Not a Doctor Yet

Hello, all.

Having taken my break, I’m back in the game today.  I hit the ground running with some Brockett and Hildy (as any good Drama comps taker should) and proceeded onto some reading about rituals and the origin of Drama (problematic theory, blah blah, many details that most of the population will never care about but since I’ve decided to devote my life to bettering myself by way of the mind I need to know at least for the moment).

Over the course of the past week, I’ve been asked by many of my friends if I’m “a doctor yet”.  Let me clear this one up: NO.  I’m SO not a Doctor yet.  I’m WAY far out from being a Doctor still.  In fact, despite the fact that I’m about a half to a third of the way through the process by way of time (two years in to what should be a 4-7 year process), I’ve probably only done about a fourth of the work.

So the next thing they ask is “well what happens now?”

Here’s what happens now: I spend the summer studying for my exams.  What this means in practice is cramming into my already-full mind every single detail about theatre history, actor training, the history of scenic design, theatre technologies, famous actors, playwrights, and important plays that I can possible manage.  I will be held accountable for all of this information in the fall when I take my comprehensive exams.

At Tufts Dance and Drama, comprehensive exams (or “comps” for those of us fondly acquainted with them) consist of basically a week-long process.  Two days of in-house test-taking, then a weekend take-home.  It’s an essay-based procedure which essentially examines the student’s ability to craft arguments out of the vast amount of theatre history described above.

It’s extremely stressful.

After comps (non-denominational-deity-willing that I pass them), I then proceed to my orals.  This consists of two lengthy lectures which I will give on topics of my choosing within certain parameters set by the department (parameters mostly relating to the breadth of topics and how similar they can be) to a panel of professors whom I assemble.

Once I do this, provided I appease the savage gods of academia, I will take a month off.

My Coffee Table today: a still life

My Coffee Table today: a still life

Once I return from my month off, I will write a proposal for my dissertation.  This will be reviewed by my diss advisor and likely rejected several times with suggestions for revision before it is accepted.

Once this is accepted, I start writing.

I write for a good year (if not two or three) then come back with a book-length manuscript.  That golden dissertation.

Then I defend it.

Then I get a pat on the shoulder from the department, provided I’ve once again done well and appeased the savage academic gods, and then (oh then) you can call me “Doctor”.

Each of the steps on this road is huge, important, and extremely stressful.  I appreciate the support and love of my friends and compatriots, and will require it in spades as I continue down my path to enlightenment and letters after my name.  Every achievement is a hard-fought battle and will leave scars.  Just because I may appear to have a cavalier attitude about it does not mean that it’s not a big deal (don’t let me fool you).

So: I thank you for your congratulations.  I appreciate the excitement and I understand how confusing this process must be for someone completely outside of it (heck, it confuses me sometimes and I’m the one doing it).  But no, I’m not a Doctor yet.  And every small status change (Done coursework!  ABD! Doctoral Candidate rather than Doctoral Student!) is HUGE.

Blood, sweat, and tears.  A whole lot of sleepless nights.

I do love my job, but there’s a long way to go.

Here’s to another two to five years!

Crossing a Finish Line

Alright folks,

I can tell you now, officially, with all certainty, that it’s over.

I’ve completed all coursework for my PhD.

I wish I could say that this momentous occasion feels as wonderful as it sounds, but truthfully I’m just exhausted.  I find that, without fail, the moment I stop running everything catches up with me.  All the stress, emotional turmoil, mental fatigue, physical challenges, everything I’ve been running from since mid-semester just slams right into me and belly-flops me into the ground.

It doesn’t help that coursework is widely regarded as the easiest portion of the PhD.  Which is not to say that it was easy.  If you’ve followed this blog for any length of time, you can attest to just a fraction of the politically-correct things I have to say about coursework.  Somehow, all that build-up of blood, sweat, and tears only makes this next step even more daunting.

So it does and doesn’t feel like an accomplishment to have survived this long.

I’m loving my couch hard core right now and I don’t have many deep thoughts to think.  I lieu of those, have a watch of the films that we made last weekend!

(The second film is a making-of documentary with a twist available here on Malarkey’s website.)

Happy summer, everyone!

