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Carolina Creative Campus – The Gender Project » Amy Zhang

Carolina Creative Campus – The Gender Project

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DV8: To Be Straight With You

What does social activism and art look like? What does social activism and art sound like?

For some, it evokes Bob Dylan, articulating the refrain of a restless generation while strumming on his guitar between wisps of vocals and harmonica. For others, it’s a large graffiti-mural piece on the side of a building reclaiming public space for the public good, vibrant colors and empowering images with perhaps a banner-message tagged to sum it all up.

For DV8, the medium of choice is theatre. Their topic in To Be Straight With You addresses the many and diverse attitudes in society concerning homosexuality. These attitudes vary from subtle hypocrisy to outright violent hostility, denial to damning, concession to persevering resistance. I felt that by adopting the interviewees as characters, the performers effectively took the often oversimplified or grossly generalized perceptions of both camps on the issue and, through heartfelt, authentic reenactment, helped me to better see the nuances of this complex situation. Who do we condemn? What do we condemn?

To me, one particular focus of the play was that our attitudes towards homosexuality are an exercise in moral/cultural relativism and as a result, are characterized by those same vexing conundrums: how much of a person’s views are determined by cultural construct, by traditions, by those elements which are never absolute? DV8 does a fantastic job in intimating the many roots of the current perceptions of homosexuality. At one point, while the audience ooh’d and ahh’d (don’t pretend to be jaded—we all thought it was cool) as an actor conjured a large globe, he highlighted and colored sections while spinning statistics and facts about the laws of different nations and religions. By investigating this angle, I really thought that To Be Straight With You strived, at least, to condemn no one– or at least to pass judgement for you. Rather, it put the characters within their appropriate context, for isolated, it would be too easy to pigeonhole them as the hero or the villain which we might even subconsciously seek.

DV8’s performance of To Be Straight With You was definitely no one-act or two-part, break-here-for-intermission and resume-plot-line piece. The company created a collage of stories all compiled through interviews. Together, these stories defied the “sit there and listen” attitude that a lecture might have emulated had it been addressing similarly heated issues. Rather, the stories set the scene for an evening with an accessible and inspiring “let’s think about this” message.

DV8’s work stitched together anthropology, journalism, oral history, multimedia, dance, acting, and technology into a seamless and mutually reinforcing collaboration of mediums, none of which detracted from the other, but each somehow heightening the audience’s engagement with the overall message thanks to the individual role of each. A story is accompanied by a dance, and the dance is accompanied by music which swells at every climax of a story. Suddenly, simple casual jump roping becomes more urgent as the actor recounts of his father’s reaction to his homosexuality, and the gentle pattering of rope meeting ground becomes the threatening and breathless fury of an enraged patriarch or the helplessly frantic footsteps of the protagonists’ escape. In one scene, a recording of an interview with the British prime minister’s wife where she voices her desire to “help” gay people by encouraging them to convert to a heterosexual lifestyle is interrupted between questions by a raucous, feet-thumping, drunken tune as actors dressed with horse-head masks stomp around in an absurdist dance. The message this seemed to drive home is that the self-perceived beneficence of the speaker is no more than debasement of homosexuals to animals. The idea of manipulating their behavior is eerily similar to the domestication of wile, unruly beasts—an unsettling suggestion throughout an otherwise hilariously satirical part.

The result is a piece which is rich and multifaceted. The pace is smooth, and the images are lasting.

Equally lasting are the questions and concerns. For both nights after the show, the student group SHOWW with Arts tried to give the audience members a creative outlet of their own in which to respond to the show and to the issue presented. In the lobby, our blank sheet of white paper was quickly made replete with accolades for the piece (including a proud shout-out to the director from his father-in-law), depictions of scenes, follow-up questions, and other doodles grappling with gender issues (ex: soccer cleat with high heel, blue and pink baby toys, etc.)

Ultimately, as vexing as the relativist conundrums might be and as impenetrably grey those shades are, DV8 does provide a clear stance for one universal ideal: open dialogue. And To Be Straight With You proves to be another excellent answer to what social justice and the arts might look and sound like.

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