How systems change.

tumblr_mb1rdv9kVZ1r48siso1_r1_1280

Picture: Wellesley archives.

HowlRound this week is devoted to discussions of gender parity in theatre. The week’s not up yet, but I feel like its very premise is still stuck in a place of hand-wringing and helplessness, operating under the assumption that women are—not are constructed as, but are—a special subset of human being. While somewhat useful in the short term, resulting in women-only prizes and reading series (and colleges—of which I’m a beneficiary), this framing is not useful in the long term. It reinforces separatism (“women are fundamentally different from men”) and essentialism (“women write fundamentally different stories than men”). Same goes for any kind of gender or racial categorization: “Y is fundamentally different from X and will write fundamentally different stories.” These assumptions then allow for categorical criticism and dismissal based on supposedly inalienable characteristics.

Instead, I would love to see the community operate under the assumption that women are human. Full stop. Then we’d see clearly that half the artistic contributions of the human race are ignored for no reason. Then we’d see clearly that the current state of theatre is quite embarrassing. Then we’d see clearly that all explanations for discrimination along the lines of “quality,” “readiness,” and “artistic freedom” are bankrupt.

And when we have data—which are forthcoming, as far as I understand—we will see clearly those who’ve taken conscious measures to dismantle internalized sexism and those who haven’t. As it is now, when my play gets rejected, I never know if it’s for the reasons they say it is, or if it’s because I’m a woman. The unfortunate thing is, often, neither do they—that’s the nature of unexamined bias—but it’s still discrimination. And the only antidote to discrimination is to put systems in place that protect against it.

Here’s what I want to see: by the end of 2014, a boycott of theaters that haven’t demonstrated or made a public commitment to gender parity. For our purposes, gender parity is defined as follows: a season of playwrights, directors, choreographers, dramaturgs, actors, musicians, and designers that reflects the gender makeup of the available labor pool to within a certain percentage; the percentage depends on the size of the theater and its workforce. (As for the statistics, theaters are responsible for tracking and reporting them. VIDA tracks these data for literary journals. Strange Horizons tracks these data for the speculative fiction journals. If they can do it, individual theaters can.) A boycott would take both the bravery of those with more power, because they will necessarily be taking stands against friends and colleagues; and the bravery of those with less power, who know that speaking up against institutions may endanger their opportunities going forward.

Speaking for myself, I’m fine with that. I’m a resident playwright with an amazing company, Little Green Pig Theatrical Concern, that is committed to gender parity. I don’t want to work with a theater that doesn’t practice gender parity. I don’t want to send them my work and I don’t want to see their shows. As far as I’m concerned, they’ve disqualified themselves from the conversation.

Who gets to define the conversation?

I do.

Because I’ve decided I do.

You do, if you decide you do.

That is how systems change.


5 Comments on “How systems change.”

  1. Hi Monica,

    This is the first part of a two-week focus on gender parity on the Howlround site and Twitter forum, first centralizing context for the issue and then seconding that coverage with specific solutions. Next week, San Francisco playwright Marisela Treviño Orta and I will co-moderate the #newplay discussion on gender parity advocacy tactics and best practices, drawing on a series of interviews launched this week on the Works By Women San Francisco site.

    http://worksbywomensf.wordpress.com/tag/tactics-interview-series/

    See you tomorrow on #newplay!
    Amy

  2. WWSF says:

    Monica,

    Your perspective resonates for me. I keep telling people that the older I get, the more fiercely feminist I become. Women are human. Full stop. And we’re not going to accept anything less than equal treatment in any quarter (especially theater!) anymore! I quote you on my blog (http://worksbywomensf.wordpress.com) and I would love to continue the conversation. Email me at cyoung8@usfc.edu.

  3. […] to last week’s Howlround/Theatre Bay Area coverage of gender parity issues in her blog post “How Systems Change” calls for a reject-the-premise approach to conversations that seek to help balance the numbers […]

  4. […] anti-résumé, posts on self-care in social media, gender in theatre, data in theatre, diversity in literature, my travels in Iran, how to travel to […]


Leave a Reply to TACTICS: INTERVIEW WITH MONICA BYRNE | Works by Women San Francisco Cancel reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s