 Good evening, everyone. Good evening, Mike. Hi, Mike. Hi, Mike. How is everyone? Well, with the generous companies, we'd like to touch base with an audience before things are done. We'd like to talk about other people who have completed the same thing, not having to do that much. We think theater projects are allowed to do it. We've created it for everyone in a few weeks but we haven't yet. We'll go as we go. Maybe not. But theater projects are on. Yes, come on in. Thank you very much for that. Our first act tonight will be reading of some new play that we'll talk about in a few minutes. Act two will be the older share which is a piece that the various companies are currently devising. Very much a sketch working in progress, with the two acts and with the mind-giving at the stage for a few minutes. Go up. Have a cocktail. Eat some gumbo. There's also a vegan curry chicken. We'd like to know if people want to break right back conversations. The cast can be out there, the company can be out there, and the artists can hang out. Come back in and try to see if we're only going to set an act. And we'll do the same thing for the third act and please turn off your cell phone in case an emergency came in that way, go out that way, this way, get a distraction. I would like to speak with the artistic director of the Board of Directors to talk about the next act. I'm David White and I'm the artistic director of the Board of Directors and the Board of Directors working with playwrights from across the United States to work with interdictory literary artists. We agreed together of course a nice fostered theater professional to work with, practitioners, psychologists, visual artists, basically saying that the playwrights staying involved in the theater is the director of the theater and that's what we're coming to our question. So the generous company began to embark upon this idea of a story connected with the neurobiological part of the book that came out last spring called The Age of Insight which is a copy of it with a lot of text that connects the idea of how it's hard for you to perceive art. When we look at it what is our investment in that work of art and what is art's offering in the process. The first thing about this is the publication of a career that goes all the way around in about seven years. So what happens if we open up this competition to a much bigger group in 1994 where we're working for the 86th play that developed about 75 years ago we wrote all of them and said what kind of this conversation are we going to participate 18 of our playwrights wrote back and said in one month said we will write a new play connected to a central idea in a little while So we're doing this for actual because in the meetings of all 18 playwrights we're working for about six nights we've sent each of these playwrights a one hour long episode Eric Candell posted a series on Charlie Roosevelt's version of the series so he's writing about one episode instead of writing a play of anything in that episode So that's what you're about to see here in this evening We have three pieces this evening Edge Protection by Caroline Dean McGraw Shadows and Canyon by Sarah Saltwick and a woman series by Hank Willis who is here in those three weeks we'll take a very brief break at that point and then we can start a conversation with Hank Willis who's in Northern Pennsylvania and Sarah Saltwick So we have questions that you can talk and ask those playwrights who will certainly be here So, all that I have to say so I will turn you over to the very capable hands of Charlie Roosevelt for the family and the work we've written out Thank you very much Good evening Caroline Dean McGraw's play includes Bachelors Balls Paul Ski Cool Boys who worked with her in 2011 She is a 2015 A73 playwright and a recent graduate of the Yale School of Drama She lives in New York A woman from the late 30s a big double chair surrounds her in this office her body wrapped in a big quilt less no shoes I thought, well, wouldn't my mother stop wearing her glasses in the house? She wasn't at church She wasn't on the music She wasn't doing anything She wore them to work She would see what they had written to read the items and which they had to read them Me and Howard graduated in the same year in 2016 The older the woman would try to put on her what she said as we get to talk about how she was holding her glasses My vision is that the last time the world stopped at spring which I was on I was on again and some of us over the years worked so wonderful Did someone else have a few words to say? I read it I told it, but I didn't know what it was There's so many things out of the series When it all gets to me, how many children she's worked for, grade 1 to 3 is one of the things to stay out of the years All the way is a playwriting and fiction mixture of the University of Texas in Austin and a graduate from Stanford College Recently, we're at that nation for the start of the letter we've seen on U.P. Austin's main stage While at Woodbridge she wrote and wrote about giant rabbits, both in societies and in the U.P. We are going to find us to the high of Woodbridge and they are going to playwrights, doesn't it? There's twice not many of the best new plays I often read Shadows, two short plays about visual perception and the brain by Serge Salt Shadows, peppers, carrots and bell They are going to be like chemistry in the U.P. They are! No shapes, no shadows No way! Yesterday I saw a man disappear He was homeless wearing clothes, hard work signs his life story had a few dollars in the jar leaning against the old refrigerated church all the time But when his life changed he was smiling He was smiling, he was smiling He was smiling, he was smiling He was smiling, he was smiling and as luck was something different I don't believe in luck anymore but he saw me seeing him and he was gone then after that belief I thought of what he was to imagine him and I couldn't turn my head I could still see the outline of him as I put the brick out the glow or something He'd sit in the player He'd be the anchor the worm will play in his eyes But let's turn on White, white sheets on the bed. Val is up into the bed, making Alice's hands full of grass. When it's good life, you're going to work it out in that stair. When it's yes, I can get it. Well, same time as you are pregnant with me, do you see what I mean? I will. Come out with the right things. Work with your eyes on where you're going. You pull off the edge of the shirt and something like that. Alice takes the edge of the sheet, pulls it over Val, but there's nothing but the white of the sheet. I can't see you anymore. I'm near here. Morning. The daughter is small, but thank you. It's one of the wonders of the world. People are coming here for thousands of years. It's going to come to $10,000. It's one of the few majestic things in the world. Why did anyone else do with the other? I'm not going to joke. No one painted it. It was made over millions of years. I can make a better canyon. A real canyon does not go flat. The mother takes