Say Goodbye to Hollywood

Over the weekend, I had the good fortune to work on Malarkey Films’ entry into Boston’s 48 hour film festival.  Without giving too much away, I can tell you this: our movie was an action movie fairy tale, there was a copious amount of violence in it, and I played a rapier-wielding fairy princess.

I believe I’ve previously expressed the oddness of returning to acting.  I had well and truly

working out a sequence with the fight director

working out a sequence with the fight director

thought that the portion of my life as a performer was over indefinitely and was slowly coming to the realization that that may be okay.  For that, over the course of this year I’ve been hard at work as an actor, combatant, and general theatre-maker.

And I must admit that it’s been much more fun than I could have hoped.  Being back in the theatre is extremely nurturing to my work and my little artist’s heart is lifted every time I get the chance to work on a project.

This project in particular was a challenge on several levels: first off physically.  It’s been a few years since I’ve done any serious fight work (and this was serious fight work).  We were on location shooting for nine hours, the bulk of that entailed either learning or performing choreography.  Despite it being May, New England hasn’t quite gotten the “it’s Spring!” memo yet so the last few hours of our day turned much colder than what was truly optimal given the costuming I was wearing (though admittedly I was one of the more covered-up ladies in the entourage).  Eventually, mental and physical fatigue just won over and to have that happen right when the weather started turning towards “not so comfortable anymore” was extremely disruptive to my groove.

Since this was a film, we were also shooting the story in not-necessarily-chronological pieces.  Which meant that one of the last shots we got was one of the first shots in the film.  Which meant that, despite being tired and cold, we had to muster the energy to be glowingly happy.  It also means that I have a sneaking suspicion that my hair is going to look all kinds of strange in the opening scenes since they were shot after I had spent the day rolling around in forest foliage fighting for my life.

performing part of our badassery; the dress was surprisingly easy to fight in

performing part of our badassery; the dress was surprisingly easy to fight in

…hilarity also ensued when a grappling sequence meant that the DP, sound guy, and my fight partner were stuck picking leaves out of my hair for a good three minutes before and after every take of this phrase of our fight.

Another specific challenge with a film is the speed with which it requires committing dialogue to memory.  In this instance, the writer was also the fight director and so was on set for the entirety of the shoot and gave us leave to adjust as necessary (with the exception of the one line which we were required to include as part of the parameters of the film festival…which of course happened to be my line).  Short term memory is a funny and amazing thing and mine was well exercised over the course of Saturday.  For that, it’s strange for a Shakespearean like myself to feel comfortable with adjusting dialogue to suit my own needs.  The vast majority of my experience treats the text as doctrine: changing it is sacrosanct.  Film, however, is a medium entirely different from stage and this was just one of the things that I had to accept and move on.

The finished product should be available on Malarkey’s website by week’s end.  I have to say, I’m extremely excited to be seeing it on the big screen tomorrow.  If nothing else, it was a welcome break from finals-writing.

For those keeping track, my last paper of coursework is due tomorrow.  During the afternoon, I’ll be at Tufts speaking at the Graduate Research Symposium in the 2PM time slot if you happen to be around and want to hear about my work for ten minutes.

…just keep swimming.

School’s out for Summer

Yesterday, I attended the last class of my PhD.

This isn’t to be confused with completing coursework (which won’t happen until my papers are all firmly nestled into the appropriate inboxes, a momentous occasion which will occur next Wednesday) and, really, knowing me I won’t be satisfied until the grades all pop up on my transcript affirming, beyond any shadow of a doubt, that this is (in fact) real.

The class was a five-hour lecture wrapping up my ancient theatre course.  This particular lecture covered Sturm und Drang, Weimar Classicism, and Romanticism.  It also included a “presentation” I had prepped on Goethe’s relationship with Shakespeare (I put “presentation” in quotation marks because it wasn’t a “talk at the class for x amount of time” kinda deal but rather a “do a lot of reading and act as a pop-up video as we discuss the course reading” sort of thing).  This class wasn’t a small deal at all.

But I survived.  The class ended with the professor making a few profound remarks about

Yup.  It's me.  Slaying zombie Shakespeare.  Because I roll that way.

