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The Dramaturg’s Perspective: A Conversation with Amauta Firmino – The Brooklyn Rail

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I have less skin in the game. I can ask questions that people whose name is on the poster don't ask themselves. There's less ego around it, which can lead you to be a little bit more self-critical. Firmino: The work that often gets assigned to a dramaturg is labor that everyone in any theater process should be doing all the time. There is a bit of anti-intellectualism in the way that theater currently gets produced. People want to do the same revivals, put on the same shows, and talk about the same issues.

Rail: Tell me how you got involved in Slave Play and how your dramaturgical process changed as the work developed? Firmino: It started as a school project at Yale. The first time I saw any sort of text associated with Slave Play was when Jeremy sent me the first 20 pages in October The beginning of our dramaturgical relationship was really just about reading, watching movies, sharing links, memes, articles, and quotes, and sitting together on couches until four in the morning together.

It was learning about a bunch of references that were even tangentially related to the world, or to the characters, or to the idea, and having these long conversations. It was a prolonged gestation period. Then we had a full script, which happened pretty quickly. Jeremy is the kind of person who stews and doesn't write anything for months, and then suddenly in eight hours will spit out an entire script. This was the first play I'd ever been with from beginning to end.

Once we got into professional productions with Robert O'Hara directing, the scripts were in a place where both Jeremy and I were very happy about where it was. We had basically put the lock on it. Rail: As the play matured, you became an arbiter of cultural reference. How did you know you were catching all the resources that you needed to effectively establish the parameters in the play? Firmino: I don't think I ever knew.

I don't think there's a way to, though. It was very intuitive. The big lesson I learned working as a dramaturg is that everybody is their own dramaturg.

Every actor is their own dramaturg, every director is their own dramaturg, and the only thing I can do is have dialogue with them about it. Rail: In your dramaturgical process, even though you rely on theory and pop culture, how do you work in lived experiences into the process and development of the work?

Firmino: Lived experiences in many ways were worked in during the early part of writing. I'm a first generation American. My parents are from Peru and Guatemala. I'm a person of color here, but I'm white everywhere else I go. There's something really unstable about the idea of being a person of color. In the United States, there's something really slippery about it, especially as a Latinx person.

For me, a certain set of privileges, a certain set of lived experiences comes with skin that tans and also pales. I am white, and so it's hard for me to identify as anything other than that.

Characters like Dustin and Patricia in Slave Play hold some of those contradictions in them. The way that they express those contradictions comes from conversations that Jeremy and I had about either my own lived experience or lived experience with people that we saw or that we knew. Rail: Slave Play faced some institutional opposition at Yale. What advice do you give to artists who are trying to establish and develop a project in the face of opposition?

I think that was the case for a lot of reasons, but the biggest reason was that we were being treated as professional artists and as colleagues in the industry in a way that schools don't. The inherent power structure of an academic institution is that you're there to learn. And the scary thing I think, for institutions and for students, is that even when you are learning you're also actively working outside of your institution.

It's even scarier, when you're there to learn and you're also actively making waves and changing the field and pushing the institution into this existential crisis.

It's the key existential crisis that all should have and that older generations of white people are experiencing right now. My stories aren't useful anymore.

Nobody wants to hear my stories. What do I do? There are a lot of controversial images and ideas to work through in Slave Play. It's a play that starts conversations. But the institution definitely wasn't ready to have that conversation when we were in school.

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