I
found myself in fairly heated debate online with a British East Asian
blogger who was alleging that, by not casting any Asian actors in his
production of
The Golden Dragon,
director Ramin Gray was being racist. (As is all too often the
case, this attribution of motive and attitude took place without the
blogger in question actually having seem the production.) She
complained, “They chose a Chinese setting to what, represent the
‘Other’?” The entire
point
of Roland Schimmelpfennig’s play is to investigate perceptions of
otherness – in particular, racism – which is precisely why the
five-strong cast play characters that differ from themselves not only
in ethnicity but age, gender and even species.
To a suggestion
that Chinese actors were “required” by the production since a Chinese
setting and characters were similarly “required” (although the
likelihood is that, in the German context in which Schimmelpfennig is
writing, the “Chinese” figures are more likely to be Vietnamese), it
seemed to me that all the arguments about “requirements”
re
Chinese characters apply equally to the majority of the characters
being ethnic German yet “defined” by British actors. They apply
equally to the “requirements” of gender. And as for the characters of
the ant and the cricket...! Obviously that’s a
reductio ad absurdum.
But what, then, is it that privileges or prioritises Chinese ethnicity
as a requirement here above other portrayals in the same text and
production? I don’t think there is anything. I think that’s
the point. And, once again, I do think that watching the
production is really a minimum requirement when claiming to know why
someone else has made this kind of decision.
Written for Theatre Record.