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
Small groups and large groups
Things were so far apart
Feeling legitimized by other, larger
Ideas of reading
Lower Levels of Society -
Malik - Silk Road
Ethnic audiences come to see themselves
New World Theatre
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:
Never read a play perfect for both theatres
Within that, balance
1 musical - most expensive, most revenue generator
Mixed blood - $2 to $4K