“Providence, On All Fours” is a surreal screenplay about feeling alienated and paranoid in a space that should be familiar and comfortable. It gets at immigrant tensions and feelings of being watched, of confusion, and of being trapped within a space that has become hostile. The story is about how confusing and impossible to understand our fears really are.
Everything we do on this planet has expectations in one way, shape, or form. Deviate from that, and everything starts to fall off the rails. What happens when we keep pushing against that barrier? On the brink of an alcohol/drug-induced bender, the main character feels herself slipping further and further away from the habitual norm of society’s day-to-day life. The question is, is this so wrong? In “Living Room,” we explore what it means to have these sexual, political, and social transgressions in today’s climate.
The following flash fiction/script originated from a nightmare that left the writer in a panic. How does the act of creation serve to transform negative experiences into positive ones? Is art the defining feature of humanity — the primary difference between us and all other animals? Though art has the potential to be dark and disturbing, it often exalts features of our human condition unlike any other act. What can we learn about ourselves through the art we create from confusion and suffering?
Whatever side of the political spectrum one falls on, we can all commonly agree that it’s problematic when a child is indoctrinated into the ‘wrong’ thought patterns, that they have been turned from the truth of the world. But, can we as a society, collectively come to a consensus regarding a few basic truths? There are commonalities that run through us all, uniting us as the human race — so why can’t we see them? Is living in peace with one another an unrealistic dream? If we are united by our need to stand up for what we believe to be true, can we ever see eye-to-eye if our beliefs never align?