“Nothing is worth more than laughter. It is strength to laugh and to abandon oneself, to be light. Tragedy is the most ridiculous thing.”
We are working on my performance text ‘The 9 fridas’ and dealing constantly with Frida Kahlo’s defiance in the face of pain and adversity. One reason why I chose to make this text was a desire to reclaim Kahlo as a disability icon and inspiration, rather than the ‘tragic but brave’ mainstream representations of her in more recent years. Before we coined ‘crip culture’ she was living it… I adore her for her refusal to be constrained by what could be viewed at the time as the limitations of her gender and impairment – for the fact she created extraordinary art the likes of which had not been seen before – for her laughter, her anger, her attitude in her paintings – what Andre Breton called ‘the pretty ribbon tied around the bomb.’
“My painting carries with it the message of pain.”
Frida Kahlo journals.
As someone who also experiences chronic pain, I am drawn to her paintings and the depictions of pain. Sometimes her work dwells, perhaps even relishes, her experience of pain – her face on a wounded deer, the tears and hammered-in nails of The Broken Column, both echoing the martyrdom of St Sebastian. It is something I have addressed in the production of ‘The Fridas’ – this paradox between her laughing at tragedy (as Kahlo acknowledges in the top quotation), and presenting her broken body as tragic.
As a Mexican, death would have been a constant companion and not taboo, nor as feared as it is in so many other cultures. In the script I use references to the ancient Mayan belief system which Kahlo quoted in diaries and letters: the sense all has spirit – even the rocks and cacti and hummingbirds – and that death is a natural state we return to after living. As someone who escaped death many times in her life through accident and disease, and who survived an excessive amount of serious operations, ‘le pelona’ – the bald one/Death – ‘dances around my bed at night.’ This is another aspect which I feel has much resonance for disabled people – the body interfered with, the reality of our corporeal state, the closeness of mortality and the joie de vivre that can arise from this awareness.
Our designer Yy Lim and costume designer YS Lee are having the time of their lives working on this Mobius Strip production for the Taipei art festival. In my previous post I reproduced some of the looks YS has created for our figures who are and are not Kahlo, and props appear daily in the rehearsal room, creating delight or pathos.
This extraordinary corset created by YS, exactly reproducing one of Kahlo’s plaster corsets silenced us this week.
To love so fully, to create such masterly art work despite constant pain and managing her impairments, and to truly live until the moment she died… that’s why I call Frida Kahlo a disability icon.
Kaite O'Reilly's blog has been reposted with kind permission of the writer.
Chevela Vargas, seated taiquiquan, and stinky tofu: second week rehearsals of The 9 Fridas in Taipei
Chevela Vargas haunts me. Her smoky, broken voice is the soundtrack to my dreams and the first thing I become conscious of when I wake.
The raspy passion of her songs play in my head all day and then loop and replay in my mind all night. Torch singer, lesbian icon, rumoured lover of Frida Kahlo, her voice is part of the audio for the Taiwanese production of my script ‘The 9 Fridas’.
The photo of her sexy and supine, her hand casually resting on the breast of a laughing Frida Kahlo is circulating our company like contraband.
We are in the second week of rehearsals with Mobius Strip Theatre Company, working on my performance text for the Taipei art festival. Inspired by the disabled Mexican artist Frida Kahlo, we are an integrated company of disabled and non-disabled practitioners, joyfully collaborating and sharing new skills.
Our director Phillip Zarrilli uses Asian martial arts in the training for his psychophysical approach to actor-training and it has been fascinating observing one of our actors, Chih-Chung Cheng, adapt kalaripayyattu and taiquiquan. Phillip is always very keen we adapt the martial art to the foibles and idiosyncrasies of our individual bodies, and was intrigued to encounter his long-term practice of taiquiquan in a new position – seated on the rehearsal floor, with Chung.
Taipei is lively, friendly, and so much fun. I was invited by the British Council and Taipei art festival to give a writing workshop and a public lecture: ‘Representations of Impairment in the Western Theatrical Canon’. This has been an area of my research for some time, developed partly during my on-going fellowship at Freie Universitat’s International Research Centre: Interweaving Performance Cultures.
In the dinner hour between the events I and my spontaneous girl gang – a group of fabulous creative Taiwanese women – headed for stinky tofu at a street cafe and the auspicious temple for match-making nearby.
