Me Too Monologue Handbook

ME TOO MONOLOGUES HANDBOOK 

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Table of Contents: I. What is MTM? Executive Summary Goals Purpose Future Vision Show Life Cycle Our Online Presence II. Why MTM? The Big Picture: Empathy and Identity Building Intersectionality This Generation’s Form of Advocacy Teaching Aids for Faculty and Student Organizations/Support Institutions III. How MTM? Understanding Privilege, Valuing Diversity Timeline Organization Structure Guide to Producing Guide to Directing Guide to Acting Guide to Getting Writers/Editing Work  Guide to Writing IV.

Quick Guide to Launching FAQs What to Expect History

V. Gaining Administration Support Alignment with Diversity Goals of Higher Education MTM Mechanisms of Effect (Proof It Works) 1. Emotional Intimacy Enhances Memory and Commitment to Prosocial Behavior 2. Overcoming Compassion Fatigue with Comedic Relief 3. Palliative Narrative 4. Contact Theory/Mere Exposure Effect & Intergroup Anxiety/Selection Bias 5. Emerging Adulthood 6. Effortless Perfection: Breaking the Mirror & Bringing New Forms of Reflection 7. Pausing to Reflect

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8. 9. 10. 11. 12. 13.

Counteracting Shame and Loneliness Working Against an Alternative Unfriendly Environment Breaking Down Categorization/Stereotype to Combat Prejudice Perspective-Taking & Personalizing the Issue Allows for Intersectionality Groupthink in a Good Way

VI. Resources, Support, and Contacts Here’s a print version Find downloadable versions at www.metoomonologues.com VII. Appendices A: Constitution (for Our Charter as a Student Organization) B: Sample Rehearsal Schedule C: Sample Pre-Show Speech D: Production Team Application E: Appeal for Funding F: Sample Program G: Sample Budget H: Audition Blurb I: Invites for Faculty & Special Guests J: Graphics K: Categorized Duke MTMs on Youtube (2011-2014)

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I.

What is MTM?

Executive Summary Me Too Monologues is an annual show about identity written, performed, and produced  by members of a university community. Students, alumni, and faculty submit stories of their experiences, and they become a documentary theatre performance. Founded at Duke in 2009, the show originally focused on race, ethnicity, and culture, but over the years it has expanded to include broader concepts of identity. Recent performances have included monologues on sexuality, class, gender, religion, family, social life, mental illness, abuse, an d community. Goals ! ! !

Assert that, whatever issues a particular student may be dealing dea ling with, he/she is not alone. To promote a more supportive and empathetic community climate. To dispel the myth of effortless perfection at Duke by presenting student strengths and weaknesses as natural and acceptable.

Purpose The purpose of MTM is to expose audiences to stories and experiences to which they might not otherwise have access, using theatrical performance to encourage empathy and identity exploration. The stories chosen for the show often feature controversial viewpoints that encourage the audience to engage in new modes of thinking and reevaluate their own  perceptions, both of their environment and themselves. Conversely, when a person in the audience can relate to the character’s struggle the monologue provides a reaffirming sense of validation and support, showing that person that he or she is not alone. alone . This is where the “Me Too” part of the production title was derived— as in, “You feel alone/don’t alone /don’t have things figured out/are having a hard time? … Me too.” “Effortless perfection” — the sense that one must have the perfect grades, perfect body,  perfect social life, all without an visible effort— reigns reigns on many college campus where overachievement is expected. MTM aims to create a safe space where that toxic notion can be combated through a more realistic, alternative narrative— one that is more honest and vulnerable due to the protective guise of anonymity. When a new actor steps onto the stage, the audience can never be entirely sure what they are going to see or what new mode of thinking they will encounter. Some stories in the show bring laughter, while others bring tears. MTM also strives to provide a successful model for uniting members of different advocacy groups on college campuses. At Duke, we are blessed to have a multitude of centers including the Mary Lou Williams Center for Black Culture, the Center for Multicultural Affairs, the Center for Sexual and Gender Diversity, the Kenan Center for Ethics, the Women’s Center, and the Center for Race Relations. While these centers serve a crucial purpose in providing a safe space and sense of community, not all students take full advantage of them. They either lack knowledge of the resources each provides, do not feel they belong to the center’s “target” demographic, or view the center ce nter itself as being stigmatized. Also, it often seems as though those 4

attending events at each center are those most heavily impacted by the issues being discussed, so the programming just preaches to the choir. c hoir. Simply through its entertainment value— but also in its diverse overall representation of issues— MTM draws attendance from a wide variety of groups that would normally opt out of certain types of programming or discussions that do not no t apply to them directly. In this way it successfully creates a sense of universal humanity and advocacy. After each performance, the audience is invited to engage in “talk back” dialogues with the production team, members of the cast, and two facilitators. The intended result is honest and a nd sincere dialogue and reflection that would otherwise be hard to generate. Even those that do not attend the post-discussion almost always leave the theater ha ving deeper discussions among themselves as they continue to process what wha t they just took in. There is a strong link between the awakened understanding of these issues resulting from these conversations and the production and future prosocial behavior.

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Future Vision We have seen firsthand the incredible impact a production like MTM can have on a college campus. The following pages will feature testimonials from audience members,  production team members, writers, actors, and administration. From our own experiences we have figured out a system that works and would love to help h elp schools interested in bringing MTM to their campuses in any way possible! Use us, ask us questions! Contact us at [email protected] or [email protected]  or [email protected] [email protected].. In this handbook we have included all the materials we have created over the years and compiled tons of tips for getting administration on board, getting the student body invested, finding funding, and so on. We encourage you to take what we have to offer, while also allowing your own creativity to flow into your own finalized product. There is so much room for adding your own unique twist to the model we have created We would love, however, to be notified if you do decide to  jump in on the national expansion of MTM so we can link any websites or Youtube channels you may develop to our upcoming national MTM site. This way we can all be part of one big MTM community and take part in the successes of everyone’s efforts. We all have something to learn and gain from each other! This is just the beginning!

“[Sitting in the audience is like] hearing a Dear Diary entry or a confession to your closest friend or a secret that has never been told before. Monologue after monologue allows  you to take residence in someone someone else’s head head for a few minutes, minutes, and connect connect with with each distinctive perspective through laughter, tears, and pure felt emotion. Suddenly, you find  yourself able able to connect connect with complete complete strangers strangers as you you realize their emotions, emotions, trials, and and tribulations are not so strange. Muscles are to gym, as empathy is to Me Too.” -Andrew Kragie, Me Too actor (Class of ’15)

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Show Life Cycle: ! March: Production team selection ! April:  Book the venue for proper dates, tentative plans for the year, get website and Facebook page up and running (update submission deadline and audition dates) ! September : Meet once a week as a production team to work through details (reaching out for submissions via listservs and speaking at meetings, flyering, other forms of  publicity, funding, graphic design, t-shirts & stickers) ! October: Submissions due mid-month, auditions begin shortly after; have all monologues and actors selected by end of the month an d small group rehearsals ! November:  Email out decisions, begin individual and ! December : Actors must have monologues memorized before leaving for break ! January: Rehearsals become more intensive, full week of nightly rehearsals before show time, tech run-through ! February : Shows the first weekend of the month (before all other school programming  begins) Our Online Presence: http://www.metoomonologuesduke.org https://www.youtube.com/user/metoomonologues/playlists

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II. Why MTM? The Big Picture: Empathy and Identity Building Empathy and identity are the keys to bringing about engagement in social justice issues and increasing prosocial behavior. Both elements converge in MTM, as audience members experience empathy while taking the perspective of each narrative performed on stage and are immersed in an emotional connectivity that can c an impact the way they see their own worlds, as well as their role in those worlds. Clinical and developmental psychology expert James Marcia explains that the stronger an empathetic connection, the more likely one is to integrate an experience into his or her moral identity, or the “growth of moral values, character, ch aracter, and 1  behavior” within an overall identity concept.  Moral identity enforces commitments because they essentially state, I would not be myself if I acted or thought in a way that was different from what I have personally committed to.2 The resulting intrinsic motivation reinforces strong incentives to behave according to one’s own identity principles, allowing agency and purpose to truly be a part of identity. Much of what our production team considers to be the magic of MTM closely aligns with the South African concept of “ubuntu.” Archbishop Desmond Tutu defines ubuntu as: [T]he very essence of being human. When we went to give high praise to someone we say, “Yu, u nobuntu”; “Hey, so-and-so has ubuntu.” You are generous, you are hospitable, you are friendly and caring and compassionate. You share what you have. It is to say, “My humanity is caught up, is inextricably bound up, in yours.” We belong in a bundle of life. We say, “A person is a person through other persons.” It is not, “I think therefore I am.” It  says rather: rather: “I am human human because because I belong. belong. I participate, participate, I share.” A person with with ubuntu is open and available to others, affirming of others, does not feel threatened that others are able and good, for he or she belongs in a greater whole and is diminished when others are humiliated or diminished, when others are tortured or oppressed, or treated as if they were less than who they are… To forgive is not just to be altruistic. It is the best form of self3 interest. What dehumanizes you inexorably dehumanizes me. It is this sense of unity that the MTM production produc tion seeks to create. While the show does do es highlight difference, it also demonstrates that no matter how different we may seem, we are all connected con nected by the emotions and vulnerability that make us human. As Maya Angelou once said, “I am a human being, nothing human can be alien to me.”

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 Marcia, J.E., (1966), Development and validation of ego identity status, Journal of Personality and Social Psychology, Vol 3, pp. 551-558 [Journal Article] 2  Waterman, A. “Finding Someone to be: Studies on the Role of Intrinsic Motivation in Identity Formation.”  Identity:  An International Journal of The ory and Research , Vol 4(3), Jul, 2004. pp. 209-228. Publisher: Lawrence Erlbaum [Journal Article] 3 Tutu, D. (1999). No future without forgiv eness. New York: Doubleday [Book]

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In order to understand the role of empathy and identity within MTM, we wish to break down what both terms mean in a psychological sense and how they play a role in promoting  prosocial behavior. Empathy is the “chief enabling process to altruism,” as it is “the prime inhibitor of human cruelty.”4 Withholding our natural inclination to feel with another allows us to treat the other as an It,” but rather a human being. Daniel Goleman, who coined the term “emotional intelligence,” explains that empathy goes beyond numbers and statistics, which evoke rational parts of our brain that think in a non-personal way, to the incorporation of faces, lives, and stories that humanize the issue. The most important thing to recognize about empathy is that “to understand what someone else experiences… we utilize the same brain wiring that is active during our own experience.”5 For example, “When we hear an anguished scream, it activates the same parts of our brain that experience such anguish, as well we ll as the preemptor 6 cortex, a sign we are prepared to act.”  By the same token, “Hearing someone tell an unhappy story in doleful tones activates the listener’s motor cortex—which activates movements— as well as the amygdala and related circuits for sadness.”7 When we empathize to the extent that we

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Goleman, D. (2006). Social Intelligence: The New Science of Human Relationships . New York: Bantam Dell. p. 117. [Book] 5 (Goleman, 2007, p. 28) 6 (Goleman, 2007, p. 60) 7 (Goleman, 2007, p. 60)

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truly connect with another person’s experience, we do not just connect emotionally— we are additionally motivated to act and respond accordingly. In a the winning entry of the Huffington Post 2013 Sustained Dialogue Empathy Essay Contest, Eke Agu, a Harvard student, poetically captures the essence of what empathy feels like as it occurs: This conversation [with a friend talking about discrimination] was not about statistics or innovative argumentative strategies; it was about the lived experiences… I suddenly felt very open -- not only in the sense that I was more willing to accept his assertions; I became  so aware of of my insensitivity insensitivity that I felt Adam-and-Eve Adam-and-Eve naked…. naked…. I chose chose to remain remain exposed, exposed,  steeping in this bizarre bizarre sensation sensation of dissonance, dissonance, vulnerability, vulnerability, and and courage… courage… you do not not have to attempt walking [in someone else’s shoes] to empathize -- just trying to fit into [them]… can be quite jarring. There is a dissonance in realizing that you have different but valid claims and a vulnerability begging that you accept this truth. It does not demand pity but rather courage. I will never know what it means to be a gay man of color raised on La  Frontera. What What I can do do is simply step step my feet feet into his shoes shoes by remembering remembering personal personal encounters that have elicited similarly visceral reactions in me. Her beautiful description captures not just the scientific jargon, but also the human elements of the experience.  Identity is “a social-psychological construct that reflects social influences influences through imitation and identification processes and active self-construction  in the creation of what is important to the self and others.”8 Another less technical way to think of identity is as “a selfregulatory system which functions to direct attention, filter or process information, manage impressions, and select appropriate responses.”9 The five most commonly documented functions of identity are: 1) “Providing a structure for understanding who one is,” 2) “Providing meaning and direction through commitments, values and goals,” 3) “Providing a sense of o f personal control and free will,” 4) “Striving for consistency, coherence, and harmony between values, beliefs, and commitments,” and 5) “Enabling the recognition of potential through a sense of future,  possibilities, and alternative choices.”10 Identity is made up of factors such as race, gender, socioeconomic status, religion, and sexuality, as well as factors like the time period in which one is living, place of birth, family history, and so on. The embeddedness of an identity marker shows the extent to which it is a part of our daily lives. Identity is personal and collective, and  both forms require balance with each other.

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Adams, G., & Marshall, K. A developmental social psychology of identity: understanding the person-in-context.  Journal of Adolescenc e, Vol 19(5), Oct, 1996. pp. 433. Publisher: Elsevier Science [Journal Article] 9  Adams & Marshall, 1996, p. 433) 10 (Adams & Marshall, 1996, p. 433)

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Intersectionality One definite root of stereotyping and subsequent prejudices is the belief that individuals can be fully defined by one aspect of their identity, when in fact all identities are multidimensional. In 1991, feminist scholar Kimberlé Crenshaw coined this notion of merging identity markers under the term “intersectionality.” We believe intersectionality is a critical factor MTM is able to provide to identity debate, as it allows people to talk not just about specific identity markers, but also about how multiple iden tity markers converge to create a distinct identity experience. Crenshaw’s term “intersectionality” originated from a field study she was doing of battered women’s shelters located in minority communities in Los Angeles. She later published an article in the Stanford Law Review, in which she explained that experiences of women of color are often the product of intersecting patterns of racism and sexism, yet these experiences almost always lack representation within the discourses of bo th feminism and antiracism.11 This is because “their intersectional identity as both women and  of  of color within 12 discourses that are shaped to respond to one or the other.”  Crenshaw explains that because “patterns of subordination intersect,”13 those with multiple subordinate identity markers are marginalized within their marginalized groups. She suggests that “racism as experienced by  people of color who are of a particular gender—male—tends to determine the parameters of antiracist strategies, just as sexism is experienced by women who are a particular race—white—  tends to ground the women’s movement.”14 Overall, “the problem is not simply that both bo th discourses fail women of color by not acknowledging the ‘additional’ issue of race or of  patriarchy but that the discourses are often inadequate even to the discrete tasks of articulating [them within] the full dimensions of racism and sexism.”15 The consequence of this is that intervention strategies meant to alleviate oppression are often based solely on the experiences of women who do not share the same class or racial background and are of limited help to women who, because of race and class, face different obstacles. Crenshaw stresses that “women of color occupy positions both physically and culturally marginalized within dominant society, and so information must be targeted directly to them in order o rder to reach them.”16 The example of overlapping marginalization via race and gender is just one of the many examples of how minorities may find themselves at a disadvantage even within their own minority groups. The design of MTM allows issues of intersectionality to be directly addressed, for the pieces  performed are able to adequately capture intersectionality and its consequences through monologues directly reflecting personal experiences.

