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On the Exhale

ON THE EXHALE: Read, Watch, Do

Posted on: March 23rd, 2017 by Morgan Grambo

 

TO READ

Short Plays of Martín Zimmerman: Foreign Tongue & Coffee, Olive, and Everything Between

These two ten-minute plays by Martín Zimmerman manage to thoughtfully explore the themes of cultural and ethnic identity, sexuality, language, and loss in under twenty-two pages. The intimacy and vulnerability seen in On the Exhale is clearly visible in these two preceding plays dating back to 2008 and 2012. Succinct and volatile, these are perfect quick reads if you were hooked on Martín’s unique style. Read them here.

brownsville song (b-side for tray) By Kimber Lee

Kimber Lee’s triumphant play has brought the struggles of Brownsville, a neighborhood in east Brooklyn, to stages across the country. An area battling gun violence on a regular basis, the play explores a slightly different world of brutality than On the Exhale. Examining the aftermath of a community tragedy, the play begins when a teenager is accidentally shot and killed. Unlike On the Exhale, which Leigh Silverman states dives into “the moment before the grief”, Lee describes her play as distinctly about “the intimate and personal experience of grief and how it affects a family.”

"Stay Informed, Stay Engaged"

Check out our blog post On the Exhale: Stay Informed, Stay Engaged” for more ideas on how to stay up-to-date on legislation, take action to stop gun violence, and read more about this American epidemic.

 

TO WATCH

Living for 32

Five years before the tragedy that occurred in Newtown, Connecticut, thirty two people were killed in the deadliest shooting on school grounds in American history. Living for 32 details the experience of Colin Goddard, a unique survivor of the Virginia Tech massacre who was the only person to call 911 from within the barricaded University building. After an arduous recovery from his injuries, Colin went on to become a major advocate for the Brady Campaign to Prevent Gun Violence. While the woman at the center of On the Exhale fears a personal, vengeful assault, there is no doubt that she has this recent university attack fresh in her mind as she watches the image of her secluded office hallway in her strategically-placed mirror. Screenings of Living for 32 occur around the country, find them here.

 

TO DO

See Seven Spots on the Sun by Martín Zimmerman at Rattlestick Playwrights Theater

Wanting more from Martín Zimmerman? We recommend heading downtown to check out his newest play presented by Rattlestick Playwrights Theater in collaboration with The Sol Project.

“The village of San Isidro has been without its doctor for eighteen months. Moisés has remained a recluse, refusing to even look at a patient, since the day the army took his wife away during the country’s civil war. But when a mysterious plague begins to ravage the countryside around San Isidro, the local parish priest convinces Moisés to take action. And when Moisés examines his first patient, he discovers he has the miraculous power to heal this plague with the touch of his hand. But among the thousands of pilgrims who flock to San Isidro, Moisés is forced to confront his past, and the violence that tore San Isidro apart.” Previews begin April 26, 2017. Opening night May 10th and runs through June 4th. Buy tickets here!

 


On the Exhale is now playing at the Black Box Theatre at the Harold and Miriam Steinberg Center for Theatre. Visit our website for tickets and more information.


Related Categories:
2016-2017 Season, On the Exhale


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On The Exhale: Trauma and the Brain

Posted on: March 17th, 2017 by Roundabout

 

Trauma is the Greek word for “wound.” In ancient time it referred to a physical wound, but today trauma is also understood as an emotional wound.

Experiencing a traumatic event changes the chemistry of our body and brain. These changes can remain long after the event has ended.

There are two types of traumatic events. In an acute traumatic event, someone experiences a serious injury or the injury or death of another person, or the threat of death or serious injury. Violations of personal physical integrity, like rape or sexual assault, are also acute traumatic events. Chronic traumatic situations happen repeatedly over longer periods of time and include being exposed to domestic violence, living through a war, and some bullying.

The human brain is the most complex system known. It has three main parts.

  • The brainstem, the most primitive part of the brain, controls the basics like breathing, eating, sleeping, and survival instincts.
  • The limbic or midbrain processes emotions and controls how we perceive the world around us. The amygdala, which controls our sense of danger and safety and triggers the release of stress hormones, is part of the limbic brain.
  • The cortex, the frontal and outer parts of our brain, is sometimes called the rational or cognitive brain. It controls language, empathy, learning, organization, and inhibition of inappropriate behaviors.

