racism and homophobia in shows

[arclight]

If we don't address race and gender in scenes one could accuse us of bias of omission. If we do address race and gender in scenes but don't do it well, with sensitivity, or by presenting races or genders in a positive light, one could accuse us of bias of comission (racism, homophobia, whatever.) So in some sense, we're screwed no matter what we do as long as we let the debate be framed this way.

My pat response to playing uncomfortable or controversial characters is to play them with honesty, though I don't know if that's good enough.

I'm slogging my way through Whose Improv is it Anyway? which covers these issues, albeit poorly IMO. The author seems genuinely surprised that the "group mind" of a predominantly college-educated straight white male group doesn't tend toward scenes involving race, gender, or a feminist perspective and that players that force these issues are seen as having an agenda that's more important than achieving a group mind. Her interesting point is that even with a free and undirected group mind there is topical territory that probably won't get covered, though I think she needs a refresher course in descriptive statistics when she inevitably chalks it up to overt bias.

For a measure of implicit bias, visit https://implicit.harvard.edu/implicit/ The results may surprise (and sadden) you.

I think one problem is lack of familiarity; we tend to hang out with people like us so it's more difficult to play outside that except by using stereotypes (not necessarily offensive ones) or archetypes. Maybe it's something we need to workshop. In the meantime, maybe we need to ask ourselves if we're doing these scenes for a cheap laugh or if there's any depth to the characters or relationships. Also, are we attentive enough to recognize when our partners have endowed themselves as someone of a different race, sex, or gender and can we play honestly with them rather than pigeonholing them into a safe, convenient stereotype?

[nadine]

I notice that I've started making more racist jokes during rehearsal and it's a bit uncomfortable for me, unless it's asian (i get a free pass here) or white (supposedly the people in power). It's sooo easy to make it and get a laugh.. like obscene jokes.

Whether we like it or not, racism is perpetuated by society, and reflected back and enhanced by the arts. I don't think self-censorship is the overall answer. But I remember Dave Wallace saying if you're doing a minority, empower that minority... And Dave Buckman saying, if the audience hates that character (and maybe you for the rest of the show), don't come back as that character, and play support the rest of the show.

[Evilpandabear]

As someone who has grown up watching television (what? I'm a child of the 80's dood) I can tell you it was disconcerting to see every Asian on TV have some Foo Man Choo mustache, know kun fu or some other martial arts, or be some horny geeky nerd. I may be able to count, on both my hands, the number of times there was an Asian on the TV who didn't fall into one of those categories.

Am I slightly offended every time an improviser does a cheesy bad asian-enlish accent? Am I slightly offended every time an improviser plays the wise old asian man? Yes. Yes, I am. Does that mean I never want to see it on stage? Absolutely not. Self-censorship for improv is one of the worst ideas around. Walking the fine line this is, is a personal responsibilty that shouldn't be enforced. As improvisers we must, at all times, have the ability to laugh at ourselves and not get bogged down with lameness of having G-rated PC shows 24/7, because that, Ladies and Gentlemen, is pure evil.

[Brian Boyko]

As someone who has grown up watching television (what? I'm a child of the 80's dood) I can tell you it was disconcerting to see every Asian on TV have some Foo Man Choo mustache, know kun fu or some other martial arts, or be some horny geeky nerd. I may be able to count, on both my hands, the number of times there was an Asian on the TV who didn't fall into one of those categories.

You forgot "Asian San Francisco Gangbanger in Chinatown (who, usually, has a heart of gold.)" See, "Doctor Who, the TV Movie, 1996"

[Evilpandabear]

As someone who has grown up watching television (what? I'm a child of the 80's dood) I can tell you it was disconcerting to see every Asian on TV have some Foo Man Choo mustache, know kun fu or some other martial arts, or be some horny geeky nerd. I may be able to count, on both my hands, the number of times there was an Asian on the TV who didn't fall into one of those categories.

You forgot "Asian San Francisco Gangbanger in Chinatown (who, usually, has a heart of gold.)" See, "Doctor Who, the TV Movie, 1996"

I rest my case.

