ITALIA: June 24, 2007


Sunday, and the last day of official business for Zuppa del Giorno’s Italia Feste 2007!. We begin by rising early to discover we haven’t the necessary supplies for a proper Italian breakfast. Which is to say, we’d run out of bread. So for the morning we played “Starving Russian Peasant Family,” making a game out of our desperate situation so the boy (read: David) wouldn’t panic. I went out in search of pane afterward, so we wouldn’t go without for lunch, which turned out to be quite the adventure. I had forgotten that most of Italy shuts down on a Sunday morning, and so ended up driving about all over in search of an open store. I ended up in Orvieto centro and buying the most expensive groceries of the whole trip, but also having one of the best communication experiences in Italian so far. So I made it back victorious, light of heart and light of wallet.

Lunch was huge, breaking our Russian Peasant fast and keeping in mind that we had a lot of business today and a late dinner planned with Lucianna. For once on this trip I partook of all the courses. It was not difficult, particularly with the bottle of Orvietan white we had saved for our last full day in town. After cleaning up our leisurely lunch we made good time into Orvieto and the piazza of LinguaSi to meet with Piero in follow-up to our initial meeting concerning next year’s program.

We might’ve planned to be more Italian, as Piero came with Sebastiano in tow around a half an hour after the agreed meeting time. Ah, Italia! Accompanying them was India, the most important woman in Sebastiano’s life, I think. His Roman Mastiff dog. Have you seen Cujo? How about Turner and Hooch? Combine those looks and make it bigger. The breed comes from ancient Roman battlefields, but this beast was sweet as a muffin.

Our meeting with Piero went just fine. His responses to our ideas about and changes to his proposal were entirely positive, to the extent that I was fairly embarrassed by my anxiety about it. There was definitely something there for me to learn about the art of negotiation, as it were. His attitude seemed to be that as long as we were still working together, as long as something was happening between us, he was getting what he wanted. Perhaps this isn’t always a good approach to take in instances when what you want is very specific, but I’m certain it creates an atmosphere of positive collaboration and continued possibility.

From there, in common Italian style, we went to coffee instead of Andrea’s as planned. Actually, that’s manipulating the circumstances a bit. We had some questions at that point about whether or not India would be welcome in Andrea and Natsuko’s apartment, especially given her advanced pregnancy, and couldn’t get a hold of Andrea to ask, so stopped to refresh ourselves. By the time we got to their place—to discover the dog would not be a problem so long as we were all on their terrace—it was close to 5:30. Andrea had invited over Hanna, one of the administrative staff of Teatro Boni we met the prior week, and in spite of how tired he was from having returned from work away, the meeting progressed.

This was an interesting movement forward, as it was the first time Andrea and Sebastiano would meet, and they seemed to me very different sorts of people. Andrea is very much a country mouse, wildly enthusiastic about working creatively in a broad range of comic areas and who enjoys being silly and fun, whereas Sebastinao is what you might imagine from an urban, more “method” actor, seemingly serious about his craft and constantly concerned by his career. We were hoping they could work together, simply because they are actors and we know them both. This was the primary point of the meeting, and if we could get well along with that we could move on to the specifics of our vision for next year.

It took me a while to figure out, owing to the two speaking so fast in Italian, but they found at least some common ground. I still suspect one is not necessarily the other’s ideal partner, but David is confident that getting to the point of actually working together is the main thing, and that both are sincerely interested in working. Should differences arise, they’ll be ironed out or shaved off in collaboration, simple as that. And we began the collaboration almost immediately (once we got past the obvious—there’s no money for this on either end, there’s no precedence for this in any of our gathered experiences, there’s no money to be made by this [that’s not quite true {LinguaSi offers a lot of opportunities for us to teach even when we’re working on our own show}]) swapping ideas about what was exciting about working together. Before too long, we had to escape to let Andrea finally sleep, and all parties left it seemed in a spirit of hopefulness about the future.

During the meeting Lucianna called to inform us that her train had literally broken down outside of Rome, and she thought she’d have to stay there overnight. This was crushing, as she’s one of our best friends here in Italy, but there was little we could do about it so we agreed to keep our 9:00 reservations for the terrace of Antica Rupe without her. It was a great place to have our last dinner in Orvieto, sentimental and fine. While there we excitedly babbled about the meeting, and got on the subject of one of the ideas for our collaboration: a clown version of Rome & Juliet. This may sound simple, but we had a great time talking out the possibilities and I would not be surprising to find it’s what we agree to by October, our decision due date.

