Abstract
This article explores what new ideas about feminism emerge when we shift our gaze from the stage to the quotidian and invisible processes of theater-making. It asks us to consider, How might our artistic praxes speak to our politics, beliefs, and identities? How can we mobilize the creative process as a daily rehearsal for our feminist futures? To do this, I reflect on my own process of creating The (M)others, a community-engaged oral history performance based on testimonies of families who have lost loved ones at the hands of police. Specifically, I explore the mundane sites of the staged reading, talkback, and rehearsal process as spaces of quiet revolution rife with feminist potential for those who listen closely.
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