Yup. It’s me. Slaying zombie Shakespeare. Because I roll that way.

how far we had come and it took all my self-restraint not to stand up in my chair and yet “AMEN TO THAT!”  For me, she wasn’t just talking about her course (though certainly we had come a long way there), but rather the progression of my graduate career at Tufts.  Two academic years ago, I was sitting in a room, terrified, and waiting for someone to stand up, point at me, and shout “you don’t belong here!” before systematically evicting me from the premises never to return again.  That feeling of being a fraud, not worthy of the opportunities allotted me in my career, has faded over time.  I’ve learned so many things these past two years; some quantifiable, some not.

Among the other things I’m proud of, here’s a reasonably superficial list in terms of its breadth and depth, but it should at least give you some idea of the way I’ve changed as a scholar since my wide-eyed arrival at Tufts University:

I’ve learned how to gain access to (and dig through) an archive.  I’ve learned how to cite the sources that I find there and use them in a paper that I may, someday, publish.

I’ve learned how to get on a plane to a city I’ve never been and be totally comfortable (if a little nervous the first time or two) spending two to four days networking my little Shakespearean heart out with people whom I have never met before, and may be Top Men in my field.

I’ve learned how to write better, how to read better, and how to think better.

I’ve learned about playwrights I’d never though I’d read, performances I’d never known existed, and theorists I’d never hoped to “meet”.

I’ve learned how to talk about my own work in a way that isn’t a snooze-fest (though this will depend upon the audience, of course.  Even I can’t make the deep technical aspects of some of my research appeal to everyone).

I’ve learned to read and translate German (…though this is a skill that I’ll be cultivating for some time).

I’ve learned that when in doubt, just look.  And when looking doesn’t help you, just ask.  There are always people there to turn to.

I’ve learned that it’s amazing what people will do/reveal when you ask them questions.  So many people are willing to be so generous with their time if you’re just nice to them.

Yesterday's theory board doodle

Yesterday’s theory board doodle

I’ve learned that reference librarians are veritable deities and should be worshiped as such.

I’ve learned that it’s not enough to think, you must do.  Touch the ground and your work will always have more depth and meaning.  This means it’s not enough just to think about theatre; go see theatre.  Make theatre.  Get your hands dirty.  If we forget why we fell in love with the field in the first place, there’s no way that we’re going to last in it (and there’s no way that we’re going to make our students love it).

I’ve learned that just because it’s obvious to you does not mean that it’s obvious to anyone else, or that it does not need to be said.  And, moreover, if you don’t say it, someone else will.  Jump on it, take credit for your ideas, and you’ll go much further than if you just simper and mull them to yourself.

…this list could continue ad infinitum but I’ve still got a paper to write.  I hope that your finals are treating you well, you’re seeing the light at the end of the tunnel, and that you can take some time today to remember why it is (precisely) that you do this.

…or you could just watch this:

Writing

A tip: if at first you don’t succeed, re-analyze your plan of attack and try again.

Over the weekend I tried desperately to get some work done on this one paper I’ve got looming.  I did get one draft pounded out, but try as I might I couldn’t seem to do any editing.  Every time I sat down to work, I realized that something else needed to get done: my desk needed to be cleaned, my floor needed vacuuming, I had other things I needed to write, I hadn’t answered x, y, or z e-mail, etc.

It took some serious oomph before I realized I had to resort to the old stand-by: print and red pen.

When I was in my Master’s, I didn’t do anything electronically.  Every single paper I wrote was something that I would (admittedly) preliminarily type, but then hand-edit.  Draft after draft after draft I would ink to my heart’s content and, after about six to ten drafts, I would have something worth turning in.

In recent years, I’ve tried to become a bit more “green” and conscious of precisely how many trees I was killing in the process of producing 60-80 finished pages of writing a semester (multiply by 8; the average number of drafts I go through; yikes).  Not to mention the money I was spending on ink and paper (which, believe me, wasn’t insignificant).  I developed some ability to edit at my keyboard and I’ve even produced full papers without printing more than three drafts.

But this one was simply eluding me.  It was taunting me on the screen and I was left with no recourse.

I printed, and went for a walk.

I find that, given the right environment and the right project, I can be much more productive away from my desk than at it.  This only works for papers in draft form as, before they are

mid-way through my draft; a still-life.

mid-way through my draft; a still-life.

coherent, I have to reference the piles and piles of books from the book fort I’ve built on the floor next to aforementioned desk.  But once I do have something I’m playing with, once the words are on the page, often times the only way I can advance past this is to go to a coffee shop and not let myself come home until I’m done drafting.