The script is becoming more familiar to the actors, who are interrogating the content, asking questions, seeking clarity. It’s a hugely exciting time as the text begins to breathe and take shape. As a playwright, I am constantly editing and tightening the text as the different scenes start coming into focus.
What may work on the page can trip, divert, or slow when put ‘up’ – the dynamics of individual moments, as well as sequences and the flow of the whole piece needs to be taken into consideration. Tempo-rhythm, dynamic and flow is of great importance to me, especially at this point in the process.
Makeshift props are beginning to appear in the rehearsal room and costume designer YS Lee is making some fabulous reproduction accessories from Kahlo’s paintings.
One is his version of the necklace of a dead hummingbird from Kahlo’s self-portrait ‘A Necklace of Thorns’, used to great effect in the publicity for the production.
I can’t wait to see the costumes, including a leather corset he is making, based on one Frida Kahlo wore.
Kaite O'Reilly's blog has been reposted with kind permission of the writer.
We are in the first days of rehearsals with Mobius Strip Theatre Company in Taipei, Taiwan.
‘The 9 Fridas’ is a performance text with multiple protagonists who are and yet are not the Mexican artist Frida Kahlo. In the script I’ve taken moments from her extraordinary life and reframed and reinvented them, in contemporary contexts. Using cross-gender, cross-impairment casting, we are creating a mosaic of voices and experiences which, when combined, suggest the whole.
The self-portraits of Frida Kahlo are naturally playing a large part of the visual ensemble work. From the first day of rehearsal director Phillip Zarrilli gets the actors to embody and inhabit some of her paintings. Although they are taking on – with precision – the physical positions of the portraits, they are not ‘being’ Frida – they are creating their own version, working from behind the eyes.
Each morning begins with an hour of pre-performative psychophysical training led by Phillip, to prepare and awaken the bodymind through Asian martial/meditation arts – Chinese taiquiquan, Indian yoga, and the martial art from Kerala, kalarippayattu. Apart from making us all more flexible and fit, this warm-up is building an ensemble dynamic, and heightening the actors’ awareness of each other in the space.
For me as the playwright, this time is one of testing the script, fielding questions, and making revisions. I’ve decided to rewrite one of the scenes representing Frida Kahlo’s political activity so it has even more resonance for the contemporary Taiwanese audience.
Frida Kahlo was immensely political – and was last seen in public participating in a demonstration only days (or hours, according to some sources) before her death. We have been working with this last photograph of her out in the rain in her wheelchair, dark head wrapped in a shawl, a placard with Picasso’s Dove of Peace in one hand, the other fist raised in a defiant salute.
On March 18th 2014, hundreds of students occupied the “Legislative Yuan”, Taiwan’s parliament, to protest against the Cross-Strait Service Trade Agreement. Their action was in protest against perceived undemocratic procedures pushing through this trade agreement between China and Taiwan without fully informing the Taiwanese people what it would entail.
Many feared this would make Taiwan too dependant on China economically, isolating Taiwan from other allies, and therefore vulnerable to political pressure from Beijing. This quickly spread across the city, and soon thousands of citizens gathered on the streets outside the parliament, to support the students inside.
On March 30th, twelve days into their occupation, students organized a demonstration that saw more than 500,000 Taiwanese citizens taking to the streets in support of their non-violent cause. The support was across Taiwan and internationally, with demonstrations occurring in many cities across the world. This became known as The Sunflower Movement – a sign of hope.
With this support, the government had to listen and respond and the action ended officially on April 10th.
I had been following the protest from the UK, aided by translations of news reports and a very active social media, provided by Betty, the translator of the play (Yi-Chun Chen). When I arrived in Taipei last week, I looked for people to interview who had been involved in the occupation – and didn’t have to look very far. In fact, I didn’t have to leave the rehearsal room.
Cast members as well as our excellent stage management Knife Liao and Kuo Yi Chi had been deeply involved. This week’s lunch hours have been spent with them and Po-Ting Chen telling me their experiences and how significant the protest has been in opening up discussions and politicising the younger generation. Knife Liao and Kuo Yi Chin have also shared political stickers and the photographs they took inside the Legislative Yuan during the occupation.
This production doesn’t allow me to go into the protest with any real or meaningful depth – to do so would undermine the main story we are telling – but our conversations about democracy, correct political procedures and Taiwan’s independence have been thought-provoking.
I doubt that I will be able to do justice to the protest and the actions of my company members – but I hope the introduction of resonant phrases and references may bring an additional layer of meaning to our Taipei audience.