#TheoryProject

[ppaz-ndola]

SMAG members for Mukolwe and Mutaba pose for a photo with their certificates after successfully completing a theory training in tailoring and designing.

[patternbreaking]

hello! i am very interested in the reading list on the transformative power of defensive violence, if you still want to share. also i like your pinned post writing a lot :)

Yes, meant to post it at some point anyway, thanks for reminding me to do that - (and thank you, it always means a lot to hear that that bit of writing resonates with someone.)

Here's what I've got so far -

And the Last Shall Be First: On the (Im)possibility of Revenge

"...what happens when revenge is aimed in the direction of revolt? In the direction of insurrection? What happens when revenge is itself not a complete project, or a bad infinity, but a break, an opening onto something else, be it terrifying or wonderful or both?”

Towards a Gender-Disobedient & Anti-Colonial Redistribution of Violence

"The redistribution of violence is a practical demand when we are dying alone and without any kind of reparation, be it from the state or from organized society. The redistribution of violence is a social justice project in a full state of emergency, and it should be performed by those for whom peace has never been an option."

"The basic premise of this proposal is that violence is socially distributed, there being nothing anomalous about the way it intervenes in society. It is all part of a world-making project, of a policy of termination and normalization, guided by racist, sexist, classist, and cis-supremacist principles of differentiation, among others. To redistribute violence within this context is a confrontational gesture, but also one of self-care. It has nothing to do with declaring war. It is, rather, a matter of sharpening the blade so as to better inhabit a war was declared behind our backs, a war which is structural for the supposed peace of this world, and which is waged against us."

Dangerous Spaces: violent resistance, self-defense, & insurrectional struggle against gender

Thirty-One Theses: A Manifesto (Toward an Anarcha-Transfeminist, Youth Liberationist, Anti-Racist, Anti-Rapist Prison Abolitionism)

The reading list is still very short and still feels like an incomplete sketch of these concepts and their interconnections. I'm gradually adding to it (I'll update this post as I do), and I hope to be able to include some of my own thoughts soon.

I hope the readings make it clear that this way of thinking about violence isn't a call for people to go out and commit indiscriminate violence against anyone who's ever hurt them, and that it challenges rather than endorses the notion that experiencing trauma preemptively justifies all acts taken in the name of that trauma. Really, what I'm after here is an understanding of the use of violence that takes into account context, direction, and power, and whether it perpetuates or interrupts oppression.

A few more relevant readings on anti-carceral feminism:

Against Innocence

Of Complaints and Apologies: Feminist Theses Against Carceralism

Intimate Authoritarianism: The Ideology of Abuse

[amys-secondyearwork-blog]

Group (A)wesome, 17/10/12

[keiichironakajima]

Theory Project x Otona MUSE Starring #Rinka Photography @keiichironakajima make-up @kouta_ny hair #shingoshibata #theory #theoryproject #theoryprojectbylucasossendrijver #otonamuse #rinka #セオリー　#梨花 #オトナミューズ #セオリープロジェクト #photography #tokyo #keiichrionakajima (at Tokyo 東京, Japan) https://www.instagram.com/p/CibX89zreyT/?igshid=NGJjMDIxMWI=

[keiichironakajima]

Theory Project x Otona MUSE Starring #Rinka Photography @keiichironakajima @signo_inc make-up @kouta_ny @glassloft_ hair #shingoshibata @eightpeace_management #theory #theoryproject #theoryprojectbylucasossendrijver #otonamuse #rinka #セオリー　#梨花 #オトナミューズ #セオリープロジェクト (at Tokyo,japan) https://www.instagram.com/p/CiaImiiruWe/?igshid=NGJjMDIxMWI=

[ppaz-ndola]

Maggie aprons sewn by the Mukolwe team. This is a tool used to disseminate information in the community.

[amys-secondyearwork-blog]

Royal Shakespeare Company hierachy and things

Artistic Director - Gregory Doran Executive Director - Catherine Mallyon Director of Finance and Administration - Andrew Parker

Associates

Gregory Doran (I'll from here on in be calling him Greg, for ease) works closely with the directors, writers, actors and designers to work out the artistic policy and programming. Basically, Greg talks to them and makes sure everything's running smoothly, I think.

Steering Committee and Steering Group

I saw this and just froze because I had no idea what they are, so a few minutes of research later: They support the Executive Directors and develop and implement the strategy plan. The steering group meets more often and manages the day-to-day activities and discuss any issues.

Company

The actors, permanant and temporary members of staff, and freelancers.

Board and Governers

They work closely with the RSC senior management team in leading and steering the company. Board members are drawn from a wider group of Governors. Governors act as advocates on our behalf and come from a wide range of backgrounds. They meet at least once a year at the Company's AGM, chaired by the President.

Patrons and President

The Prince of Wales is their President, and the Queen of England is their Patron.

Their roles actually sound more professional than ours! But here's the comparison (I'm only putting the titles down because the descriptions are in the folder/the bible)

Artistic Director, Stage Managers, Educational Director, Health and Safety, Marketing, Financing, Technical Directors, Set and Props Design, Costume, Hair and Makeup, Front of House.

[amys-secondyearwork-blog]

Health and Safety: Beckiee has researched and written up the procedure necessary for what to do if a member of the audience falls ill or gets injured.

Marketing: Mark has started on the educational pack that is going to be sent to the schools, but still needs to check it with Zach.

Lighting and Sound Tech: Caroline and Martin have made up some ideas for lighting and sound and have cued their scripts, but they can't make any definite plans until they've seen the venue.

Set and Props: Katie and Becca have made a props list, jotted down ideas for the set, and have started making the designs for the flats.

Hair, Makeup and Costume: Jordan has started on some costume ideas and created  sketches for some, but can't start on the hair and makeup designs until we've discussed and decided them as a group.

Financing: Will has asked Sara about the funding, and this should hopefully be getting sorted Monday.

Artistic Director: Catherine has less to do than even me and Charlie, but she's completed her research on what her job actually entails, and has researched Multiple Sclerosis to help with Becca's character.

Educational Director: Zach's started some work on the educational pack as well, but needs to check it with Mark. He has also researched Motorneuron Disease, which could possibly be the ideal disability for his character.

[amys-secondyearwork-blog]

- Finance: Gets money, and decides what should be done with it.

- Health and Safety: Makes sure people won't die if they watch/perform in the show. 

- Technical Director: Makes sure the lighting and sounds will work, are safe, and know how big the set is. Research funding: Martin was researching in the lesson, and his first draft for pricing is £325.90, which isn't too bad

- Educational Director: Makes sure the show is suitable, create an educational pack, and supervise the workshops.

- Costume: Makes sure the costumes are appropriate for each character.

- Hair and Makeup: Makes sure the characters' appearances fit their roles, and that any character changes are swift and slick.

- Marketing: Deals with... Marketing. And the educational pack. And creating a logo.

- Artistic Director: She basically sits there, making sure everything's going smoothly via me and Charlie, and organises everyone else's work so it looks suitable.

- Set and Props: Makes sure the set and props fit the genre, know the measurements of the stage and how the lighting will affect the appearance, and delegates the movement of sets.

- Front of House: Makes sure the audience is comfortable, and knows how many people are in the building.

We were also all given tasks to complete; Charlie and I are in charge of creating a rehearsal schedule. That'll be put up soon, as will the Tiddles project, Ghost Walk project, and the terror that is UCAS. May the odds distinctions be ever in my favour.