Monthly Archives: June 2018

Why the Risk Theatre Modern Tragedy Competition?

Renowned local art critic Janis Lacouvee interviewed me last week. She noted that it was highly unusual for a private donor to approach a theatre company to inaugurate a playwright competition. She isn’t the only one who’s pointed this out. In the last two-and-a-half weeks (since the competition started), there’s been a whole tragic chorus of friends, family, and coworkers asking: “Why’d you do it?”

There’s three reasons. One: the idea of tragedy as a theatre of risk is so awesome that it had to be done. Two: in our increasingly complex world, we have a moral imperative to educate ourselves on the impact of low-probability, high-consequence risk events. The best way to open people’s eyes to the impact of risk is to dramatize risk, e.g. put it on the stage. Three: this project is my way of giving back to the community. Let’s talk about all three points. But before we jump in, I’d like to thank everyone for their efforts and encouragement along the way: Michelle Buck, Keith Digby, Michael Armstrong, Michael Routliffe, Silvia Boriani, the Langham Theatre Board of Directors, Dave Desjardins, and all the members of the local theatre community who kindly provided feedback. And, to all the intrepid playwrights who have submitted entries: thank you for making this project happen! Let’s turn now to the origin story of the Risk Theatre Modern Tragedy Competition.

Reason one: the idea of tragedy as a theatre of risk is so awesome that it had to be done

Lots has been said about tragedy. Aristotle said that tragedy had to do with a catharsis of pity and fear. Hegel said it dramatized the collision of equal and opposite moral forces. Nietzsche said that tragedy arises in the conflict between the conscious and the unconscious, the rational and the irrational. Those are all pretty good, if somewhat complex models. What no one has said, however, is that tragedy is the dramatization of a gambling act where the protagonist goes all-in. By going all-in, the protagonist takes on too much risk and triggers an unexpected low-probability, high-consequence event. Here’s three examples of risk theatre interpretations of famous plays–one from the ancient world, one from the English Renaissance, and one from modern times.

In Sophocles’ Oedipus rex, Oedipus bets that he can outwit the gods. He places his reputation as the one who had solved the Sphinx’ riddle on the line. The low-probability, high-consequence event happens when the Corinthian messenger unexpectedly arrives out of nowhere. Game over.

In Shakespeare’s Macbeth, Macbeth wagers the milk of human kindness for the crown. The low-probability, high-consequence event takes place when, contrary to every expectation, Birnam Wood comes to Dunsinane Hill. Game over.

In Miller’s Death of a Salesman, Loman, for a shot at the American dream, lays his dignity on the line. Against all odds, the low-probability, high-consequence event happens when he finds out that his insurance policy makes him worth more dead than alive. Game over.

In each case, notice that the dramatic moment begins with a wager. For every aspiration, a price must be paid. And so the protagonist antes up by laying down an all-too-human asset. By wagering the protagonist takes on risk. Too much risk. And what risk does is it amplifies the impact of low-probability, high-consequence events. And that’s exactly what we see: in each case an unforeseen low-probability, high-consequence event upsets the protagonist’s best-laid and most foolproof plans. In a word, that’s the core of risk theatre. It’s dead simple. It’s not hamartia or a tragic flaw. It’s chance. The thrill isn’t seeing some catharsis of pity and fear through pity and fear but rather, the thrill is like the thrill of watching a gamblers duke it out at the no limit tables: anticipation for what the hero will wager and apprehension over the impact of the low-probability, high-consequence event. And it’s not about the collision of ethical forces. It’s supramoral. It’s about risk and what happens when what you didn’t think would happen happens. Simple.

So there’s reason one: risk theatre needs to be done because it’s a simple, yet powerful idea of tragedy.

Reason two: in our increasingly complex world, we have a moral imperative to educate ourselves on the impact of low-probability, high-consequence risk events

Have you heard of Long-Term Capital Management? LTMC was a Greenwich based hedge fund which almost took down the global financial system in 1998. Sheer stupidity? No. They were run by no less than two Nobel prize winners. The best. But they did take on too much risk. Have you heard of the gene drive? It’s a way to supercharge evolution by forcing a genetic modification to spread through an entire population. In Riverside, California, scientists go through six sealed doors, including one with an airlock, to get to work: if any one of their gene driven mosquitoes gets into the wild, every mosquito in the world is at risk of losing the ability to fly. We are surrounded by technological risk. We are surrounded by manufactured risk. Before, local actions had local consequences. Today, local actions have global consequences. Because we live in an age of risk, we have a moral imperative to educate ourselves on the impact of the highly improbable. We need to ask the pertinent questions. Today, these questions are: what is risk? How do we contain it? What happens when our best-laid plans go the way of mice and men?