Midway through our dinner we got a welcome call at the restaurant informing us that Lucianna would indeed be joining. She caught something like three different trains to make it after all, and not too long after she phoned in her order, she was there. It was marvelous to see here again, as flustered and tired as she must have been. We established that we still wanted to do business with her, and had no idea what that now meant (we’ll be between Orvieto and other cities like Bolsena and Pitigliano most of the time), and she was fine with that. So the remainder of the evening was spent just enjoying each other’s company. The waiter ended up hitting on Heather pretty hardcore, too. We were glowing. Lucianna has that effect on us.

Late late late we headed to bed, to rise the next day for Rome. We’re spending the night there before heading to the airport for our flight back to the States. Feels like we’ve been gone a month. Could stand a month more.

ITALIA: June 20, 2007


Okay: I was a bit hasty when I encouraged you to avoid thinking of Bevagna’s “Medieval Festival” as though it were an American “Renaissance Festival.” The similarities are, in fact, quite arresting. The only distinctions appear to be that 1) The Medieval Festival is taking place in a town of the appropriate age, and 2) A Renaissance Festival includes dragon puppets and magic satchels and things of this nature. In all other things the two resemble one another quite closely. This town has even erected some pseudo-historical structures constructed from cast fiberglass and molded polystyrene, the ethos behind which we have been scratching our heads about all the live-long day.

It has been a long day. So long, in fact, that by 5:00 we had had enough and David rented us a room in a nunnery ("get thee to"), and we had a nap. It was well worth it. Prior to that, the day started at 6:30 in the morning in order to try to arrive in Bevagna on time to meet Andrea and Natsuko when they got there. The drive was intense—almost two hours, and full of the most winding roads I’ve ever driven on. I’m pretty certain there were a couple of times there when we traveled back in time a little, the road curled back on itself so impossibly. We split the drive with a quick stop for breakfast and a walk in Todi. We didn’t stay long. My impression is that the city is built on a spire. You walk steeply uphill to its center, and jog in a sort of controlled fall to get back to where you parked. When we got through all that, we didn’t land in Bevagna until 11:00ish.

When we met up with Andrea and Natsuko in the central piazza, we all five promptly headed off to a bar for l’acqua and caffe. It was an incredibly hot day, just getting warmed up. When we could justify sitting under umbrellas no more, we headed off to visit with one of Andrea’s friends who was also working in his quarter. The “Medieval Festival,” it seems, actually dates back to the time it honors. Bevagna is divided into four quarters known as gaiti, or gates, which refers to the town having essentially four walls, each with its own entrance. Back in the day, the gaiti were fiercely competitive. Each had there own church, their own laws, etcetera. It got so territorial at times that the gaiti would put up chains across their borders, and anyone caught on the wrong side would be killed. (Suddenly Romeo & Juliet becomes credible in a whole new way.) The festival continues in this tradition with—we hope—less bloodshed, by forming itself as a competition in authenticity and entertainment between the four quarters. Andrea’s role in all this was to a play a sort of wandering clown for Gaite Sant Giorgio.

His friend whom first we met is a painter of icons and frescoes. This was an amazing visit. We went into the workshop he had set up for the event, and it’s hard to imagine anything more genuine. I couldn’t stop taking pictures. Essentially, he gave us the full tour and lecture on his technique, hours before he would be expected to do it for the public. From color making to charcoal graphing to gold leafing, it was fascinating. I couldn’t even understand a fifth of what the guy was actually saying, and it was still fascinating.

Afterwards we all went to lunch together in the main courtyard of Sant Giorgio, where later that night the quarter’s feats would be held. Sheets were hung at intervals, over tables still stacked atop with their benches, and we met other performers and artisans of the gaite who were there for their midday meal. And, essentially, we were served a full Italian meal with wine amidst really charming and interesting people…for free. Guests of Andrea. This is the least of what we owe this man. It was a marvelous meal. After that we followed the man in charge of running the coin-stamping site into his cool basement workshop, were he minted each of us a medieval Perugian coin. Then Andrea walked us around the town to visit the other quarters, the outlet for the town’s water supply and one of the churches. Finally it was time for him to prepare for the evening at his digs in the quarter’s nunnery. (Get thee to one, go!) This was when our fatigue drove us to rent rooms there, and we napped until past 7:00.