It does two things: first it removes any possibility of distraction (especially if I’m a good good girl and turn my phone off for the duration of my writing session), and secondly it gives me the impetus to work faster.  If I want to go home in any reasonable length of time, well then I had better get to business hadn’t I?  Often, there are artificial limitations on this: how long can I sit without a break for the necessities (food, nose-powdering, etc.), but if I work diligently, I can crank out a draft of a 20-page paper within the two to three hour time window that my attention span and biology usually allot for.

So that’s just what I did yesterday.  I took my draft, I took my red pen, and I bought myself a giant iced coffee and went to town.

Luckily, it was a random daytime during a Monday so there weren’t many people there to talk around me (something I can’t abide while I’m working).  I also happen to know a great place that doesn’t play obnoxious music (another thing I really can’t work through).

Done!  I can go home now, right?

Done! I can go home now, right?

Writing, actually writing, the old fashioned way with a pen, is very romantic.  Whenever I do so at a coffee shop, I can’t help but imagine myself into some antiquated notion of academia where we all wear tweed suits and use monocles.  There’s something nostalgic about it; an act that connects you to your forefathers.  Everyone I’ve ever read wrote this way (and certainly those I most admire wrote this way); pen in hand, caffeine source nearby.  I guess unless you’re Kerouac in which case I’m not sure I’d want to write the way you wrote…

Anyway, my ploy worked!  This paper is in great shape, all of my projects are under control, and despite any misgivings I may have about walking away from my desk at the end of today (because I know there’s more work to do, I just can’t do more work right now), I can comfort myself with the fact that everything is where it should be and nothing is getting left out in the cold.

…Unless I’m forgetting something huge.  Which is always a possibility.

Finals und kein Ende

This morning: I had a conversation with Hamlet on twitter about Goethe while reading snippets from Wilhelm Meisters Lehrjahre about a character performing Hamlet.

This sprang from my new favorite quote from Goethe “Away with your fat Hamlets!”

…what I was really doing was preparing a handout for an in-class presentation/facilitation/thingie I have to give on Thursday (one of the two big semester projects still on my docket).

Over the course of preparing this handout, I also discovered that the snippets of Macbeth I had chosen as an object lesson in early German Shakespeare translations for my class were perhaps not entirely what I had previously thought.  When one of my sources discussed the Schlegel translation of Macbeth pretty heavily, I assumed this may be a good example of how the Germans during this time period weren’t quite getting the language as we English-speakers expect to receive it.  I pulled a snippet from Macbeth’s “whence is this knocking?” speech from the 1764 Wieland translation, then same from what I thought was part of the 1801 Schlegel translation (highly regarded as the best rendition of Shakespeare into German from the time).  I re-translated them to English as best I can (because, despite any pretentions to the contrary, graduate students don’t actually know everything), and set them prominently on my handout.

…only to find out that the textual history of the Schlegel is WAY more complicated than I

Finals has done this to me.  That's will riding a horse my grandfather carved while waiting to be sent home during WWII

Finals has done this to me. That’s Will riding a horse my grandfather carved while waiting to be sent home during WWII

had thought (hey, at least I discovered this BEFORE my presentation on Thursday).  Not to bore you with details, but it’s actually a rather cool thing since Schlegel winds up collaborating with Tieck but despite this his translation of the complete works remains unfinished until Tieck’s daughter takes it up.  So apparently what I have is a kind of proto-feminist text that my inner English geek could analyze up the wazoo but, since I’m in a theatre department, should probably refrain from doing so.

Anyway, once this is done then I have a paper to write (that I’m nowhere near as prepared for as usual but thankfully have more time than I thought I would have so… it may just balance in the end).  Then, on May eighth, I turn in that last stack of pages, breathe a sigh of relief, and take a few days to a week off before I start studying for my comps like a mad person.

And at some point in the near future, it’s going to hit me that to complete this semester’s projects I had to do research in a language that I didn’t know a single word of before last June and, moreover, I’ve been routinely walking around with a bagful of books in three different languages (none of the pig Latin)…  Not to brag, but you’ve got to admit that that’s pretty cool.

On that note, I think I’ll put down the Goethe and turn to Molière for a bit.  Because apparently I like pain.

Gird yourselves.  Finals are here.

