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Sean Lewis: Where We Are, What We Read, What We Do

Today we bring you something very special - a guest post from playwright, performer, and blogger Sean Christopher Lewis of the Working Group. He's writing mainly in response to the reading list post. Let's give him our undivided attention, please.

So, it's taken some time and an invite from Matt to get me up and typing. I'm looking over the reading list that was recommended to the mighty Slaybaugh who runs this site and it bothers me. It definitely bothers me.

This is not about Sarah Kane. The drumming up of Sarah Kane I think is easily summed up by most of our personal introductions to her writing (I like someone else has mentioned, read her in college). This blew my mind. Before Blasted my acting classes were comprised of Crimes of the Heart and Key Exchange so a play about a baby being eaten amidst genocidal rapists in a war torn city was, at the very least, exciting.

Perhaps, like Parabasis (and I'm speculating here), I don't feel as big a pull to her work as I get older but I am still indebted to her for blowing open theater when I thought it was just TV onstage (I'll call it the Sam Shepard effect - he did a similar thing for a generation before us with his high octane and visually aggressive theater, yet few people from that era ever name him as their favorite playwright or biggest influence anymore).

What bothered me - possibly in association with recent posts about PC behavior - was the utter lack of regional, foreign and multicultural voices tied to the list. Almost every writer is American. Those who aren't are primarily British. This is scary - we are ,after all, an art form that often condemns our politicians for their lack of knowledge in international affairs, cultures, and customs - yet we, as artists, do not step outside of ourselves (or even New York City, if this list is to be held up) enough to learn, cherish, and tout the work of other countries. Art is a massive signpost of a culture - its thinking and its aesthetic. How can we pretend to care/appreciate/sympathize without having an insight or appreciation for what is being created in every part of the world?

As well, most of the list is NY-based - and recent-openings-in-NY-based. They were all by very competent writers and presented by very hip (New Georges, Soho Rep and Culture Project, etc.) companies. But I think it says something about worldview. Especially in a time (with globalization, war, etc.) that demands a bit more consideration. I mean, this isn't only nationalist, but regionalist.

And I completely understand it. You big up your region, you champion the people around you, you represent your hood and have pride. This I am all for, I believe in or at least think I do (I even participate in it). But then I see a list like this and read it in conjunction with other posts, political, economical, and the like and try to make connections.

No one thought Wole Soyinka should be in what Matt calls the "roots" list? Well, put him on mine. Add Charles Mulekwa as well, national playwright of Uganda recently in residence at Brown who has made massive strides towards creating an indigenous hip hop theatre in that country. Mamdouh Adwan was a wonderful Syrian writer worth looking at. The Presnykov Brothers are incredible as well - go read Terrorism.

I just think we as artists, and more as people, can only learn so much watching and reading New York plays by New York writers in New York theaters (and trust me we can learn a lot right there- the wealth of talent in that city is amazing and should be celebrated). Just when I think of what I need to read right now, what's necessary and urgent ... I think there are other things that need to be considered.

Sean Christopher Lewis 5.16.2007

To be fair, though the vast majority of plays and playwrights suggested to me were from NYC, a few people did suggest writers from other regions. I didn't include them in the original post because they were in such a minority. However, even most of those playwrights were from America.

So how bout it? Anybody got some international writers to suggest? Who's doing important work not here, but still now?

Comments (2)

Teatro Yuyachkani from Peru.

http://www.yuyachkani.org/

I visited Peru three summers ago and took a week workshop with this theatre company. Around for more than 35 years, they focus on social justice issues.

I saw a preview of a performance they were working on and there's no way to describe it. We walked into the theatre to find no seats. The audience stood and then constantly moved as the performers moved. We were forced to migrate around the room, to get out of the way.

I don't know that they have scripts per se. But seeking out international theatre companies and experiencing their work is definitely good for the soul.

I didn't mention my husband Daniel Keene (Australian), for obvious reasons, but he's really quite famous in Europe, and should be on the list too.

Helene Cixous is another essential.

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This page contains a single entry from the blog posted on May 17, 2007 11:37 AM.

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