When we woke, famished, the evening’s festivities were just getting under way. David couldn’t wait for one of the feasts to squelch his hunger, and we weren’t in a hurry to disagree (though I admit I might have waited for the experience) so we dove into the only open restaurant we could find in town. While there, Andrea found us, and whilst in character. He had donned a medieval tunic and accentuated it with his customary (and costume-ry) props, like a helmet and the collapsible sword I used for a scythe in our clown piece, and an ashtray breastplate, and was wearing a Pantalone mask. He was wildly funny, carousing with every person in reach like a drunken soldier on holiday. We agreed to meet up later for a drink, and we were off to the central piazza again to people-watch during passagiata. Everyone was out to impress that night, from packs of pre-teen boys to elderly couples walking hand-in-hand. We agreed that the festival was really just an excuse for a super-passagiata.

After wine with Andrea and Natsuko David decided he was feeling spry and we left our monastical digs to drive the two hours back to the agriturismo. I was asleep before we got out of Toscana. The love of this country wears me right out.

So You Want to Get a Divorce?

This will be a long post. I considered trying to figure out how to link a document online, then got distracted by my own fingernails. The following is a sort of study guide to matrimonial law I served up about a year ago to provide my replacements at my day job with what I hoped was entertaining background information on all they'd be involved with there, legally speaking. My day job has gotten very little attention on this here 'blog. Here, then, is the only time it will come to the forefront of subject matter, I promise. It's written as though speaking to a potential divorcee, but I use it to train the assistant in the hope it will endear them a bit to their demanding clients.

So, you want to get a divorce…?

So, you want to get a divorce? Well, the first thing you have to ask yourself is: Does my husband/wife feel the same way? It’s sort of like when you were contemplating marriage in the first place. (Remember those heady days?) You have to test the waters to see if you’re getting divorced alone or together. This will be important later. The first official thing you want to do (and this is where we come in) is:

CONSULT with a lawyer.

Like most fairly affluent people in the New York area, you’re not about to find a lawyer by surfing the web or cruising lawyer bars. No, you ask your friends for a recommendation. You ask your divorced friends, your accountant friends and your lawyer friends (ha ha), and eventually you get a recommendation. Let’s say it’s for a certain lawyer, Ms. Murgatrude Miggins, Esq. (henceforth “M&M”).

You call up and, because they’ve never heard of you before, they ask you who referred you. You are nervous, because hey, this is a lawyer’s office, and you don’t want anybody to know you’re getting divorced…but eventually the smooth-mannered assistant coaxes a name out of you, writes it down and eventually too, you speak to Murgatrude.

She tells you that she has to meet with you to really evaluate your case, and that this is called a “consultation,” the asking price for which is now $400. This sounds peachy-keen to you (as you are no doubt fairly affluent) and you set a date.

The day arrives, and you sit down with Ms. Miggins, Esq., and spill your innards about the situation. Assuming you feel good about your chances with M&M representing you, the next step involves two documents:

· Retainer Agreement

And

· Client’s Rights and Responsibilities

Retainer Agreement:

A five-page letter of almost entirely boilerplate text and printed on stationary, the retainer agreement is essentially a letter that lays out in some detail the relationship between M&M and her client. The information most usually changed involves the amount of the initial retainer payment, and of course the new client’s name and address wherever applicable.

Client’s Rights and Responsibilities:

A kind of acknowledgement form both the client and the attorney sign expressing an understanding of the various protections afforded a client by the State of New York. The assistant of M&M keeps copies already printed in the green-labeled form file at the base of the left-hand shelves.

You sign the retainer agreement and client’s rights and responsibilities and hand over your retainer payment, and walk out the door feeling very adult and responsible, though a bit more financially depleted. And you will be, immediately, because fast on your heels is the assistant crossing the street to M&M’s bank to deposit your retainer check. Afterwards though, he or she returns to the office and makes a new computer folder for you and an expanding file with your name on it, and likely six folders within labeled: Correspondence, Legal, Drafts, Net Worth / Financial, Retainer Agreement and Notes.

And hey, even if you don’t decide to retain M&M as your lawyer just then, for your $400—and at least an hour of your life—you get M&M’s notes from the session stapled together and filed alphabetically in an expanding file labeled Consults, located in the file drawer directly above the client files.

For those who do decide to continue, the adventure is just beginning!

PRELIMINARY WORK to secure your advantage.

So as we’ve established, you’re fairly affluent, but who wants to take chances with your money or property? There’s a possibility that this thing will come down to a fiscal bloodsport between you and your ex, and while you truly “just want him/her to be happy,” it doesn’t mean you should be condemned to live the rest of your life lonely in impoverished homelessness. If you were the main provider, you need to be prepared to protect some of your assets so they don’t go in entirety to supporting your ex and dependants in your former lifestyle. And if you weren’t the main provider of the family, you need to establish just how “weren’t” you were, and do so early in the process in order to get as much support as possible from your ex. To these ends, the document you need is a:

· Statement of Net Worth

A detailed form, to which your most recent tax returns are attached, which represents your metaphoric fiscal profile. The Net Worth Statement (henceforward “NWS”), as it is sometimes called, is divided into a basic outline of general life information, wage information, expenses, assets and liabilities. M&M usually gives you a blank NWS right out of the gate, and it is up to you to fill it out, but up to her assistant to get it saved into their database. If you are handed a paper copy, later her assistant will type it into the system, saved under your name. If you are emailed the form, just hopefully you’ll fill it out on your word processor and email it back, saving everyone a lot of effort and billable hours.

