Tag Archives: queen margaret university college

When Did I Stop Dreaming?

Years ago, I was in a class at Queen Margaret University College (now simply Queen Margaret University, and with a drama department that’s been gutted, compared to the years I spent at the now-closed Gateway Theater campus) called “Experimental Writing.” It was aimed more at those on our course who were focusing on theatrical disciplines that weren’t writing, so those of us who were on the writing track were asked to try and find something new to experiment with.

I chose illustrations. I’m not an artist, but every so often I find myself drawing strange little pen drawings, and in this case I wrote a short piece about dreaming then used Photoshop to put together a set of illustrated pages.

The story is called “When Did I Stop Dreaming,” and the images show off how much I am not an illustrator. But the class was about going out of your creative comfort zone. This was pretty far out of my comfort zone.

This slideshow requires JavaScript.

I read enough about science and the brain to know that we dream every night, multiple times a night, and that the question is less whether we’ve stopped dreaming than whether we remember what we’ve dreamt.

When I remember them, my dreams are incredible. They boil down the complications in my life to their most basic questions, then pose those questions in ways that illuminate choices that lead to improved mental health, improved environmental satisfaction, and seeing options I may have been clouding for myself, before. And yet, for at least four or five years, memories of dreams have been few and far between.

What I have far more regularly than dreams is trouble sleeping. Transitioning from the hectic pace of the city to the subdued peace of unconsciousness is difficult, and often takes me hours. It’s also a process that’s easily disrupted – by emotions, by interruptions, by thoughts.

Falling asleep takes discipline.

A couple months ago, a run of insomnia and a fluke neuron firing had me searching YouTube for sleep hypnosis videos.

I stumbled across a channel run by a woman named Jody Whitley, and decided to give one of her videos a shot – I don’t remember which one it was. Sleep hypnosis for pain. Sleep hypnosis for depression. For weight loss. For lucid dreaming. Something.

Lucid dreaming sounded really f*cking cool, and the other topics didn’t sound too bad, either.

Now, I’m not going to get into the efficacy of hypnosis because frankly I don’t know anything at all about it. And I don’t really care, because the videos I’ve listened to from the channel have put me to sleep every time.

More importantly, I’ve started remembering my dreams again.

Subscribe to Blog via Email

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

The Favorites: 9/12/2012 Edition

I mark a lot of things as “Favorites” on Twitter, hoping to get back to them and see them later. Here are some of the pieces that wound up being quite interesting:

http://write-shoot-cut.com/2012/09/01/short-film-38-kinetic-edinburgh-2012-walid-salhab/|
@Neil_Rolland made this clip available after it was screened at Write, Shoot, Cut in Edinburgh. A gorgeous panoramic in stop motion photography, by Walid Salhab, a lecture at my Alma Mater (now Queen Margaret University, they’ve dropped the College). A captivating series of images. No narrative structure, but as a test piece for a film Salhab hopes to make in the future, it certainly shows off the dreamy, atmospheric qualities of the shooting technique.

Edinburgh’s landmarks – Waverly Station, the castle, the Balmoral Hotel, Leith, and the breathtaking views down closes and campuses make one choke up a bit. Salhab’s sample footage combines familiar landmarks and different lighting states, with recognized events including the Hogsmanay fireworks and traffic running over Arthur’s Seat in the daylight, into a montage of Kinetic Edinburgh’s view of this exciting city.

 

http://www.huffingtonpost.com/2012/08/31/obama-clint-eastwood_n_1845457.html?utm_hp_ref=politics
The most retweeted joke of the Republican National Convention didn’t come from your run-of-the-mill tweeter – it was this graphic posted by the @BarackObama twitter feed in response to Clint Eastwood’s speech to an empty chair.

 

http://theferrymanswife.blogspot.com/2012/08/promo-prep.html?spref=tw
A fellow Queen Margaret student has recently released the above title, “The Ferryman’s Wife” (by Georgina Merry) via Kindle. Here’s her blog entry about the process of getting out word about the piece. Good for those looking at others’ experiences in self-publishing. The book itself looks like YA fiction with a supernatural slant.

 

And finally (because that’s enough interesting stuff to look at for one day’s entry), a great piece of information I snatched off Twitter the other day:

 

 

Thanks for reading.

De Facto De-Funding at Creative Scotland?