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Krenshaw, K. Mapping the Margins: Intersectionality, Intersectionality, Identity Politics, and Violence Against Women of Color. Stanford Law Review , Vol. 43, July 1991, 1241-1299 [Journal Article] (Krenshaw, 1991, p. 1244) (Krenshaw, 1991, p. 1249) Ibid. (Krenshaw, 1991, p. 1246) (Krenshaw, 1991, p. 1250)

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Our Generation’s Form of Advocacy MTM is advocacy in its purest form. Each monologue brings a face to a statistic, making it real and, therefore, important and relevant to each person in the audience. Because of empathy and identity, one cannot easily sit through a monologue where someone speaks from the heart about the pain hearing phrases like “That’s so gay” brings him or her and continue to use it in their own everyday speech. Similarly, they cannot listen to someone give account of sexual assault and not be more motivated to act instead of being a bystander when seeing a risky situation. It has been argued that our ou r generation is less political than generations in the pa st who actively protested the Vietnam War, led rallies on abortion, and participated in sit-ins for Civil Rights. We would argue, however, that our generation simply expresses its advocacy in a different form. The way in which one must fight racism, sexism, homophobia, and classism has transformed just as these forms and manifestations of oppression themselves have mutated. Now, the initial part of the problem is convincing people that there is still work to be done. Shih states, “Although few people would dispute the existence of egregious displays of racism in the past, the denial of ongoing discrimination in contemporary society is commonplace.” She continues, “Social movements such as the Civil Rights Movement have helped create large, overt shifts in attitudes and behaviors in a relatively short amount of time,” while “understanding how to alter more subtle types of prejudice and intergroup attitudes has been a much more challenging endeavor.”17 Psychologists note that these more subtle forms tend to bud from implicit or unconscious, internal sources of prejudice.18 As a result, denial of discrimination occurs on both institutional

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Shih, M., Gutierrez, A., & Stotzer, R. Perspective-Taking and Empathy: Generalizing the Reduction of Group Bias Toward Asian Americans to General Outgroups. Journal of Abnormal Psyc hology, Vol 4(2), Jun, 2013.  pp.79-83.  pp.79-83 . Publisher: Publisher : Educational Educati onal Publishing Publi shing Foundation Foun dation [Journal [J ournal Article] Art icle] 18  Journal of Devine, P. G. (1989). Stereotypes and Prejudice: Their automatic and controlled components. Journal  Personality and Social Psychology, Vol 56(1), Jan, 1989. pp.5-18. Publisher: American Psychological Association [Journal Article]

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and individual levels, so that even when these group disparities do get acknowledged, they are often attributed to factors other than discrimination such as laziness or natural disposition. 19 Political movements of the past successful fought for rights and legislation. While there are still  battles that need to be fought on this front— such as having same-sex marriage legalized in all 50 states— we believe the challenge our generation must faces is often (though not always) less  blatant than hate crimes and takes the form of microaggressions. Microaggressions are “are “are the everyday verbal, nonverbal, and a nd environmental slights, snubs, or insults, whether intentional or unintentional, which communicate hostile, derogatory, or negative messages to target persons  based solely upon their marginalized group membership.”20 While often unintentional, they still have a dramatic impact on people’s sense of self worth and ability to succeed in both their public and private spheres. We believe that most people are not purposefully racist, sexist, homophobic— they simply are not aware of how their actions impact others due to the invisibility of privilege. The result is offensive microaggressions such as, “You’re not good at math? You’re not a real  Asian”  Asian” or “Food points are like monopoly money” or “Can I touch your hair?” Though not intended to  be harmful, these comments and attitudes play a role in supporting systems of oppression that reinforce hierarchical structures and effect other’s senses of self and worth. Todd et al. points out, “An unacknowledged problem is an unsolved problem,” so “a question of vital importance importance to future efforts to redress intergroup inequality… is how best to penetrate the pervasive discrimination denial [which some theoretical perspective have equated with racism itself 21] that characterizes majority group culture.”22 We are not living in a post-racial society simply because we have a Black president, and LGBTQ issues will not be absolved once marriage is an option for all regardless of sexuality. Yes, there have been clear gains have been made in the court to combat numerous social  justice issues, but they “have not been accompanied by corresponding equality in important life domains, such as family assets, access to quality education, e ducation, desirable jobs, physical and mental 23 health, among others.”  It is one thing to change chan ge laws and policies and another an other thing entirely for 19

Shih, M., Gutierrez, A., & Stotzer, R. Perspective-Taking and Empathy: Generalizing the Reduction of Group Bias Toward Asian Americans to General Outgroups. Journal of Abnormal Psychology , Vol 4(2), Jun, 2013.  pp.79-83.  pp.79-83 . Publisher: Publisher : Educational Educati onal Publishing Publi shing Foundation Foun dation [Journal [J ournal Article] Art icle] 20 Sue, D.W., and David Rivera. “Microaggressions in Everyday Life.” Psychology Today . 17 Nov. 2010. . more-just-race >. 21 McConahay, J.B. (1986). In: Prejudice, discrimination, discrimination, and racism. Dovidio, John F. (Ed); Gaertner, Samuel L. (Ed); San Diego, CA, US: Academic Press, pp.91-125, 337, xiii. [Chapter] 22 Todd, A., Bodenhausen, G., & Galinsky, A. Perspective taking combats the denial of intergroup discrimination.  Journal of Experiment al Social Psychology , Vol 48(3), May, 2012. pp.738-745. Publisher: Elsevier Science [Journal Article] 23 Bertrand, M., & Mullianathan, S. (2004). Are Emily and Greg more employable than Lakisha and Jamal? A field experiment on labor market discrimination. discrimination. American Economic Re view, 94 , pp. 991-1013 [Journal Article]

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these changes to affect culture norms. The Th e work of our generation is to reveal the invisibility of  privilege and how the work of social justice is still unfinished. The advocacy work of our generation more often takes the form of awareness campaigns and enlightening discussions, and MTM is one of the most effective formats by which to do this work. Teaching Aids for Faculty and Student Organizations/Support Institutions One of the strengths of MTM is that is has many applications outside the theater in which the performance takes place. Our videos on YouTube and ability to share material via Facebook, Twitter, and Instagram allow us to engage in our generation’s new sensationalism of social media. Past monologues can also a lso act as effective teaching tools for programming by university faculty, multicultural and advocacy institutions, and student g roups. Our team at Duke has recently developed a programming position on the production team tasked with increasing solidarity with other groups involved with social justice on campus ca mpus by announcing their events eve nts via our Facebook group (often accompanied by a related monologue). We have also worked with several organizations to compile monologues for screenings and discussion programming. The stories often get participants to feel comfortable opening up and having conversations that extend  past scholarly discussion to personal experience. In the appendix, we have included all our past monologues on our YouTube page organized by theme so that you can do this at your school as well, if you so choose!

“I remember the first time Me Too Monologues were performed on campus, and I was struck then by how powerful it was one a number of levels. To see how it has grown, both in audience size and in stature on campus, is incredibly encouraging as students grow increasingly conscious of the issues facing marginalized students at Duke---an Duke---an in society, as a whole. What amazes me is how the Monologues have continued to serve the Duke community on two critical levels: it  provides a very human huma n expression, express ion, with all al l the emotional emot ional and intellectua in tellectuall complexity complex ity of life, life , of the reality that many many students live but often often lack a voice of validation. validation. In doing so, it it also serves to educate those who lack awareness of how different (and often very difficult) their peers' experiences are, prompting a greater sensitivity and respect for the many different communities that make up Duke University.” -Gary Glass, Counseling and Psychological Services,  Associate Director for Outreach Outrea ch and Developmenta Dev elopmentall Programming  Programmi ng 

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III. How MTM? Understanding Privilege, Valuing Diversity Privilege and diversity are the two most important aspects to pay attention to within the make-up of the show. Both terms have surface-level denotations with much deeper connotations. Through our own personal experiences and the knowledge gathered over the past 5 years of  production, we wish to emphasize that these two components must be taken into consideration during every move the production team makes. Understanding privilege and diversity is crucial to maintaining the integrity of the show, keeping it relevant to campus culture, and bringing about the greatest possible impact. This is perhaps the most important section of this handbook to understand. A great strength of MTM is its ability to reveal the invisibility of  privilege. The common notion is that “privilege” denotes high socioeconomic status. While this is accurate, it does not capture the full truth. There are numerous forms of privilege including, but not limited to: white  privilege, male privilege, cisgender/hetero privilege, ability privilege, and Christian privilege. These privileges come with the ability to identify iden tify as that which is unmarked or has been labeled the “norm.” Gloria Steinem, a feminist scholar and advocate, further explains, “Whoever is in  power takes takes over the noun noun and the the norm —  while  while the less powerful get an adjective. Thus, we read about ‘African American doctors’ but not ‘European American doctors,’ ‘Hispanic leaders’ 24 but not ‘Anglo leaders,’ ‘gay soldiers’ but not ‘heterosexual soldiers.’"   Yet, privilege remains invisible because those that hold it are usually unaware of the difference in experiences between themselves and those who do not share their same identity markers. For example, people who identify as heterosexual have most likely never given extensive thought to their sexuality because they have never had to “come out,” while most LGBTQ individuals remain in the continuous process of “coming out” to old friends and new for their entire lives. Many Caucasian people have also probably never thought of themselves as having a

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Steinem, G. (2007, July 11). A Modest Proposal. Huffington Post . Retrieved June 10, 2014 from http://www.huffingtonpost.com http://www .huffingtonpost.com/gloria-steinem /gloria-steinem/a-modest-proposal /a-modest-proposal_3_b_55772.html _3_b_55772.html[Column/Opin [Column/Opinion] ion]

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race. From presidents to magazine covers, the faces we’ve predominantly seen have associated  power with whiteness and beauty according to a white standard. Being white doesn’t feel as defining because it doesn’t carry the mark of “other.” One last example is that most men have likely not considered that being too drunk or dressing a certain way may be interpreted as an invitation for sexual assault, whereas many women are a re forced to consider these issues every time they go out. That sense of unmarkedness and the ability to not have to think about specific issues is privilege. This privilege can be dangerous, particularly when one people with certain  privileges think the way they experience the world is how others must experience the world, and he or she can therefore speak for or represent those others and their interests. Production team member Cara Peterson recounts how she used to think that when she spoke about gender issues, what she said was representative of all women, when it was actually only representative for white, educated, straight/cisgender women. Even then, that was not entirely accurate because the diversity of experience within certain identity markers are so aspect of white women’s women’s privilege privilege has has been expansive. Steinem reiterates Cara’s point, “ A key aspect their ability to assume that when they talked about themselves they were talking about all 25 women, and many white feminists have unthinkingly generalized their own situations .”  It is the thoughtless belief that one can speak for all of humankind— even within the social justice realm— that gets us in trouble, for we cannot c annot speak for each other’s experiences. expe riences. Each person needs their own chance to tell their story. This is why it is important that, though anybody in the Duke community can write for the show, most of the pieces chosen to be performed showcase stories highlighting the impacts of identity markers outside the hegemonic “norm.” This allows these experiences to have the spotlight for once and to be documented and acknowledged. Only by creating a consciousness of privilege p rivilege are we able to begin changing systems of oppression through empathy and identity building. It boils down to the following statement by kind of ignorance ignorance in the world world all results results from not not realizing realizing that Robert Anton Wilson: “ Every kind our perceptions are gambles. We believe what we see and then we believe our interpretation of it, we don't even know we are making an interpretation most of the time. We think this is reality ." We do not realize that with different identity markers come different experiences, different worlds, different realities, and this makes it harder to understand where others are coming from or empathize with them due to the disconnect. Study after study has proven that sexism, racism, homophobia, ho mophobia, classism, and numerous other forms of oppression are still alive and well. Yet, the MTM production team agrees that, in the majority of the discussions we have attended a ttended or overheard about these issues, those in the  privileged majority position take a defensive stance. We believe this is because their ability to view themselves as an inherently “good person” is threatened by the notion, or perceived accusation, that they participate in or benefit from a system that oppresses others, even unintentionally. The most common reaction is for those with privilege to dive into an explanation e xplanation of why those not benefiting from the system are overreacting or by making statements about how 25

Steinem, G. (2007, July 11). A Modest Proposal. Huffington Post . Retrieved June 10, 2014 from http://www.huffingtonpost.com http://www .huffingtonpost.com/gloria-steinem /gloria-steinem/a-modest-proposal /a-modest-proposal_3_b_55772.html _3_b_55772.html[Column/Opini [Column/Opinion] on]

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they can see the issues but do not accept responsibility for playing a role in the way the system responsible for them. These responses invalidate the experiences expe riences of the minority voices and, yet again, silence them by usurping the speaking space. MTM creates a more effective model of communication. Afftene Taylor, Theatrical Director 2012, claims “ Me Too is about about the smallest, smallest, least heard voice getting the biggest platform possible, ” an uninterrupted speaking platform at that. That one voice has the stage, literally, and an idea can be expressed from start to finish. Dialogue among audience members can take place after at the talkbacks, but, while the story is unraveling, there is no opportunity for defensive de fensive comments to be interjected. Often times even those who are aware of issues within the social justice realm think that the only way for them to be an ally is through the action of speaking, mobilizing, calling others out, making their opinions heard. One On e of the greatest lessons our production team has learned through MTM is that for some of us, especially e specially those who do hold certain ce rtain identity markers of  privilege, our greatest action may actually be to listen. And listening can be considered its own action. Cara Peterson expands on this point when saying: Through my possession of several privileged identity markers, I have naturally come to expect that my voice will always be welcome, and always be heard. I never understood that this is not how it is for many others, and that I must make a more concerted effort to make sure those whose voices are not normally heard get the attention they deserve. Steinem claims the best thing one can do for those who are a re marginalized is “to listen to them,  because you don't know you have something to say until somebody listens to you.”26  Now that we have discussed the important role of privilege, we wish to move on to diversity-- an element of MTM that must always be kept at the forefront of the minds of  production team members. Representation of a diverse range of voices in MTM is the most important element of the production. It is an element that one must always work to maintain, and is easier than one would think to lose. Every level of MTM--the monologues selected, the actors chosen, the production team make-up--must mak e-up--must have a wide representation of identity markers. It is only through this diverse representation that all people will continue to trust MTM with their stories and talents. As soon as a group feels their identity is not being represented it becomes more difficult for them to feel the MTM is a place for their voices, no matter how much diversity