What else can I do to help myself out in this strange new land, you ask? Well, make sure you have copies of as much relevant financial information from you and your soon-to-be-ex’s life together, including tax returns, records of holdings, deeds, bills and statements. In addition, anything you can do to keep your new attorney on the case without upping your billable hours unnecessarily is great for you. Along these lines, it is definitely best for all concerned that you and your soon-to-be-ex have some kind of agreement about wanting to get divorced from the get-go. That’s not always possible, but it makes for an uncontested divorce, rather than a contested divorce.

Uncontested divorce — Oh sure, the love is gone, but that doesn’t mean we have to have the Supreme Court of the State of New York intervene to get anything done. We’ve talked it over, and it’s time to get a divorce. And listen: It’s not even like we don’t have spitfire argument over who gets what; it’s just that we can agree to disagree and let our lawyers do the negotiating. We’ll work this thing out, print up and sign an Agreement, file for divorce thereafter using a set of forms and documents collectively known as Uncontested Divorce Papers. And then we’ll be free to move on with our lives, having likely spent only what we paid in our respective retainer fees.

Contested divorce — I hate you. Oh, how I hate you. I hate you so much, I’m not even sure I want to give you the satisfaction of actually divorcing you. And I don’t care how many hours, dollars or tears it takes, I and my lawyer are going to make you suffer for whatever it was you’ve done to me. There’s going to be a Summons filed and served on you (or me, eventually), and after that motion upon motion: Affidavits and Affirmations, Orders, Stipulations and Statements, Notices of every shape and color, Requests for Judicial Intervention, Demands and Interrogatories, Subpoenas and Verified Complaints. It won’t end until we’ve spent all of each others’ money, or you’ve died of blood loss from all the paper cuts. Then, maybe, we’ll draft an epic Agreement, only to have to submit a Modification Agreement weeks later, and when the dust finally settles all that will be left to hear is our lawyers bickering over which of them should have to draft and file the final Divorce Papers.

An UNCONTESTED DIVORCE: tricky, but reasonably civil.

Your uncontested divorce may involve preparing and filing some of the papers more commonly associated with a contested divorce, in which case the first thing to be filed would be a Summons, in order to get the case registered and acknowledged by the Powers That Be. Then you’d proceed to whatever you needed. But chances are, unless there are discrepancies in your ex’s NWS or there’s a general feeling of mistrust about the whole process, it will just be document production and negotiation regarding child support and maintenance payments, real estate and equitable distribution of property from here until you have a final draft of your Agreement.

· Agreements

They go by many names—Agreement, Settlement Agreement, Stipulation of Settlement and Agreement—but essentially they are all about two crazy kids coming to a common (and legally binding) resolution about how they’ll divide and live their separate lives. It’s usually a pretty lengthy document, anywhere from 10 to 80 pages, and divided into different titled “articles.” It does not get a back (blue) like every other legal document we deal with.

Most of the work behind an Agreement is done by the lawyers themselves in consultation with their clients and negotiation with one another, either telephonically or in meetings with or without their clients. As a client, you just have to know what you will and won’t accept in a deal, communicate that clearly with your attorney and be readily available to him or her when they need to ask you questions, procure documentation from you or send you a draft for your approval. The rest is the assistant’s domain, just making sure the calls get through and the changes get made to the document in a way that doesn’t sabotage the rest of its numbering and formatting.

And then bing! Bang! Boom! It’s done. You’ve settled the matter, everyone has signed with a notary (M&M) present and the copy of the Agreement to be sent to the Court has both of your initials on every page and next to any handwritten changes made to the text. Pop the bubbly and go spend the night with your new/old girl/boy friend, right? Well, not quite, I’m afraid. Before you’re officially divorced, there is still the dread:

· Uncontested Divorce Papers (UDPs)

Fortunately for you, these papers require little-to-no additional input from you, as most of the information in them has been determined from information you’ve already shared and the very Agreement you finally reached. Unfortunately for you, these “papers” are numerous (anywhere from 12 to 18, depending on whether children are involved) and when they are actually filed is up to the whimsy of the attorneys involved…and they’re not really getting any more money from you. So pester them. Bug them. Know who’s doing what and how. Here for you is a list in no particular order of everything that goes into a set of UDPs:

