Artquetexture

Written and directed by

Harry Gamboa Jr.

Performed by:

Lorraine Ordaz

Diego Gamboa

Jesús "Chuy" Torres

Gronk

Maria Elena Gaitán

Paulina Sahagún

Fabiola Torres

Humberto Sandoval

Anthony C. Sandoval

Karla Gutiérrez

Gary Fresquez

Toni Garcia-Orozco

Juan Garza

Steven La Ponsie

LIGHTS:  

Fade in from black.

CHUY, KARLA, GARY, LINDA, FABIOLA, JUAN, and STEVEN are holding hands and drag their feet as they move slowly in a circle.  They are all silent and look downcast as though they have lost all hope in reality. MARIA ELENA walks over to stand in the center of the circle.

MARIA ELENA:

I believe in stucco because it gets stuck to everything I've ever known or loved to own.  Stucco makes the earth cave in when you least expect it. There's nothing I wouldn't do for stucco because I'm not stuck, I'm not stuck, I'm not stuck on you.  This isn't a poem nor is it an oath.  It is more like a prayer to the mud that makes us all who we are today.

Stucco isn't the name of a clown,
It isn't a river that drowns the innocent,
It isn't a sign of grace,
It isn't beautiful,
But it hides the ugliness,
It's the makeup you smear on to hide the true color
Of your skin,
That imperfect layer of identity,
That will fall to the floor,
When you discover,
That stucco makes the world,
A better place,
It's not your face,
That everyone wants to kiss,
It's the stucco,
That I remember most,
About our love,
It kept us from realizing the dream,
Of touching our souls with razor wire,
We were saved by the ignorance,
Of covering ourselves in stucco.

Everyone moves faster in a circle until it is forced to break apart.

EVERYONE:

Earthquake!

VIDEO CASSETTE #1: 

play (GRONK walks across bridge).

LINDA and JUAN initiate a violent tug-of-war.

AUDIO TAPE #1:  

TONI (V.O.):

There is tension that never gets attention because it is so common, so stupid and ridiculous.  We all do it at least once in our lives and some of us invest every second we have into getting nothing out of everything.  I have a solution. Let go.  Don't try to hang onto to what you have because every action causes inaction in someone else. That is called mutual addiction.

DIEGO and PAULINA join in on the tug-of-war.

TONI V.O.: (Cont'd)

Do we propel ourselves into an orbit that we cannot escape?  Maybe we repel everyone and everything around us until we are abandoned into a forgotten displacement.  It must be politics if the little that we give is stretched beyond recognition.  What's the force that pulls?  Isn't it relative to the force that pushes?  It would be best if you just avoided all contact.

GRONK attaches a leash to the center of the rope and pulls diagonally causing those at war to come together and pulls them offstage.

VIDEO CASSETTE#2:  

FABIOLA and CHUY cross overpass.

SLIDE PROJECTOR #1 (FRAME #1-5):  JUAN walking.

JUAN walks to center stage.

JUAN:

This isn't me. 

I refuse to accept any stereotype that doesn't take my personality into consideration. 

I love to argue, to cause trouble, to be a lover boy, I love to imagine that I'll win the lottery, I drink, I gamble, I have no excuses and don't care to have any, I'm the kind of guy that is the life of the party especially when I'm not invited. 

No this isn't me.  

I used to live in a small crawl space beneath the freeway overpass and I've heard and seen more than anyone should have to endure.  Most people are boring but many are very dangerous to look at. 

If you look at me, and this isn't me, I'd be anonymous in almost every situation you could think of but that's because you have no idea as to where I might be hiding.  I've found the perfect spot, rather, the blind spot of your imagination.  No one will ever find me in your memory.  

We haven't shared anything significant.  Maybe we've passed each other on the freeway or while walking along the sidewalk but you never noticed me because I wasn't there.  I vanish from sight before you can focus.  I blur your vision with no sense of wonder.  Don't take me for granted because I won't always be there for you.  I'll be gone when you really need me.  You won't be able to reach out and touch me because I'll walk away pretending that it is all a dream but I know that everything is real and unforgiving.  