The impact of the highly improbable is what tragedy, in the risk theatre interpretation, explores.  What are the odds of Birnam Wood coming to Dunsinane Hill? And what are the odds of Macbeth encountering a man not of woman born? If you said a billion to one against, you’d be about right. And, in Oedipus rex, what are the odds of the Corinthian messenger being the same man who had brought the infant Oedipus to Corinth many years ago? And what are the odds that the shepherd who had entrusted the infant Oedipus to the messenger (instead of exposing him as had been ordered) is the same man who is the sole surviving witness of Oedipus killing his father at the crossroads? This too has to be a billion to one against. And what are the odds that at the end of Oedipus rex they’re all reunited one last time? I don’t even want to think about those odds!  And, in Salesman, what are the odds that Loman, at the worst possible moment, would come to the realization that he’s worth more dead than alive?  This is what I mean when I say tragedy explores the impact of the highly improbable.

In this age of risk, we need art to show us the way. And of the arts, tragedy is best suited to this task because it dramatizes how even the best-laid plans go awry–who, for example, would have known in O’Neill’s Mourning Becomes Electra that Lavinia would actually become her mom? She rails against her mom every step of the way!

The problem today is that tragedy is not very popular. Lay audiences find it too depressing. Modern audiences find it too elitist. Critics don’t even like it. Eagleton begins his 2002 study of tragedy point-blank by saying “Tragedy is an unfashionable subject these days.” Besides Macbeth, theatres aren’t really playing tragedies. Comedies and dramas are popular. And musicals are becoming more popular. For every hundred comedies, dramas, and musicals, theatres are playing one or two tragedies. And the same with playwriting programs. They’ll teach you how to write comedies and dramas, but not so much tragedy. But, more than ever, we need tragedy today. And that’s why we’re doing risk theatre.

Risk theatre is modern. It aligns the ancient art of tragedy with modern conceptions of chance and uncertainty. By dramatizing low-probability, high-consequence events, audiences are reminded not to bite off more than they can chew. And to keep some powder dry. You need dry powder always when you least expect. Today, these are timely, necessary, and powerful lessons. Humanity is operating on a scale it never has before. And this scale increases exponentially, not logarithmically.

So there’s reason two: risk theatre needs to be done because it speaks to a contemporary need.

Reason three: this project is my way of giving back to the community

I’ve had a pretty good life. Unlike my grandparents, who lived through two world wars and had everything expropriated by the communists, I was born in Canada. That itself is like winning the lottery. And during my university years, I was fortunate enough to receive a number of scholarships. They were instrumental in getting me to where I am today. So I’ve always wanted to give back to the community. First I tried donating to various charities. That was good but I felt like I needed to take a more active role. Targeted giving. And I wanted to benefit the arts. The arts are beautiful, the best thing in the world: “it is only as an aesthetic phenomenon that existence and the world are eternally justified,” wrote a wise man too long ago.

It just so happened that I had been working on the risk theatre theory of tragedy. Now most of us academics stick to the academic theoretic side of things. But here was a chance to combine the two. And so the Risk Theatre Modern Tragedy Competition came to be. It’s my attempt to do philanthropy and to effect positive social change at the same time.

How much am I giving back to the community? It’s the first year of the competition, so some of these numbers will be projections. But here’s the budget for year one so far. It excludes all the substantial volunteer work (thank you everyone!) that has been done to get the competition going:

Commission artwork for the risktheatre.com website:
$2,600

Prize Money ($8000 first prize and 4x $500 runners-up)
$10,000

Travel Stipend
$1,000

Workshop Winning Play
$6,000

Administration of Competition (this includes: creating/maintaining website, communications with entrants/jurors, PR and publicity, searching for and retaining jurors)
$3,000

Jurors (based on receiving 50 entries and a reading fee of $35 per play and $50 for the final meeting to decide winner)
$1,900

So we’re at $24,500. But some income will also come in from the $45 entry fee. Based on receiving 50 entries (this is an estimate from looking at competitions such as the STAGE International Script Competition, the Theatre BC Canadian Playwriting Competition, and others and adjusting for the fact that this is the first year and that a specific type of play is required) that’s $2,250. Take off PayPal’s 3.5% cut, and that leaves us with $2171.25 income. So, I’ll be giving back to the artistic community each year just over $22,000–that’s the net benefit in monetary terms that this contest offers. But my hope is that the contest will not be seen merely in a monetary light but for the greater good it offers society. Friends, be not averse to risk, but remember to keep some powder dry, for Birnam Wood is coming to Dunsinane Hill, and always when you least expect!