· Note of Issue

· Notice of Settlement and Proposed Findings of Fact

· Notice of Settlement and Proposed Judgment of Divorce

· Plaintiff’s Sworn Statement of Removal of Barriers to Remarriage

· Defendant’s Sworn Statement of Removal of Barriers to Remarriage

· Verified Complaint

· Affidavit of Plaintiff

· Affidavit of Defendant

· Affirmation of Regularity by Attorney

· Certificate of Dissolution

· Original Settlement Agreement

· Request for Judicial Intervention

· Plaintiff’s Affidavit of Facts and of Children’s Residence *

· Qualified Medical Child Support Order *

· Child Support Summary Form *

· Self-Addressed Stamped Form Postcard

* – Not included where parties have no children as a result of marriage.

Each document (not forms, though) gets its own back, and each has to be signed by somebody, and conform all their language between them and the other papers and the Agreement, and certain of them need what’s known as an Affidavit of Service attached to them, and probably at least three copies of the entire set need to be produced. In other words, it’s a lot of intricate, exacting, boring work that no one wants to do and most will procrastinate endlessly on. And yet, you’re not actually divorced until these UDPs are not only produced but filed properly with and approved by the Court.

That having been done, you’re done! Congratulations! You may now court whomever you choose, and the whole world can know about it! Oh, wait. You say your once-significant other physically abused you and you want money for damages? Or that said other has moved out and won’t talk to you, even about the sweet relief of divorce? Oh. Well then, what you need and will get is:

A CONTESTED DIVORCE: twice the money, half the results.

Oh bejeezums; you went and got yourself in a sticky spot, didn’t you? How could anyone involve themselves in a relationship that could go oh-so-wrong, and once having done so, how could said hypothetical anyone not work to remove themselves from such a situation sooner? Well, if difficult questions could be listed as assets on your NWS, you would certainly be rich as Croesus. Sadly, such is not the case. There are most likely few answers for you, either, but following are some types of legal documentation you should know, as you are likely also to need them in the very near future.

· Summons (With Notice)

This is what sets the ball in motion in terms of your matrimonial action. When one files a Summons, one also needs to fill out two forms, which your helpful assistant has copies of in his or her forms file, located under the left-hand set of shelves in his or her office. The first is a plain old piece of paper, called an Index # Cover Sheet. The second is printed on carbon paper, and is dubbed an Index # Purchase Form. Additionally, you will need a check for $210 (as of 8/05) made out to the appropriate County Clerk with whom the Summons will be filed. Once it’s filed and the Index # is purchased, every copy of the Summons must be standardized with the Index # and date of its purchase.

Then it gets really exciting. The Summons must be served upon the other party for the action to get active. This is either done via a service provider or by hand, by the assistant. But the assistant is rarely enlisted, and of course may refuse this task. This leads us to our next enthralling, all-purpose legal document.

· Affidavits

Simply put, this is the basic document upon which all proof and argument in matrimonial law is established. It’s used for anything voiced in the first-person that’s not “spoken” by a lawyer. That means that if it’s a client’s, assistant’s or even a messenger’s, it’s said in an Affidavit. This also means there are something of an endless variety of the things. Here are some examples:

Affidavit of Service (AoS)

This is the Affidavit an assistant will likely use the most. It also looks completely unlike any other Affidavit, lacking in the usual case heading and numbered-paragraph format. Often, you will find your attorney’s assistant’s name on your AoS. This is because the purpose of an AoS is to attach it to another legal document, one which you’ve sent to the adversary. The AoS is in essence a testimony of the sender, saying, “Yes, boy-howdy, I sure did send that Order to Show Cause to this attorney at this address by mail/messenger/FedEx/personal service/facsimile/trans-meditative state.” Because of the variety of methods of sending said AoS…es, there are also different forms of AoS for each method of delivery.

Affidavit of Plaintiff, or Plaintiff’s Affidavit (or Defendant’s, etc.)

This follows the basic format of every other Affidavit you might run into. It has the standard heading, with case title, Index #, Court and County, and the rest of the document is written in the first-person and formatted with numbered paragraphs, with a signature line at the end for the “author.” You get yourself an affidavit one of two ways. Either your attorney bases it on the notes he or she has taken and drafts it him/herself and submits it for your approval, or he or she bases it on a narrative they’ve asked you to write for them about the ordeals pertinent to the case. The best way to scribe such a narrative is to keep it factual and concise, but not without emotion where appropriate, and to email it so the language can easily be cut and pasted into your Affidavit. This saves everyone time and effort.