the daughter off. Ah! Careful! If it's fake, it shouldn't be a problem. Right? Come again! You see how even it is? Miles and miles, like a mountain, it may work. Like it's grand! You're not looking. The girl watches the coin fall. Take some of the debt. We're so small. The tiger suit, we've read in the White Google New Works Festival in Seattle next week, is co-editing the anthology for No Fast Fourth Press, which is at the University of Spratly, and co-founded the blog We Listen, What Been Serious, by Hank Willowbrook, inspired by photographs of Francesco in 1958 to 1981. Some texts from quite a few frames, some aspects of the action of understanding the 15th century famous author. A wall with yellow, floral patterned walls. This should stand for a place. In my whole brand name, at one moment, I need you to know that once it will be in an abandoned attic, there should be no attempt to conceal some of it. The traditional furniture in it is used on and off. Francesco and his in-line act. I've been honest with him, it's not really a lot of the way engineers work on it. Oh, wow. Before we got to the end, Francesco had an act on her. Although he was just standing for an idea. Probably the most consumed art in the country, maybe without problems, maybe in the movies characters with the models. The Francesco is now modeled in the retelling of a myth, starting with the story of a man who did it. In the middle of the show, he had a dog, a dog, a sunny thing too. It doesn't have a scene in the dark, though. It won't be a nice scene. That was cute. Yeah, I got it. It's not very stimulating. No, it's boring. The group work is well-respected. It's a lot of music. He's such a spacey bitch with this high projector behind him. He puts it in a folder with the shines of life in the dark. The light is clear, unless indicated. He puts it on the wall. That's rights of these effects. As he writes the fears on the wall, note, these are this is worth and thought, but not this whole thing. Communication is an old topic in the history of art. But the most part of it is in the history of the artistic communication of a model. Nothing is here in terms of the communication of the rights of these in terms of the self-punition of movement and the furniture solution of another model. And when we observe a similar act in the form of another, you stand. You have some gear. You're wearing a red thing. You can't do the one thing. He breaks the whole thing. It slides back on the plate. It's a Francesco light on the plate. He sits facing this with a slide. He puts a control over the shines of life in the dark. The light is clear, unless indicated. It's down. And then again, in the far away world, and then some minute yelling and people are looking at it. It's the light off. The door appears in the wall. That's the wall through it. He sits on the floor back there. This says the right. As he writes, it appears behind Francesco as if he were someone. The majority of the Northern American people have found the as-if of that response to the slight movement of the other as-if of the formal execution of the self-punition of the self-punition. Really, this is still less than our majority in my life. What, for example, are the new-old babies of other communities with a non-goal crisis that have been dancing? Still, there's no sign of action. I understand you offer support for another. You offer dismissive use of what he described as the right to call. The sound of a kind word that sounds a slow-motion call. Francesco makes a call. He crouches on the floor. This is phone ringing. He doesn't answer. He sits at his table ringing, ringing, ringing, noticing. What are you? I'm a doctor. He's my doctor. Well, she's not a doctor. Don't cheer him up. I'm just saying that this time now is exactly the time to stop him. Seven. This is rude. Francesco and the wall look old. What does it require you to see? I can see. I can see you. It's not where you are. I'm sustained. Yeah, I was very in the diagnosis. You're not going to get that. I've done it ever. I can't see where you are. But I know, consistently, that this is a room and that my desk is a desk. That's how I know. Don't fright just five minutes. These rooms are on the floor. It's his room. Sometimes it's not about telling the truth. The truth just gets in the way. It's about the background. Something you don't see. You must be looking at the word the way the body looks at it at the wall. That's what matters. They were just trying to get you to look at that in the workplace. So all the while, what was really important was the pale state of it all. Vents, lips, and splits. Don't be mad at me. I'm a permanent man. You don't talk. No, I'm a student. I'm trying to say three. Are you from the 19th century? The art for art is safe and dead for a long time. And I'm starting to get the idea that your life is completely love. Or that you need to assume that you can't just cut off art. Art does not exist independently of life. It's life, okay? And not just that. I don't know if you want without something to put yourself in this. You're a fucking good assume player. Don't play and be anything but. It's laughing. Not shooting. By just the studio. It bounds off the stairs and it's hard to find it. It's there. She opens the door. It's more than just the studio in the entire state. It's stunning the way a work space is done. It's the art. You've seen other pictures you've taken inside of it. But what? I'm just going to find the record player. It's something like cotton, but it's not. But that glower on the track. It's an old train. It does this, this stand. It saggers about the room. Just to find the gear, fold the path. Then it falls into something. And I'll just hold it down. I'll just say sorry. I hope I didn't do that. One of the things you turn on with your head but you want to say it sometime. And if you say you didn't do that, this should have taken a while to learn. If you want to try to see what she hears or how she or what real and astonishing and surreal and motive and apocalyptic and unlike everything, it's like something you never thought of. That seems so important that you thought of it once and you didn't say that time in the movie. It seems something that could be part of a Francesco, but who were there like a sci-fi world that's coming out of this model? Or hey, it's cop. Or here's a doll. Francesco, what was it in the secondary? At the end of this long while, we put him down on my brain. He takes his game, and he hears people standing in the stairs, and he draws him by breath. That's the remaining on the floor. He takes his controller and puts it on. He asks for something. It's the ground. Off. On. What do you see? The ground. Off. On. What do you see? The ground. Off. On. Red? What do you see? The ground. One doesn't control. Just red. Red. Red. Red. Red color. Red. Red. Red. Red. Red. Red. Red. Red. Red. Red. Red. Red. Red. Red. Red. Get into the service all the time. One of the things that they're at is what you call the moment of bluehanks. But to protect those control assistants is...