I’m Edwin Wong, and, until next time, you’ll find me doing Melpomene’s work.

Risk Theatre Modern Tragedy Competition Launched

Breaking News!

On June 1, 2018, Langham Court Theatre launched the 2019 Risk Theatre Modern Tragedy Competition! It’s a major new playwriting competition and the world’s richest competition specifically for the writing of tragedy. At stake is $10,000 in prize money, a workshop, and a travel stipend. In addition, Langham Court Theatre may fully produce the winning play as a special event. What more could you want in a playwright competition?

Many thanks to Michelle Buck (Langham Court GM), Keith Digbie (Langham Court board), and Michael Armstrong (competition manager) for their efforts, insights, and belief. I had pitched the idea to Michelle seven months ago. She took it to the board of directors. The board liked the idea and that’s when she introduced me to Keith. We soon realized we needed an experienced competition manager. Keith had worked with Michael before at Theatre BC and brought him on board. And that’s how the team came together.

The official competition site can be found here. There’s a link on the Langham Court Theatre front page that also takes you there. The reaction in this first week and a half has been fantastic. The site’s averaging 150 hits a day. Email responses are coming back calling this competition ‘extraordinary’ and ‘something special’. The competition also has a Facebook presence. Funny thing, as people are cancelling their Facebook accounts over the privacy scandal, I–who’ve never really been active on FB–find myself doing the opposite. Last Monday, I sat down with renowned local critic Janis La Couvée to talk about the project. The interview went on for over an hour at Cafe Fantastico and we talked about how wonderful this project is for both the local and international theatre community. She asked me about how this project started and how it could develop in the coming years. Stay tuned for the full interview.

Here’s the text of the formal press release. At the bottom there’s a PDF copy. Please send it to your theatre contacts!

FOR IMMEDIATE RELEASE: LANGHAM COURT THEATRE PRESENTS THE 2019 RISK THEATRE MODERN TRAGEDY COMPETITION\

Langham Court Theatre announces that it is inaugurating a major new playwriting competition, the world’s richest competition specifically for the writing of tragedy: the all-new 2019 Risk Theatre Modern Tragedy Competition. At stake is $10,000 in prize money. The winning play will be workshopped in Victoria, BC. A travel stipend will be offered to the winning playwright. In addition, the winning play may be fully produced by Langham Court Theatre as a special event.

Risk theatre is a model of tragedy developed by critic Edwin Wong. In risk theatre, gambling acts lead to unexpected low-probability, high-consequence outcomes. Chance and uncertainty reign supreme. Risk theatre aligns tragedy with modern conceptions of chance by dramatizing the impact of the highly improbable.

This annual competition challenges intrepid playwrights to write 90 – 120 minute plays and closes on March 29, 2019. Entries cost $45. Full competition details can be found at risktheatre.com. Please distribute this release to your members to help spread the word about this exciting opportunity.

For 89 years, Langham Court Theatre has presented nearly 3000 performances with 4000 actors in over 500 shows to 250,000 guests. Established in 1929, Langham Court Theatre is one of Canada’s most successful and longest running community theatres. The theatre seats 177 and is located a ten minute walk from downtown Victoria in the historic Rockland neighbourhood.

Wong believes that the time is right to reboot tragedy. After reading Taleb’s Fooled by Randomnessand The Black Swan, he developed risk theatre to align tragedy with modern concepts of chance and uncertainty. The result is a tragic stage where every dramatic act is a gambling act and risk runs riot. He is currently working on a book Tragedy is Risk Theatre: Gambling, Drama, and the Unexpected. His thoughts on theatre can be found at melpomeneswork.com. Wong received a MA in Classics from Brown University where he concentrated on ancient theatre.

Contacts:

Michael Armstrong, Competition Manager

Edwin Wong, Sponsor

Keith Digby, Langham Court Theatre

via: tragedycompetition [at] gmail [dot] com

Risk Theatre Press Release

Until next time, I’m Edwin Wong and now I’m in the midst of doing Melpomene’s work!