From Joyce McMillan’s blog:

“Creative Scotland have instead decided to withdraw their entire middle range of funding, known as flexible funding, which offered basic income security on a two or three year cycle to small- and medium- scale arts organisations with a strong creative record. The result is to throw some 49 Scottish arts organisations from a condition of modest security, into a condition of complete insecurity, in which they have to bargain from project to project for their continuing right to exist.”

It was when I read the names of some of the 49 companies now in jeopardy that I felt my mental jaw drop: Vanishing Point Theatre Company, Grid-Iron, and the CCA in Glasgow (their equivilent of New York City’s MoMA) were included on the list. For the record, Vanishing Point’s Lost Ones, which I reviewed seven years ago during the 2005 Edinburgh Fringe Festival, has stuck with me like few other productions over the years.

Why I’m Opening My Big Mouth

I lived in Edinburgh, Scotland, for four years, from 2003-2007. During that time, I attended Queen Margaret University College’s MFA program in Dramatic Writing; at the time, the theater department was run by Maggie Kinloch – who has since moved to RSAMD.

I dove headfirst into the arts scene. Edinburgh was where I started reviewing for The British Theatre Guide. It’s where my plays PLAYING IT COOL, STUCK UP A TREE, and MOUSEWINGS had their world premiers. I made numerous short films there, applied for and received funding for arts projects from my university, organized script development workshops and was an active member in the Traverse Theater’s Young Writer’s Group (I was lucky enough to have two plays workshopped as part of the program), plus traveled to INTERPLAY – EUROPE as one of their delegates. I’ve stayed in touch with many of you since leaving Edinburgh, and this this fall, my one-act play MILLENNIAL EX will be featured in a collection of short plays from around the world on the subject of marriage equality at a festival in Glasgow.

So I have something of an interest in what goes on within the Scottish theater scene, but rarely have the time to indulge that interest, and so was not aware of the current funding debate taking place until this morning. @MarkFisher was kind enough to point me towards information on the current debate, and that’s why I missed this morning’s sunshine and will now be spending the remainder of the afternoon inside as rain thunders down in Manhattan.

Theater Funding in Scotland vs. America – Where the Money Comes From

There are some things about arts funding in the UK, and in Scotland, which may be unfamiliar to some of my American readers. The main one, I think is:

In the UK, public funding bodies exist, geared toward distributing funding for (and thereby encouraging the development of) artistic forms of expression within a specific mission statement. They have the mission and responsibility to enrich citizens’ cultural lives and develop resources that showcase and develop both the country’s heritage and its future.

(My feeling is that in America, there is not a similar or analogous organization that answers to and is responsible for the funding of such a wide range of theaters and types of theatrical projects as is Creative Scotland. But that’s another discussion, and one I’m happy to have in the comments.)

These funding bodies and their missions, and the ways in which these obligations to fund are interpreted and fulfilled, are a point of contention between organization and practitioner. (Pardon the stealth edit as I try to make my point clearer.)

What the What?

Okay. Let’s say you have a theatre company in Scotland and want to apply for funding for this really fantastic idea you have. You go to Creative Scotland and fill out an application form. You pick the kind of funding that fits your project.

In the past, Creative Scotland had a category which funded on a project-only basis. Technically, these were grants that a theater company would receive, once per cycle (clarification stealth edit). They weren’t meant as funding that would keep the company running year round, but practically…

The Best-Laid Plans of Mice & Men…

…that doesn’t seem to be what happened. A number of companies, including, I would assume, those McMillan names in the above excerpt, have received grants from Creative Scotland to a degree where their project-to-project funding is sustaining their organization and where the loss of that funding puts those companies in jeopardy.

Meanwhile, it seems from the reading I’ve done this morning that Creative Scotland’s response is: we’re not defunding you, we’re just cancelling this form of funding. You shouldn’t have been depending on these funds in the first place.

Pardon the analogy, but to me that reads a bit like a drug dealer saying, “Well, it’s not withdrawal, because you weren’t supposed to get addicted to heroin in the first place.”

I’ll be interested to see how this situation develops.

For those who are interested, some additional reading
http://stramasharts.wordpress.com 
http://annebonnar.wordpress.com 
http://joycemcmillan.wordpress.com/2012/05/25/three-deadly-sins-of-creative-scotlands-bad-funding-review-column-25-5-12/