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

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).

Kristia Wong

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

David Mura

Jose Abaoag and longtime Asian American theatre leader David Mura.

Geeta Citygirl

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
Why necessary....

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

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
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 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

High school

New World Theatre
Asian American women
Finding guide online
New submissions

Minnesota folks

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

edgy new stuff
primarily Asian American 22-40

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

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

multiple writers. write separately around a communal scene

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

Benchmark of plays

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