| re: Agreed. | |
| Last Edit: Chazwaza 04:08 am EST 12/07/22 | |
| Posted by: Chazwaza 04:05 am EST 12/07/22 | |
| In reply to: re: Agreed. - Singapore/Fling 11:16 pm EST 12/06/22 | |
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| I understand your first point regarding queerness in the reality being subverted... But i think beyond that, Queerness is the wrong word for what you're describing. I don't really see how the degree to which "the audience is absorbed into the making of the play" makes it more or less queer or identifiably queer in its sensibility or existence at all. I also take some issue with the legitimacy of this idea of the fact that white audiences are generally less inclined to "participate in the experience of storytelling." This is a huge generalization, beyond just qualifying it with the word "generally" being enough. Do you really think that poc audiences are so inclined when it's white actors telling a "white" story participate in the storytelling or get into it, as they (generally, when being generalized) are when it's poc performers and story? Not in my experience. From what I've observed, white people can be often either nervous or scared of the unfamiliar in a poc lead story/subject, or disengaged because it's unfamiliar. I see POC audiences doing exactly the same when the table is turned. But I don't think it's worth making a generalization about this at all, with regard to any race. It's all going to depend on the audience they're in, the play storytelling experience they're at, the way it's done, the people around them, the way these particular people in that particular audience of whichever race you're observing were brought up by their family or in culture and society. You know who I think will be *most* comfortable with participating in the storytelling of a play about a black family narrated by and starring a queer black person... black people and queer black people and queer people of all races, because they will feel the most genuinely invited to do so because they are both like the people on stage in some notable way or they are familiar with the experience, characters/language, or humor or sensibility, or style of storytelling... and that order will switch around throughout depending on what's going on in the play and what's being said or asked of the audience. And of course people who don't fit into one of those 3 categories will also feel comfortable and invited to varying degrees from entirely to not at all. And different people in those 3 groups and all the others will want to or not want to participate without regard for how familiar it is or how genuinely invited they are. That's not because white audiences just prefer to sit still and quietly and refuse to participate. Sorry, I'm sure you said that not thinking it would get a reaction, or that it was just an understood thing about white audiences, but I just don't think it's fair to draw that conclusion so confidently and broadly, or moreso I don't think it serves any purpose to. |
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