Slated for sometime in June/July 2026; exact dates to be determined, but potentially three days on three weekends total, to allow for more exploration of the numerous traumatic events in Chven's childhood. Each performance will be different, with certain more essential content repeated. The location is also to be determined. Check back for updates.
The traumatic events will be accompanied by lighter Media References that Chven finds transformative, with some discussion about both of these. That's the general format, but expect improvisational elements, and for the whole thing to feel amateur (in a non-judging way, "raw" might be another word to use here).
Interested in acting in this? Answer this Poll for Casting Call Availability
This may be true of all performances in the Hard2BHuman series, but at least for Part One, the number of attendees will cap around 35. But that isn't expected, given the relentless content of it, and how few people Chven effectively keeps in contact with. If somehow more than that do show up, perhaps you can switch out when someone chooses to leave (any of those who RSVP will be notified of expected number of attendees). There may be a live video feed showing in a lobby or something, if that can logistically happen. They know this is pretty weird, but so is all of this. BTW: Chven considers "weird" an endearing term and an exceptional acceptable form of praise (see below), depending on your intonation of course.
What is Chven Ar Vitsit's Hard2BHuman in General?: A series of avant garde plays protraying elements of their life. Some parts will be fun/funny, some parts definitely won't be. It's basically a form of therapy for them, that you're invited to witness. Your witnessing is part of the therapy. Of course, you're free to leave at any time. They might have to leave at some point themselves. In this case, someone else will press buttons to play the backup sequential pre-recorded vocals. Usually there will be hired actors to visually convey what's being talked about, so it might not make that much difference to your experience.
Participation: Chven finds the usual praise (or critique) for artistic endeavors incredibly difficult. You might have a little insight into why by the end of any of their performances. There are a lot of factors, but especially, Chven needs practice in recognizing what they want to pursue for themselves, independent of the overwhelming feedback suggesting what to do, or not do. Laughter, tears, exclamations, and other more uncontrollable emotions are totally fine, if others seem fine with them. For Chven, it's especially the applause at the end, or talking to them about it later. At the conclusion, Chven will walk out of the room, and a light(ed sign?) will go on to indicate you can do the traditional applause for the actors who want that expression of appreciation. Or even if there are no actors, that's the opportunity for something you do for yourselves or other audience members (like some people at the end of a movie). Finger snapping instead of applause seems a possible expression of appreciation for Chven, but between every scene feels excessive. Also, any positive expression seems to be celebrating the fucked up shit depicted. Rationally, Chven can recognize this expression is more about indicating something like "good job processing this" but the most effective therapy work for Chven isn't centered in rational thought, and is instead more right brain than left brain. You simply witnessing the transformative art experience seems the most effective communication for Chven.
When talking to Chven about the experience (if you feel that's necessary), try statements like "I witness that..." ( followed by whatever it is you want to take special note of, with non-judging words, in either direction of judgment ["good"/"bad"] ), or even the more stilted, but more meaningful to Chven: "A witness sees..." (phrasing borrowed from PBSP Therapy). Another option is Insight Dialog-esque, a perhaps uncomfortable Buddhist approach of talking about what body sensations you experienced at different points in the play, with very intentional pauses to not overstimulate Chven's very sensitive experience of conversation. The use of present tense (if you can remember) feels important here too, even though whatever you're talking about is seemingly not currently happening- it kind of always is for Chven (Buddhism, complex PTSD, etc.). Your mental formations could potentially be explored too, but be aware of the potential for judgment here, and remember the pausing. Chven reserves the right to walk away whenever they're feeling overwhelmed, and that's not intended as judgment of whatever you were doing. Various internal processes may simply arise. This is very vulnerable.
Payment: In lieu of traditional payment, bring an open mind. If you really feel it necessary to have money leave your posession, feel free to donate to a charity of your choice. Chven might provide some options for charities too.
Grief Circle: Every play might end in a grief circle. It seems like all the performances in Part One will end with one anyway. Feel free to bring your own trauma (BYOT! :P) to this (whatever you are comfortable sharing of course).
Please do not record video/audio, take pictures, etc. If you feel the need to talk about it, do not use their legal name if you know it, or identify anyone else protrayed in it. Their depictions are subject to Chven's biases and do not reflect the total of their being.
Note: It may be that after the dress rehearsal (or one of the performances), it feels like that was enough for Chven. Someone else could press the buttons to play the pre-recorded vocals, if the actors and audience really want to continue through the experience without Chven. It's not like Chven's necessarily entirely there anyway. A lot of dissociative and protector type strategies in place with them. Potentially including this current writing about themselves in the third person plural. (Yes, the they/them is indicating plurality in Chven's case.)