Carmody our department chair. Our conversations and his faith in me have helped me believe in myself as I forge this practitioner-scholar pathway and for that I am forever grateful. I am indebted to my dissertation committee: Stephen Barker, Richard S. Cohen, Nadine George-Graves, Anthony Kubiak, and Emily Roxworthy for their inspiring and frank conversations about my work, and to my chair Marianne McDonald for steadfastly guiding me through this often arduous and challenging process with patience, grace, and fortitude. She nudged me at the right times with just the right amount of push, and she consistently supported me with generosity, love, and joy throughout the entire process for which I am grateful. Also, I specifically want to thank Emily, Richard, and Marianne for their direct feedback and insightful conversations on different chapters, and Tony and Nadine for holding long discussions with me and sending me useful resources. This committee has been truly stellar and I am continually motivated and inspired by them. A special thanks to Julie Burelle and Lily Kelting for forming a writing group with me, for their useful and insightful feedback, and their friendships throughout our time in this program. Thanks also go my fellow grads and dear friends Jade Power Sotomayor and Jaye Austin Williams for the enlightening conversations that have viii shaped me and my work these six years. Many thanks to several of my other fellows: Patrice Amon, Laura Brueckner, Matthieu Chapman, Jason Dorwart, Sonia Fernandez, Rai Genna, Grace Jun, Melissa Minniefee, Naysan Mojgani, Kara Raphaeli, Joy (Li- Wen) Wang, and Aimee Zygmonski for their discussions and friendships. I am a better person for knowing all of you in one way or another. My gratitude to the Burning Man Project and its participants over the years for creating the magical, bizarre, and transformative Black Rock City. To all of the folks who have travelled with me into the experience that is Burning Man: Wonder Camp (my tenfold thanks), 8Pod (Dingo, Big D, Star, Nicole, Dina, Ellen, Miranda, LensCap), Devachan (Tabby, Mara, Steve, Cindy, Nigel, Margie, & Sadu Two Hat), Toodle Town (Parks, Rec, Sherf, & Scooter), and Whispering Bottles (Dog, Guggles, Walkness); my friend Jesse Gros, and to my mom and dad, my brother Dan, Lara, and Gabriel thank you with all my heart. Special thanks to my friend Michel Emkhe for gifting me my first ticket to Burning Man—a gift that has kept on giving. Both on and off the playa, my heart to Gabriel Troche for walking with me these six years; to Lily Kelting for her incredible friendship and brilliant mind; and to Walker Hare for making me laugh and lifting me up in the midst of chaos. My thanks to Richard Cohen for including me in his art team for At the Violet Hour, In the Goldhorn Shadow, and for his openness in conversations that have made me a better scholar and person. Thanks to John Halcyon Styn for taking the time to interview with me and for his kindnesses; to Lily, Walkness, Jesse, and Anonymous for sharing their stories in this dissertation; and to Lee Anna Mariglia at Media Mecca for her quick responsiveness during the image approval process and throughout my years working
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