AI Chat Search Browse Media On This Day Map Quotations Timeline Research Free Datasets Remembered About Contact
☶ Go up a page

#The Future

Audio from the session: #The Future.

Fresh LGBTQI talent is shaking up the theatre scene. Victor Rodger, author of Black Faggot and currently Robert Burns Fellow at Otago University, talks to a runaway crew of talent including Kiki, Aroha Awarau, Nathan Joe, Josephine Stewart Tewhiu, Sam Brooks and Amanaki Prescott-Faletau.

A special thank you to the organisers and participants for allowing us to record this event.

Audio and Text Download mp3 Download HQ mp3Plain Text (for Gen AI)

Summary

The "#The Future - Same Same But Different writers festival" audio recording documents a panel curated to showcase new voices in the Auckland theatre scene and beyond. Recorded at Auckland University of Technology on February 13, 2016, it features discussions with prominent individuals including Amanaki Prescott-Faletau, Aroha Awarau, Josephine Stewart Tewhiu, Kiana Rivera, Nathan Joe, Sam Brooks, and Victor Rodger. The conversation spans the development of theatre from the 1980s to the 2010s, emphasizing the impact of playwrights' identities on their craft.

The session opens with Victor Rodger, a playwright known for works like "Black Faggot," introducing the panelists, which include voices of various Pacific heritages, and LGBTQ+ perspectives. Rodger poses questions on identity, questioning whether labels such as "gay writer" or "Pacific writer" limit or define their works. The panelists discuss their experiences with such labels and how they respond creatively.

Aroha Awarau speaks about their experience as a journalist and playwright, highlighting the humor born out of hardship in the LGBTQ+ community and how it permeates their work, regardless of whether it directly addresses gay themes. Awarau relates this to their diverse works such as "Office 27" and "Luncheon," which challenge stereotypes of Māori storytelling.

Josephine Stewart Tewhiu, another panelist, touches on generational shifts in perceptions, advocating for rejecting confining identities and embracing storytelling from personal perspectives. Further discussions lead into the underrepresentation of lesbian and transgender stories in popular culture, with Kiki stressing the importance of storytelling that does not confine individuals to "boxes."

The conversation then delves into why theatre is a chosen medium for the panelists, its immediacy and intimacy cited as compelling reasons. They express a desire for theatre that represents diversity in a genuine way and for resources that support and elevate the diverse voices within the industry.

The event is viewed as a platform for a new generation of playwrights to challenge norms, emphasize diverse representation, and seek a more equitable future for theatre. The dialogue reflects on aspirations for more resources, support, and opportunities that allow diverse voices to flourish, transcending traditional boundaries and fostering a more inclusive and dynamic theatrical landscape.

This summary is created using Generative AI. Although it is based on the recording's transcription, it may contain errors or omissions. Click here to learn more about how this summary was created.

Tags

1980s, 1990s, 2010s, acceptance, acting, amanaki prescott-faletau, aotearoa new zealand, aroha awarau, arts, asian, auckland, auckland theatre company, bats theatre, black faggot (play), bootycandy (play), boxes, christchurch, coming out, community, david henry hwang, diversity, drag, dunedin, fakaleiti, family, gay, ghost writing, giovanni's room (book), girl on a corner (play), harvey fierstein, hate, hawera, hollywood, inky pinky ponky (play), james baldwin, jennifer ward-lealand, jill soloway, john leguizamo, josephine stewart tewhiu, journalism, katie wolfe, kiana rivera, la ronde (play), lesbian, lightbox online tv, like sex (play), little earthquakes (album), looking (tv), love, luncheon (play), magazines, marilyn waring, masculinity, michael cunningham, mike chunn, mixed-race, movies, music, musicals, my name is gary cooper (play), māori, nathan joe, next big thing (auckland theatre company), niue, nz truth, officer 27 (play), pakeha, parenting, pasifika, patricia highsmith, patrick swayze, people of colour, peter wells, play it strange, playwrights b4 25, poetry, popular culture, puzzy (play), queer as folk (tv), robert burns fellowship (university of otago), robert o'hara, rugby, sam brooks, samoa, secret life of sausages (play), simpson grierson, storytelling, susan sontag, taranaki, television, tennessee williams, the adventures of priscilla; queen of the desert (film), the hours (film), the lumiere reader, the pantograph punch, theatre, to wong foo - thanks for everything! julie newmar (film), toni morrison, torch song trilogy (play), tori amos, trans, transgender, transparent (tv), tusiata avia, victor rodger, wesley snipes, women, writing, yellow face (play), young and hungry festival of new theatre

Record date:13th February 2016
Location:Auckland University of Technology, Auckland
View on Map
Archive:The master recording is archived at the Alexander Turnbull Library (OHDL-004407).
URL:https://www.pridenz.com/the_future_same_same_but_different.html