Eugene: Yeah. This whole thing is gonna open a can of worms. There are some questions. I circled a bunch of words because we’re writers and we know the word is where it is.
Clinnesha: That’s right.
Eugene: There is a need. There is a desperate need. I mean we talked the other day about some of my encounters in Texas with the Playwrights Conference and the African-American students who just have minimal insight of who they are and…that’s really kind of distressing to me. So the need for this is real. Is this not just for black artists?
Clinnesha: It’s not because we’re still trying to cultivate a large number of us. You know, I have worked with white directors, white dramaturgs and, you know, I’ve worked with people who don’t necessarily own the black experience but they’re in tune enough to gather an appreciation for our stories, our narrative. And so, because I know that there can be a genuine encounter with white artists, I feel inclined to say this is not just for black people. This is for anyone who wants to and is committed to telling black stories.
Eugene: The other part of that, for me, is…when it’s not in your blood, can white theatre artists benefit from this approach. Can they even adopt this approach? Is it even accessible to them? Can it be infused in their blood I guess is the question.
