Saturday, July 09, 2016
Demanding Action and Attention to Latina/o Theatre in Dallas: Deferred Action by David Lozano and Lee Trull
HowlRound: The collaboration between Dallas Theater Center (DTC) and Cara Mía began in 2009 when newly-minted DTC Artistic Director Kevin Moriarty attended Cara Mía’s production of Crystal City 1969, a company-devised play that dramatizes the Chicana/o civil rights movement in South Texas.
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Two aspects of this article really attracted me. The first is the cooperation between the two theaters mentioned in it, one is a large regional theatre and the other is a smaller culturally specific one. This kind of combination definitely excites me, for it mixes up American popular theatrical culture with local, distinct customs. This fusion generally create amazing pieces that introduce new standpoints into the mainstream audience, and arouse people's attention. The second is the the play itself, which focuses on the Latino DREAMERs, people who grow in in U.S. but due to their illegal immigrated parents, still don't have a U.S. citizenship. This is an alerting topic, and I can personally relate to this, for as a Chinese who grew up in Beijing but doesn't have a "Beijing citizenship", I need to pay more to go to school there, and can't do many things that a legit "Beijinger" can do. But the problem with Latino/a population is more pressing, for the current political upheaval. U.S. society clearly sees this group of people, but different citizens/politicians make different choices. Acrimony is quite common, for this Latino population takes up employment and resources; however, for someone who grows up in U.S., this should be his/her right to do so. Now this argument about this DREAMERs is really heated in politics, and it's good to see that the theatrical world has also generated its response. In fact, I believe the primary importance of theatre is to reflect the current problem, and call out to the vast audience.
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