The rest of the types of Affidavits are fairly well explained by their titles, and all generally follow this format. Some examples:

Affidavit of Facts and Children’s Residence

Affidavit in Support of Motion

Reply Affidavit

There is a document that usually goes with any Affidavit coming from a client such as yourself, and it is known as an…

· Affirmation

This comes from your attorney, and is almost a carbon copy of the appurtenant Affidavit, only it’s in the “voice” of your attorney instead of you and cites more legal language and cases at certain points. It looks virtually the same; only the title and specific language differ. It’s important that this document match, in sum and substance, every point you have to make in your Affidavit. Obviously, it’s not necessary in the case of AoSes and the like.

· Orders

This is typically quite a short document (how novel) and is a bit like doing the typing for whichever Judge is presiding over your case. In essence, it is what you want the Court to sign off on, to make happen for you. It is usually backed up by an Affidavit, an Affirmation and some Exhibits, all stapled into one back and collectively referred to as an Order to Show Cause (OSC). Orders have a special text in the upper-left corner of the first page designating the particular Court address and room, and the signature line is for the Judge. Additionally, once the lawyer gets a signed Order back from Court, the assistant often has to copy the pages that are amended and signed by the Judge and attach them to any office copies of the Order.

· Stipulations

Similar to the Affidavit, this is an all-purpose document used when asking for a change of circumstance or basically anything more minor than an actual Court Order. It is often comparable to a “mini-Agreement,” in that it is something which both parties (hopefully) sign in agreement of. Examples include:

Stipulation (plain ol’)

Stipulation Extending Time to Serve Complaint

· Statements

Exactly as it sounds, a simple statement of fact(s). The NWS is such a document, although highly formatted. Usually Statements look rather like Affidavits…only they’re Statements.

· Notices

As it sounds, a document making known certain facts or occurrences in a given case. A Notice of Entry announces to all concerned when a particular document was filed in Court (these are attached to the Judgment of Divorce, and Findings of Fact and Conclusions of Law, in the UDPs), and a Notice of No Necessity announces any waiving of normally procedural requirement from the other side.

· Requests for Judicial Intervention

This is when the S. H.’s the F. in a big way. It is more a form than a document, though it is often accompanied by an Affidavit of some sort explaining the situation in greater detail. This document is used to get the Court’s attention in deciding something (said something often being a sort of punishment one attorney wants to inflict on the other for their bad conduct or tardiness) that the lawyers themselves can’t resolve and aren’t willing to negotiate any longer. This form is also filed with UDPs, in that it’s simply procedural when filing papers that require immediate decision.

· Demand for Production of Documents and Interrogatories

These are often directly related to the NWS, in that they’re used when your attorney has reason to suspect that your ex may have something to hide in terms of his or her financial status. These are a matched pair of rather lengthy documents that do what they say. The first demands very specific financial records, the second makes general inquiries into financial status and development. They are used in determining support and maintenance issues on both sides. The corollary to them are Responses to same, which are made far easier when the adversary is willing to email the documents to your attorney, because then his or her assistant just has to copy and paste the demands and inquiries into a new document and insert the answers provided by said attorney.

· Subpoenas

A document more commonly used in connection with the accused and witnesses in a criminal case, Subpoenas are nevertheless occasionally needed in matrimonial affairs. Generally a Subpoena is used to call a person or business entity in to take testimony from, either in the Court or in one of the attorney’s offices. This is another document for which service will be needed, and that service will undoubtedly be provided by an agency accustomed to handling such things, as it is a highly popular hobby in New York to attempt to avoid service of a subpoena.

· Verified Complaints

Yet another document included in UDPs, a Verified Complaint is used in that regard to list very simply the causes justifying a Judgment of Divorce and concisely state what relief is being sought for those reasons. In other contexts, a Verified Complaint can be used simply to get a complaint the party has on record with the Court, regarding anything from excessive lying to physical abuse.

The Invisible Man

No finsky for the quote today, only the gratification of knowing you're the grand prize winner.

"...I'm going to take back some of the things I've said about you. You've...you've earned it."

Some of you (three) may have felt I was a little harsh with the mediums of film and television a few entries back (

1/29/2007

). Let this entry serve as my apology for such slander. It's not that I find these mediums lacking in value. Rather, it is that they diverge from my priorities--and experience--to date, and I can't help but feel that they're overly popular. Something is lost if you never see the acting live, something important. But I want my MTV. I seriously worship movies. It's genetic. Next time I'm home I'm going to try to remember to photograph my Dad's DVD/video collection for you.

