- NEW BOOKS AVAILABLE!
TACTICAL PERFORMANCE: The Theory and Practice of Serious Play
ELECTORAL GUERILLA THEATRE: Radical Ridicule and Social Movements
More Creative Activism & Guerrilla Performance
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An invisible border opens in the auditorium of MARTE Matienzo Performing Arts.
There, an Errorist security guard controls the arrival of the public.
On the side, the agent-clown Larry Bogad, sitting at a desk, data calls some people. Silence in the room. In the background the Manifesto Economusical is projected:
“Economusic reflects the ups and downs of major economic trends, making note of, and making notes from, declining property values and wages, rising prison populations and sea levels, resonating with the tremolos and allegro of the vibrant and pulsating brutality of our permacrisis “. Keyboard, clarinet, plugs. Posts sunk in ink. Treble, bass tones.
Graphs and statistics. For an hour, Bogad invited the public to be part of an experiment, a reflection,
laughter and astonishment, to rethink the vagaries of the market and global finance. A provocation to understand that change depends on us.
And from SUB COOPERATIVA DE FOTOGRAPHOS, another series of photos and (https://www.facebook.com/subcoop/, scroll to July 22):
Siempre da placer ver gente grosa con tanta simpleza y humildad. Larry es de esos tipos que uno siente que conoce de hace mucho tiempo. Una persona que genera admiración pero un tipo de admiración que te llama a abrazarlo como a un viejo amigo.
La semana pasada, el performer militante neoyorquino se presentó en el Centro Cultural Matienzo invitado por los Etcetera Etcetera Erroristas y nuestra Cria conjunta. Esperábamos algo callejero, teatral y potente ; técnicas de combate sarcástico contra policías armados pero Larry Bogad dio una presentación prolija de música económica. Resultó ser una mezcla de política, belleza y humor que desbordaba todas las categorizaciones. Quedó la sensación que ahí están las armas que vamos a necesitar.
(It is always a pleasure to see great people with such simplicity and humility. Larry is one of those guys that makes you feel like you’re old friends. A person who generates admiration but a type of admiration that calls you to hug him like an old friend.
Last week, the militant new york performer was presented at the cultural center matienzo invited by Etcetera Etcetera, Cria, and our joint. We expected something: powerful street theatre, sarcastic combat techniques against armed police, but Larry Bogad gave a neat presentation of economic music. Turned out to be a mix of politics, beauty and humor that overflowed with all the categorizations. Got the feeling that there are weapons that we’re going to need.)
I’ll be leading a Tactical Performance workshop at Princeton University for theatre students there on Sunday, February 26:
And on February 28, I’ll be presenting at this wonderful free symposium at Hofstra University:
Black History Month Symposium: Performing Politics: Embodying Advocacy — Representing Race
On March 1st, I’ll be doing this public lecture at Carnegie Mellon University:
And then a 3-hour workshop for Art students at CMU on March 2nd.
Come to this event on Monday, January 9! I’ll be interviewed about my Tactical Performance book by radical clowns! How fitting!
Monday, January 9th, 7:30-9pm at PianoFight,
The inauguration is right around the corner. We can either fall into a dismal pit of despair- or, we can call in the clowns.
This January, the clowns bring forth their trickster activist selves to shed some humor on the madness. They are ecstatic to be joined by author, activist and performer, Larry Bogad, who will be sharing about his new book, TACTICAL PERFORMANCE: The Theory and Practice of Serious Play. Learn more at: www.lmbogad.com
7:30pm/PianoFight Theater/144 Taylor St/$5 in advance/$10@door:
…And on February 10, I’ll be doing a CREATIVE RESISTANCE talk/workshop at the California Institute for Integral Studies:
Saturday, February 10th, 6 PM – 8 PM
Desai | Matta Gallery, 1453 Mission Street, San Francisco (10th Street)
Desai | Matta Gallery, 1453 Mission Street, San Francisco (10th Street)
Performer, scholar, and strategist Larry Bogad joins us for an evening to talk about THIS: the theory and practice of serious play…creative resistance in the days and nights ahead of us. Drawing on critical analysis of social and political movements that have come before us, how will we stand together, play together, and make art together in ways that disrupt, build coalition, correct injustice, and effectively, strategically, bring us closer to the world we want to leave to our children. http://www.lmbogad.com/ #Nowmorethanever #LarryBogad #tacticalperformance
NOTE: for this event, I hope to give some quick historical examples and principles, and then break the attendees up into small groups for discussion and guided brainstorming of creative actions for this difficult time.
The Summer and Fall of 2016 was a pretty active time…besides 25 radio appearances in support of the new Tactical Performance book, I was able to travel a bit and give a few talks. More are planned for 2017, announcement coming soon.
April 16: Yerba Buena Arts Center, San Francisco: I performed “Exit 11,” a strange monologue about growing up in New Jersey, toxic waste, green rabbits, corporate impunity, Superfund sites and self-soothing through Vivaldi, chanting, and whalesong. This was part of the “Green-Collar Comedy,” one of the events of the Arts & Ecology Residency Showcase.
