“Ground yourself. Close your eyes and let the electric energy which fills the room course through your body.” I let these words permeate my being as I concentrated the flow of energy down my spine and through my extended toes. Simon Phillips, the education coordinator at Kelly-Strayhorn Theater (KST), spoke in a hushed tone as he led us through this initial movement exercise. Allowing myself to sneakily peer through a half opened eye, I quickly glanced around at the collection of serene faces encased in a staggered circle. It was an intimate, but affirming movement. In reflection, I now acknowledge this moment as the dedication of space to prepare for our subsequent exploration of artistic interconnectivity.
At the start of this week, we were asked to read bell hooks’ “Homeplace (a site of resistance)”. In this essay, hooks establishes the domestic home of black women as “the one site where one could freely confront the issues of humanization, where one could resist”(Hooks, 384). In solidarity with this identity of “home”, KST establishes themselves as site for “creative experimentation, community dialogue, and collective action rooted in the liberation of Black and queer people.” By moving past the ornamented façade and into the simple auditorium, we were given the opportunity to take part in a truly connective experience which unveiled why this space functions as East Liberty’s own “homeplace”.
Wandering beyond the sun-flooded entryway and into the cavernous theater, my hair began to stand on edge with anticipation. We were immediately confronted with a proscenium style stage, warmly lit by the scarlet spotlights which hung over head. The lush velvety seats offered a comforting place to rest as we digested our surroundings. After a brief history lesson, we moved in procession after Simon, and I listened as the “tap, tap, tapping” of our feet drowned out the silence as we emerged onto stage right. Huddled closely together, as if to not draw the attention of the non-existent audience, we ventured slowly across the stage.
“The Machine”, as we were told, is a theater exercise which requires each individual to partake in a unique action that can be adapted to create something whole. Conducive to the space we had now become a part of, we would be required to move and interact in ways that no previous site visit had implored us to before. As a collective, we would build upon the movement and sound created by the individual before us, become our own “cog in the machine”. As the pendulum swing of low hanging arms and the absurd cacophony of noises became more abundant, the tension in the room began to ease. We were caught center stage, entertaining an audience whose faces, although unseen, still enliven the space. As we worked to complete our machine, the energy that we had harnessed within ourselves at the start of the day began to flow between our outstretched fingertips, connecting as if through an invisible string.
Underneath the blinding spotlights, I strained to make out the blurry outline of the audience, let alone use my imagination to conjure up a person to fill each of the 299 seats which stood before me. We were asked to view the audience in terms of a 4th wall, actively incorporating those who assume the role of “watchers” into the scene as if they are a component of the action. Located in the business district of Pittsburgh East Liberty neighborhood, Kelly-Strayhorn holds a rich history of creative passion and community connectivity. KST prides itself as a place which fosters a continued celebration of the East Liberty artistic renaissance, bringing varied representation and opportunities to its patrons. Hence, the space is shaped equally by those in the community and those who take to the stage. Artistic resistance is incited within the act of the individual performer(s), but establishing a homeplace of resistance requires a unity between audience and performer. Glancing out over the eerily empty audience, I took comfort in knowing that this space becomes alive when people gather in support of such resistance.
Movement, and the level of emotional vulnerability and physical connectivity generated through it, can serve to draw upon a shared experience. Although we were only offered a glimpse into KST’s targeted use of motion through “The Machine,” it is apparent that the theater harnesses this power to foster a space which voices a new discourse on queer, Black art. We shared in the chance to become part of this story, using our own unique perspective on motion to generate part of an infectious energy which permeated the entirety of the space. Although we soon retreated to the dark cover of the stage wings, allowing the perspiration which had formed under the scorching heat of the spotlights to dry, a sense of togetherness continued to linger. The physical closeness we experienced had broken a barrier of intimacy, therefore binding us under the act of sharing a common experience. KST strives to establish this and much more, uplifting the voices of community members whose words have long been oppressed by the standard institutional structures. Whether it be by partaking in a practiced motion or by assuming the role of active bystander, within the homeplace of KST we all become a collective part of the action.
Works Cited:
“Pittsburgh, PA.” Kelly Strayhorn Theater, 4 Apr. 2023, https://kelly-strayhorn.org/.
Hooks , Bell. “Homeplace (A Site of Resistance) .” Libcom.org, June 2009, https://files.libcom.org/files/hooks-reading-1.pdf. Accessed Apr. 2023.