Mondays, a bad case of
Oct. 18th, 2010 11:06 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
Well, not really. Just, second day of the Semester and I wonder if I'm going to make it.
I managed to create, without meaning to, a Sunday course schedule in which I have seminar called "Hysteria and Paranoia in the 19th century novel", followed by a course named "The Poetics of Trauma" and I finish off with "Between the Tragic and the Tragedy: A critical theory".
Totally unintentional I swear.
Hilarious, I know.
Once again, my past academic failings have come back to haunt me and I'm taking intro to Sociology and woe I am to read "The Communist Manifesto", again. And Emil Durkheim, again.
I do, however, have the same TA I had last year for Anthropology and that makes me happy as I really enjoyed his exercises.
Tomorrow should be more relaxed, still, an 8:30 class *headdesk*
I met up with
roga yesterday and today and I had really fun talking to her, I may sign up for Yuletide.
Speaking of fannishness!
Two creative women on my f-list,
rm who I have been reading for a while now and
mithrigil who I've started reading recently, are making a musical!
And we get to help them!
You can do so by going to the Kickstarter page of Dogboy and Justine, a new musical about life, love and head injuries.
I'm super excited about this project, because I love off-beat musical theatre and I have a yen for stories of marginalised bodies and sexualities, so when you have a show about dominatrices and nueroatypical brains and minds, this gets the thumbs up.
Not to mention that it's by two women about women.
It's awesome!
rm commented and added a few details about the project, FYI:
I managed to create, without meaning to, a Sunday course schedule in which I have seminar called "Hysteria and Paranoia in the 19th century novel", followed by a course named "The Poetics of Trauma" and I finish off with "Between the Tragic and the Tragedy: A critical theory".
Totally unintentional I swear.
Hilarious, I know.
Once again, my past academic failings have come back to haunt me and I'm taking intro to Sociology and woe I am to read "The Communist Manifesto", again. And Emil Durkheim, again.
I do, however, have the same TA I had last year for Anthropology and that makes me happy as I really enjoyed his exercises.
Tomorrow should be more relaxed, still, an 8:30 class *headdesk*
I met up with
![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
Speaking of fannishness!
Two creative women on my f-list,
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
And we get to help them!
You can do so by going to the Kickstarter page of Dogboy and Justine, a new musical about life, love and head injuries.
I'm super excited about this project, because I love off-beat musical theatre and I have a yen for stories of marginalised bodies and sexualities, so when you have a show about dominatrices and nueroatypical brains and minds, this gets the thumbs up.
Not to mention that it's by two women about women.
It's awesome!
![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
In case your readers are curious, the show is 5W, 3M in its current configuration. All the women except one may be cast as any age/race/ethnicity/size (the other has to fit with one of the male characters a certain way). I would also be happy to cast transwomen in any of the roles, and we are also open to women living with disabilities -- although some would fit with the nature of the characters better than others and would not be a plot point.
The 3M may also be cast any any race/ethnicity/size, although age is a specific factor in the casting for at least two of them. While we don't know if it will be possible, we're open to casting neurologically atypical character with a actor living with a relevant disability.
And we have a lesbian romance b-plot!
It's a really affirming show that totally isn't about equality, but because of its setting, lets us really try to provide opportunities for actors who aren't always easy to cast in mainstream theater. The catch? We're determined to make this relatively mainstream theater, without compromise, because we believe that people want to see people like themselves on stage.