May 28: Performed “The Panopticock: An Immodest Proposal,” with J. Stahl and Leslie Dreyer, a neo-Foucouldian satire of the surveillance state, as part of La Pocha Nostra’s OAKLAND VERSUS SAN FRANCISCO event, for the San Francisco International Arts Festival: http://www.sfiaf.org/la_pocha_nostra. I also performed a new piece, A WORD FROM OUR SPONSORS, a satire of corporate sponsorship that turns strange and existential by the end.
June 8, Yerba Buena Center for the Arts: As an opening act for Guillermo Gómez-Peña, I performed “A WORD FROM OUR SPONSORS.”
July 13: Book talk and lecture at the “Hiedra” arts space, Buenos Aires
July 15 performance of Economusic, using the new electronic-absurd ECONOMUSIC APP (!), and some professional opera singers in the audience who didn’t know I was going to call on them to sing, but who were good sports and performed splendidly. At Club Matienzo, Buenos Aires.
July 18 performance of PANOPTICOCK: An Immodest Proposal, with J. Stahl, at the Hemispheric Institute for Performance and Politics’ Encuentro, Santiago, Chile.
July 20 performative presentation of ECONOMUSIC for my workgroup, organized by Diana Taylor, Santiago, Chile.
July 26 performance of my new monologue/slide showA NOTE FROM OUR SPONSORS, Valaparaiso, Chile.
September 22 Tactical Performance talk at NYU, Hemispheric Institute for Performance and Politics.
September 23 Tactical Performance book launch event, Bluestockings Books, New York City.
September 24 Adaptation of Non-Fiction Texts to Performance Workshop at Queens Museum, New York.
September 26 Tactical Performance presentation, Bard College. Sponsored by the Human Rights Project, Theatre and PerformanceProgram, and Experimental Humanities.
October 3 Tactical Performance presentation at Ryerson University, Toronto.
October 5 Tactical Performance presentation at York University, Toronto.
October 17 presentation and workshop for Rupa Marya and activist doctors and interns at UCSF medical school, San Francisco.
October 18: at CIIS in SF as part of their “Dancing With The So Called Dead: festival, I co-performed with Guillermo Gómez-Peña a series of our original monologues and duets. https://www.facebook.com/events/1735465340009349/
October 24 workshop for The Graduates, a group of formerly incarcerated women working on a performance critical of the prison-industrial complex, at ArtSpot Productions, New Orleans.
October 26, Tactical Performance workshop for theatre artists at ArtSpot Productions, New Orleans.
October 28, performance of my play, COINTELSHOW: A PATRIOT ACT, at ArtSpot Productions, New Orleans.
November 2nd…once again I tried my hand at telling a personal story at THE MOTH storyslam in Berkeley. Always a good time.
November 10 STREET THEATRE at the invitation of, and in support of, a coalition of progressive unions, in solidarity with Standing Rock, at the Wells Fargo bank in downtown Oakland. The performance was good fun, and my shtick was simple (and once again I was typecast as the bad guy). The turnout was wonderful–hundreds of diverse union members from a wide array of unions who made an effective connection between Wells Fargo policy, climate justice, and indigenous sovereignty.
November 14 Guest Lecture on Carnivalesque Protest at U.C. Berkeley.
December 1 West Coast Book Launch Event at the great old City Lights Bookstore, San Francisco. What a pleasure to present at this hallowed space with the old Beats looming over us. Thanks to Peter Maravelis.
December 4 on a panel at the Howard Zinn Book Fair in San Francisco with my dear old New York City comrades from Reclaim the Streets and other misadventures, Ben Shepard and Ron Hayduk.
Many years ago, I wrote a play about the FBI’s COINTELPRO activities based on declassified documents, called COINTELSHOW A PATRIOT ACT. It was published by PM Press in 2011 and I’ve continued to update it and perform it in venues ranging from theatres, galleries, labor halls and even in a tent at Burning Man. A long held dream came true on February 12 and 13 of these year when Chris Brandjes and I performed it at the legendary San Francisco Mime Troupe’s Studio. The space was filled both nights with fired-up audiences who laughed, groaned, and hissed beautifully during the show and asked great qeustions during our Q&A sessions afterwards.
This is the second version of an outrageous science-fictional ironic audience participatory piece, a card-game within an oligarchical decadent party within a stretch humvee limo driving around Oakland (the first version was in San Francisco). The show sold out and the audience came dressed in costume and in character as the oligarchs of the galactic future, come down to Earth to gamble, blackmail and poison each other–all in the hopes of being the winner who would be the new owner of the city. Revolutionary surprises were in store along the way for the jet set…
Bogad is interviewed by Michael Krasny on the nationally popular radio show, “Forum,” about his new books, Tactical Performance and Electoral Guerrilla Theatre (2nd edition), and the larger issues surrounding creativity, performance, and activism.