“I believe in a lot of what this show is trying to do—showing vulnerability at Duke, showing what’s below the surface. A lot of times Duke students project an image that ends up  perpetuating  perpetua ting our loneliness loneliness because because we don’t don’t see other other people are struggling struggling like we are.  I just wanted wanted to be part of a project project that helps empower and and at the same same time humble students.”  –Elizabeth  –Elizabe th Hoyler, Me Me Too actress actress 2014

26

Jackson, C. (2014, April 7). UPDATE: Gloria Steinem to Speak at Duke Chapel.Retrieved Chapel.Retrieved June 15, 2014 from http://today.duke.edu/2014/04/steinem [Online Article]

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is expressed on the call for submissions and groups and institutions to which you reach out. Additionally, even though the make-up of the production team is not extremely obvious to the viewer, it is important to maintain diversity on this level because many monologue submissions, actor tryouts, and future production team applications come as a result of knowing someone who was already on the production team. It is critical to have a diverse range of community members from a diverse range of organizations (greek life, selective living groups, theater, the Black Student Union, the Asian Students Association, the Organization of Female Engineers… you get the point) and to always be consciously reaching out to these groups. Approach them during the activities ac tivities fair at the beginning of the year to get their email contacts, or sit down with institution leaders to see what kind of programming they are doing throughout through out the year and to see how MTM can provide solidarity with the cause. MTM is not meant to be a transactional organization gathering monologues and putting them on display, but instead it must try its hardest to almost become an extension e xtension of numerous different groups and organizations. Let us give you an example of a similar theatrical production at our school meant to represent the female portion of Duke’s population. This production had a strong start and still continues to put on a funny and dynamic show. However, their production team slowly got narrower and narrower until essentially all its members came from the same sorority. The diversity of the show reflected this— they continue to have a very difficult time getting diverse  pieces for their show because they have become known more as the “white-sorority-women’s monologues” and many of the voices they have every intention of representing do not feel their stories have a place in the production. It is an easier problem to run into than one would think. Even after thinking strongly about these issues, we ran into a similar (though less extreme) complaint in 2014 (http://www.dukechronicle.com/articles/2014/02/07/me-too (http://www.dukechronicle.com/articles/2014/02/07/me-too). ). We felt frustrated because, at the end of the day, we can only put into the show the monologues we receive. Some strategies for avoiding this problem are as follows: always make sure the basic  bases of race, sexuality, gender, and class are covered. If you have a hard time doing so, even after visiting numerous chapter meetings and general body meetings, look through past popular pop ular articles in your school newspaper for ones about these topic (there are bound to be at least a couple) and personally reach out to the author via email. Personalize the way in which you reach out for submissions, explain why you think someone has something important to that a wider audience would benefit from hearing. Also, if you have a spoken word group on campus or any creative writing courses, I highly recommend asking to visit a gathering or class, or ask leaders and teachers to announce the opportunity for people to submit their work to MTM. Do not just sit  back and wait for diverse pieces, actors, and production team members to come to you. Be  proactive! Losing diversity in the show is hard to come back from, so it is better to just avoid it in the first place!

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 As a writer writer for Me Too Too Monologues Monologues 2013, one one of the most most empowering empowering experiences experiences I have have ever had was putting emotions that I had never previously expressed to anyone down on  paper and witnessin witnessing g those words words performed performed on stage, stage, coming to life life in ways I never could could have imagined. The pride and fulfillment continued far past Me Too Monologues, as individuals – both those who knew I had written and those who didn’t – praised my monologue and told me how much it had meant to them. Everyone deserves that voice. Whether they are the writer, the actor, or the spectator, it is our duty to provide that opportunity to individuals. I want to make Duke the kind of place… where self-expression and self-exploration are encouraged by all. I don’t want to feel like I am concealing facts or telling half-truths when I talk about how incredible Duke is and how much I love it – it is because I unequivocally believe that it is an extraordinary place and I love it with all of my heart that I believe it can be better. It won’t ever be perfect, but the only way to improve it is through dialogue and self-reflection. Me Too Monologues has started that process.  –Rachel Fraade, Me Too Writer Writer and Publicity Publicity Manager Manager (Class of ’16)

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Timeline Coming soon in spreadsheet form! Feel free to email [email protected] [email protected] with  with any questions. Organization Structure The structure of MTM is one that is designed to expands as the production itself expands. We recommend beginning with at least an Executive Producer, Director, and Faculty Advisor. It is okay to start off small— productions such as MTM take time to become prominent on campus. campu s. Executive Producer Calls and presides over official meetings of the organization a long with the Theatrical ! Director Maintains accurate ledger and financial records ! Approves all expenditures from the organization financial account ! Approves (i.e. signs) all request for allocations from third-party sources ! Maintains organization in good standing with Duke University and sponsors via ! communication with the University Center Activities and Events (UCAE) and/or other interested University entities Maintains organization website and multimedia publications along with the Assistant ! Producer and Graphic Designer Assists the Theatrical Director in show preparation, including but not limited to: book ing ! show venue, booking rehearsal spaces, reviewing show content, acquiring monologues and actors, and finding sponsors. Assistant Producer Maintains the official roster of the organization ! Records minutes of all official meetings of the organization ! Maintains official historical file for the organization o rganization (constitution, by-laws, minutes, ! rosters, financial records, risk management records, etc…) Contacts approved vendors for quotations and orders ! Assists the Executive Producer in her/his duties as requested ! Theatrical Director(s) Is responsible for the overall practical and creative interpretation of the monologues, ! taking into account the budgetary and physical constraints of production Works closely with the creative and production teams, the performers and the producer to ! create a performance which connects with the audience Encourages Duke Community to submit monologues, through conversation, workshops ! or script development schemes as necessary Adapts a script as necessary ! Analyses and explores the script content and conducts relevant research !

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!

! ! ! !

! !

Conducts auditions for productions , selecting and hiring designers, light technicians, etc. p roduction team is present during auditions and plays a role in ! though all of the production selecting monologues and actors Manages time and organizes people and space Attends production meetings as requested Conducts rehearsals Attends all dress and technical rehearsals and prepares detailed notes for the cast, creative and production teams Helps to publicize the production by giving interviews and leading discussions Gives tasks to the Assistant Director(s) as necessary

Assistant Director(s) Assists the Theatrical Director(s) with her/his duties as requested ! Keeps the production running smoothly ! Maintains rehearsal schedule ! Works with the director(s) during the audition process, and is present for a ll rehearsals ! Manager of Programming and Publicity Serves as a representative of MTM on campus c ampus and in neighboring areas ! Publicizes MTM and related events ! Attends sorority and fraternity chapter meetings, selected-living group meetings, and ! extracurricular meetings to promote MTM and make them aware of submission and audition deadlines (though this is truly a job to be shared with the entire production team) Maintains organization in good standing with Duke University and sponsors via ! communication with the University Center Activities and Events (UCAE) and/or other interested University entities along with the Executive Producer Creates text blurbs for emailing listserves and strategic contacts (collaborates with ! Producers on this front) Coordinates with the Graphic Designer on publicity materials, including bu t not limited ! to: flyers, handouts, and MTM paraphernalia Graphic Designer Develops design and brand image with approval of Production Team ! Delivers design initiatives within desired deadlines ! Assists the Producers and Publicity Managers as requested ! Maintains website and multimedia publications along with Publicity Manager a nd ! Producers

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Faculty Advisor “A full-time faculty or staff member of Duke University shall be selected by the ! executive board and serve as the organization advisor. The advisor shall be an ex-officio member of the organization and all a ll of its committees.” Interpret University Policy for organization ! Direct membership to appropriate campus resources to accomplish organization’s goals ! Act as the official university contact in matters of policy violation !

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Guide to Producing

Over summer: Determine show dates and reserve a space to hold the performances · · Create a “Me Too Monologues” website where students can learn about Me Too’s structure and goals, as well as how to submit a monologue/audition Create a “Me Too Monologues Partnership Proposal” that includes the show’s anticipated ·  budget, as well as an introduction to the show and the benefits of partnering with Me Too. This will come in handy when soliciting donations. For example, for a donation of $500, we offer: offer: o

Placement of the donating organization’s name on our t-shirts, banner, and Plaza  board A feature on our website " Placement of the organization’s merchandise or pamphlets pamph lets outside of our "  performance venue Sample budget: "

o

Item

 Anticipated Cost

1

Website Maintenance

$120.00

2

T-Shirts (250)

$2,000.00

3

Merchandising (Stickers, buttons, ticketing)

$150.00

4

Videographer 

$100.00

5

Invitations

$75.00

6

 Advertising (flyers, banners, printing, plaza board(s))

$225.00

7

Show Tickets and Supplies

$10.00

Total

$2,680.00

 August-September:  August-September: · Determine dates for auditions to be held and reserve an audition space

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·

Set a monologue submission deadline (this year we planned in advance to extend the deadline from Friday, October 17th to Sunday, October 19th) Reach out to organizations on campus who might share some of Me Too’s values (ex: · Women’s Center, Center for Multicultural Multicultural Affairs, Affairs, Center for Sexual and Gender Diversity, etc.), and set up meetings to discuss potential partnerships Seek out and apply for any grants offered that relate to Me Too’s goals · · Work with publicity manager to create flyers publicizing the monologue submission deadline. Distribute flyers amongst production team and hang them across campus! October: · Make announcements about Me Too at the meetings of various student groups to encourage them to share their stories with Me Too! Aggressively publish the upcoming submission deadline via social media, more flyering, · word of mouth, etc.! · Collaborate with director to create a rehearsal schedule and find rehearsal spaces  November-Decemb  November-December: er: · Finalize partnerships with campus organizations · Organize a promotional video and photo campaign to launch in the weeks leading up to the show · The photo campaign typically involves photographing the actors individually and integrating a powerful quote from the monologue they will be performing into the photo (make sure to also include information about performance pe rformance dates/times/location!) Ask actors to make these photos their Facebook profile pictures. · The promotional video features the actors and highlights Me Too’s larger themes and goals – our video from last year is available on our website’s homepage (www.metoomonologuesduke.org) if you need inspiration  January: Send out official invitations to key faculty members who would benefit from attending · the performance · Ensure all partnering organizations have their organization names featured and their materials available at the show (if this was indicated this in you r partnership agreement)  After the show: show: · Create an application for next year’s production team and publicize it on your website, Facebook page, by word of mouth, etc. Collaborate with the remainder of the production team to fill positions for for the o new team · Re-register as a student organization if necessary Compile a list of what did and did not work with this year’s show, and create goals for · next year  · Ensure the outgoing and incoming student in each position meet with one another to discuss the position’s responsibilities and how to best attack them

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Advice for soliciting submissions: people a · While you can solicit any kind of stories for your production, it can help to give people  prompt . For Duke, we ask members of our community to send in stories about their identities and how these identities have affected their Duke experiences. More info and wording of our prompts can be found on our website: http://www.metoomonologuesduke .org/what-to-submit/ · A reliable mechanism for collecting anonymous submissions is a Qualtrics or Google  survey. On the survey, ask writers to submit a pin number of their choosing and to attach their monologues as a Word Document. The pin numbers allow you to let people know if their monologues have been chosen by posting the pins of selected monologues on your website, listserv, and/or Facebook page. You can add any other questions your team might have. For example, we ask if writers are okay with us publishing monologues in print or online. · One of the most most reliable ways to get submissions is to talk to people you know about submitting. People generally respond more to personal p ersonal contact than to an email e mail blast or to flyers. So talk to people  whom you think might have hav e interesting stories to tell or  perspectives to offer. The drawback of this approach is that the group of people you know may not be representative of your community as a whole. In the end, it’s good to pair  personal contact with a general call for submissions. This general call for submissions submissions can work through methods like listservs, social media, and posters. · In the survey for submissions, make clear your production’s policy on editing . If you plan to edit monologues for length and performability, p erformability, let people before they submit. Also, it’s good to clarify a length for monologues (between one and one and a half pages single spaced is a good range). · Some writers may want help crafting ideas or editing their monologues before submitting. Thus, it’s good to offer people the option of contacting you for help . In this case, whoever helps the writer edit would know the writer’s identity, so the monologue wouldn’t be entirely anonymous, but the writer’s identity could still remain hidden from the audience, 25

·

 If you want want diverse submissions submissions,, it helps to have have a diverse diverse production production team . People tend to  be more willing to submit if they feel people of their identity are well-represented well-represented in the  production team.

Advice for selecting submissions: · Selecting monologues often involves two types of judgment: 1) evaluating quality of  storytelling   storytelling , and 2) evaluating relevance of the story to one’s audience.  These judgments are often highly subjective, and that can ca n make the selection process difficult. written piece may may not · When evaluating quality of storytelling, remember that a strong written always be a strong performance piece . Some pieces feel like essays more than performance texts. Some poetry is great for performance while other o ther poetry is not. Reading fragments aloud can help. · When evaluating relevance of the story to one’s audience, think about whether the monologue presents a perspective  in your community. Me Too can  perspective not usually usually heard  in challenge dominant narratives and can present alternative narratives that people have thought or experienced but few have expressed. What is going to get audience members to say “me too?” ·  Diversity  Diversity of perspective perspective matters. matters.  If your community is diverse, Me Too should reflects that diversity. Of course, diversity operates on many levels in terms of identity, topic, and opinion. ·  Don’t dismiss dismiss a monologue monologue just just because it’s it’s not politically politically correct correct or because because it expresses expresses  problematic  problematic views. One year, we had a monologue submitted by a male student whose girlfriend was grappling with an eating disorder. The monologue mon ologue was sexist in several places and described his girlfriend as “psycho” and overly emotional. We considered censoring the sexist parts, but in the end trusted the audience to see the sexism in the monologue and respond to it as they saw fit. The monologue offered a perspective on eating disorders we don’t usually hear, and sexism was just a part of that perspective. · Me Too at Duke involves the whole production team in the selection process . That way, we get a variety of perspectives about the monologues and get advocates for monologues that some of us might overlook. We do a mix of discussion and voting to make the final selections. To streamline the process, we have each member of the production team read the submissions beforehand and come in to the discussion with a list of their favorites. monologuess after auditions auditions  because that select actors and monologues · It can help to pick the monologue together and choose monologues based on which actors could perform them. However, if you have a lot of submissions, it’s good to have a general idea which monologues you want to do  before going into auditions. That way, you can think about actors in the context of which monologues they could perform.

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Advice for editing monologues and selecting the order of the shows: · It is possible to edit a monologue and still maintain its integrity. The two main reasons to edit would be for length and for performability.  Longer monologues are more difficult to work with and can make the show drag. Many writers need a chance to set all their thoughts to paper, and this tendency can make monologues repetitive and lengthy. You can also edit monologues such that they flow better be tter and are easier to perform. Smoothing transitions and altering awkward phrasing can make performance easier. monologues together together into into what the Duke Duke Me Too team calls · It can be interesting to splice monologues “montages.”  This means placing multiple actors on stage at the same time and jumping  back and forth between their monologues. This technique is particularly good for calling attention to similarities and differences between monologues. For example, a few years ago, we had two monologues about sexual assault that we spliced into a montage. In one monologue, a student talked about how speaking up about sexual assault was empowering,  but in the other, a student suggests that speaking up wasn’t right for her. These pieces spliced together had an effect that neither could have had alone. · When ordering the monologues , some factors to think about are tone, relationships between monologues, and identity of the performer. The starting piece sets the tone  for what the rest of the show will be like. Do you want to · start with humor? Do you want to start serious? A mix? Any of these is a valid v alid choice; just make them a conscious decision. · After several serious monologues, the audience usually needs a break. Incorporating a humorous monologue after tough monologues  can offer much-needed relief. · You can also strategically position monologues so that they enter into dialogue with one another . For example, we placed a monologue about men’s body image immediately after one about women’s body image to call attention to how the two pieces agreed and disagreed. · Keep in mind the identities of the performers as you order to show . If you start with a white male voice when most of your monologues are not by white males, does that reinforce systems of privilege? On the other hand, if you place all male monologues at the end of the show, how might this alienate men in the audience?

27

Guide to Directing Running auditions: ·  Audition signups can can work through through a Google Google Drive spreadshe spreadsheet et with all of the times of the audition slots. Any user with a link to the document can add their name to the document to sign up for a slot. ·  Publicize  Publicize auditions auditions  through listservs, social media, and flyers as well as through personal interaction. · See Appendix J of this handbook for our audition blurb, the information we’ve distributed in  past years about auditions. · For Duke’s Me Too auditions, we have actors read monologues from past years. We place these monologues on our website and an d on our emails to the listserv about auditions. However, it takes a long time (as much as 8 minutes) to people to read through full monologues, so if you want to shorten auditions and fit more people into a shorter amount of time, it’s good to have people read only chunks of monologues and not entire monologues . · Start the audition by asking people a bit about themselves  and why they are interested in Me Too. This can make people feel more comfortable at auditions and can give you an idea about whether a person would be good to work with and whether a person understands the  principles behind Me Too. · After people read the piece they prepared, it can be helpful to give them direction direction and and see how they take it . Ask them to try performing what they just read in a different way. If they make a clear adjustment, it will be easier to get them to make adjustments a djustments during rehearsal. · Some of our best performers in Me Too have had little or no acting experience . At Duke, one of Me Too’s strengths is its accessible to those outside theatre, and we find this accessibility helps, not hurts, the quality of performances. ·  If the entire entire production production team is deciding on on monologues, monologues, it can help help to have the whole team team at auditions . Thus, the team can keep the actors in mind when deciding on monologues. The downside is that it can be intimidating to walk into an audition and to find a large team there. Running rehearsals: The monologues are wonderful gifts . The writers were generous enough to submit the pieces · to the show. In exchange exchang e for these gifts, it is the directors’ and the actors’ duty to treat these monologues with care and respect. The theatrical process can be stressful and certain monologues can be frustrating at times, but one o ne should treat the monologues sympathetically and try to understand why a writer wrote their monologue. Also, when you’re talking about monologues, remember that the writer could be in the room as an actor or member of the production team! · A director should make rehearsals a comfortable space  for actors to experiment and to talk through ideas. This means not dictating an actor’s entire performance and not shutting down 28

·

· ·

·

·

·

·

·

·

an actor’s ideas. Key to creating a safe space is establishing a cohesive group g roup that can support actors in times of need. Doing team-building exercises and having group discussions over ideas in monologues can help bring a group together. A cohesive community can also be an end in and of itself. Because we’re working with monologues, you can have a mix of individual and group rehearsals . It’s usually good to start with a group rehearsal to build camaraderie between the actors and to give the actors a sense of the other monologues. Then for the week before the show, it’s good to do tech in the space with the whole group so that actors can get used to the flow and shape of the production. Between the first rehearsal and tech week, you have flexibility to do whatever balance of group and individual rehearsals you want. Pair up actors as memorization partners . It helps to have someone to run lines with. actors to take take time Performing intense monologues can be emotionally demanding. Remind actors to decompress after rehearsals and shows , and even do a closing group exercise at the end of rehearsals ease people out of performance mode. Make sure actors do not talk about their monologues to those outside the show (unless they need to for the sake of their well being). This silence keeps the show more of a surprise to those who aren’t part of the production produc tion team. It also helps ensure that actors won’t end en d up meeting their author before the show opens, which can throw them off. When actors create characters, these characters are neither the author nor the actor . They are a third entity entirely. This distance can be useful for actors. It can liberate actors ac tors not to know that they don’t need to portray themselves or to get all the details d etails correct about their imagined author.  Each director director has her/his her/his own approach approach  and shapes her/his own rehearsal process. For Me Too at Duke, character work, movement work, and text analysis have been important parts of the rehearsal process. A useful acting exercise can be “talking back,”  in which one actor performers her/his monologue and the rest of the actors shout out responses to the monologue as it goes along. These responses can be questions or reactions like “What do you mean?” or “No way” or “I feel that.” These responses aren’t critiques of the performance but are rather comments to spur on the performer and to to prompt a fresh performance. performance. This exercise temporarily turns the monologues into dialogue!  If one monologue monologue talks talks about another another person person throughout, throughout, it might might help to have have another another actor  play that character character onstage. onstage. This can be a rehearsal exercise but could also be effective for the final performance. For example, in one monologue, a man talked about being sexually harassed by his boss. We had another actor play his boss and perform the actions that the man talked about in the monologue (touching him, teasing him, threatening him, etc.). Consider including in the production an introduction and/or conclusion that incorporates the whole cast.  These group pieces can feature fragments from each monologue or can be monologue performed by the whole group. A group piece can emphasize that, although each monologue is individual, those individuals are part of a larger community.

29

·

Think about involving an assistant director . This takes some of the burden off the director and allows you to train a director who can take over in future years. If you do have an AD, make clear your expectations of her or him. Discuss the division of labor and make sure you and the AD aren’t overlapping or competing for control over certain tasks.

What to do during the run of the show: · Warm up the cast vocally and physically before each performance. Play some games to get the cast focused and excited about the show. Pep talks are welcome. · Consider introducing the show to the audience at the start of each performance. You can explain what Me Too is and get the audience warmed up for the show. Sample pre-show speeches can be found in Appendix C and Appendix G. · Audience’s usually have a difficult time understanding that the monologues were submitted anonymously and that the actors did not write the monologues they’re performing . Make the  point as clearly as you possibly can. · Tell the audience that they can respond out loud to the show . If you’ve ever been to a spoken word poetry performance, audience members snap and hum when a part of a poem resonates with them. When you give the audience this freedom, it will help them feel more involved, and it will give actors more to work off of. With a vocal audience, Me Too has the spirit of a dialogue. 30

Guide to Acting

·

·

·

· · ·

·

·

·

·

The monologues are wonderful gifts . The writers were generous enough to submit the pieces to the show. In exchange exchang e for these gifts, it is the directors’ and the actors’ duty to treat these monologues with care and respect. The theatrical process can be stressful and certain monologues can be frustrating at times, but one o ne should treat the monologues sympathetically and try to understand why a writer wrote their monologue. Also, when you’re talking about monologues, remember that the writer could be in the room as an actor or member of the production team! Take care of yourself during the production process. Many of the monologues in Duke’s Me Too production have been bee n on intense subject matters. It’s emotionally trying to perform some of these monologues night after night. Find ways to decompress after performances and rehearsals. If going to emotional places during performance is interfering with the rest of your life, find ways to imitate emotions onstage without actually having to experience them. When you create a character, remember that this character is neither the author nor you the e ntity entirely. You don’t need to portray po rtray yourself or to get all the actor . They are a third entity details correct about their imagined author. Start memorizing early . Much of the acting doesn’t begin until you put down your paper. Find a partner in the cast, and memorize your monologues together.  Rehearsal  Rehearsal etiquette matters matters . Get to rehearsals on time. Respect those around you. Don’t coach another actor on her or his monologue unless the director says it’s okay.  Experiment  Experiment and try new new things in rehearsal. You’re only going to discover new things about your monologue if you try it a bunch of different ways. Be creative and bring ideas to the table. The director can always tell you if you’re going too far or missing the spirit of the monologue. n eed to for the  Don’t talk talk about your your monologue monologue with those outside the show (unless you need sake of your wellbeing). This spoils some of the surprise of the show for those not involved in the production team. It also lessens the chance that you’ll end up talking about your monologue to its author.  If you know know your author, author, that’s okay. When you’re crafting your performance, you don’t need to create a character based on the person you know. You’ll never be able to imitate the author exactly, so why imitate them at a t all? After a performance, the author of your monologue may approach you . This can be a really meaningful experience. It can also be quite disorienting. You have one character that you created and then you have the real life author. Don’t feel the need to change your character to become more like your author. Trust that your performance honored the author even if it didn’t replicate her or him. See our audition blurb  in Appendix J for advice on auditioning.

31

Guide to Writing

·

·

Often the best format for writing a monologue is to start off writing specifically about a certain moment. Write about what it felt like to be in that moment with dramatic detail, and an d then slowly incorporate some sort of lesson learned or emotion felt by the end of the monologue. Some of the best monologues allow the audience to see the many facets facets that make us human, so try not to write in just one emotional tone; in other words, don’t be like just angry or just distraught, show variations of feeling. · Try not to use too many big words and to to use more basic structures than you might might use use if you were only intending for your work to be read; things translate differently when being  performed. · Below is the explanation for the types of monologues we are looking for that is currently on our MTM webpage. You are more than welcome to take the whole thing or  pieces of it to use in your own personal calls for submissions:

We want all stories—sad, happy, funny, scary, angry, contemplative, whatever. We want all formats—anecdotes, poems, speeches, blog posts, conversations, interviews.  Really, absolutely absolutely any any format is acceptable acceptable..  No story is too too small.  If you want to submit a story, story, but aren’t aren’t sure how how to put it on on paper, please please email us. us. We’d be more than happy to work with you.  For length, length, aim for 1 page page single-spaced, single-spaced, or 2 pages double-space double-spaced. d. Please note note that we  sometimes  sometimes edit pieces pieces that come to us any longer longer than this. this. If you would would like creative creative control control over edits please note so in your submission and a good way to contact you. We understand that some of you may be slightly apprehensive about submitting a monologue from your personal email address. Therefore, we have created a form that  you can use to send us your your submission. submission. The form form asks for for a monologue monologue code. You You will make up any 6-digit number and input it in the designated field. Keep this code! After we choose monologues, we will post the codes that have been chosen so that you know if  your monologue monologue will appear in the the show. You may open this form, input the required information (6-digit monologue code number that you make up), attach/upload your monologue, and it will be sent to us completely anonymously. This way, there will be absolutely nothing linking your name to your  submission.  submission.  Here are some some quick tips tips for writing writing your story: story:  Don’t approach approach it like like an academic academic essay. essay. Write it like you’re saying it to somebody. " "

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Take a look at some past performances. (There is a link in the menu above.)  If you feel like you have have nothing to say about about identity, you’re you’re wrong. wrong.  Look at this list of words, words, and see how how any of them them relate to you: " "

" " " " " "

 Family  Friends  Religion Spirituality  Race Sex

" " " " " "

Gender  Ethnicity  Language  Language Culture  Accent  Atheism

" " " " " "

 LGBT  Minority  Majority  Discrimination  Discrimination  Disability Class

" " " " "

 Nationality  Nationality Community Queer  Money Career

 Perhaps ask ask yourself some of the following questions: questions: moment in your life life that has altered the way yo view view things to how you "  Has there been a moment  saw things things before that that moment and how you you see things things now? What is something that you think is normal/obvious, but others still find controversial? " What is something people wouldn't know about you unless you told them? " the person everyone everyone else else thinks you you are? "  Are you the When you look in the mirror, what do you see? " What do you wish you had know before taking your first steps onto Duke's campus? " inferior? "  Have you ever felt inferior? you different different from the person person you were in high high school? "  How are you What is the best way and the worst way you have changed since coming to college? "

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V.

A Quick Guide to Launching

FAQs  How much will it cost to to do Me Too Monologues Monologues with my community? community? Conceivably, you should be able to do it for free. The three things you need are people, a space, and a survey, and often times you can find all of these for free. If actors, directors, and a  production team volunteer to participate, then you have all the people you need. If you can reserve a space or find someone to donate a space, that will be free as well. You can also do the show outside in a public space! To get the monologues submitted, you need an online form. You can make one on Google Drive (or on Qualtrics if your university u niversity has an account). Alternately, you can go low tech and have people submit monologues in hard copy into a submission box. The costs of Me Too are a re minimal to none. Me Too at Duke spends the vast majority of its funds on T-shirts for audience members, which is a beneficial— though not vital— part of the  production.

 How will I get get enough submissions submissions for the show? show? Everyone has a story. If you ask around, you’ll find more people willing to send their’s in than you expected. Talk to friends about submitting monologues. If you read an interesting article in the school paper, contact the author about writing a monologue. You can even submit a few monologues yourself. In Me Too’s first year, several of the monologues were written by the director. Get creative! Set up a booth on campus to talk about Me Too Monologues and encourage people to submit. There are more than enough stories out there; with some ingenuity, you’ll be able to get people to submit them.  Do I need to be a theatre theatre person to do Me Too? Too?  Nope. Our founder, Priyanka Chaurasia, had never done theatre before creating Me Too at Duke. Many of our o ur performers are doing theatre for the first time. We’re all actors and storytellers in our everyday lives, and this knowledge can help you build Me Too. You can also find allies with theatre experience who are able to coach you through the production process. For advice, you can look to us on the Me Too team at Duke or to theatre professors and students at your university. If you care about social justice and storytelling, you’ll be recruit people to your side who can help you with the theatrical element of the production. What to Expect Programs like this do not happen overnight. Try not to bite off more than you can chew and do not expect expe ct the first year of the show to be b e a smashing hit with people waiting in three hour lines to get in the door. It will happen, but it takes patience and momentum can only build over time. We have provided the history of our show below, so that you can see what the growth  process has looked like for us so far.

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History Priyanka Chaurasia created the show in 2009 after attending Common Ground, a Duke diversity immersion retreat that provides open spaces for students to share their o wn stories and thoughts on how they are affected by identity markers. Priyanka felt moved by what people had to say, particularly about race, and was compelled to make sure these experiences and insights could be heard by wider audience on a larger platform p latform in the form of “testimonial theater” (Oberski, 2010). As years have passed, the focus of MTM has expanded from primarily race to essentially all identity issues including campus culture, sexuality, class, gender, religion, and disability. As part of the MTM process, students anonymously submit personal stories and, of those, roughly fifteen are chosen by the production team to be performed. At the same time, the team is watching students audition and matching the person they feel would do the best with each piece to the monologues chosen. Nobody who performs a monologue wrote it his or herself. The first MTM show was held on Martin Luther King Day with help from the MLK committee and the Kenan Institute for Ethics. It was originally meant to be staged in Brodie Theater on East campus (seats 80), but when the Facebook event reached over 400 RSVPs, Priyanka scrambled for a bigger venue and managed to snag the White Lecture Hall (seats 250). Every row was full and people peop le still continued to sit on the floor, aisles, and stairs! Every year since its establishment has brought yet more advancements to the production. By 2012 the show was a weekend long event, with three fully packed shows in the Nelson Music Room (seats roughly 500) and a three member production team (Theatrical Director, Executive Producer, and Assistant Producer). By 2014, the production team had reached six members (+ Assistant Director, Publicity Manager, and Graphic Designer) and the show expanded to two weekends with five packed shows in total, with programming for “Me Too” Week in the four days in  between the weekends. With the added two shows, the production had over 2,200 viewers, not including YouTube— that is almost a third of the undergraduate population! And the future looks even brighter! The production team for this upcoming 2015-year has eight members (+Director and Assistant Director of Programming and National Expansion) with a focu s on continuing to keep the show strong while spreading to other university campuses with the help of Priyanka’s marketing expertise. The Me Too team feels that other universities could benefit from MTM just as much as Duke’s community has benefited from the creative outlets it has provided for advocacy, reflection, increased understanding, and personal discovery. We urge you to launch the  production at your own university and promise to support you every step of the way and make the process as easy as possible by providing as many resources as we have h ave to offer (templates for grants, our constitution, budget, invites to special administrators, flyers, banners, and so on are included in the appendix and should be available shortly through our national website once it is launched).

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V. Gaining Administration Support Alignment with Diversity Goals of Higher Education In her article Fostering the Moral and and Civic Engageme Engagement nt of College College Students, Students, Anne Colby writes, “College students are not passive recipients of socialization, but actively construct and reconstruct their understanding of moral experiences such as justice, rights, equality and welfare through their experiences.” A college education is meant to open student’s horizons through exposure to different worldviews and modes of thinking. Students are ideally taught to question the world around them and to rebuild it again on a foundation of what they believe to be truth, as opposed to standards they passively accepted as simply the way things are or as a default. As a result, many college students find themselves questioning the worldviews they  brought in and redefine their identities along the way, too.27 In 2002, Duke President Nannerl Keohane Keo hane stated: “As a University, we participate in the education and socialization of undergraduate unde rgraduate students to fully appreciate life of the mind, mature in social roles that prepare them to make mak e significant civic contributions as world citizens, enjoy  productive careers and loving relationships, and successfully navigate the complex work of living a meaningful life.” MTM contributes to this ideal of a truly formative education and adds a dds so much to what a university can teach its students. My ultimate hope is that MTM may crystallize the sense that Duke, and any college that launches this production produc tion on their campus, is a place where these things occur and can evolve authentically. A national study on campus culture nicknamed the “Chilly Papers” illustrates the need for a  production like MTM on college campuses. The core analysis of the report is embodied within the following quotation from one of the study’s interviewees: [Although our college] houses a diverse group of people… [t]hat does not make it diverse… Many women and minority students think that both attitudinal and institutional factors relegate them to second-class status… this is a fragment community, dominated by a core group whose particular values are supported by the larger community and by the College itself. 28 College community spaces are almost always set up in a way that caters to the hegemonic power, leaving those that do not fit the “unmarked” mold to feel less significant in the grand scheme of campus social and academic culture. The challenge we face is to focus its efforts on presenting multiplicity and variety as the actual norm. Privileging inevitably communicates values and universities must examine whom it is privileging and for what purposes, whether that be through funding and space allocation policies or procedures for academic, residential, and social groups. When asked in a survey about the importance of diversity experiences during their four years of college, students placed their expectations for meeting different people close to “very 27

 American Arnett, J. Emerging Adulthood: A Theory f Development From the Late Teens Through the Twenties. American  Psychologist , Vol 55(5), May, 2000. pp.469-480. Publisher: American Psychological Association [Journal Article] 28 “Campus Climate Survey: Faculty Comments”, 2, 1991. Box 1. Women's Center records, Duke University Archives, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

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important” on the measurement scale.29 And while Admissions selects a diverse conglomerate of students to attend its university in order to facilitate this intercultural communication and interaction, students’ “actual self-reported behavior is at odds with that ex pectation.”30 A Duke study showed, “Across different racial and ethnic groups, g roups, student networks during the first two years, at best, remain as racially or ethnically homogeneous as they were during du ring high school. At 31 worst, they become even less racially or ethnically diverse.”  The Campus Life and Learning Project hypothesizes that this is because “their desires are for exposure and not necessarily engagement.”32 But is mere exposure enough for them to engage with difference and learn how to operate in an increasingly diversifying d iversifying world? How can institutions inspire greater diversity and intercultural competency within student networks? We believe the answer is not only making these opportunities for engagement available,  but also to get students excited about them. MTM has done just this. The production has created a brand for itself that links advocacy and entertainment to the extent that even those who would not normally involve themselves in the social justice world find themselves in line for up to three hours to ensure a spot in the theater. MTM is effective because it is not an academic lecture or overly structured dialogue— it comes straight from peers and raises points controversial enough to inspire passionate, spontaneous dialogue as audience members leave the theater and long after.

"Me Too Monologues is an effective vehicle in identifying campus-wide social issues and  sparking dialogue dialogue among among and between between students, students, staff and faculty." faculty." -Zoila Airall, Duke’s Assistant VP of Student Affairs for Campus Life

29 30 31 32

Duke Campus Life and Learning Project. 2008. p. 85. . Ibid. Ibid. Ibid.

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MTM Mechanisms of Effect (Proof It Works) 1.

Emotional Intimacy Enhances Memory and Commitment to Prosocial Behavior  Numerous research studies have pointed to the benefits of using narrative, in forms ranging from fiction to biography, as a mechanism to develop reader’s “empathy, ethnic consciousness, critical thinking skills, and organizational strategies.”33 Academic fields such as social work, law, secondary school education, nursing, and medicine have even begun using narrative as an effective training tool because of its “capacity to inspire professional growth and empathy.”34 MTM is effective because it allows for people’s personal stories to be exchanged using an intimate, narrative format. The production is unusual in that it creates a space for an audience of over 500 viewers while also managing to generate an aura of emotional intimacy that would normally only be possible between two or three already-bonded individuals in a secluded setting. Sociologist Brene Brown describes emotions inspired by intimacy as “the energy that exists between people when they feel seen, heard, and valued; when they can give and receive without judgment; and when they derive sustenance and strength from the relationship.”35 By staging narratives via a presentation style that mirrors an intimate heart-to-heart, MTM enables the viewer to use this emotional intimacy to reach a new level of emotional transcendence. Transcendence, when used as a psychological term, means “being able to see the bigger picture  by stepping outside the circle of egocentricity… [w]hen this happens, one’s own troubles lose some of their salience.”36 The more one transcends into a story, the greater the likelihood that the event will be committed to memory and an d continue to impact one’s future actions. ac tions. Studies have shown that the majority of attitude changes are “mediated by emotional as opposed to rational responses.”37 Memory and learning become greater when linked with feelings because the composition of our brain: 1) Remembers stories better than facts and 2) Has memory commitment devices that tend to become more sensitive as experiences evoke greater emotion. Cognitive scientist Roger C. Schank notes, no tes, “Stories are easier to remember—because in many ways, stories are HOW we remember.”38 MTM fits into this because, in the flurry of emotion it brings, audience

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(Shapiro et el., 2005; Pardeck, 2005; Freeman and Bays, 2007; Holloway, 2009; Djikic et al., 2009; Schotland, 2009 in Turner, 2013, p. 854) 34 (Turner, 2013, p. 853) 35 (Brown, 2010, p. 19). 36 Zachar, P. “Pathological Narcissism and Its Relationship to Empathy and Transcendence.”The Pluralist , Vol 1(3), Fall 2006. Pp. 89. Publisher: Board of Trustees of the University of Illinois. 37 Mazzocco, P., Green, M., Sasota, J., & Jones, N. This Story Is Not for Everyone:Transportability and Narrative Persuasion. Social Psychological and Personality Science, Vol 1(4), Oct, 2010. pp. 364. Publisher: Sage Publications [Journal Article] 38 Pink, D. H. (2006). A whole new mind: Why r ight-brainers will rule the future . Riverhead Books: New York. p. 100.

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members are likely to recall emotion-rising monologues “more often and with more clarity and detail than neutral events.”39 2.

Overcoming compassion fatigue with comedic relief One of the keys to MTM is making use comedic relief. The directors agonize over the order of the monologues so that if one piece is heart wrenching or controversial, the next monologue can help the audience to recover from emotional overload before compassion fatigue is induced. Compassion fatigue is a medical term used to describe the “vicarious traumatization” or “secondary traumatization” common among nurses and caretakers. caretakers.40 The American Institute of Stress explains that compassion fatigue is different from burnout, the “cumulative process marked by emotional exhaustion and withdrawal associated with increased workload and institutional stress,” because burnout is not related to trauma. One nurse paints the following  picture: We have not been directly exposed to the trauma scene, but we hear the story told with such intensity, or we hear similar stories so often, or we have the gift and curse of extreme empathy and we suffer. We feel the feelings of our clients. We experience their fears. We dream their dreams. Eventually, we lose a certain spark of optimism, 41 humor and hope. We tire. We aren’t sick, but we aren’t ourselves. While this level of compassion fatigue requires an extended extend ed onset period that would not occur from sitting through a mere two hours of the MTM production, audience members may feel self protection mechanisms arise within themselves that create a sense of impersonalization, impersonalization, disconnection, apathy, desire for isolation, or even physical tiredness. This is likely because of an “emotional residue or strain of exposure” that can c an result from a “strong identification with helpless, suffering, or traumatized people or animals.”42 Having comedic pieces interdespirced throughout the show is one of o f the best ways to counteract this effect. On a side note, this is also a reason why it is critical for the production team to make note of monologues monologue s that may be triggering and include an announcement to address this before the show begins.

39 40

41 42

Ibid. Fagley, N., Coleman, J., & Simon, A. Effects of framing, perspective taking, and perspective (affective focus) on choice. Personality and Indivi dual Differences , Vol 48(3), Feb, 2010. pp.264-269. Publisher: Elsevier Science [Journal Article] (in American Institute of Stress, 2012). (American Institute of Stress, 2012).

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3.

Palliative Narrative “Narrative medicine’ is a term coined in 2000 200 0 by Rita Charon at Columbia University. It is a practice “informed by the theory and practice of reading, writing, telling and receiving stories,” all of which increase the viewer’s “capacities to comprehend the patient’s experience” through a “holistic practice that focuses on bearing witness.”43 For those who have experienced illness or hardship, writing about it “moves this experience from ‘talk’ to the visible page where they can recover, revise, and thereby control the meaning of what has happened to them.”44 The act of writing down or speaking out loud an account of an impactful personal experience has a  powerful effect. It brings memories and emotions that may have been repressed or compartmentalized deep inside oneself into the daylight, so one may actually begin to process and come to terms with them. In her book The Gifts of Imperfection , Brown quotes Hartling’s  brilliant insight that: [I]n order to deal with shame, some of us move away by withdrawing, hiding,  silencing ourselves, ourselves, and keeping secrets. Some of us move forward by seeking to appease and please. And some of us move against by trying to gain power over others, by being aggressive and by using shame to fight shame… yet all of these  strategies move us away from our story. Shame is about blame, fear, and disconnection. If we want to live fully, without the constant fear of not being enough, 45 we have to own our story. Before monologues even make it onto the stage, they have likely already had a profound effect on the writer. Psychology experts Stanley and Hurst explain, “[W]e rescue events and thoughts from oblivion. We ‘fix’ them, and so we render even the horror somehow acceptable or at least tellable. In the end, if patients suffer from isolation, this narrative healing can cure… [because] ‘what cures the condition is no longer long er being alone with it.’”46 The sense of agency that accompanies giving one’s own account is empowering in two ways: 1) It can help in “letting go of numbing and taking the edge off vulnerability, discomfort, and pain”47 and 2) It can dissolve the sense of “powerlessness” that comes with feeling victimized or caught within a web of guilt by allowing the individual to raise his or her voice and  be heard.48 To see one’s own words performed in front of a large mass of people p eople gives one the sense that they have the power to be heard by and impact others, thereby working against the “desperate feeling” that comes when one believes they cannot affect change or that a situation is hopeless.

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44 45

Stanley, P., & Hurst, M. Narrative Palliative Care: a Method for Building Empathy. Journal of Social Work in  End-of-Life & Palliati ve Care, Vol 7(1), Jan, 2011. Special Issue: Partners in palliative care: Enhancing ethics in care at the end of life (Selected contributions from Fourth Conference of Collaborative for Palliative Care). pp. 45. Publisher: Taylor & Francis [Journal Article] Ibid. Brown, B. (2010). The Gifts of Imperfection. City Center: Hazelden. p. 46. [Book]

46

(in Stanley & Hurst, 2011, p. 45) (Stanley & Hurst, 2011, p. 65) 48  (Stanley & Hurst, 2011, p. 65) 47

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Storytelling is the thread to the quilt of our lives. Without narrative, whether oral or written, we are like random patchwork and our existence lacks meaning and connectivity. On a campus where students admittedly hide their stories, opportunities to encourage and foster  storytelling  storytell ing are imperative. imperative. Me Me Too Monologues Monologues provides provides students students a monumental monumental chance chance to write and orate experience and existence at Duke. The show is magical, not just because it  provokes an array of emotions and and thoughts, thoughts, but because because it reminds reminds us what it it means to live, to connect and to be wonderfully quilted human beings.  –Lexy Lattimore, Lattimore, Me Too Actress Actress and Theatrical Theatrical Advisor Advisor (Class (Class of ’14)

4.