It can't be true but that is because nothing is true except the fact that this isn't me.

PAULINA walks up to Juan.

PAULINA:

You're a fucking liar.  It's really you and I hate you for it.

JUAN falls to his hands and knees and follows PAULINA as she walks wildly shaking her head and wailing her arms.  They walk/crawl offstage.

VIDEO CASSETTE #3:  

ANTHONY, KARLA, DIEGO, and MARIA ELENA cross overpass.

SLIDE PROJECTOR #2 (FRAME 1-7):  

Images of drive-in theater screen.

GRONK walks on-stage.

GRONK:

Picture this. 

No movie. 

Nothing to look at.  

Nothing to talk about. 

Nothing to laugh at. 

Nothing to cry about. 

No one to cheer. 

No one to condemn.  

No one in a white hat to rescue the country from the natives.

No drama.  

No crime story. 

Just a blank wall communicating to a sea of blank expressions.  Eyes that see nothing are a blessing in disguise. 

I will now paint you a picture so that you can understand my point of view.

GRONK takes imaginary paintbrush and paints imaginary painting. KARLA, ANTHONY, MARIA ELENA, DIEGO, GARY, JUAN, PAULINA, CHUY, FABIOLA, and STEVEN all emit sounds of approval.

EVERYONE:

Ooooh. Aaaaah!

Upon completion of the imaginary painting GRONK covers his eyes and everyone follows his action and cover their own eyes.

GRONK:

It's a miracle.

EVERYONE:

It's a miracle, it's a miracle.  Milagro de arte.

VIDEO CASSETTE #4 :  

LORRAINE and HUMBERTO cross overpass.

PROJECTOR #2 (FRAMES #8-#12):

Images of satellite dish-antannae.

All performers go on-stage, each carrying a newspaper.  They all read simultaneously as though they are praying the Rosary.

AUDIO CASSETTE #2:

TONI (V.O.)

If it is possible to convince 7 million people to commit suicide each year then it must easier to brainwash only a few friends who have little or no value as human beings. 

I can't imagine that anyone who wants to be a leader deserves to be respected. 

Fear is the common denominator/dominator.  

Let's erase a few ideas such as cultural literacy, media frenzy, negative stereotypes, reruns, and subliminal messages.  Someone is trying to say something that we should already know but it is lost in the static interference.  Generic commentary is so soothing and keeps everyone happy. 

Shut up.  

Stand in line.  

Obey.

PROJECTOR # 2 (FRAMES #13-17):

Images of tall building.

STEVEN:

This is my house. I moved into it only a few days ago. It is untraditional in design and function but I like it because it has 500 bathrooms and plenty of closet space.  I live alone and never sleep in the same bed twice.  

I've heard rumors about my house. 

Some people say it was operated by a secret organization that would perform human experiments on unwilling subjects. 

All of the interior walls are red.  It is paint and not blood.  I like red because it reminds me of an old idea that lost its way and was stabbed in the back.

FABIOLA:

This is an eyesore.  I don't want look at horrifying landmarks that remind me of how poor I am.  I live on the streets where I'm subjected to abuse by the elements. 

When it rains I cry. 

At night I lose sleep. 

During the sunny days I become delirious with rage. 

This building reminds me of a castle but there isn't anyone left to storm its gates.  It isn't a fairy tale. 

People are paid large sums of money to destroy the environment.  I need a job but I wouldn't harm a blade of grass for a steady pay check.

DIEGO:

I put a bomb in that building and I'm just waiting for the right moment to make my demands known to the public.  It isn't any of your business. 

I want what I want when I want it and I want it now.  

Nuclear fission in the middle of the city is not much of a problem because I know how to trigger the device from a safe distance.  The only way to create a level playing field is by leveling it all completely.  Eliminate borders by eliminating everything that contextualizes straight, curved, or jagged lines.  

Create peace by making everyone quiet for eternity.  

This building will be transformed into pure energy.  

Quick, take of picture of this building before it is gone.

VIDEO CASSETTE #5:

PAULINA crosses overpass.

