Ovalhouse

How to be a Man but not How to be a Man

In the weeks following my performances of How to be a Man at Ovalhouse I have been doing a lot of thinking about the show, based on conversations with various people that saw it and on more research that I’ve been doing.

First off this fairly obvious, yet somehow controversial, statement: Gender is fluid. It does exist but it is not a constant. It’s not a case of, I think/know I am a man therefore I am. I’ve had days/weeks/months maybe even years in which I have considered myself a man. But that is not permanent, because sometimes I will do something, think something, say something that will make me reconsider. I will enter a state of crisis in which I no longer know that I am a man, or that I ever have been or ever could be or even want to be.

Onward…

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One of the major breakthroughs in thought that I have had is that this show isn’t actually about How to be a Man. It is in a sense, but it’s not about the superficial things such as how to dress, how to make friends, how to hug etc. Those things are explored in it, but not because they are important in themselves. That doesn’t make much sense really, so I’ll attempt to elaborate…

The way men are expected to behave, to dress, to talk etc. are all based on a system that has developed since the dawn of civilisation. Obviously what I’m referring to is patriarchy. The system that gives white, middle-class, straight western men the greatest portion of power in the world. So yes, I do discuss those things, because they are a product of patriarchy, that system that determines where everyone fits in the world, how they must exist and how much power they have. They are, as I say in the show “a basis, a starting point – what a man is” as opposed to what a man should be. They are the signifiers of patriarchy.

There are a lot of things I want to say about patriarchy and the crisis of masculinity, and it may seem a bit all over the place, but I’m writing this as a way of trying to order my thoughts, so please bear with me. Or stop reading if it gets a bit too disordered. First off I need to say that this is a rejection of patriarchy from an almost entirely hetero-masculine standpoint. There are many, many, many more reasons patriarchy should be rejected. Women, LGBTQ individuals/communities, other ethnicities have far more powerful reasons to reject patriarchy. But there are two reasons I don’t talk about these reasons; 1) I am not a woman, I do not identify as LGBTQ and I am white-British, I have no experience or right to make any arguments on their behalf and 2) men need to realise that they are just as damaged by patriarchy, even if it is in different ways.

Men are both beneficiaries and victims of patriarchy. Beneficiaries in that, as I said, because of it we have far more power and privilege than any other demographic. We have enjoyed and abused that power for a very, very long time. Men have used their power and privilege to shape the world in a way that provides more power and privilege.

Men are victims of patriarchy for a few reasons. First off, the definition of Man means that men have become hemmed in. If you are a man and you don’t want to be ostracised and you want to enjoy the power and privilege that you ‘deserve’ then you have to act, dress, talk and think in a certain way. Anything other than that certain way is not Man, and therefore you not only lose your power and privilege, you can no longer be defined, you fall into that hated group of ‘Other’ and are in every way wrong. Men are limited by patriarchy; it is not so easy for a man to express himself emotionally or spiritually. It shows weakness, and weakness is not a characteristic of a man. You can be flawed, but those flaws are only allowed to make you stronger. One of the consequences of this in recent years is that amongst men under the age of 50, the most common cause of death is now suicide. There are a lot of articles, journals etc. that explore this in greater depth, but think about it for a second. If you are a man between the ages of 15 and 50, you are more likely to commit suicide than to die of cancer, or a traffic accident. There’s got to be a link between that and the stigma that surrounds men who talk about their feelings.

The other reason men are victims of patriarchy that resonates with me is that men now are not the cause of patriarchy. I didn’t have anything to do with the oppression of any groups of people, be they women, ethnic groups or LGBTQ communities. It wasn’t me. BUT, I am a product of patriarchy. More than that, I am a beneficiary. I don’t want to be, but I am. I actively engage in being a beneficiary. Someone in the exact same position as me in life (same age, job, education, experience) that is not a white, middle-class, straight western man would be worse off than me. I have very little say in that (that’s not to say that I shouldn’t say something about it, it’s just that on my own grumbling about it I can do very little to change it) Add to that the fact that I grew up surrounded by the dogma that I deserve more because I am a man, that women are objects for me to own, that I should be paid more, that my opinions are more important. I know all of that is bollocks. I know that it is not actually true. I know that consciously but every now and then I catch my unconscious mind, having been force-fed this tripe for the last 26 years, thinking that women are objects or that I deserve more and better than anyone who is not me.  The result is an internal struggle between what I know to be true and what I’ve been told is true. I end up with an overwhelming feeling of guilt. Male guilt, much like white guilt. I didn’t do it, but as a result of it I am better off and others are worse off. I want to make amends, to apologise and make things right but I also don’t want to lose my privilege, who would? But I need to overcome my instinct to remain better off than everyone else, because I know that it’s wrong.