Contact Theory/Mere Exposure Effect & Intergroup Anxiety/Selection Bias The contact theory hypothesizes, “[I]ntergroup contact typically diminishes intergroup  prejudice.”49 It has been suggested that “the prejudice reduction related to intergroup friendship may even generalize to other outgroups not involved in the contact situation.”50 Even more appealing is research done on Robert Zajonc’s (1968) “mere exposure effect” theory, which found that “greater exposure to targets, in and of itself, can significantly enhance liking for those targets.”51 To summarize, coming in contact and engaging with difference reduces prejudice. With all these benefits at so little cost, why is contact among students not occurring more than  just sitting in the same lecture halls and sports stadiums stadiums as those with different identity markers? Why are students still maintaining a friend group that is low on the diversity scale? We would  point to intergroup anxiety and selection bias as the two main culprits. Intergroup anxiety is the social phenomenon identified by Walter and Cookie Stephan in 1985 that “describes the ambiguous feelings of discomfort or anxiety when interacting with members of other groups.”52 The source of the anxiety usually stems from fears of negative evaluations from the outgroup for “failing “failing to be aware of and demonstrate appropriate behaviors that are congruent with the outgroup's social norms.”53 Other sources of anxiety may include: “Negative  psychological outcomes for the self, such as feeling uncomfortable or being deemed prejudiced” or “possibly being ostracized from one's own ingroup for  associating  associating with members of an 54 outgroup.” In terms of selection bias, people that hold prejudices— intentionally or unintentionally, implicitly and explicitly— “avoid contact with the objects o bjects of their prejudice”, while “the 55 unprejudiced seek such contact.”  MTM does an incredible job getting people of all different identities together in one room, by choice,  and excited to engage— something that is, quite honestly, rare. 49

 International Journal of Intercultural Pettigrew, T. Future directions for intergroup contact theory and research. International Article]  Relations , Vol 32(3), May, 2008. pp.188. Publisher: Elsevier Science [Journal Article] 50 (Pettigrew, 1997; Van Laar, Levin, Sinclair, & Sidanius, 2005; in Pettigrew, 2008) 51  (Bornsteinm 1989; Harmon-Jones & Allen, 2001; Lee, 2001; Zajonc, 1968; Homans, 1950; in Pettigrew, 2008, p. 188) 52 http://en.wikipedia.org/wiki http://en.wi kipedia.org/wiki/Intergroup_anxiety /Intergroup_anxiety 53  Ibid 54  Ibid 55 (Pettigrew, 2008, p. 188)

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5.

Emerging Adulthood College-aged youths are in a period Jeffrey Arnett has labeled “emerging adulthood,” which is “neither adolescent nor young you ng adulthood but is theoretically and empirically distinct 56 from them both.”  Emerging adulthood tends to span “the most volitional  years  years of life” when the brain is under a major process of development, which means the experiences one has during this period play a considerable role in the permanent wiring of the brain.57 It is important for MTM to take advantage of this period, as “advances in social cognition and developments towards higher-level moral reasoning during adolescence and emerging adulthood give rise to increased consideration of multiple perspectives and empathy.”58 In other words, college students are at the stage in their lives when wh en a catalyst like MTM can spark a transformational event that alters his or her sense of self enough to strengthen their moral identity and commitment to prosocial behavior.

6.

Breaking the “Effortless Perfection” Mirror & Inspiring New Forms of Reflection College students live in an era of mass media and popular culture that idealizes unrealistic and unattainable standards of beauty and success. This is undeniably one of the main sources of the “effortless perfection” myth— a dangerous pressure felt by college students to be "smart, accomplished, fit, beautiful and popular," all without any "visible effort."59 Jean Kilbourne, filmmaker of “Killing Us Softly”, emphasizes the particular harm that ads can do to one’s sense of self:

56

 American Arnett, J. Emerging Adulthood: A Theory f Development From the Late Teens Through the Twenties. American  Psychologist , Vol 55(5), May, 2000. pp. 469. Publisher: American Psychological Association [Journal Article] 57 (Arnett, 2000) 58 Smits, I., Doumen, S., Luyckx, K., Duriez, B., & Goossens, L. Identity Styles and Interpersonal Behavior in Emerging Adulthood: The Intervening Role of Empathy. Social Development , Vol 20(4), Nov, 2011. pp. 664-684. Publisher: Wiley-Blackwell Publishing Ltd. [Journal Article] 59 http://www.huffingtonpost.com http://www .huffingtonpost.com/amy-yao/college/amy-yao/college-women-pressure_b_28 women-pressure_b_2898446.html 98446.html

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 Advertising  Advertising is an over $200 billion a year industry. industry. We are exposed exposed to over 3,000 ads a day. Yet, remarkably, most of us believe we are not influenced by advertising. Ads  sell a great deal more than products. They sell values, images, and concepts of  success and worth, worth, love and sexuality, sexuality, popularity and normalcy… normalcy… they tell us who we 60 are and who we should be. Advertising and media sexualizes women, underrepresents und errepresents minorities, and creates an unrealistic notion of cultural “norms” that are unattainable, una ttainable, yet feel expected. Brene Brown, a sociologist who studies shame and vulnerability, astutely proclaims, “When we allow ourselves to become culturally conditioned to believe that we are not enough and that we don’t make enough or don’t have enough, it damages our soul.”61 When our self worth is tied to our net-worth, we base our worthiness on our level of productivity.62 The effect is that which Brown calls the “hedonic treadmill.” Robert Thompson, a  professor of Psychology at Duke, explains, “A treadmill only goes faster and one begins to ask ‘is that all there is— longer, harder, faster?’ ‘For what end?’” The pressures of the hedonic treadmill churns out “overfunctioners” who “tend to move quickly to advise, rescue, take-over, micromanage, and get into other o ther people’s business rather than look inward” at their the ir own issues.63 The common trend for may students at high-pressure institutions is that we make ourselves busy so that we never need to slow down, as opposed to sitting still with ourselves and our emotions for a while. We often do not realize that this “overfunctioner” behavior is “a response to anxiety, rather than a truth about who we are” and we are in need of situations that help us understand what we cannot easily see and inspire us to feel we can change. MTM is the best opportunity for breaking the effortless perfection mirror because it challenges students to look at what is going on within themselves and others beyond be yond a surface level by engaging in a different form of reflection. When Maya Angelou spoke at Convocation my first year at Duke, she made the declaration: “I am a human being, nothing human can be alien to me.” She continued, “My Lord! That statement is liberating! It not only liberates me from other people’s ignorance, it liberates me from my own.”64 This notion is central to MTM. Afftene Taylor, MTM’s Theatrical Director in 2012, claims, "MTM is abou t coming closer to discovering the truth of who you are." To add to this, we believe it is about discovering the truth of who others are in a way that allows you to see past smoke screens, create more realistic expectations for ourselves, and define new norms to reach for.

60

Brown, B. (2010). The Gifts of Imperfection. City Center: Hazelden. pp. 68 [Book] (Brown, 2012, p. 69) 62 Ibid. 63 (Brown, 2012, p. 109) 64 Sealey, N. (2014, May 24). “I love being an African-American woman”: The Maya Angelou speech that changed my life. Salon.com RSS . Retrieved June 21, 2014, from http://www http://www.salon.com/2014/05/ .salon.com/2014/05/29/i_love_being_an_ 29/i_love_being_an_ african _american_woma _american_woman_the_maya_angelou_spee n_the_maya_angelou_speech_that_changed_my_li ch_that_changed_my_life/ fe/[Column/Opini [Column/Opinion] on] 61

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Under the veil of anonymity, students bring forth stories we would only hear in the most intimate of late night dorm room discussions. In Me Too, we hear amazing stories about  facing the death of a parent, parent, racial racial discrimination, discrimination, sexual sexual assault, assault, figuring out out one’s career. Me Too challenges the notion that students are always okay and successful and brings forth narratives about students’ vulnerability. This year, we reached 1900 students, almost a third of the student body. Each year after Me Too, our center for Counseling and  Psychological  Psycholo gical Services Services reports reports more students students coming coming in to talk. talk. Seeing people people bring forth forth their silenced narratives onstage, students are more willing to bring forth their silenced narratives in real life.  –Kari Barclay, Barclay, Director Director of MTM (Class of ’16) ’16)

7.

Pausing to Reflect Engaging students in the diversity surrounding them is difficult, particularly at schools where high achievement is expected, because busy schedules make time a precious commodity that is not easily bought. Students are a re not usually willing to spend time on less-than-stellar  programming when it could also be used studying, engaging in their own extracurriculars, or having the chance to just take a break. The strength of a program like MTM is that it has acquired enough hype over time to draw people in from all walks of campus life and people are not only willing, but excited to take time out of their busy schedules to attend. Because of this, we believe MTM has ha s the power to create rare moments of o f pause and reflection. By bringing students face-to-face with other’s stories, we sometimes find ourselves watching our own struggles and delights in life unravel on the stage in someone else’s words. The MTM production slows down time and hones in on the human experience in a way that  brings greater insight towards our own behaviors and the experiences that define us. MTM allows its viewers to come to a place of stillness that: [I]s not about focusing on nothingness; it’s about creating a clearing. It’s opening up and emotionally clutter-free space and allowing ourselves to feel and think and dream and question… if we stop long enough to create a quiet emotional clearing, the 65 truth of our lives will invariably catch up with us. We would argue that most students need more moments of reflection like these. Sitting in the audience of the show is one of the few times when the pressures of effortless perfection and  productivity competitiveness fall silent and the focus is no longer unhealthy comparison, but an uplifting sense of connectedness in the universal human experience. The audience engages in each other’s differences through shared narratives and settles into realizing we all have our own issues.

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Brown, B. (2010). The Gifts of Imperfection. City Center: Hazelden. p. 109. [Book]

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8.

Counteracting Shame and Loneliness Brown explains that the psychological impact of shame works “like a zoom lens on a camera,” so that when we feel it, “the camera is zoomed in tight and all we see is our flawed selves, alone and struggling.”66 We ask ourselves questions like, “ I’m the only only one with a muffin top? Am I the only one with a family who is messy, loud, and out-of-control? Am I the only one not having sex 4.3 times per week (with a Calvin Klein model)? Something is wrong with me. I 67 am alone.”  The media messages and the socializing impacts of college culture that make us think this way are impossible to avoid; to do so would be like “trying to hold your breath to avoid air pollution.”68 MTM combats resulting shame and feelings of lonliness by forcing people to zoom out and view the full picture in a way that switches their internal dialogue from overly self critical to “I can’t believe it! You too? I’m normal? I thought it was just me!”69 MTM acts as a “reality-check [to] our shame triggers and the messages and expectations that we’ve never been good enough.”70

"Following Me Too Monologues, we have an increase in students coming to talk about their experiences as victims of sexual assault. It is powerful to hear these stories out loud to help  survivors understan understand d that what they experienced experienced is viewed viewed by their their peers as as traumatic. traumatic. Students also hear their peers say supportive and encouraging things about the monologues and they come to understand that perhaps if they share their story and get some help for it that they will be believed."   –Sheila Broderick, Broderick, Women’s Women’s Center Center Gender Gender Violence Violence Intervention Intervention Services Services Coordinator  Coordinator 

9.

Working Against an Alternative Unfriendly Environment Many universities have been marked alternative-unfriendly environments. If not properly handled, diversity within an institution or community can become a decisively negative thing. One anonymous Duke student notes, “Without this [intercultural] understanding, we create a community where negative student interaction is the norm because differences are ostracized rather than appreciated.”71 If the mission of a universities is to make themselves known kno wn for their “well-rounded and empathetic student body that thrives off its diversity,”72 then they must continue to look for ways to actively engage students in difference in a way they can get excited about. By finding as many ways as possible to insert diversity into mainstream culture (like MTM), it will become more and more normalized, and, therefore, welcome.

66

(Brown, 2010, p. 68) Ibid. 68 Ibid. 69 Ibid. 70 Ibid. 71 (Brown, 2010, p. 33) 72 Airall, Z. email, May 21, 2014 [Personal Communication] 67

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10.

Breaking Down Categorization/Stereotype to Combat Prejudice Categorization is an innate psychological tool meant to “provide meaning, establish norms, and simplify [in order to] afford coherence to our social worlds.”73 Unfortunately, it almost always leads to misleading assumptions and oversimplifications of identity, otherwise known as stereotype. A study of o f the minimal group paradigm (a category differentiation model) showed that “even with trivial memberships, anonymity, and no prior inter-group contact,” subjects are prone to viewing ingroup and outgroup members in divisive ways. The usual consensus is that “‘they’ are different f rom rom ‘us’” and should also be “evaluated less positively 74 than ‘us.’”  In this Us-Them binary, “[r]ighteousness, intelligence, integrity, humanity, and victory are the prerogatives of Us, while wickedness, wicked ness, stupidity, hypocrisy, and ultimate defeat 75  belong to Them.”  Kaufmann believes “Us-Them” restates “I-It” in the plural, which is clearly dehumanizing.76 He continues: The relationship between one of Us and one of Them by definition lacks empathy, let alone attunement. Should one of Them presume to speak with one of Us, the voice would not be heard as fully or openly as would one of Us—if at all. The gulf that divides Us from them builds with the silencing of empathy. And across that gulf we are free to project onto Them whatever we like… when we refer to someone as one of Them, we close off our altruistic impulses .77 This is important to understand because “[o]nce the others are set at a psychological distance, they can [easily] become a target for hostility,” 78 whether it be through conscious or unconscious bias and discrimination.

73

Crisp, R., & Hewstone, M. Multiple Social Categorization. Advances  Advances in Exper imental Social Psyc hology, Vol 39. 2007. Zanna, Mark P. (Ed); San Diego, CA, US: Elsevier Academic Press, pp.170. [Chapter] 74 (Crisp, 2007, p. 178) 75 Goleman, D. (2006). Social Intelligence: The New Science of Human Relationships . New York: Bantam Dell. p. 299. [Book] 76 Ibid. 77 (Goleman, 2006, p. 298-299) 78

(Goleman, 2006, p. 299)

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Stereotype and bias are linked because once the seed of bias is planted, our way of observing and evaluating the world operates in a way that “tend[s] “tend [s] to seize whatever seems to 79 confirm the bias and ignore what does not.”  In other words, “whenever we encounter someone to whom the prejudice might apply, ap ply, the bias skews our perception, making it impossible to test whether the stereotype actually fits.”80 Goleman warns that, over time, the mind builds “evidence against the other” and “with each additional disquiet, each unflattering media depiction, each feeling of having been treated wrongly… these incidents build, apprehension becomes antipathy, and antipathy morphs into antagonism.” 81 Bias can come from explicit and implicit reserves within ourselves. MTM believes the biases we need to pay the most attention to are often those of which we are unaware. They allow even the most well-meaning person to commit microaggressions, which count as a harmful form of prejudice, p rejudice, too. We must fight these prejudices because they impact the sense of self-confidence,  belonging, and acceptance of the those they are directed towards. They determines whether or not one feels qualified to apply for certain positions, deserving of love, and capable of exercising agency in their community. Not to mention that the American Psychological Association (2001) has cited prejudice as “a cause of health, economic, and educational disparities.”82

79 80 81 82

Ibid. Ibid. (Goleman, 2006, p. 300) Paluck, E., & Green, D. Prejudice Reduction: What Works? A Review and Assessment of Research and Practice.  Annual Review of Psyc hology Vol 60, Jan, 2009. pp. 343. Publisher: Annual Reviews [Journal Article]

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11.

Perspective Taking & Personalizing the Issue Perspective taking, or “the cognitive capacity to spontaneously consider the world from another’s viewpoint,” is another mode of imagining a different person’s experience.83 Psychology expert Daniel Batson found that “asking individuals to take the perspective of an AIDS victim, homeless individual, and convicted murderer showed improved attitudes toward those groups.”84 In addition, some studies found that “empathy reduced group bias even when no specific target group was identified for participants.”85 We believe that the key is personalizing the issue by reformulating an abstract statistic into an individual human consequence. The key here is to show stories one person at a time. Decety & Jackson note, “It “ It certainly is easier to identify with one individual than with many”, since “judgments in response to personal moral dilemmas compared with impersonal ones involve greater activity in brain areas associated with emotional and social cognition.”86  Narrative humanizes and “when participants perceive themselves as similar to a target, they engage in… lower levels of stereotyping in mental state inferences than when perceived themselves as dissimilar.”87 Watching MTM is much more effective than learning about racism, sexism, homophobia, classism and other forms of discrimination from a textbook. It is a  personalized, peer-to-peer experience rather than a lecture from professors or the administration. administration.

“Me Too Monologues makes me proud to go to Duke. The fact that so many people come together to create and watch the show makes me realize that there is, indeed, more than meets the eye when it comes to this student body. I'm exceedingly happy that this kind of ‘conversation’ can not only exist, but thrive on campus.”  –Logan Hasson, Hasson, Me Too Too Assistant Assistant Producer Producer (Class of ’12) ’12)

12.

Allowing for Intersectionality Identities are “not always simple and clear-cut [or mutually exclusive], but often complex and multifaceted.”88 In fact, many people peop le identify most strongly with a combination of identity markers— in an apostrophe oriented way— such as being a female-engineer, disabled-athlete,  biracial-American. After being asked to recount the first time she remembered realizing she she was 83

(Davis, 1983 in Gillin, 2012, p. 84). Gilin, D., Maddux, W., Carpenter, J., & Galinsky, A. When to Use Your Head and When to Use Your Heart: The Differential Value of Perspective-Taking Versus Empathy in Competitive Interactions. Personality and Social Psychology Bulletin , Vol 39(1), Jan, 2013. pp.3-16. Publisher: Sage Publications [Journal Article] 84 (Batson et al. 1997. in Shih, 2013, p. 80) 85 (Shih, 2013, p. 82). 86 Decety, J., & Jackson. The Functional Architecture of Human Empathy. Behavioral and Cognitive N euroscience  Reviews, Vol 3(2), Jun, 2004. pp .92. Publisher: Sage Publications [Journal Article] 87  Journal of Ames, D. Inside the Mind Reader's Tool Kit: Projection and Stereotyping in Mental State Inference. Journal  Personality and Social Ps ychology , Vol 87(3), Sep, 2004. pp.340-353. Publisher: American Psychological Association [Journal Article] 88

(Crisp & Hewstone, 2006, p. 163)

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gendered, Dr. Zoila Airall, VP of Student S tudent Affairs for Campus Life at Duke, responded, “I “ I can’t speak about what it means to be a woman without speaking about what it means to be a Black woman.” MTM allows for monologues to bridge the imaginary gaps between different identity markers to allow for intersectionality (discussed earlier in this handbook).

13.

Groupthink in a Good Way “All emotions are social.”89 Ruiz-Belda claims, “[T]he presence of others affects emotional reactions” because we look to others to show us how to react to things.90 It is useful to get outside one’s small ingroups and engage eng age with controversial topics while surrounded by a diverse crowd of outgroup viewers. It allows one to get a better feel for how people from all different backgrounds may respond to different issues, as opposed to the select few with which one associates. In line with this research, just watching a MTM performance has the ability to change one’s perspective by initiating a process wherein, rather than accepting the status quo, one feels encouraged to question and challenge what is believed to be “just the way things are.” Turner notes, “The ability and motivation to envision changes to oppressive policies and to suggest creative solutions for communities are enhanced when founded on empathy, compassion, and commitment,”91 all of which are modes of engagement our research has been able to link  back to the MTM model. In this way, MTM “contributes to the ability to be confident in advocacy roles when alternative avenues or approaches are required,” which allows individuals to be more effective and confident in carrying out prosocial behavior. MTM is also able to pinpoint and delve into specific issues we have been socialized to accept without question, revealing the extent to which our culture influences and “shapes our notions about the nature of life systems” and blinds us from a more honest truth.92 We believe MTM is a mode of public media that has the ability to shift that which the campus communities 89

(Goleman 2006, p. 83) (in Paluck, 2009, p. 350). 91 Turner, L. Encouraging Professional Growth among Social Work Students through  British Literature Assignments: Narrative Literature's Literature's Capacity to Inspire Professional Growth and Empathy. British  Journal of Social Work , Vol 43(5), Jul, 2013. pp.854. Publisher: Oxford University Press [Journal Article] Article] 92  (Adams & Marshall, 1996, p. 432) 90

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define as “normative” in a healthier direction. MTM plays a vital role in answering the following questions: What is college culture? Who gets to define it? Do we accept a pre-existing college student stereotype and evaluate ourselves in relation to it or do we claim the title and, in the  process, change its meaning a little further to include ourselves? MTM accentuates the sense that “an individual’s personal or social identity not only is shaped by the living systems around the individual, but the individual’s identity can shape and change the nature of these living systems.”93 This in itself is empowering and provides a greater sense of control in an environment that can make one feel they will never be “enough.”

93

Ibid.

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VI.

Resources, Support, and Contacts Find downloadable versions at www.metoomonologues.com

Appendix A: Constitution (for Our Charter as a Student Organization)

 Me Too Monologue Monologuess (MTM) Constitutio Constitution n  Article I: Name Name

The name of this organization shall be Me Too Monologues, hereafter referred to as [MTM].  Article II: Purpose Purpose

The purposes of this organization shall be: !

!

!

To entertain a diverse audience with performances of student, alumni, employee and faculty submitted monologues, detailing their experiences in relation to the formation of their respective identities To actively engage the Duke community, and create a safe space for dialogue to emerge regarding concepts of identity, be it race, nationality, cultural  background, class, and so on To bring a wider scope of monologues and actors, that we might better represent the diversity of Duke University

 Article III: III: Membership Membership All undergraduate students at Duke University are eligible e ligible for membership. Members shall be classified into two categories: Executive Board and Cast. Potential Executive Board members must apply for an officer position, which will be voted on by the current board. Cast members will be determined through an audition in the Fall semester, and will be voted on by the Executive Board. The official roster shall be maintained on the DukeGroups website.

 Article IV: Non-Discriminatio Non-Discrimination n MTM shall not discriminate on the basis of political ideology, race, color, national and ethnic origin, disability, sexual orientation or preference, gender, or age in its membership, activities, and projects. MTM & Duke University shall not tolerate harassment of any kind.  Article V: Officers Officers Any member of MTM can become an officer after being listed on the official roster. Officers shall be elected annually in the Spring semester by a majority vote of the current Executive

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Board and shall take office thirty (30) days d ays prior to the end of the semester. The officers of this organization shall be:  Executive Producer  Calls and presides over official meetings of the organization a long with the Theatrical ! Director Maintains accurate ledger and financial records ! Approves all expenditures from the organization financial account ! Approves (i.e. signs) all request for allocations from third-party sources ! Maintains organization in good standing with Duke University and sponsors via ! communication with the University Center Activities and Events (UCAE) and/or other interested University entities Acts as the tie-breaking vote in matters of business ! Maintains organization website and multimedia publications along with the Assistant ! Producer and Graphic Designer Assists the Theatrical Director in show preparation, including but not limited to: !  booking show venue, booking rehearsal spaces, reviewing show content, acquiring monologues and actors, and finding sponsors. Serves as an ex-officio member of any committee that is created through By-law !  Assistant Producer  Producer  Maintains the official roster of the organization ! Records minutes of all official meetings of the organization ! Maintains official historical file for the organization o rganization (constitution, by-laws, minutes, ! rosters, financial records, risk management records, etc…) Contacts approved vendors for quotations and orders ! Assists the Executive Producer in her/his duties as requested ! Serves as an ex-officio member of any committee that is created through By-law !  Publicity Manager  Manager  Serves as a representative of MTM on campus c ampus and in neighboring areas ! Publicizes MTM and related events ! Attends sorority and fraternity chapter meetings, selected-living group meetings, and ! extracurricular meetings to promote MTM Maintains organization in good standing with Duke University and sponsors via ! communication with the University Center Activities and Events (UCAE) and/or other interested University entities along with the Executive Producer Creates text blurbs for emailing listserves and strategic contacts ! Coordinates with the Graphic Designer on publicity materials, including bu t not limited ! to: flyers, handouts, and MTM paraphernalia

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!

Serves as an ex-officio of member of any an y committee that is created through By-law

Graphic Designer  Develops design and brand image with approval of Production Team ! Delivers design initiatives within desired deadlines ! Assists the Producers and Publicity Managers as requested ! Maintains website and multimedia publications along with Publicity Manager a nd ! Producers Serves as an ex-officio of member of any an y committee that is created through By-law ! Theatrical Director(s) Is responsible for the overall practical and creative interpretation of the monologues, ! taking into account the budgetary and physical constraints of production. Works closely with the creative and production teams, tea ms, the performers and the producer ! to create a performance which connects with the audience. Encourages Duke Community to submit monologues, through conversation, workshops ! or script development schemes as necessary Adapts a script as necessary ! Analyses and explores the script content and conducts relevant research; ! Conducts auditions for productions, selecting and hiring designers, light techn icians, ! etc. Manages time and organizes people and space ! Attends production meetings as requested ! Conducts rehearsals ! Attends all dress and technical rehearsals and prepares detailed notes for the cast, ! creative and production teams Helps to publicize the production by giving interviews and leading discussions ! Gives tasks to the Assistant Director(s) as necessary ! Serves as an ex-officio member of any committee that is created through By-law !  Assistant Director(s Director(s)) Assists the Theatrical Director(s) with her/his duties as requested ! Keeps the production running smoothly ! Maintains rehearsal schedule ! Works with the director(s) during the audition process, and is present for a ll rehearsals ! Serves as an ex-officio member of any committee that is created through By-law !  Article V: Advisors Advisors

A full-time faculty or staff member of Duke University shall be selected by the

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executive board and serve as the organization advisor. The advisor shall be an exofficio member of the organization and all of its committees.  Advisor duties: duties: ! !

!

Interpret University Policy for organization Direct membership to appropriate campus resources to accomplish the organization’s goals Act as the official university contact in matters of policy v iolation

 Article VII: VII: Removal Removal of Officers Officers Officers may be removed with a two-thirds (2/3) vote of o f the general body. The officer in question must be notified of the vote of removal at least one (1) week in advance and shall have the opportunity to speak before the general body prior to the vote.  Article VIII: VIII: Executive Executive Board  The executive board of MTM shall be composed of the organization officers, the advisor, and any appointee deemed appropriate by the President. The executive board shall govern the operations of the organization, and shall promote the mission of the organization.  Article IX: Meetings

Regular meetings of MTM shall be held at least monthly during the Fall and Spring academic semesters and at the discretion of the President and Theatrical Director at other times. Quorum shall consist of at least (3) members of the ex ecutive board and 50% of the general body.  Article X: By-laws By-laws

By laws shall be created to dictate the structure and procedures of the organization. Bylaws may be proposed by any member and must obtain a majority vote of the membership. No by-law shall infringe on the authority of the constitution. Required  by-laws, which shall be ratified annually, include: ! !

!

Organization Committees Parliamentary Modification (ratified at first meeting of a new executive board’s term) Election of Officers

 Article XI: Committees Committees

Committees of the organization shall be created from time-to-time by the executive

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 board in order to organize and distribute the workload of the organization. Committees shall be governed by by-law and shall not have authority over the executive board or the general body.  Article XII: XII: Parliamentary Parliamentary Authority Authority

Meetings and voting shall be governed by a modified version of Robert’s Robe rt’s Rules of Order Newly Revised, tenth edition.  Article XIII: XIII: Elections Elections Elections must be openly publicized for at least two (2) weeks and open to the membership of the organization. Elections shall be structured by the Election of Officers by-law.  Article XIV: XIV: Amendment  Amendment  Amendments to this constitution may be proposed by any member and must obtain two-thirds (2/3) majority by a vote of the general body.  Document  Document History: Created : 04/16/2013  By: Cameron Thompkins, Tara Gavcovich, & Caralena Peterson

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Appendix B: Sample Rehearsal Schedule Make Available before auditions to make sure all performers know what their commitments are Me Too Monologues 2012-2013 Rehearsal Schedule Fall Semester:  November 4, Sunday 4-7 PM – 1st FULL CAST Rehearsal  November 7 or 8, Wednesday/Thursday – Small Group Meetings (about 4-5 actors each for an hour, split over those two days)  November 14 or 15, Wednesday/Thursday - Individual Rehearsals  November 28 or 29, Wednesday/Thursday – Individual Rehearsals December 1 or 2 TBA, Saturday or Sunday 1-3:30 PM – FULL CAST Acting Workshop Photo shoot for ad campaign Lines memorized by workshop Spring Semester: January 9 or 10, Wednesday/Thursday Wedne sday/Thursday – small group/individual rehearsals January 16 or 17, Wednesday/Thursday Wedn esday/Thursday – small group/individual rehearsals

January 21, Monday 12-5 PM (MLK DAY) – FULL CAST REHEARSAL January 22, Tuesday 6-10 PM – FULL CAST Rehearsal January 23, Wednesday 6-10 PM – FULL CAST Rehearsal January 24, Thursday 6-10 PM - FULL CAST Rehearsal January 26, Saturday 10-4 FULL CAST Tech Week Rehearsal January 27, Sunday 6-10 PM– FULL CAST Tech Week Rehearsal January 28, Monday 6-10 PM – FULL CAST Tech Week Rehearsal January 29, Tuesday 6-10 PM – FULL CAST Tech Week Rehearsal January 30, Wednesday 6-10 PM – FULL CAST Final Dress Rehearsal/Photo shoot Performance Dates: January 31, Thursday 7:30 PM – Performance February 1, Friday 7:30 PM – Performance February 2, Saturday 7:30 PM – Performance Expectations: - Keep all monologues strictly confidential. Do not share any details about any stories with Monologues. anyone who is not a part of Me Too Monologues

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- Respect all members of the cast and crew. - Show up to all rehearsals on time. In the event that you are late, you need to call, text, or Monologues crew to give us a heads up. email a member of the Me Too Monologues - If you aware of any potential conflicts, please inform ____name___ (email) so that they can  plan rehearsals accordingly. - HAVE FUN!!!!!!!!!!!!! FUN!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!

