study for The Ballad of _____ B (2013). Fine Art inkjet print on Hahnamühle paper 16 x 24 inches. Photograph by Manolo Lugo. Created with funding support from the Ontario Arts Council and the Toronto Arts Council.
THE BALLAD OF ______ B
FILL IN THE BLANKS WITH YOUR WORD OR PHRASE OF YOUR CHOICE:
______ B’s new life is
fraught with challenges. In
_________ his family
had a big house, a nice
car, and all three boys in
his family had weekly
allowances. Now _____ B sleeps
on the couch while his two younger
brothers and parents sleep in
the bedrooms down the hall.
But the clean-cut, fresh-faced
18-year-old is _____
about his life here. He
refers to ________ as his
“hometown,” proudly thumping
“I feel ______,” he
says. “It’s ironic, I
know, because I’m not yet.
I just feel like I fit in
really well.” When he was asked
how he had endured the changes,
the lack of _______, and the
uncertainty of his
refugee status, ______ B says,
“What I lived was so ________
-- the persecution -- that
coming here means going to
bed at night without having a
explode on the roof of your house,
without cars following you
around and people phoning in
the middle of the night.
“I don’t have to worry if my
dad will come home from work
safe or whether he’ll be _______.
Here I may not have a
room or an allowance but I
have peace of mind.
That’s the lesson –
_____ B is
so enthusiastic about
the group, he attends
Monday sessions at the
just for fun. “I don’t want to diss
my hometown,” he says,
“But there isn’t a whole lot to
do there at night.” The group
that gathers at the community centre
______-speaking. Only one boy,
named ____ A, doesn’t speak it.
He’s from ______.
_____ B fills in as his
They play games at first to break
the ice. Sitting in a
circle, one member of the group
is chosen to stand in
the middle, pick someone to kneel
down in front of and say:
“Darling, if you love me, will you
Most of them hardly
get through the first word without
breaking into hysterical
laughter. Even ____ A
who has girls
kneeling and laughing
at his feet, laughs.
The Ballad of _____ B (2014). Rectified readymade script, multimedia performance installation for a stage; created for HATCH 2014, Harbourfront Centre's Performing Arts Residency. Installation photographs by Manolo Lugo. Created with funding support from the Ontario Arts Council and the Toronto Arts Council.
Concept: Francisco-Fernando Granados
Concept: Francisco-Fernando Granados
Script: Readymade, rectified by Francisco-Fernando Granados; some sections rectified in collaboration with Cressida Kocienski
Performers: Francisco-Fernando Granados, Manolo Lugo, Maryam Taghavi
Artistic Associate & HATCH Coordinator: Margaret Evans
Lighting Designer: Andy Moro
Associate Lighting Designer: Melissa Joakim
Stage Manager: Sandy Plunkett
ARTATTACK!, Buddies in Bad Times Theatre, Toronto, 2014. Curated by Suzanne Carte.
Queering the International, Queer Arts Festival, Vancouver, 2014. Curated by Laiwan.
HATCH, Harbourfront Centre Studio Theatre, Toronto, 2014. Curated by Aislinn Rose and Michael Wheeler.
The Ballad of _______ B: Interactive Script Online, and Images from Rehearsal. Praxis Theatre. April 24, 2014 Online. September 21, 2014.
The Making of Not-A-Play: All the Stage is a World. Praxis Theatre. April 15, 2014. Online. September 21, 2014.
Concept Images and Other Sketches for _____ B. Praxis Theatre. April 11, 2014. Online. September 21, 2014.
The Making of Not-A-Play: Performance Art and Social Media. Praxis Theatre. April 4, 2014. Online. September 21, 2014.
Randomized Readymade Scripts. Praxis Theatre. March 18, 2014. Online. September 21, 2014.
Why a Ballad? – Refugee Politics, Poetics, and the Need for Re-distribution. Praxis Theatre. March 13, 2014. Online. September 21, 2014.
Why _____ B? – Notes on Context. Praxis Theatre. March 5, 2014. Online. September 21, 2014.
Varghese, Ricky. Between Appropriation and Entrapment, the Refugee and the Ruin: Notes on the Uncanny and the Cartography of Absence in The Ballad of _______ B. Praxis Theatre. March 25, 2014. Online. September 21, 2014.