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In our R&D In Process Series, members of our 2019-20 R&D Group take us behind-the-scenes of their projects in development. Today, Jason Tseng describes connecting with the New Sanctuary Coalition community as part of research for Tseng's new immersive piece, "Sanctuary."
For the R&D In Process series, members of our 2019-20 R&D Group write about their investigative processes as they develop new shows. Jason Tseng wrote this reflection on “Sanctuary” back in February 2020. It will receive a work-in-progress showing at a later date when we can safely gather in person again.
When I started out working on my play, Sanctuary, I thought it would be fairly straightforward. The play focuses on the lives of the members of New Sanctuary Coalition (NSC), an interfaith community organization resisting the detention and deportation system. Conduct interviews, transcribe them, massage those interviews into monologues and arrange those monologues into an evening-long piece. Simple, right?
What I didn’t expect was how deep and
immersive the sense of community would become during my investigation. The
first thing that my first interviewee encouraged me to do was to attend a
training for their accompaniment program, an operation where NSC arranges for
citizen volunteers to accompany “friends”—the term NSC uses to describes the
immigrants they work with and support—to their various appointments with
immigration officials, such as I.C.E. check-ins or immigration court dates.
At the training I attended, I was surrounded
by people who had the same concerns and fears that brought me to this project.
Wanting to help in what seems like an impossible struggle to keep the families
of immigrants together, fearing that you’ll cause more harm than good, worrying
you’re inserting yourself into a conversation that isn’t yours to engage in. I
was fascinated by what brought all these people who were unaffected by the
threat of deportation together to devote their time and energy to something
that they would never directly benefit from. That’s where I started at the
beginning of the training. By the end, it was a completely different feeling.
New Sanctuary Coalition is fundamentally different from so many “non-profit” or “non-governmental organization” kind of spaces where the model of intervention is paternalistic and centered on those with power. Where I was used to hearing immigrant rights organizations talk about “clients” and “success rates,” NSC used language that not only centered immigrants, but prioritized their agency. I have never been to a training where the volunteers were told, outright, that they are not the heroes of this story. It was a radical inversion of the normal orientation so many of us in the non-profit world are trained to think. We are trained to believe that we are the long-suffering martyrs of the movement. Without our precious contributions, programming, protest, etc. how many lives would be measurably worse? The self-centered kind of charity is the very thing that NSC seemingly wanted nothing to do with.
That’s the kind of charity that maintains the
status quo, that presupposes the security of the unaffected over the well-being
of the one in need. At NSC, we were asked to take our lead from our friends, to
give power and agency to people who are disempowered and coerced at every turn
by our government.
By the end of the training I knew that it
wouldn’t be enough simply to dramatize the stories of these people; I needed to
implicate the audience. Suddenly my play was transforming from something
familiar, expected, and comfortable tucked behind a proscenium, to something
entirely different—immersive, interactive and vital.
I began to envision an experience where an
audience member could enter a performance as I did, gleefully ignorant, and
emerge transformed into a part of the movement for immigrants’ rights. I wanted
to walk every audience member through the experience of participating in this
movement: sitting with a friend at an accompaniment, waiting to hear if their
life as they know it will end or be allowed a few months of reprieve; standing
shoulder to shoulder in the wintry crisp air at a protest rally; putting their
bodies in the way of injustice, desperately attempting to stop what can feel
like the inevitable.
I worried that this pivot to immersive was just me chasing a trend. Immersive theatre is, by all accounts, de rigeur nowadays—maybe even played out. It fits in with the instagrammatization of the museum and the elevation of the “experience” over the “presentation.” After all, the once revolutionary productions like Sleep No More now play out as a sort of Westworld-ian romp for the wealthy. I became concerned that my play would cheapen the very stories that I was trying to tell. However, where Sleep No More invites its audience to be voyeurs—revelers in scopophilic delights—Sanctuary invites its audience to be collaborators, conspirators—comrades, even. And that’s something that I can live with.
The other projects in this year’s R&D Group will be presenting work-in-progress showings of their work from May 29-June 29. To attend, RSVP here.
R&D Group Members Brandy Hoang Collier, Clare Fuyuko Bierman, and Erika Ji answer questions about theater, storytelling, and the creative process behind their new musical, YOKO'S HUSBAND'S KILLER'S JAPANESE WIFE, GLORIA, which will be presented in the FINDINGS Series on June 16th.
R&D Group member Julia Izumi outlines the timeline of the Great Chicago Fire ahead of her new play, A RE-ENACTMENT OF THE IMAGINED TRIAL OF DAISY THE COW 🐄, WHO ALLEGEDLY CAUSED THE GREAT CHICAGO FIRE, presented in the Findings Series on June 14th.
R&D Group Member Xandra Nur Clark delves into the creation of their play URSA MAJOR, which will be presented in The Civilians' Findings Series this June.
R&D Group member Julia Izumi outlines the timeline of the Great Chicago Fire ahead of her new play, A RE-ENACTMENT OF THE IMAGINED TRIAL OF DAISY THE COW 🐄, WHO ALLEGEDLY CAUSED THE GREAT CHICAGO FIRE, presented in the Findings Series on June 14th.