Fight of flight.

During a traumatic event, the limbic brain takes in sensory information from the body and sends it in two directions, to both the amygdala and to the frontal lobes of the cortex. The amygdala receives the information sooner and makes a snap judgement as to whether or not a situation is dangerous. In a potentially dangerous situation, the amygdala tells the hypothalamus and brainstem to secrete stress hormones. These hormones prepare the body for fight or flight: bronchial tubes and pupils dilate, digestion slows, muscles contract, heart and respiration rates increase. If fight or flight is impossible, the brainstem will trigger a freeze or collapse response. Processes not necessary for survival shut down. The cortex, the thinking brain, is disconnected from the limbic brain and essentially turned off.

Because of this disconnect, the human brain struggles to consolidate memories and emotions into a coherent narrative after a traumatic situation, which is necessary for working through a trauma. The areas of the brain responsible for understanding time and place are bypassed, explaining the woman in On the Exhale’s inability to process what happened in her son’s classroom. Trauma is remembered as disconnected images and sensations.

In some cases individuals experience flashbacks of the trauma, or dissociate completely, unable to connect with either their emotions or their everyday life. The woman in On the Exhale seeks the rush of firing the gun, suggesting that she may be having a dissociating response.

Marin Ireland in ON THE EXHALE. Photo by Joan Marcus.

After trauma, the amygdala, which warns of danger, can go into overdrive and trigger release of stress hormones in non-threatening situations. This can cause emotional and psychological problems, as well as physical symptoms like high blood pressure and digestive issues. In recent years, scientists have shown that trauma symptoms lessen if treatment includes a somatic, or body-based, component. Movement and breathing exercises like yoga, or group rhythm activities like dance or choral singing, send information from the body back to brain, signaling safety and calm. Over time, these practices can help create new patterns and physical responses in individuals who have experienced trauma.

 

 


On the Exhale is now playing at the Black Box Theatre at the Harold and Miriam Steinberg Center for Theatre. Visit our website for tickets and more information.


Related Categories:
2016-2017 Season, Education @ Roundabout, On the Exhale, Roundabout Underground, Upstage


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Marin Ireland

Ted Sod: Where were you born and educated? Where did you get your training?
Marin Ireland: I was born in Camarillo, California, where the state mental hospital used to be. Now the mental hospital is closed and there’s a giant outlet mall. I was super shy as a kid, but my school, which was a progressive Southern California style elementary school, involved everyone in doing two plays a year, and when I started playing bigger parts in those, it was completely transformative for me. I ended up choosing to go to Idyllwild Arts Academy, an arts boarding school, for the last two years of high school, which was absolutely thrilling, a deeply joyful and rigorous experience. I chose to be part of the first class of the theatre division of The Hartt School at the University of Hartford. We were sharing teachers with Juilliard and Yale. We had a semester in England, a semester of new plays. Probably one of the most potent elements of that time was simply being on a bus ride to and from New York City. I saw so many incredible shows, bought so many rush tickets. I saw Julie Harris and Charles Durning in The Gin Game from the very last row of the balcony. It is etched in my brain forever! I did a ton of summer stock while I was in school, so I was lucky enough to have my Equity card by the time I graduated. I threw all my belongings in my little Honda Accord and drove around to all the theatres in the northeast. I'd call a theatre up, like a maniac, ask to speak to their casting person or associate artistic director and just say, "Hi, I'm an Equity actor! When can I audition for you?" And sometimes it worked. I went to the Equity open call for ART and got cast in Adam Rapp's first professional production, Nocturne. I had no lines, but that show moved to The New York Theatre Workshop, which is what led to me being cast in Caryl Churchill's Far Away. That show changed so much for me.

TS: Did you always know you wanted to be an actor?
MI: When I was younger, I thought I wanted to be a novelist because all I ever did was read books. I don’t remember ever making the decision to become an actor. Once I started, there was never anything else. I went after it with every cell in my body.

TS: I have to say your journey as a working actress is fascinating. I don’t think people realize how much energy and tenacity it takes.
MI: That’s the thing. The few times I've taught, I've tried to talk about how many times I failed, what it feels like getting bad reviews and being rejected. I feel like that’s important. I remember when I would watch interviews or go to talkbacks with actors and they would talk about their first big job and I was wondering, how did you even get a meeting with an agent? How did that happen? I didn’t have an agent until I got cast in Far Away, which was two years in, and I thought I was already a failure. It is a hard, hard road becoming a working actor, and there is no arrival point where the struggle goes away entirely.

