A group of playwrights of color have united to write an open letter to artistic directors and literary teams of major theaters in Britain, which addresses the hegemony of Eurocentric dramaturgy in theater in eleven points. While the document, titled 'We need to talk about Dramaturgy', began with nearly 80 signatories from within the UK, it has now gained support from theatre artists around the world.
"Clearly this is a topic that resonates with many playwrights of color, and we hope that by publishing this letter, we can reach a broader global audience," said the creators.
Read the full letter below and click here to sign today.
Dear Dramaturgs (and Artistic Directors, Directors, Producers and Literary Managers who dramaturg as well),
We love dramaturgs. We really do. At best you keep our passion alive when we're two years into the play, wondering why we ever became writers and (literally) losing the plot. You're our first audience, our champion in buildings, our advocate in the maelstrom of rehearsals. So this is a difficult letter to write. A nearly impossible letter for any one of us to write as an individual. As you know, writing is a process of self-stripping. It leaves us so vulnerable. Every time we turn in a first draft, we worry that it's crap. Therefore we suppress doubts about your notes. It's your job to make our plays better. Moreover you are often also the gatekeepers. And we rewrite, and resubmit although the notes may not feel right to us, and still we write ourselves deeper into development hell.
Of course development hell is ecumenical and embraces writers of all races. Every writer has had their share of miscarried projects. But we have noticed certain patterns of injury specific to writers of colour after bruising encounters with Eurocentric dramaturgy (to clarify: Eurocentric dramaturgy is a tradition, a worldview, a set of power-relations, and can be internalised by dramaturgs of all races). So this is what we hope you will keep in mind:
1) You want to help the writer write "the best play possible". What objective criteria is being used? Does one write the best play possible for a mainstream audience? Is the audience the benchmark? One of the stated aims of commissioning 'diverse' plays is to attract diverse audiences. If that is the case, our plays need to speak to both a mainstream mostly white audience as well as those from specific cultural communities.
2) When you are trying to help the writer find the "universality" of a play, are you demanding cuts that are culture-specific, robbing it of its specificity? If so, what or whose universality are we assuming?
3) Are you expecting a certain kind of play from writers of colour? Are we expected to represent our community in a straight naturalistic/kitchen sink format, or are you open to us experimenting with form like our white colleagues?
4) It's great that the conversation about cultural appropriation has advanced to the point where we are commissioned to adapt novels/plays from our own cultures, but please do not then use the work of White academics and translators to judge our artistic choices. Of course White academics have many valuable insights to offer. However, do not use their expertise to force our script into a shape not of our choosing.
5) Next time you commission a 'straight' adaptation of a Chekhov or an Ibsen, consider commissioning a writer of colour without making them transfer the action to Africa or the Middle East or Asia unless that was their choice.
6) We all extrapolate from our own personal experiences. However, experiences are not always relatable. Giving a note about immigration, war, female violence or other such issues through those lens may do more harm than good. For example, immigration from Ireland or other majority White countries, does not necessarily equip one to understand immigration as a POC into an all White society.
7) Taking up the position of 'being the audience' is a not a useful tool for most POC writers. If you imagine the audience knows 'less' than you about the subjective heart of the play, then your dramaturgy will be about educating "the audience' instead of telling the story in the best way. POC writers should not have to educate an audience/the dramaturg.
8) Do not be too reverential! Our cultures are not museum pieces, and we claim the freedom to send it up, mash up genres, poke fun and be playful.
9) Are you upfront about the limits of your knowledge? Would you invite another dramaturg into the process if you feel that your experience of the subject or world is limiting to the development of the play?
10) In general, before you give us notes, ask yourself the question: would I give this note to a White writer of similar experience and skill?
11) For writers of colour to be able to present their story truthfully, including the uncomfortable truths. For you to support us in being brave. Commissioning a POC to write a play is already viewed as a 'risk', and so it feels as though we're not allowed to take 'risks' in our work itself. If we're writing characters from our own particular community/faith, please trust us to make the necessary judgments on how much or little we might want to challenge our own community/faith.
We know that dramaturgs are not the ultimate gatekeepers. We know that dramaturgical advice is frequently in thrall to those who decide what goes on stage. We know that for Eurocentric dramaturgy to change, everything must change, and that diversity and inclusion must happen everywhere at once. We also know that this is a very difficult time for dramaturgs, especially for freelancers. However, we believe that this is a conversation we need to start and we intend it in a spirit of collegiality. We are appealing to you as our valued allies to work for the transformation of theatre by starting with Story.
Theatre is a huge umbrella. The Eurocentric version is just one of many traditions. British theatre has been influenced by Brecht and Artaud who were in turn influenced by Asian theatre practice. We look forward to a constructive and beautiful relationship embracing this diversity as a strength, not a threat to established modes of storytelling in this culture.
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