So today I suffered again from oversleeping (gad durn it, but how that bothers me) and commenced my breakfast over a viewing of "

Of Human Bondage

," the film adaptation of Somerset Maugham

's awfully autobiographical novel of the same name, starring Leslie Howard and

Bette Davis

. It's the first Bette Davis film I've seen (Leslie Howard too, for that matter) and it's plain to me her appeal. There's one shot of her eyes over drinking a glass of champagne that suddenly made that damn

song

from the 80s make sense to me. The movie is pretty marvelous, but awfully dated, particularly in acting style. Actually, for the time it was probably naturalism bordering on the shocking (which is apt, given the subject matter [sex, obsession, poverty, modern medicine]) but now it reads rather stilted most of the time, particularly any time Phillip (Leslie) has a moment of reverie. I still recommend it highly;

Maugham

always delivers, and if you see it for no other reason, see it for Mildred's million-dollar freak out.

What was interesting for me was to start my day in this way, then venture off to NYU to work with their TV/film directing class on a short project. The set-up for today's work was very much like a soap opera set, with three cameras, all the technical roles filled by some 20+ students: the works. We began with a five-page scene that myself and two other actors had received about a week prior. There were no given circumstances for the scene, and very little contextual background. This was intentional, as part of the lesson for the class was about learning to work with actors (apparently a much-neglected aspect of direction in film schools). So we spent a good deal of time reading through and having table discussions before putting it on its feet. All-in-all, it was two hours of rehearsal before we actors

broke

in order for the class to confer about shot lists, etc. All we were aiming for today was different aspects of rehearsal; Tuesday we'll film.

So when we returned to the set, everyone was ready in their role. And I began to learn. My character makes a surprise entrance in the scene after about two pages of dialogue. As anyone who's worked on a film or TV set can tell you, that usually means at least a half hour before you'll get taped. Like something of a schmuck, I stood backstage to await my cue. Theatre instincts. (People kept offering me a chair out in the "audience," and didn't seem to understand why I wouldn't want to sit down.) There was a monitor back there, so I could watch the action on stage through a cut-out in the set wall, or one of the three shots they were working on. As I learned to watch the monitor instead of my fellow actors, I made a couple of observations.

It could be said that whereas theatre is constructed to celebrate profound moments, film (in this case meaning anything taped) is constructed to celebrate the intimate. This is an incredible generalization, and of course the intimate can be profound, and vice versa. But I was struck in particular today by the way a camera allows us closeness and angles of visual perception that we otherwise only have when we're in an intensely intimate relationship with someone. The scene we shot today began with a couple in bed, and as camera 3 kept a tight shot on the woman, she rolled to face her bedmate. On stage, it was a simple motion, unremarkable. On screen, however, I recognized it as a specific image I had only seen with people I had slept with (and, of course, in other films). We take it for granted, an aspect of contemporary storytelling, but it's an amazing thing.

The second observation I had to make today had to do with super powers. (You can take a geek out of the comic store....) I have a favorite hypothetical question. Actually, I have several:

  • Trapped on a desert island with only a CD player for company, which 5 albums would you take?
  • What deceased historical figure would you most want to share a lunch with?
  • What animal would you most wish to be?

But the big one for fanboy #1 here is:

  • Would you rather be able to fly, or to turn invisible at will?

Most people choose flying. It often descends to a discussion of practicalities (If you flew, you'd never escape public attention...invisibility would change your personality...what good is flying unless you're

invulnerable

, too...if you turn invisible, do you have to be naked...etc. ....) but the point is to understand why one appeals more than the other. Of course, everyone would like to have both. Well, you can't. Them's the breaks. Me, I choose invisibility. Don't get me wrong--I'd love to be able to fly (invulnerable or no) but I see such wonderful possibilities for invisibility. (And once again, I'm going to have to ask you all to remove your collective mind from the metaphoric gutter.) You'd be the ultimate ninja. You'd have information. You'd be able to taunt politicians and just go around miraculously rewarding the just and punishing the unjust. It. Would. Rule.

We're already experiencing it! That is exactly what film allows for. We're not just voyeurs at a

glass wall

; we're "invisible wo/men," getting just as close to the experience as if we were literally there. We go in for the kiss. We rock back from the hit. The only thing missing is the physical sensations, which in many cases our body is all-too-willing to supplant. We are the "invisible man" when we watch a film. What's more, particularly with contemporary visual short-hand, we're allowed the additional super powers of teleportation and slowing-down or speeding-up time. Film empowers us in this sense, giving us this sense both of investment in the actions of the story, and a subtle sense of control over it. Sure, we're along for the ride, someone else is driving, but we're used to that. It's called dreaming. Haven't you ever had a dream in which you saw everything going on, but couldn't intervene or didn't perhaps even exist in the same reality? Oh . . . no? Just me then? Awesome.