Performance at Fort Mason Chapel with La Pocha Nostra, of “The Panopticock” with Jadelynn Stahl, and a new “Corporate Sponsorship” monologue by Bogad
28 May 2016: Bogad performed a new outrageous piece with collaborator Jadelynn Stahl, titled “THE PANOPTICOCK: AN IMMODEST PROPOSAL. It’s an NSA-meets Foucault bizarre romp into the meeting of the kink/tech community of the Bay Area and the national security state…
Also Bogad performed his own original monologue as a “corporate sponsor” of the entire event, which he later used at Yerba Buena Center for the Arts on June 7th to introduce Guillermo Gómez-Peña at a political artist/writer event.
After years of research, revision, and readjusting the clown nose on my gasmask, the new book is out and ready. It’s based on 15 years of research on, and participation in, creative and performance-based activism. I hope you find it useful and even a little entertaining. You may even find yourself in there.
Please order it, or request it for your town or campus library. Ask your local bookstore to carry it. Consider using it in your curriculum, discussion group, or flip through it for ideas when planning a creative action.
Please share this on social media and just pass the word in whatever way you can. Write a review about it for a journal or magazine or blog. Any or all of the above will help get the word out about the book.
I’d love to hear your feedback.
Here’s where you can find the book to order. It’s also available on other websites:
TACTICAL PERFORMANCE: The Theory and Practice of Serious Play
A LITTLE MORE INFORMATION ABOUT THIS BOOK:
Tactical Performance explores creative protest in unique depth, looking at the possibilities for direct action and theatrical confrontation with some of the most powerful institutions in the world. It effectively combines theory and practice, illustrating the basic principles of artful activism in an absorbing, accessible manner.
L.M. Bogad draws on his own experience as a writer, performer, and strategist working with groups such as the Yes Men, the Clown Army, Reclaim the Streets, and La Pocha Nostra, to share the most effective nonviolent tactics and theatrics.
An inspiring practical and theoretical guide, Tactical Performance is essential reading for anyone interested in creative pranksterism, subvertisement, cultural sabotage,and the global justice movement.
Lucid, sharp, funny, Bogad’s Tactical Performance is the book we’ve been waiting for on creative activism.
— Diana Taylor, Director, Hemispheric Institute of Performance and Politics; Professor of Performance Studies, New York University; author of Performance
Tactical Performance rehearses theatre and social justice strategies at their best: historically connected, culturally informed, alive and nimble in their responses to the political moment. With the savvy of a participant/observer and the acuity of an historian and critic, Bogad provides a lively overview of important activist performances, asking us to reconsider its effects and its promise. A crystal-clear argument in a must-read book for all who care about performance and social change.
— Jill Dolan, Annan Professor of English, Princeton University, and author of Utopia In Performance: Finding Hope at the Theatre
Beautifully written; a playful, potent mixture of history, how-to, and theory, informed by the author’s many years of personal front-line experience.
— The Yes Men (Andy Bichlbaum and Mike Bonanno)
The love child of Lenny Bruce and Saul Alinsky, Bogad has worked, on the street and behind the scenes, at the nexus of some of the most compelling art-interventions of the past 15 years. He brings his truly original and bizarre performance-art sensibility both to his activism and to this ground-breaking book. Read it!
–Guillermo Gómez-Peña, writer, performance artist and pedagogue
Appalling bad taste and worse judgment make Bogad’s interventions memorable and frequently effective. Don’t try this alone at home. These actions should be undertaken with friends, and preferably with very good friends.
— Peter Sellars, theatre and opera director
PS: the 2nd edition of Electoral Guerrilla Theatre: Radical Ridicule and Social Movements is also out! New! Updated! Improved! With over 20% more prank election campaigns! You can find it at this link, with stories of radical prank election campaigns from the Gnomes of Amsterdam to Pauline Pantsdown to Joan JettBlakk and Stephen Colbert, from Einstein the Dog to the Best Party in Iceland:
PPS You can still by my bizarre and darkly satirical play about COINTELPRO here for just $5. We just did it at the San Francisco Mime Troupe’s Studio to some very generous and enthusiastic crowds:
701 Mission Street. 5:30-7pm. Free with RSVP.
As part of the all-day, free DISSIDENT FUTURES ART AND IDEAS FESTIVAL (http://dissidentfestival.tumblr.com/), I will be performing with the brilliant JAIME CORTEZ, BILL HSU, and JENNIFER WOFFORD. We are doing a series of short, parodic “InsTED Talks.”
As Jaime wrote on the website:
Through sly parody and satire, these performers will give presentations and performances that project us into futures that are once ominous and funny, where one person’s hopeful vision is another’s dystopia. The rapture and the ever-widening canyon of American wealth disparity all make star appearances in this series of performances by wide-awake Bay Area artists.
A link to event info, and our bios and photos: