Thursday, December 18, 2014

18 December 2014: Fight or Flight

FIGHT OR FLIGHT

I was shopping yesterday—not an uncommon occurrence, I'll admit—at one of the larger indoor shopping centers in Paris. It's as close to an American mall as you can get within the city limits, and I was craving some recreational retail.

In the very first store I entered, H&M, I was approached by a man who asked me for a cigarette. In my 28 years here on Earth, this is not one of the worst pick-up lines I've heard, but it's certainly one of the most frequent, especially here in Paris. I politely said no and moved away to continue perusing the clothes.

Undeterred, the man followed me around the store, commenting on the sweater I was holding.

"C'est jolie, non?" he said. He didn't even attempt a smile, he just felt the sweater's sleeve and stared at me. He was too close. I was done with this game.

"Laisse-moi," I said curtly, gesturing for him to leave me alone. I hurried off to another area of the store, pretending to be absorbed in the racks of fast fashion rushing past, my heart pounding in my ears. I could sense that he was in pursuit, so I made a quick dash out of the store into the open space just outside to see if I could shake him.

Not two minutes later, as I was coming around a corner, convinced I had successfully dodged him, he appeared, smiling, in my path.

"We meet again," he said in French, holding out his hand in a gesture of guiltless surprise.

I ignored him and brushed past, making a beeline to another store where he might feel more out of place and therefore give up the ruse. A makeup store. Perfect. I darted into Marionnaud and immediately took great interest in a set of hand lotions, keenly aware all the while that the man had also entered the store and was pretending to examine merchandise not ten feet from me while keeping his eye on my whereabouts.

At this point, I didn't know what to do. I had politely declined his advance, removed myself from his proximity, told him in no uncertain terms that I did not wish to be around him, and now found myself not only pursued, but blatantly so. My brain was on fire, so I quickly Googled how to say "This man has been following me" and "Leave me alone" in French (just in case I'd gotten it wrong the first time—though Google confirmed that, even under pressure, my language skills had held strong). Unsure of where to turn, I spent an inordinately long time examining every piece of makeup in the store, convinced that if I couldn't outrun him, I could at least outlast him. Even creepy people must find the chase boring eventually, if the prey isn't running.

After twenty minutes of studied perusal, keeping one eye on the makeup and one on the door, I assessed that the coast was clear and moved toward the exit to continue my day of (now shattered) relaxation. But just as I was about to pass the final kiosk of "last-minute gift sets for all the ladies in your life," I saw him walk past the window, peering into the store to find me. Once he had continued past the window and out of view, I darted out of the store in the opposite direction, hurried down two escalators and into another store, where I wedged myself all the way in the back to make sure that I blended into the crowd.

The rest of my shopping trip passed uneventfully in theory, but in reality—with the rushing blood in my ears and the thrumming in my chest—I was shaken the rest of the afternoon. This certainly isn't the first time something like this has happened to me—I've been chased onto metros, propositioned in grocery stores and, even at the tender age of seven, trapped in a children's bookstore aisle with a man who was fondling his genitals through his sweatpants, staring at me the whole time—and it's by no means the worst thing that has happened to a female at the hands of a creepy man, but it's enough. It's all enough. And it needs to stop.

The biggest problem is not that there are predatory people in the world—men and women—who don't take no for an answer. The biggest problem is that we've been trained as a society to give the prey no out. I couldn't fight—though punching the guy in the face sounded great, it most likely wasn't going to defuse the pressure, nor would it have been entirely appropriate, considering he only spoke to me twice—but I also couldn't fly. I tried to dart, feint, dash and run, but nothing worked. Not even confronting him face-to-face and telling him to get lost made him back away and think better of his actions. So what's a person trying to keep the peace but also keep her sanity to do?

I contemplated telling one of the many security guards who were stationed in each store, but when faced with the language barrier and what was sure to be my muddled mind, I wasn't sure I could adequately explain what was happening without sounding like a silly tourist, or worse, a racist white woman scared because a black guy talked to her. (Yes, I think about these things.) What I wouldn't have been able to express in my frazzled French could possibly have gotten me laughed at, even chastised, maybe helped, but I didn't want to take the risk at the time. Getting panicky will do that.

But what gets me the most is this: I have lots of friends who carry pepper spray—one even carries a small keychain shaped like a lance—lots of us have taken self-defense classes, we practice in our heads what we would say or do in the event of feeling threatened, we've even discussed our stories of violation so that we feel less alone and less like we somehow brought these idiotic incidents upon ourselves. We're all so prepared to fight the enemy—who could be anywhere at any time—that it becomes a way of looking at the world. Our fight or flight reflexes are constantly on alert: where would we run? who would we call? could we punch hard enough? would our screams be heard? The issue of safety inequality has certainly gotten plenty of media attention through the years (#yesallwomen; rallies to advocate; speeches to ignite or shame; "girls shouldn't be taught how to avoid rape, boys should be taught not to rape"; the list goes on), but despite all this speechifying, all this babbling, all these facts and figures and findings, this is still an everyday occurrence. And it's frustrating as hell.

So when is enough enough?

#



Wednesday, December 10, 2014

10 December 2014: Naked, Screaming, Beer-Soaked Women

NAKED, SCREAMING, BEER-SOAKED WOMEN
or, MY FORAY INTO FRENCH THEATER

It's been nearly two months since I last posted. I'm not proud of it, but it's a fact. I guess I could say that time flies when you're having fun keeping up with the grocery shopping, your freelance deadlines and your grad-school-swamped husband? (It's been stressful, to say the least.)

In reality, the past two months haven't flown by as much as they've jogged by like they're training for a marathon: fast enough, but with so much huffing and puffing that you're not sure why you even signed up for the marathon in the first place.

Amidst this time of stress, however, there's been a respite that I can only describe as not a respite at all, more like a further test of my patience and commitment to staying somewhat sane in the middle of brain-melting boredom and frustration. In short, we've been going to the theater.

French theater was something of a novelty for us when we first got here—we'd attended a few shows when we lived here in 2010, but they were mainly English-language musicals or...actually, no, that's the only thing we saw. So when Joshua had the chance to audit an undergraduate theater course that would involve attending a theatrical performance somewhere in the city practically every week, we eagerly signed up (I was able to get in on the class group rates, which made the opportunity even more attractive).

So we started regularly attending theater at some of the largest, most well-funded public theater institutions in the city—spaces like the Théâtre de la Ville, du Soleil, des Abbesses, d'Amandier Nanterre, de la Colline, de la Bastille, the Odéon and lots more. Companies in the middle of the city, on the outskirts in the suburbs, in beautiful old buildings and new-fangled warehouse spaces—it was a theatrical education of epic proportions that left us with a collective impression of all the theater Paris has to offer. Unfortunately, that impression is overwhelmingly, "Man, this sucks."


Workin' hard for the money at Macbeth
Without fail, each production we attended disappointed, enervated, infuriated or bored both of us to the point of spending each metro ride home venting about the abuse our senses had just endured. Apparently, it's a mark of French theater and their "appreciation of" (read: distaste for) their audiences that allows most shows to run as long as four hours with no intermission. Four hours. NO INTERMISSION. As someone with a bladder, this is not just inconvenient, it's pure torture. As someone with a brain and a sense of time, this is just mind-numbingly rude. And it wasn't just one show here and there that made our asses fall asleep in the chair as we surreptitiously checked our watches and noticed how many patrons had fallen asleep (or, worse, appeared to be just as rapt by hour three as they were at curtain)—it was every. single. show. We saw a production of "Macbeth"—Shakespeare's shortest show—that clocked in at three hours and 45 minutes (albeit with an intermission of a half an hour, but only because they were selling dinner in the lobby). No one needs to see a play that runs three hours and 45 minutes that includes five-minute-long scene changes that the company has added to the script. (I wish I were exaggerating, but literally every scene contained some sort of ground-covering that had to be swept up by cast members feverishly wielding brooms before the next scene of ponderous, self-indulgent "speechifying" could commence.)

