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washingtonpost.com: "When Luis Alfaro came to town recently, he got right down to his job as a playwright. Which for him meant getting out of the theater.
There's so many ramifications in this article, I don't know where to start or what to leave out. There's certainly the un-stated, but certainly implied, connection between trying to bring Latino audiences to theater. When most aritistic directors or playwrights talk about bringing new audiences to the theater they are largely talking about younger audiences, more specifically younger white audiences. I'd be very interested to see how race translate across theater statistics: percentage of Americans who see theater, students who study theater in college (playwriting specifically) vs. race accross total population. I'm guessing there more white Americans are involved in theater, white being a small part of total population. What I'm getting at is, Luis Alfaro's existence in American theater, indicates something about greater political aspects of the theater. How much of it is simply trying to get different kinds of people to buy tickets? How much of it is the subject matter of the plays and musicals that are important to American theater? How much of it is making theater an industry that doesn't favor one race? All important questions, I think, and all at work within this article.
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There's so many ramifications in this article, I don't know where to start or what to leave out. There's certainly the un-stated, but certainly implied, connection between trying to bring Latino audiences to theater. When most aritistic directors or playwrights talk about bringing new audiences to the theater they are largely talking about younger audiences, more specifically younger white audiences. I'd be very interested to see how race translate across theater statistics: percentage of Americans who see theater, students who study theater in college (playwriting specifically) vs. race accross total population. I'm guessing there more white Americans are involved in theater, white being a small part of total population. What I'm getting at is, Luis Alfaro's existence in American theater, indicates something about greater political aspects of the theater. How much of it is simply trying to get different kinds of people to buy tickets? How much of it is the subject matter of the plays and musicals that are important to American theater? How much of it is making theater an industry that doesn't favor one race? All important questions, I think, and all at work within this article.
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