Feelings, Nothing More than Feelings

Here’s something that folks don’t normally talk about: studying art can be extremely emotionally draining.

Investing one’s full self into anything is draining.  If you have a career which you are passionate about, you will go through phases of utter and complete investment (of course followed by “down time” to recover yourself in order to push for the next accomplishment… it’s inevitable; we can’t give 150% of ourselves at every single moment).

When your career is centered around dealing closely with bodies of artwork that you, personally, find meaningful, it means that every reading or encounter with that artwork has the potential to move you.  I’m not saying it will; simply that it might.  And when you are dealing with art on a daily basis from a critical perspective, there are some things you must read at certain times.  You can’t avoid it.

But, being a human being, you have a personal life outside of your work.  And sometimes your work and your personal life clash in an unpleasant way.  This is particularly upsetting when you may be going through an emotional crisis.  In his book Will and Me (a great read, by the way, for anyone who has a remote interest in Shakespeare geekery), Dominic Dromgoole admits that certain plays of Shakespeare tend to find him when he is emotionally available to them (he specifically mentions reading Hamlet after the death of his father).  This kind of personal connection to the work brings new revelation both about the piece in question and about one’s self.  Really, I can think of no better guide to the human spirit than my man Will.

Every time I have encountered a play of Shakespeare’s in this way, I have been absolutely

a shot I took of working in the hotel lobby while at CDC... sometimes you gotta do what you gotta do

a shot I took of working in the hotel lobby while at CDC… sometimes you gotta do what you gotta do

astounded at how accurately his characters behave in circumstances similar to mine.  I have continually wondered at how one man could encapsulate such a great spectrum of the human emotional experience (as, by the way, have countless other scholars – this is one of the arguments that the heated authorship debate is based in).  Whomever Will was, I can assure you that he knew things about living; he knew people, he knew pain, he knew heartache, he knew love, and he knew desire.

So how is it, then, that we are able to compose ourselves through whatever it is we’re dealing with and focus past it into the work that’s presented itself to us?  Certainly a degree of critical distance is helpful – if you can view the text before you as text rather than an emotional journey, it will help you to detach.  If you can focus on the minutiae of what’s going on rather than give a general reading, it can assist in this; when you’re looking at the mechanical functionings of something, it’s much more difficult to become attached to an artistic whole.

Put your theory glasses on.  Try and put the piece in context and then pull it out of context.  Deconstruct the art; really break it down into nuts and bolts.  Again, if you’re looking at pieces, it’s harder to become emotionally involved with it.

If you really can’t see past the big stuff, take a moment, walk away, deal with what you need to deal with (I find that journaling is generally good for this), then come back.  When you come back, make it business.  Change out of your pajamas if you have to (yes, I know, the cardinal sin of academia: working in real-people-pants while in your own home).  I find it’s a lot more difficult to invest emotionally while wearing pants.

Remember this: at the end of the day, this is your job.  You may love it, you may be devoted to it, it may overflow into many other aspects of your life, but it’s what pays the bills.  Show me an engineer that weeps over robots on a daily basis, think about how ridiculous that is, then remind yourself that getting caught up in your work (while very easy to do) is equally ridiculous.  It’s not sustainable, healthy, or good for you in any way.

….This does not, by the by, mean that I will be able to restrain myself from weeping every time I reach the end of King Lear.  It does, however, mean that I’ll at least acknowledge the ridiculousness, allow myself to be human, and eat more ice cream when I’m working on Lear.

Learning to Float

While I won’t be a real professor for some time yet, I have been a teacher many times in my life.

When I was in my undergrad, I worked as a swim instructor/lifeguard.  My father was a lifeguard.  My grandfather (though not his father) was a lifeguard.  It just seemed like the thing to do.  Despite this, and the fact that I am a strong swimmer, before getting my WSI (Water Safety Instructor certification) I had never been a technically proficient swimmer.  I wasn’t ever on a swim team, I only took the most basic of swimming classes as a kid, most of my swimming experience came from growing up in a lakeside community and spending summers paddling around the rafts there.  For a long time, I felt some innate guilt about this.  Who was I to charge for swimming lessons when I clearly wasn’t any kind of expert?

Then I got to doing it for a while.  I taught mommy and me classes, I taught kids, I taught adults who had never learned before.  I wasn’t coaching Olympic athletes, I was teaching people to float.  And to teach people to float, you don’t need to be an expert; you just need to be proficient and have an interest in seeing people get better.  If you’re a great teacher, you’ll have an interest in getting better yourself.

When I was getting my Master’s, I worked as a ballroom dance instructor.  Despite many

Dancing at the studio while studying for my instructor certification

Dancing at the studio while studying for my instructor certification

years of on-again/off-again dance training of different varieties and an innate ability to move gracefully, I wasn’t a technically proficient dancer (at least when I started instructor training).  Even after my time in ballroom boot camp, I certainly didn’t know everything there was to know about ballroom.  But I knew more than any normal person has any right to know.  And even as I was teaching, I was learning more and more.  I got better.

One day, my co-instructor expressed the same guilt I had felt at the 92nd St. Y so many years ago: she wasn’t a true expert.  She felt like a fraud telling people she was because she knew there were things she didn’t know yet.

I shared with her my philosophy: you don’t need to be an Olympic swimmer to teach people to float; just like you don’t need to be a champion ballroom dancer to teach people the basic steps.

On Wednesday, I gave a lecture to the class I am TAing this semester.  The lecture was on Augusto Boal as a theatre-maker and, since I’m at Tufts, included a great deal of historical context.  While I do know something about this subject (and, obviously, more than the average person on the street), I would not call myself an expert upon it.  But I wasn’t teaching forward spot runs.  I was teaching the box step.

So often we graduate students feel the pressure to know everything.  We’re thrown into a world with a lot of intelligent people where asking clarifying questions can be viewed as a sign of weakness and a sign of weakness is an invitation for the wolves to attack your soft underbelly.  It’s vital for us to remember that we came to graduate school to learn.  More importantly, we came to graduate school to learn to think.  More often than not, I know the answer to a question because I know where to find that answer rather than know the answer off the top of my head.  Oh, sure, you need to know some things.  I’m not advocating for the complete abandonment of knowledge as an institution.  But I am saying that it may be time to lighten up on ourselves.  We go through enough stress without holding ourselves to some unrealistic expectation that we are omniscient.

So, if ever you feel the pressure to know, just remember: being able to explain the three unities and Aristotle’s seven aspects of drama is more than most normal people will be capable of.  Knowing who the Duke of Saxe-Meiningen is and why he is important is a unique skillset (being able to spell his name even more unique).  Your undergrads will always come up with questions you can’t answer, but the important part is that you know where to look to find the answer.

I’m Back!

Alright, here we go.

You may have noticed that I took a break last week.  This was inspired by the fact that it was, in fact, Spring Break for us Jumbos.

This is the problem with “breaks”: all they mean is that I don’t actually have to go onto campus.  Even though I didn’t have class, I was still working every day.  I was still struggling to unbury from the assortment of projects which managed to pile up on my desk.  I was still getting caught up on all of the work I had shoved to the side to get through Twelfth Night.

So, as a conceit to the fact that even I need to slow down now and again, I took a break from the blog.  I took a break from my diet and exercise regime.  I took a single day off.  And then hit the ground running.

And it worked!  I woke up this morning on top of my projects (as on top of them as I can possibly be at the moment), ready to hit the world hard, and on the whole refreshed and raring to go.

The rest of the semester is jam-packed with projects: I have a lecture to give this

Look!  Spring is really trying to happen!

Look closely! Spring is really trying to happen!

week, a conference next week, a paper to submit as soon as possible, my German exam the week after next, an in-class project/lecture thing the week after that, then a final paper due two weeks from then.  Basically it’s going to be a tough pace, but so long as I can maintain it I will be fine.  And the good news is that, right now, the only thing on my desk is work.  I have no outside projects to distract me from putting this semester to bed and, with it, the coursework for my PhD and all of my qualifying exams before my Comps!

…talk about a feat.  Let me take a moment so as not to hyperventilate.

Today I’m right back in the thick of the action with meetings, class, a library trip, and an evening to review my spoils.  I would normally say “bring it, semester!” but I don’t really want to encourage any monkey business.  Things are going to be difficult enough without antagonizing the gods of academia.  So instead, I will say this: I’m ready.  Let’s do this.  Gently, though.  I’d really like to keep my sanity intact as much as humanly possible.