Bladder-bending break-free run-times aside, the plays seemed to be daring us to revolt. Daring us to get up and say, "I'm done for now, I could really use a pee." Daring us to admit that we're just not hip enough, educated enough, cultured enough, whatever enough to submit ourselves to such irritating theatrical malfeasance. We sat through one particularly interminable production of a reimagined "My Dinner with Andre" in which a few patrons got up and left at the three-hour mark and the actors yelled at them from the stage. Yelled at them. Told them that it was "almost over, just wait." (Which was in fact a lie, considering an hour later we were still sitting there, listening to them philosophize about love and death while choking on their cigarette smoke and watching them finish the complete meal they'd eaten during the course of the show.) I'm all for immersive, interactive theater, but if someone traps me in a room full of cigarette smoke and food smells and yammers for four hours and then chastises me for finally having enough and quietly leaving the theater, that's not immersive. That's idiotic.

Perhaps the most disappointing part of this hellish actor's nightmare (where the actors are the nightmare) was that the theater has been my happy place since I was a kid. I've been a performer since age 6, I participated in every school production possible, auditioned for extracurricular theater workshops, took singing and dance lessons and finally started doing professional theater at age 15. Theater is my haven, my place where I feel the most "me." So when the chance to go to my happy place every week in my new, adopted country to discover the theatrical culture around me, I was psyched. And every week, after getting angrier and angrier at the ridiculous, badly-done, fully-funded French crap that I was being told was "good" theater in this town, I finally had enough. Or so I thought.

The second-to-last play we attended was by a Spanish woman who had just been invited to perform at the Venice Theatre Festival. Fresh off this acclaimed appearance, she brought the "dance" piece to Paris to perform at one of the biggest national theaters in the city. I got excited in spite of my wariness, choosing to believe that perhaps we were finally going to see something amazing that would make the last three months of schlock worth it. Hope springs eternal. It also apparently springs stupid.


The inspiration for the title...
What we witnessed was a two-and-a-half hour sensory beat-down that included almost all of the male cast members getting completely naked onstage, almost all of the female cast members getting completely naked onstage, simulating rape, screaming like an infant complete with fist-pounding temper tantrum, beating 20 large drums so long and so loud that my head felt like it was going to split open (the cacophony actually made Joshua sick to his stomach), and finally, in what felt like a middle finger to not only the audience but also the stage management crew (who I pitied more and more each passing moment as more and more messy objects were crushed, thrown and broken onstage), the writer and star proceeded to stand center stage and douse herself in beer. A case of beer. Beer that she partially chugged, then tossed over a shoulder, poured down her chest and sprayed around the stage. This is, of course, after removing her underwear and performing some sort of strange Russian bottle dance that flaunted everything her mamá gave her. (Her mamá probably wishes she could take it back now, whoever and wherever she is.)

Needless to say, we left when there was still a full forty minutes left in the show, but our pounding heads just couldn't take any more. I've never been so content to squeeze into a crowded metro car than when I was leaving the naked, screaming, beer-soaked banshee behind (no offense intended to any banshees who may be reading this).

So has this experience turned me off theater for good? Of course not, but it has certainly made me appreciate the performances that I've enjoyed over the years. It's a rare, magical thing to truly enjoy a piece of live theater, especially when you can't help but see the wing and a prayer that it's riding on because you've ridden that same shoddy apparatus every time you yourself have stepped onstage. But I'd rather see the string and duct tape and missed cues and flubbed lines in a piece that doesn't feel like an artistic assault than suffer through a pontificating play that's "good for me" or "high art." You can be speaking Shakespeare's words or reciting Racine, but if it's hour four and I have to pee so badly my eyes are watering, you can keep your cultural superiority and Parisian profundity. 

Personne n'a du temps pour ça. Ain't nobody got time for that.

#