[arclight]

As someone who has grown up watching television (what? I'm a child of the 80's dood) I can tell you it was disconcerting to see every Asian on TV have some Foo Man Choo mustache, know kun fu or some other martial arts, or be some horny geeky nerd. I may be able to count, on both my hands, the number of times there was an Asian on the TV who didn't fall into one of those categories.

Adrian Tomine (Optic Nerve) interviewed Gedde Watanabe for Giant Robot #24 a few years ago. It was funny and painful because while a lot of kids suffered from the Long Duk Dong stereotype, high-profile (or hell, any) film roles for Asians were pretty hard to come by. Watanabe was pretty much damned either way.

And yeah, my friend Ella gave me crap for reading GR, watching anime, and trying to learn to speak japanese. I guess I should be honored that she called me an 'egg' (she's still my friend after all...)

Someday Mo and I will do "Howard and Linda", our bickering middle-age Chinese couple, though probably not onstage, not anytime soon.

[Jastroch]

I have a lot to say about this topic, but my thoughts boil down to something simple.

Racism and Homophobia aren't funny. It's usually a cheap way to exploit stereotypes for an even cheaper laugh, whether or not it's shock for shock's sake or relying on the base ignorance of the audience.

However, there is racism and homophobia in the world, and as such it's fare game for satire. Saying all black people are stupid isn't funny. A senior administration official saying all black people are stupid isn't just funny, it's also probably an accurate read.

The humor mag I edited in College ran a fake course book for the "Department of White Male Studies." The class "Heterosexuality 101" featured some course language that got us sued for human rights violations by an off campus group. Obviously, the intention of the whole piece went over their heads.

As a very talented and very funny friend of mine once said, "Racism isn't funny. Fake racism is hilarious." Making fun of people who are racist and being racist are two totally different things. I'm firm enough in my political convictions to know the difference. If the audience aren't smart enough to know the difference, then that's their shortcoming.

Of course, CT drops the N-bomb during the hurricane show to make a political/satirical statement on race in New Orleans. In Austin, it made people very uncomfortable (which was the intent). In Dallas, the audience laughed at the word (not the context of its usage) and it made us feel dirty.

[smerlin]

Firstly, I want to say that I think the best solution to this problem is creating a more diverse improv community.

Second, earlier this year, I made a personal pledge that from that point forward, whenever I play a character with a southern/texan/country accent, they were going to be a smart, complicated character. I actually think that stereotype is the one people in Austin go to first. And it's just too easy. And wrong.

How many scenes have you seen that start "Well, Jed . . ." and then they stick out their gut and scratch some part of their body?

In general, playing any "stereotypical character" with intelligence, love, and complexity will help counter any bigotry. But you're still not out of the woods. Luckily it's improv and we can dialogue with the audience and adjust.

But the best solution is diversity.

[erikamay]

my point in bringing up this subject was to start a dialogue about racism and homophobia (and anti-semitism and southern hickism for that matter) in improv.

am i advocating censorship or overattentiveness to political correctness?

hell no.

what i am advocating is an intelligent approach to dealing with issues of the oppressed 'other' - if you choose to play a character of another race, gender, religious or sexual orientation, i think you should play that character to the top of your intelligence, instead of some 2 dimensional stereotype.

its INFINITELY more interesting for the audience and surprises them with a unexpected choice.

more than that, you play the truth of human existence which is always funnier than any 'bit' you could farm out of it. am i simply a 31 year old white married female from Texas? that stereotypically is so much different from who i am.

define yourself in with a few demographics...is that all you are? would you like to see other people simply playing you as a demographic for a quick joke? thats all i want people to think about.

to note, i've seen people play southern stereotypes outside of the south in a two-dimensional way, and it bothers me almost as much. it made me think that player either was: a. lazy, or b. stupid, to have such narrow view of a group of people.

i also think you can play people that are racist for the purpose of satirizing racism (or homophobia or anti-semitic/religious people), as i mentioned before. i, personally, like to inspect why i am making a certain point when it does cross the line into this area - am i satirizing the POV or trying to shock people?

thanks for your thoughts everyone.
e

[valetoile]

I was talking with Wes the other day about why I find fake misogyny much more offensive than fake racism: I think it's because real racism is so widely agreed to be terrible, while misogyny is till pretty deeply ingrained in our society. Fake racism is obviuosly a joke and satire, but fake misogyny feels like the truth disguised as a joke.