Marin Ireland in ON THE EXHALE. Photo by Joan Marcus.

TS: Why did you choose to do this role in Martín Zimmerman’s On the Exhale? What do you think the play is about?
MI: When I did a reading of this play in February of 2016, the world was already in a dangerous place, and it’s even worse now. To be able to use my voice as an interpreter for something that is not only beautiful, but relevant to a broader political conversation — to feel useful in some way while also having the privilege to deliver these exquisite words — is a great honor. I feel enormously grateful. It's really unlike anything I've ever read. It's a new place for me as an artist in many ways: it's surprising and challenging and I love that. I gravitate towards big challenges for sure; I try to push myself to lean into the fear, to step into the unknown. Something that is new and surprising and also meaningful is the holy trifecta for me. It's sacred, special work.

TS: What kind of preparation or research do you have to do before rehearsals begin, in order to play this role?
MI: I usually try to research the writer as much as possible to try to get inside his or her brain. I usually read other plays they’ve written and try to talk to that writer a lot. Whatever ideas continue to come up as I work on a piece, I always get sparks from that, and that leads to more research. I have been looking at sleepy suburban college campus towns, places affected by gun violence, other specifics that I don't want to give away here. I’m thinking a lot about the fact that this play is written in second person — which speaks to the fact that Martín takes us inside my character’s mind. It is such a rare experience to read something in that voice. I’ve been thinking a lot about that grammatical choice and thinking about other things written in that voice and what that means. I try, at this particular phase, to let the text speak to me.

Marin Ireland in ON THE EXHALE.
Photo by Joan Marcus.

TS: What do you look for in a director when doing a one-person play?
MI: This is a very scary situation. It’s never been just me onstage, so I really was looking for a director who I already trusted. I knew I would be scared to death every day. I didn’t want to feel like I had to build trust with anyone new. Leigh Silverman and I worked together on The Beebo Brinker Chronicles — we did that twice — and then we worked together on In the Wake — which was a very challenging show in many ways. It was an incredible exercise in emotional, psychological, and intellectual stamina because I never left the stage for nearly three hours and I almost never shut up. I just kept talking and had to navigate these really immense intellectual arguments. Leigh is someone who can challenge me from the jump. We’ve been having conversations since she first read it. We are asking ourselves: How do we attack this? Where is this? Where is the drama in a one-person play like this? How do I dramatize it as an actor? These are questions we both have. Leigh will push me and catch me when I jump off cliffs, which will hopefully happen every day.

TS: How do you keep yourself inspired as an artist? What advice would you give young people who say they want to act?
MI: When I’m not working, those are the hardest times for me. I try to see a ton of theatre or film that makes me happy and that makes me want to act. I try to educate myself in terms of the work that is being done by my colleagues. I seek out people who are just starting, new writers who inspire me. I think of this job as devotional, in service of the writing, because the writing is bigger than me. I read a lot. My actor friends like Reed Birney, Jayne Houdyshell, and Deirdre O’Connell, who have been doing this longer than me, are the ones I look to, onstage and off, for support and inspiration. As far as advice to actors goes, I find myself telling people who want to be involved in this business that it is a long game. It’s a lifelong pursuit. While I have had some big-break moments, I haven’t had the one thing that has catapulted me into a place where you no longer have to worry about rejection or fear of failure. You will always have to deal with fear and rejection. It might be on a different level, but it always exists. The life of an actor is hard; success doesn’t happen overnight. The more I do it, the more vulnerable I feel. I hope that it's because that's what I'm striving for: more openness and clarity within the work. There is great value in vulnerability. I think that as artists, we have to push ourselves to explore that. We have to constantly ask ourselves, why am I doing this? That answer will change and evolve as the artist does. Ultimately, I do think about it as a life of service. Being in service to the writer’s ideas. And to the larger idea of connecting all of us together, cultivating empathy among strangers. We can change the world as artists, I do believe that. That is how we begin and how we continue.


On the Exhale is now playing at the Black Box Theatre at the Harold and Miriam Steinberg Center for Theatre. Visit our website for tickets and more information.


Related Categories:
2016-2017 Season, Education @ Roundabout, On the Exhale, Roundabout Underground, Upstage


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