"So when I told Wiri that I didn't appropriate anyone's culture, it was true. I didn't write the brown into this story - or the white. If it's there, the cast put it there. I don't even appropriate my own culture. I can't afford to. I tell stories. Those stories come from the people I know, have met or have heard about. And they are always about the people. Not their race or culture. However much I celebrate it, that is not what it is about. Don't come to The Sons for the culture. Come for the story and you will be better fed."(Guardian Unlimited | Art News | 'Who do you think you are?' Lennie James)
"The resurgence of the theatre of fact is perhaps suggestive of a deeper problem for writers, namely that modern life in its unimaginable complexity seems to defy invention itself. The convention-bound play, assembling representative characters in symbolic spaces to rehearse the concerns of the hour, looks as capable of capturing the zeitgeist as a fishing net is of landing a blue whale. So where does this leave a playwright such as myself, committed to the truth of fiction? "(Guardian Unlimited | Arts News | The truth behind the facts Steve Waters)
(both via ArtsJournal.com)
"I have formed the view that it is intrinsic to knowledge that it be actionable. By this I do not mean that it necessarily provokes action, but that it enables it. From this viewpoint the question is documentation knowledge? doesn't matter very much. Any particular document may, or may not, be knowledge; to different people, and at different times. Everything depends upon the context."(Curiouser and curiouser! | Everything depends upon the context Matt Mower)
:: note :: . . . there are no answers . . . no easy, clear statements . . . awarness and consciousness of the act is all that can be demanded . . . be prepared to be held accountable by one & all . . . know the context & what matters . . . move beyond simple ideology . . . be sensitive to shifting perspectives . . .
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