Asian American Theatre Conference (Jun08)

At the registration desk (and isn't that the always fabulous Andi Meyer helping out?).

Feautred speakers at the opening plenary, David Henry Hwang, Lloyd Suh (subbing in for Julia Cho) and Chay Yew.

Discussion on the difficulty of developing new work, ranging from the regional theatre level to the large Asian American theatres to the smaller Asian American houses. These constraints include the practicalities of programming seasons and for the particular audiences of Asian American theatres.

(Bar discussions afterwards brought out the insight that a lot of this may be generational. If you can GET the younger generation into the theatre -- a BIG "if" -- their taste in shows are distinctly different from the older generation: they'll be less ethnic specific, more pan-Asian, less focussed on specific experiences and more on intellectualized identity issues and possibly less on forms like musicals).

Performance artists Soo-jin Lee and Kristina Wong (with a preview of the APACUNT session on non-traditional theatre work)

Geeta Citygirl, presenting on the emergence of the South Asian American theatre movement.

Things were so far apart
Couldn't find a place in NY
Placed an ad in BackStage
30
black, finnish,
SALAAM

Malik - Silk Road
From early age
When you're an outsider
Make way into inside
Or celebrate being an outside
First - what does it mean to be an insider
9/11 made adifferent
Reminded
You find what you color you are by the reactions in the room
Use it to change minds
That's how Silk Road got started

Ethnic audiences come to see themselves
You keep doing it
Keep connected
50% non-white
Keep a presence - connect
Do lot of community outreach
Every time we do a show, it's like starting again
What connects to people...do you want to speak the language/culture
or do you speak English
You influence the world by writing the culture
What connects is the absolute connection of culture
Culture is the key to unleash being an America

New World Theatre
Asian American women
Finding guide online
New submissions
Archive

Lunchtime! Sumee Chomet and Katie Vang, Pashua ? (back to the picture, May Lee). Some of the local Asian American theatre artists.

The canon of Asian American theatre really does have a lack of farces, comedy, etc.

Jeff Liu, East West lit manager, notes that he is always DESPERATE for comedies.

One thing is that an emerging movement comes very much from anger and frustration; in order to assert their right to exist, one must be angry.

Another is that it seems easier for individuals to give themselves permission to be funny, than groups.

But now is the time to express our whole voice, our entire mode of expression, from drama to comedy.

Another issue is the relative dearth of female comedy writers. This may come from the traditional lack of females in comedy (and NOT, as one wag archly suggested, the moderator's own issue with women)(the Revue neither confirms nor denies the existence of such issues....)

1 musical - most expensive, most revenue generator
1 world premiere
revival? or revival of mainstream

Pan Asian
Critic
artistic
union
dignifying AA artists
paying artists
Pan Asian means pan Asian
3 major projections
union contracts
strong emerging voices
Spring fling
resident at two spaces

Mu
audience more interested in Asian/Asian American culture, as
opposed to AA issues or identity
audience wants to see traditional culture and traditions

Commissions
New plays $3500 commissioning fee
$5K on up or more for commissioning fee
commission to opening
Mu - $1K to $5 or 6K
depends on grant, and money from that grant for commission fee
did not guarantee a production
first play - first right of refusal during a window of time

Questions? Email



	More coverage At the registration desk (and isn't that the always fabulous Andi Meyer helping out?). Some of the first attendees file in, led by Prof. Lee from S. Korea... Chay Yew with Meena Natarajan. Attendees, filing into the opening plenary. Feautred speakers at the opening plenary, David Henry Hwang, Lloyd Suh (subbing in for Julia Cho) and Chay Yew. Discussion on the difficulty of developing new work, ranging from the regional theatre level to the large Asian American theatres to the smaller Asian American houses. These constraints include the practicalities of programming seasons and for the particular audiences of Asian American theatres. (Bar discussions afterwards brought out the insight that a lot of this may be generational. If you can GET the younger generation into the theatre -- a BIG "if" -- their taste in shows are distinctly different from the older generation: they'll be less ethnic specific, more pan-Asian, less focussed on specific experiences and more on intellectualized identity issues and possibly less on forms like musicals). Performance artists Soo-jin Lee and Kristina Wong (with a preview of the APACUNT session on non-traditional theatre work) Jose Abaoag and longtime Asian American theatre leader David Mura. Geeta Citygirl, presenting on the emergence of the South Asian American theatre movement. Some fragmentary notes: emergence of South Asian movement Specific Cultural Communities and National Voices South Asian Small groups and large groups Subdividing? Why necessary.... Things were so far apart Couldn't find a place in NY Placed an ad in BackStage 30 black, finnish, SALAAM Five others...DISHA Feeling legitimized by other, larger Julie Taymor Ideas of reading Something tangible Something to show Share space with AAW Lower Levels of Society - in apartment Malik - Silk Road From early age When you're an outsider Make way into inside Or celebrate being an outside First - what does it mean to be an insider 9/11 made adifferent Reminded You find what you color you are by the reactions in the room Use it to change minds That's how Silk Road got started Ethnic audiences come to see themselves You keep doing it Keep connected 50% non-white Keep a presence - connect Do lot of community outreach Every time we do a show, it's like starting again What connects to people...do you want to speak the language/culture or do you speak English You influence the world by writing the culture What connects is the absolute connection of culture Culture is the key to unleash being an America Publishing High school Development New World Theatre Asian American women Finding guide online New submissions Archive Lunchtime! Sumee Chomet and Katie Vang, Pashua ? (back to the picture, May Lee). Some of the local Asian American theatre artists. *Notes from "What Happened to Our Funny Bone?" (moderated by the Revue)* The canon of Asian American theatre really does have a lack of farces, comedy, etc. Jeff Liu, East West lit manager, notes that he is always DESPERATE for comedies. Yet, there is no lack of funny perfomers and individuals, like D Lo. One thing is that an emerging movement comes very much from anger and frustration; in order to assert their right to exist, one must be angry. Another is that it seems easier for individuals to give themselves permission to be funny, than groups. But now is the time to express our whole voice, our entire mode of expression, from drama to comedy. Another issue is the relative dearth of female comedy writers. This may come from the traditional lack of females in comedy (and NOT, as one wag archly suggested, the moderator's own issue with women)(the Revue neither confirms nor denies the existence of such issues....) Notes from selecting a season: Selecting plays Lodestone edgy new stuff primarily Asian American 22-40 East West Considering AA - Japanese American 30-60+ Caucasian 30-60+ Never read a play perfect for both theatres Within that, balance 1 musical - most expensive, most revenue generator 1 world premiere revival? or revival of mainstream Pan Asian Critic artistic union dignifying AA artists paying artists Pan Asian means pan Asian 3 major projections union contracts strong emerging voices Spring fling resident at two spaces Mu audience more interested in Asian/Asian American culture, as opposed to AA issues or identity audience wants to see traditional culture and traditions 18MMW multiple writers. write separately around a communal scene Commissions New plays $3500 commissioning fee $5K on up or more for commissioning fee commission to opening Mu - $1K to $5 or 6K depends on grant, and money from that grant for commission fee did not guarantee a production first play - first right of refusal during a window of time Mixed blood - $2 to $4K intent to produce Sustainability Benchmark of plays Home \| News \| Calendar \| Directory \| Plays \| Library/Storefront \| Timeline Copyright 2008, Roger W. Tang Questions? Email

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