Awesome

. . .

I'm certain I'm not the first to suppose this connection, but I may be the first to parse it in such geeky terms. And of that, I am proud. I'm proud, too, to have made discoveries that reignite my excitement for the technological entertainment mediums. It seems to me now that when I consider film in these terms, it is a far-less-tapped mode of exploration and expression than I had imagined. I had an art history teacher in college who insisted that there was no progress in visual art (or perhaps he meant art in general); that artistry merely changed modes, never "improved" or in some way refined itself. Naturalism is not better than cave painting, cubism is not better than pointillism. I agree.

Oedipus Rex

, across centuries and translations and reinterpretations, can still work brilliantly as a play. Film is not an improvement on mediums for acting, nor a refinement. It simply suits our time more closely, and our time suits it (art:life::egg:chicken). What does that say about our time?

Maybe that we all want to be superheroes(tm).

The Food of Love

Still buzzing from my musical experiences this weekend past. I listen to music so much, I take it for granted. Silence becomes deafening, like a presence rather than an absence. Yet listening to my iPod any time I'm in travel, or alone . . . or breathing . . . has rather blunted my musical appreciation. Seeing live shows this weekend reawoke that sensibility in me a good bit. Obviously music is more emotionally affective when it's performed live (assuming it's performed competently [remind me to tell you about my one and only experience seeing

Smashing Pumpkins

perform]) but somehow I lose more and more sight of that connection the longer I spend not attending a live show. Which is ridiculous, because the exact same thing occurs in the theatre, so you'd think little ol' me could keep the notion in his little ol' brain long enough to remember to get out and see more live music. {I and Me are going to have to have a talk to figure out exactly what My glitch is.} It's cheaper than a movie, and there's all that wonderful subculture begging to be coolly appreciated.

Back when I was still in school, at

Virginia Commonwealth University

(V.C.U. ... unt V. haf vays of meking U. tok!), I realized one day that I hadn't thought very hard about why I was doing what I was doing with my life. Which was funny, because I'm generally a pretty thoughtful kind of guy, and moreso back when I didn't have a head crammed with bills, taxes, health issues and pressing social concerns. Specifically, I recognized that a lot of what I was getting out of my practice of acting was therapeutic satisfaction and, while that's all fine and good and all, I didn't judge that to be a very good basis for a (potentially) life-long pursuit. So I thought about it a bit, which led me to question what good theatre itself specifically accomplished. I mean, what is its particular value? I thought that if I could figure that out to my satisfaction, I could judge if it was worth doing. Because I didn't want to be doing something for my whole life that was only for me. If all I was accomplishing was a little much-needed venting and personal exploration, I may as well have hung up my aspirations and become an accountant who occasionally performs in community theatre productions. {A noble occupation, of course. Dad. If you're reading this.}

So I thought about it, backstage, in my dorm, in English classes, etc. And what I came up with has carried me through a lot of questioning times in my career. And I was reminded of it last night, when I was out

way

too late for a school night, listening to friends play music in a downtown basement.

My perspective of contemporary, western society is that we are all becoming dehumanized by little bits. Pixels. Zeroes and ones. Tiny squares. Great, big flat squares. All of them windows, all look, no touch. I don't hold myself above this, nor do I rail against the mediums. (I mean, I'm writing you from a weblog here, and it's not like I'm turning down

Spielberg

when he calls. Yes:

When

.) Rather, I see my stage work as restoring some of that sense of humanity, of actual connection. If you get coaxed to see a play, regardless of its artistic merit or content you are connecting in actual space with that pair of round windows most of us have attached to the fronts of our faces. And it matters. Moreover, theatre allows us the experience of being lifted into this experience rather than forcing it upon us. You go to be entertained, to ostensibly receive similar entertainment to movies and television, in that a fictional performance with some emphasis on verisimilitude is going to occur. A story will be told. In this way, we relax into a familiar arrangement. But theatre, and only theatre, takes this journey

through

its window. Anything can happen, in real time with real people, and if it succeeds a play leaves us feeling

more

human,

more

connected. Awakened instead of subdued.

I have a lot of short-term gigs coming up (including one in film), so it was good to be reminded of the personal value of this work from an unexpected source. Go out and support the lively arts, folks. I acknowledge that it can be expensive and risky. Nothing ventured, nothing gained. Play on.