Interview: Theater maker Young Jean Lee
By Leslie StaintonTweet
Moments in Untitled Feminist show (left) and Straight White Men (right). Photos by Julieta Cervantes and Brian Mediana.
“Young Jean Lee is, hands down, the most adventurous downtown playwright of her generation.” (New York Times) This January, UMS showcases Young Jean Lee’s two most recent theater works on gender and identity. The plays are performed across the street from each other in the Power Center and Lydia Mendelssohn Theatre.
UMS Lobby regular contributor Leslie Stainton interviewed Young Jean Lee ahead of the visit.
Leslie Stainton: How do you define “theater”?
Young Jean Lee: I don’t have a definition for it. If someone calls it “theater,” then to me it’s theater.
To my knowledge, this will be the first time anyone’s deliberately paired Untitled Feminist Show with Straight White Men. What do you hope happens from that juxtaposition? What are you most curious about?
The shows are so different and appeal to such different audiences, but for me they’re both coming from a similar place. My hope is that seeing them back to back will encourage audiences to look for their similarities.
How do you go about choosing a language—verbal, nonverbal—for a specific work about a particular topic?
I’m always trying to find the best match between form and content. For the first workshop of Untitled Feminist Show in 2010 I wrote a script and after the showing, our audience did nothing but make academic arguments about feminism. I wanted to hit people on a more emotional, visceral level, so as we did more workshops, I kept cutting out more and more of the text until there was nothing left but movement, and the audience was forced to react emotionally. I tried hard to write words that could compete with the movement and dance, but I couldn’t. We found that movement communicated what we wanted much more strongly than words did
For Straight White Men, I saw the traditional three-act structure as the “straight white male” of theatrical forms, or the form that has historically been used to present straight white male narratives as universal. And I thought it would be interesting to explore the boundaries of that form at the same time as its content.
What role do you see for live performance in our technological age? In what ways, if any, must live performance evolve and/or adapt in a world of rapid technological change?
Theater has been around forever—it’s survived the advent of radio and television and film. It’s become part of our educational system. I don’t really see it going anywhere.
What issues are you yearning to tackle in your work (or not, given your penchant for writing about “the last thing” you’d want to write about!)?
The Native American genocide has been on my mind a lot lately.
What are you working on now?
I’m trying to figure out how to make my first feature film!
When did you first fall for live performance?
There was a summer stock theater in the town where I grew up, and my parents took me to see A Funny Thing Happened on the Way to the Forum when I was very young, and I was hooked.
Many of your pieces deal with identity. In what ways is theater especially well suited for addressing questions of identity?
I don’t know that it is. Identity is hard to address in any art form, I think.
What key trends do you see in American theater today?
I think that contemporary American theater is very aesthetically conservative, and that it charges way too much for tickets. It isn’t adventurous or challenging enough — I’m thinking of mainstream commercial theater where everything has a linear plot line and there’s very little formal experimentation. I think the New York experimental theater/performance scene is still exciting. The stronger artists tend to have longer developmental processes. The performers have a lot of charisma and intelligence. There’s a lot of collaboration. On the other hand, I think a danger with experimental theater is when it gets locked into its own kind of tradition and you just see a bunch of experimental-theater cliches being played out.