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| re: So, Encores erased the fat character in Tap Dance Kid. Have other major productions? Has Encores done this before? | |
| Last Edit: Chazwaza 07:28 pm EST 02/07/22 | |
| Posted by: Chazwaza 07:21 pm EST 02/07/22 | |
| In reply to: re: So, Encores erased the fat character in Tap Dance Kid. Have other major productions? Has Encores done this before? - Singapore/Fling 06:30 pm EST 02/07/22 | |
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| Well, by this logic or new rule, we should throw out just about every novel or play (or movie or tv show even) that's be written prior to... well, even today. Enjoy that. Unless you have written a play about your own "lived experience" exclusively, from the clear point of view of you (because your lived experience is only true for you, the other characters written in the portrayal of that life are seen through the lived experience of the author, not the person the author is writing, so there's an inherent problem in writing anything but an auto-biographical one-person play), then you have to bring on consultants who are able, somehow, to represent, and give notes, with deference, on the things you didn't live? Including a mounting of a play from the past? I'm sorry, I don't agree. It is becoming a standard because of fear, not because it is the agreed upon best way to do things. Encores mission is not to only produce musicals that are 100% authentic, with exclusively multi-layered characters with nuance and seen always and only in the light today's audiences want to see them in. And it's not true that the only scores worth celebrating and presenting in the Encores style are only the musicals that fit this standard coming in. Nor should it be. I don't think a lack of dramaturgical consulting was the issue at play with Jagged Little Pill. And yes, if you're writing about characters or places that could be/have been negatively impacted by how they're written about/portrayed, it's worth having someone from that community take a look and give feedback. That is not at all the same as "bringing in collaborators", nor is it the same as doing it whenever you bring people into the story "that are from different lived experiences than our own". It's quite different to consult on how something might reflect on or impact the current community than a dramaturg being hired to "help" reflect their own lived experience or their perception and opinion of what the characters experience would be and also what of that needs to be included in the play. |
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| re: So, Encores erased the fat character in Tap Dance Kid. Have other major productions? Has Encores done this before? | |
| Last Edit: Singapore/Fling 08:04 pm EST 02/07/22 | |
| Posted by: Singapore/Fling 08:00 pm EST 02/07/22 | |
| In reply to: re: So, Encores erased the fat character in Tap Dance Kid. Have other major productions? Has Encores done this before? - Chazwaza 07:21 pm EST 02/07/22 | |
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| Nothing in what I wrote in any way suggests that we need to toss out everything that’s been written before today. And look, writers and creatives regularly do research into areas that they don’t know as much about, in order to render them authentically. This is nothing new, and it’s nothing unusual. Your hostility is misplaced. Likewise, I didn’t write that writers are limited to writing auto-biography; that’s your overreaction. |
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| re: So, Encores erased the fat character in Tap Dance Kid. Have other major productions? Has Encores done this before? | |
| Last Edit: Chazwaza 08:27 pm EST 02/07/22 | |
| Posted by: Chazwaza 08:15 pm EST 02/07/22 | |
| In reply to: re: So, Encores erased the fat character in Tap Dance Kid. Have other major productions? Has Encores done this before? - Singapore/Fling 08:00 pm EST 02/07/22 | |
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| I'm not claiming you said those things, and you've missed my point, I suspect willfully. I'm am following your logic to another level. If we applied the standard of "needing" to bring on collaborators to consult and guide writers writing any character or story that is outside that writers lived experience to just about every novel or play (etc), they would not have been written as they are, or not have been published or performed because there was no "authenticity of presumed relevant lived experienced" to consult and approve before it was released. The point is that there are many great and celebrated works written by people, currently and throughout the history of the written word, that do not meet this standard. And my point with the one-person auto-biographical play is that if you are writing something that is not specifically that, you are writing people and stories outside your own actual lived experience, period. So therefor, now, would need to hire a collaborator who can guide and consult your writing through the filter of their own lived experience which is closer to (or deemed the same as, even though that's not possible) the characters'. I am also fully in support of writers doing research and being sensitive to the approach/context/portrayal and impact of their writing. I am not hostile to that idea. |
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| re: So, Encores erased the fat character in Tap Dance Kid. Have other major productions? Has Encores done this before? | |
| Posted by: Singapore/Fling 09:57 pm EST 02/07/22 | |
| In reply to: re: So, Encores erased the fat character in Tap Dance Kid. Have other major productions? Has Encores done this before? - Chazwaza 08:15 pm EST 02/07/22 | |
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| I did miss your point, but not willfully. Sorry to tell you, but you made a leap from one idea to the next as if that was what I was proposing, rather than stating this was your extension into speculative fiction. A dramaturg might be able to help you state yourself more clearly - you might want to hire a consultant before you publish your next post (tongue in cheek, of course). I think most reasonable people are able to recognize the past and separate it from the present, but I also think that we can look back on many plays or novels and see how they didn't handle certain characters or communities with the delicacy or intelligence that they might have. And we can also look back at plays or novels and if we did some digging, we'd likely discover that those writers did work with people from these communities, in some fashion, in order to expand their knowledge. We're just talking about making that a more codified part of the process. Do you object when someone writing about a Roman gladiator hires an expert on Roman history? Do you object if someone producing a Moliere play brings in someone with knowledge of French humor and etiquette in the 17th Century? I would guess not, and so I would challenge you to consider how this is fundamentally different. |
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