[Jastroch]

Erika

I'm very guilty of using a southern accent here and there to reinforce stereotypes. It's because I grew up in Connecticut and it's an easy choice when I got nothing (which is often). We're on the same page here, but when it comes to improv character work, the Southern thing made me think.

I don't play Black people or homosexuals often or ever for whatever reason (probably because I grew up in Connecticut and there were no homosexuals or blacks), but I am super guilty of not playing to the top of my intelligence in other areas.

Also, I often play two dimensional elderly New Englanders. Fun Fact: Lobstermen can be victims too.

Side note: I'm a big fan of intentionally shocking "not in my backyard" faux-liberals from Connecticut. Like telling them I agreed with the policy of internment. Some people need to be shocked.

[erikamay]

jastroch.

i am completely guilty of 2 dimensional southern characters (dammit daddy! i got myself pregnant agin!) and accidental anti-semitism fer sure.

prolly some bad 2 dimensional racist characters back somewhere in there too.

just so no one thinks i am looking down my nose, or being preachy, i am guilty of most all of these things. it just feels icky when i do it, cheap and demeaning, so i have (with some exception on playing 2 dimensions rednecks) stopped.

thats all.

[kbadr]

I think part of the problem might be that, in improv, we sometimes have to play things really big in order for them to be picked up by scene partners. Because I can't come into a scene wearing an army jacket, to show that I'm a vietnam vet, I've gotta hit some characteristics pretty hard (and maybe heavy-handed) to make sure they're clearly recognized by everyone on stage. This isn't an excuse for racism, but it may explain why stereotypes (whatever they might be) seem to get exaggerated a bit in improv.

Or maybe not. *shrug*

[nadine]

I was talking with Wes the other day about why I find fake misogyny much more offensive than fake racism: I think it's because real racism is so widely agreed to be terrible, while misogyny is till pretty deeply ingrained in our society. Fake racism is obviuosly a joke and satire, but fake misogyny feels like the truth disguised as a joke.

Yeah, I find jokey misogyny offensive too. I don't like seeing women degraded on stage.

I think though, your point about racism is wrong. I have a close black friend in Austin (unfortunatly, only 1) and it is clear that racism is still rampant. She still worries about taking backroads in Williamson county at night. Another black woman (who goes to UT, I think) always makes sure she prepays gas because she doesn't want the store attendent to think she'll pay gas and run away. Many black people are aware of their race every day. I keep forgetting I'm Asian.

Darnit. Too many serious topics on this board!

[arthursimone]

in acting, you learn to play an exaggerated version of yourself. you learn to play from the gut. we can't hide from those voices in our head, however small, that represent the most base, uncivilized instincts that are part of our heritage.

one of my grandmothers was ferociously classist and racist. I'm not proud of that fact, but I'm not going to pretend that her voice doesn't rattle around in my subconcious like a coin in a dryer. I'm going to do my best to deal with it, and I can't deal with it by ignoring it.

when shock value becomes about the validity of the topic instead of the status of the performer, it is serving its function. some of my favorite theater dares the audience to pass judgement. Eric Bogosian says as much, portraying an awful, racist, homophobic character, then emerging with a true-self monologue harassing the audience for their assumptions.

no audience is truly enlightened. we as a society can always do better. we act in order to exorcise our own demons, to sacrifice our dignity and selves for the benefit of our brothers and sisters.

I say, play racists and murderers and rapists with visceral honesty. If the audience laughs at the context and laughs at themselves as a society, you've done your job, you've made the world a more honest place. If the audience laughs for the wrong reasons because they're laughing at the Other, break character in the next scene and call the bastards out.