CHUY takes away newspapers from each of the performers as they each walk offstage.  He spreads them out on the floor to make a bed. All of the performers rush him.  They wrap him in newspaper and tape him to the floor until he is mummified.  His mouth and nose are left unobstructed.

PROJECTOR #2 (FRAMES #18-#22):  

Images of gray building.

KARLA:

I've spent the last six years of my life in this building.  I like it because no one ever comes over to visit me.  It was designed for isolation.  That isn't much of a consolation prize.  What I really want is a house with a white picket fence and a two-car garage. 

Sometimes I enter and find that I can't leave.  That has happened whenever I'm feeling bad.  The door shuts and suddenly there is no way out.  I don't understand how a physical structure can control my life.  I don't like to be restrained or incarcerated but sometimes going home means just that. 

I need to be free but I'd rather be in a coma so I wouldn't have to worry about paying the rent.

GARY:

I'm writing a manifesto but it is being written in body fluids.  I don't believe anyone will ever be able to read it because it is written in a genetic language that has not been utilized since the time our species first came into existence.  

The time will come when it will be universally recognized as a superior form of self-expression.  

For the time being it is considered a felony in most states.  I have so much to say but who will listen to the words I can't even pronounce?

ANTHONY:

When I was only a few days old I was left at the doorsteps of this house.  I was abandoned but I believed that everything was going to be all right.  But no one ever bothered to look outside and take a look at the baby that was crying his heart out.  

I was left alone until I hit puberty.  That's the day I jumped out of the basket and kicked the door down but no one was home.  Come to think of it, the place was empty.  No one had ever lived in there.  It was a bad joke on a helpless child.  I believe it was built to deceive the neighbors into thinking that the neighborhood was safe.  

I'm going to burn the place down on my next birthday.

LINDA:

I've had recurring dreams that I'm lost in a burning building during a violent earthquake.  I'm running through the hallways and can't tell if I'm putting myself into greater danger.  

I try to wake up but somehow the flames are so beautiful and colorful.  The warmth is incredible.  It begins to feel like home or like hell.  I've never seen much of a difference.  

I look down at my feet and see that I've caught on fire.  The flames crawl up me like a violent animal and soon I am engulfed by a bright glow that is neither flame nor illumination.  It is like a heavy weight of awareness.  It burns and the pain is fabulous. 

The building is shaking and the walls are cracking but I can see through the cracks and I recognize that others are suffering along with me.  I am not as alienated as I thought I'd like to be.  It is a comforting thought to know that others will face their doom before you do.  I stare and see that others are in greater pain.  It makes me feel better. 

Before long the flames cool down and the shaking stops. 

I can breathe again.  

I open my eyes and it is another glorious day.

With the exception of PAULINA, all of the performers fall to the floor unconscious.

PAULINA:

It's obviously a case of mass hysteria.  

Everyone wants to be the same as the next person.  Identity is worthless unless you are willing to build on it. Skeletons are an unsuitable support system in this day and age.  We need skin that doesn't feel anything.  

I've suggested to friends and colleagues that we purge ourselves of emotional attachments, that we denounce all cultural icons, that we remove ourselves from physical and social laws, that we go on about our business as though everything is good and normal despite our knowledge that it could all come to a screeching halt, that we refuse to participate in the carnage of daily life, that we commit ourselves to being nice and friendly to others even if it means to go against our instincts, that we divorce ourselves from anger and hatred because it will come back to haunt us. 

It's obviously a case of mass poisoning or maybe it's just nap time.

PAULINA falls to floor unconscious.

CHUY sets himself free.

CHUY:

Whenever I walk into a building I look for multiple optional exits.  You never know when you might have to escape.  

I'm never forced to stay but I've been asked to leave many times.  

I don't own any property.  

I've never lived in a place I can call my own.  

I'm not exactly dispossessed but I am pissed off. 

My keys don't fit any door at all.  

From now on I'll live the lie and join the rest in eternal harmony.

CHUY falls to the floor unconscious.

BLACKOUT

Performance premiere:

May 7, 1998
Ramo Auditorium
California Institute of Technology
Pasadena, California

Video sequences from RITE OF OVERPASS.

Artquetexture
All Rights Reserved
©1998
Harry Gamboa Jr.