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Appendix C: Sample Pre-Show Speech

Hello and Welcome to Me Too Monologues! If you don’t know by now, we are a student written, produced, directed and acted show, focusing on identity. Students, alumni, and faculty submit stories of their experiences, which are turned into documentary theatre performance. We began in 2009 as a show focused  primarily on race, ethnicity, and culture, but over the years have expanded to include a various concepts of identity. We’re so glad that you’ve decided to spend your Thursday night with us as we honor our 5th year of MTM! I’d like to sincerely thank your sponsors – Office for Institutional Equity, the Kenan Institute for Ethics, the Women’s Center, The University/Cultural Fund, the Center for Documentary Studies, and of course the Center for Race Relations, where we function as one of their programs. I think we come here because we seek an understanding of our peers, faculty, and friends that we don’t get from our day to day interactions. This show is about a deeper understanding. I’m so proud of our cast – they’ve been working almost every day da y for the last month to get these performances where they are today. Both The Production Team and cast have been working extra hard this year to honor our peer’s words, as well as make this the best show we’ve ever had. So a disclaimer: The actors that you will see on stage tonight are not the writers. I repeat. They are not the writers, nor did they write each other’s monologues. These stories are shared  by all of us, because we are one community. If you are concerned with the content in the show,  please find either myself, and [list other members of the production team]. That said, please turn off your cell phones. You can snapchat/instagram/tweet about the show once it’s done. There will be no intermission tonight, so please try to remain in your seats for the duration of the show. Thank you and we hope you enjoy the show!

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Appendix D: Production Team Application

Me Too Monologues Production Team Application 1. Have you been involved in Me Too Monologues before? How?

2. Why do you want to be involved in Me Too? 3. What ideas do you have for improving Me Too Monologues? (Quality of the show, quality of submissions, etc.) 4. What position(s) are you applying for? Executive Producer  Assistant Producer  Theatrical Director  Assistant Director  Publicity Manager/Graphic Designer  Photographer  Videographer  Please also answer the following questions specific to the position(s) po sition(s) you are applying for: · What experience do you have? (Event planning, leadership roles, theatre/film/tv theatre/film/tv  production, grant writing experience, organizational roles, etc.) · What potential challenges do you foresee in your position, and how would you address them? · We are always trying to get more administrators to come see Me Too Monologues. Write Write a short email inviting an administrator to the show, explaining ex plaining why they should attend.

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Appendix E: Appeal for Funding

Proposal for Partnership with Me Too Monologues 2013

“Identity can seem so abstract. Me Too Monologues is about living it.”

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I.

SUMMARY ........................................................................................................... 3

II.

INTRODUCTION ................................................................................................. 4

III.

GOALS .................................................................................................................. 5

IV.

PARTNERSHIP WITH ME TOO........................................................................... 5

V.

TIMETABLE .......................................................................................................... 6

VI.

BUDGET ................................................................................................................ 6

VII.

ENDORSEMENTS ................................................................................................ 6

VIII. ADDITIONAL LINKS ........................................................................................... 6

2

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I. Summary

Me Too Monologues is an annual show about identity, written, performed, and produced by members of the Duke community. Students Stude nts and faculty submit stories of their experiences, and we turn them into a documentary theatre performance. We began in 2009 as a show focused  primarily on race, ethnicity, and culture, but over the years have expanded to cover topics of sexuality, class, gender, religion, disability, and community. And even these topics do not adequately define who we are. This year we are looking for partnerships and sponsorships to help us continue providing students with outlets for reflection, increased understanding, and personal discovery. Hopefully, you will join us in spreading social awareness through documentary-theatre  performance. Me Too is looking for potential donors; do nors; our anticipated budget is $2100, which will be outlined in the coming pages.

3

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II. Introduction

The purpose of the Me Too Monologues is to take audiences inside stories and experiences that they might not otherwise have access to. These stories often feature conflicting viewpoints that force the audience to reevaluate their perceptions. After each performance, we invite audience members to engage in “talk back” dialogues with the production team and members of the cast. Me Too Monologues invites audiences to listen, talk and actively engage with complex moral and ethical issues of identity. Me Too Monologues takes issues of identity out o ut of the multitude of centers on campus— c ampus— The Mary Lou Williams Center for Black Culture, The Center Ce nter for Multicultural Affairs, The LGBT Center, The Freeman Center for Jewish Life, The Kenan Center for Ethics, etc.—and brings them to a new space and a new medium. While these centers serve a crucial purpose on campus, not all students take full advantage of them. Some students may not even know that the centers exist, while others may feel that they are not a part of the centers’ “target” demographic. There is no other venue on campus that allows students to explore such a wide range of critical issues related to identity, while allowing the audience to absorb the content at their own pace. At Duke, we often become passive observers of these issues in particular, and Me Too Monologues encourages honest and sincere dialogue that is otherwise hard to generate. While many may talk about identity with their closest friends, genuine and provocative co nversation that brings together so many varied and a nd sometimes conflicting viewpoints is rarely obtainable on a similar level. Me Too Monologues has already collected submissions and will hold auditions from October 22-24th. Rehearsals will begin in early November Novembe r and will continue at the start of next n ext semester. Performances are scheduled for January 31st, February 1st and 2nd of 2013, and will take place in Nelson Music Room on East Campus. We have a production team of five undergraduate students, one of whom helped direct last year’s show, and we anticipate a cast of around 15 students. We also have a faculty advisor, Jules Odendahl-James of the Theatre Studies department, and we function as a subsidiary of the Center for Race Relations. Me Too Monologues is targeted at the Duke community. Our audience is composed primarily of students ages 18 to 24, but we anticipate faculty, staff, and members of the administration will attend as well. We expect an attendance of roughly 1,000 over the course of the three soldout performances. After performances, videos are posted on YouTube, where we have garnered over 7,250 hits on videos posted since February 2012. 4

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III.

Goals "

"

"

"

IV.

To entertain a diverse audience with performances of student, alumni, employee and faculty submitted monologues, detailing their experiences in relation to formation of their respective identities To actively engage the Duke community, and create a safe space for dialogue to emerge regarding concepts of identity, be it race, nationality, cultural  background, class, and so on To bring a wider scope of o f monologues and actors, that we might better represent the diversity of Duke University To maintain sustained discussion via our Tumblr, in order to continue with our mission of providing a safe outlet for the Duke community

Partnership with Me Too

We are offering three tiers of partnership with our program. Stan dard benefits that are provided are: Mention in pre-show announcements, giving you placement of your organization’s " name in front of 900-1100 students over the course of three days Access to a wide and diverse demographic of college students ages 18-24 " For a donation of $250, you will receive these, in addition to: Placement of your organization’s name in our program " Signed programs from our cast " Reserved Seating for 2 on Opening Night (Must RSVP) " For a donation of $500, you will receive these items in addition to: Placement of your organization’s name on our t-shirts, banner, and Plaza board " A Feature on our website, www.metoomonologuesduke.org " Placement of your merchandise, your banner, and pamphlets for your organization on " our table outside of the Nelson Music Room, where the audience will be able to receive more information about Me Too, buy t-shirts, as well as sign up for newsletters. For a donation of $1000, you will receive these items, in addition to: Placement of your organization’s name on our invitations, and our videos from the " 2013 performance 2 Additional Reserved Seats for a night of your choosing (Must RSVP) " 5

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VII. Endorsements

Me Too Monologues functions as a subsidiary of the Center for Race Relations (CRR), which operates out of the Center for Multicultural Affairs (CMA). In the past, we have acquired funding from CRR, Kenan Institute for Ethics, the Women’s Center, and the LGBT Center, and our support base continues to grow. VIII. Additional Links

http://metoomonologues.com/ http://metooblog.tumblr.com/ http://www.dukechronicle.com/article/me-too-monologues 6

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Appendix F: Sample Program

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Appendix G: Sample Budget Item

 Anticipated  Anticipa ted Cost

1

Website Maintenance

$120.00

2

T-Shirts (250)

$2,000.00

3

Merchandising (Stickers, buttons, ticketing)

$150.00

4

Videographer 

$100.00

5

Invitations

$75.00

6

 Advertising  Advertis ing (flyers, (flye rs, banners, printing, plaza board(s))

$225.00

7

Show Tickets and Supplies

$10.00

Total

$2,680.00

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Appendix H: Audition Blurb

Whether you’re a seasoned veteran or have never graced the stage, we encourage you to audition for our show. The audition packet will be released soon. Stay tuned! Our audition sign-up sheet will be released on Wednesday, October 15th 2014  at 9:00PM. The sheet will be available here as well as on our  Facebook  Facebook page. If all spots are filled on the spreadsheet, email us at [email protected] to secure a spot on our wait list. Do not create new spots. Audition Suggestions

Pick one of the monologues from the packet to perform during your 15 minute audition slot. Do not feel obligated to pick a monologue that lines up with your particular identity/experiences. Memorize the monologue relatively well – it is fine for you to still have the sheet in your hand but you do not want to be reading from the page. Acting only begins when you are memorized. Be open to receiving direction! If you saw the show last year or watched the monologues on YouTube – great! But do not feel compelled to copy what the particular actor/actress from last year’s show  brought to the monologue. Your take on the monologue will be just as valid as the one  presented at the show last year. Please arrive 15 minutes early so that we remain on schedule!  Note: If you acted in the show last year, please select a monologue that is different from the one that you performed! We would love to see you try out something new. "

"

" "

"

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Appendix I: Invites for Faculty & Special Guests

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Appendix J: Graphics Logos

Flyers

Facebook Cover Photo

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Quarter Sheets (to pass out when tabling & at student activities fair)

Banner

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Flyer for Mini-Show (Early September to get attention of first-years)

Photos from the Mini Show

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MTM Shirts & Stickers

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Monday Motivations via Facebook  (to get people writing)

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Appendix K: Categorized Duke MTMs on Youtube (2011-2014) Our Youtube channel: https://www.youtube.com/playlist?list=PLzVIidGMQv75Pp8e2t54u8wSZ9w-lmf5h Race Please Don't Touch Me (2014) - Stanley Yuan In the Margins (2014) - Phillip McClure  Names (2013) - Lindsay Walton White (2013) - Jordan Rodriguez Convince Me (2012) - Jenny Sherman & Jessica Poku Wasn’t It Enough (2012) - Roxana Martinez I Became Black (2011) Being an Asian Woman (2011) I (2011) Standing By My Men (2011) A Diatribe on Race (2011) Socioeconomic Status/Money The Other Closet (2014) - Maureen Dolan First World Problems (2014) - Tre' Scott Privilege (2013) - Lawrence Nemeh Three Words (2012) Smile (2011) Sexuality Surprised (2014) - Daisygreen Stenhouse Detour (2013) - Tre' Scott You Don't Know Me (2013) - Athelia Pauli B (2012) Really? (2012) Baby Steps/Your Son/Aflutter (2012) - Sebastian Cifuentes, Justin Harris, & Jacob Tob ia Live! (2011) Dear Mom (2011) Unbreakable (2011) Stuck Between a Rock and a Hard Place (2011) The Garage and Me (2011) Sex/Relationships  Nuts (2014) - Karley Jarin Feed my Libido (2014) - Ali Bahrynian Secret Society (2013) - Cortnay Cymrot MRS Degree (2013) - Phoebe Noe 77

What Duke Hasn't Taught Me (2013) - Alpha Tessema Ego (2012) - Neha Sharma Intervention (2012) - Cara Peterson 5, 6, 7, 8 (2011) The Sex Kitten Strikes Back (2011) Mental Illness/Suicide Third Time Around (2014) Episodes (2013) - Georgia Swee Silver-hemmed (2012) - Justin Harris Religion Keeping the Faith (2013) - Nick Chilson Judgment Day (2012) Rape/Sexual Harassment UTI (2014) - Caroline Kiritsy Stolen First Kiss (2014) - Faye Goodwin What I Wish You'd Told Me/Support (2013) - Phoebe Noe & Neha Sabharwal Why Me? (2013) - Tre' Scott & Ritza Calixte Damn (2012) - Lexy Lattimore Rip (2012) - Lexy Lattimore Little One (2012) - Jenny Sherman Different (2012) - Neha Sharma It Wasn’t My Fault (2011) Gender Borders (2014) - Zacch Fowler   Not a Feminist (2011) Eating Disorder/Body Image Push-Up Bra (2014) - Marc Osian Lifted? Nah (2014) - J.P. Senter  Farmgirl's Wonderland (2014) - Madelaine Katz Missing You (2013) - Cortnay Cymrot #exile (2012) - Melissa Regalia The Norm (2012) - Jacob Tobia Weight On Me (2011) Disease Metastasize (2014) - Adesuwa Giwa-Osagie

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Still Breathing (2013) - LeJean Williams Physical Abuse Delusion (2013) - Jaimie Woo Pregnancy Alone (2014) - Elizabeth Hoyler  Career/Academics Great (2013) - Lawrence Nemeh The 2% (2012) - Andrew Kragie Duke Culture Dear Freshman Girl (2013) - David Estrin Finger's Crossed (2013) - Kari Barclay Family Haze (2013) - Imani Ifedi Dear Family (2012) - Roxana Martinez Greek Life It's Nothing Personal (2013) - Georgia Swee

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