That, by the way, is what I think the crisis of masculinity really is. Not a crisis of not knowing how to be a man, but a crisis of wanting to maintain my privilege vs the knowledge that I don’t deserve it. That crisis is what How to be a Man is really about. It’s about how to overcome this crisis.  It’s about the struggle between what I’m told I am and what I really should be. It’s about the desire to beat down that internal voice in a man’s head that says ‘I deserve the privilege I have’. It’s about pointing at and mocking the ludicrous and contradictory signifiers of masculinity*. It probably doesn’t do all those things, but it should.

I think I’ve exhausted my capacity for this post. I am fairly certain that I have more to say, but right now I don’t know how or exactly what to say. I hope this has been clear, but I’m well aware it’s not been. Thoughts and comments appreciated. Also questions.

*That, incidentally, is not hard to do. You don’t realise how easy it is to make fun of Man Hugs, for example, until you find a completely serious five step guide to hugging another man. I don’t even need to embellish the guide.

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(This is close to one of the roles, but mine has more to it)

How to be a Man directed by Josh Coates

You may have noticed on my Twotter and Facepage that I have mentioned, a few times, that I will be performing How to be a Man at Ovalhouse in April and there is a good chance you’ll be able to watch it somewhere in the North West as well. It’s exciting. It’s a chance to have more than 15-20 people (he says with desperate hope) watch a thing what I made. It’s a chance to see if it is actually any good and, if it goes down well and I enjoy performing it, it’s a chance to decide that maybe I like it.

This time it is bigger and better than last year. I have submitted another funding application (feel free to cross fingers) that I will find out about sometime in the next six weeks. I have approached some folk hoping that one of them will jump aboard as a producer. I’ve budgeted for some more things to make it look a lot more impressive than it did before (expect super hero outfits and princess dresses) I’ve even gone so far as to hire a bloomin director. That’s who I’m going to tell you about briefly…

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Josh Coates is a *&’@#. No not really, he’s a delight(ish). I met him in Lancaster. He beat me in a playfight and since then I’ve liked him but been plotting his downfall. Josh has done a lot of good things, two shows in the last couple of years that he has written, devised and performed are Particles and Stevie Wonder’s Stern Warning. I’ve not seen the former, but once upon a time Josh and I double billed The Waiting Man and Stevie Wonder in a fringe, fringe festival in Manchester. We didn’t get a huge audience, we did get a pretty nice review though. He’s performed Particles internationally and I’ve been told that it’s pretty darn spiffy. He’s doing it again, potentially for the last time, in CPT’s Sprint festival, so you know, if you can, go see it. The main reason I wanted to work with Josh is because he will try and make me do things I wouldn’t do on my own, he’ll help me to turn this show from a thing that I want to see into a thing I want others to see. One of the major bits of feedback I got for HTBAM, that I really wanted to do something with, was that I needed to put a bit more of myself into the show, so that it has to be me performing it and so that it couldn’t just be a featureless figure saying some words. I’m not so good at putting myself into my writing, Josh is. He is also a lot messier than me, which can make things more exciting, and fits with the whole theme of failure that sits within the show. Josh will make me do things that I wouldn’t think of or even want to do. He told me that, at least in rehearsal, he would make me get naked, which is a bit weird and I’m still deciding whether or not to allow it. I’m looking forward to working with him. It’ll be… something.

So yeah, I’m excited about this. The show will be better, I’ll work with more people, I’ll show it to more people, and with the help of a producer I will build relationships with venues and maybe get to show it to even more people.

I’ll also be making Josh write one or two posts for my blog during the development, so you get to see his dulcet typing. So look forward to that, or don’t.

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P.S. There are a lot of other great shows in the spring season at Ovalhouse, so go have a look. I’ve heard great things about Rachel Mars’ Our Carnal Hearts and I, Myself and Me by Rachael Young looks really interesting. So have a look at what’s on. (Plus if you book tickets for more than two shows you get a 25% discount)

P.P.S Book tickets for HTBAM. Please, you don’t even need to come and see it, although I would appreciate it if you did.