The document discusses a debate in the American theater around issues of funding, representation, and casting of minority actors. August Wilson argued that funding policies rewarded mainstream white theaters at the expense of supporting African American theaters. He also criticized "colorblind" casting that placed black actors in roles written for white characters. Robert Brustien disagreed and advocated for a "single value system" that brought all people together regardless of race. While positions remained unchanged, future discussions were planned to further address the issues. Thirteen years later, the controversy was still ongoing but representation of minorities in the arts had improved.

1. Please answer the 6 questions and make a respond for the 2
comments.
Race, Funding and Multiculturalism:
At the 1996 Theatre Communications Group Conference,
August Wilson made an impassioned speech about the lack of
support for African American Professional Theatres, which he
judged essential if African Americans are to explore their own
culture and History in a context that is not dominated by white
society. He pointed out that present funding policies reward
mainstream white Theatres for occasionally including a
minority play in their repertory, a practice that keeps African
Americans subordinate by making their lays only a token part of
Theatres offerings nut sufficient to divert funds from African
American Theatres. He also denounced “colorblind” casting that
places African American actors in roles written for whites,
“which is to deny us our own humanity.” Overall, he saw these
practices as keeping African Americans in a subsidiary role by
making it difficult for them to explore their own history apart
from the dominant culture.
This speech led to a heated exchange between Wilson and
Robert Brustien, Artistic Director of the American Repertory
Theatre. Brustien charged that Wilson was advocating cultural
separatism. Whereas he himself favored bringing everyone
together so we may achieve a “single value system.” Many
others were soon involved, and in a January 1997 New York
Town Hall meeting, Brustien and Wilson debated the issue.
Ideas remained the same but positions remained largely
unchanged.
In March 1998, a five day conference of African American
Theatre personal was held in New Hampshire; one day of the
five was open to others –about 300 people including Theatre

2. personal, and business and foundation executives. At the open
Meeting many proposals were made, most of them positive, but
few solutions were reached. Future meeting were planned for
more detailed consideration of particular issues. In 2002, the
controversy was still ongoing. (Essential Theatre, Oscar G.
Brockett and Robert J. Ball 8th Edition, 2004)
Questions(s):
Do you agree with August Wilson about c
olor blind
casting and it denying the humanity of those actors playing
roles written for white actors in the American Theater?
Could
color blind casting
say that we can look above and beyond race to the nature of
what humanity is and how we can experience it?
Can you explore the human condition and experience devoid of
the divisiveness and history of race and race relations?
Can the human experience BE voided of race and still be
compelling?
Is Brustien’s "
Single Value System
" a more thoughtful and socially uplifting approach to the way
we should be telling stories?
How do you think the "
Single Value System
" would work in your own words?

3. Notice that this article was published in 2004. Based on all of
your information now and your own familiarity with pop
culture, film, entertainment and the Arts, how do you feel we
are different now 13 years later with respect to multiculturalism
in the theatre, the Arts, entertainment, film and television, pop
culture and most specifically with African American actors? In
13 years how do we even feel about saying “African American”
as opposed to “Black Actors”
First comment you need to respond:
Do you agree with August Wilson about c
olor blind
casting and it denying the humanity of those actors playing
roles written for white actors in the American Theater?
I understand the concern that August Wilson has about casting
African American actors in roles written for whites. However, I
do not believe that every role written for whites would deny the
humanity of non-white actors playing those roles. It would
depend on the subject matter of the play; the period it was set
in; the character portrayed, and other factors.
Second comment you need to respond:
Can you explore the human condition and experience devoid of
the divisiveness and history of race and race relations?
No, what happened in history is what shaped us into who we are
today. Although difficult to fathom the lives and struggles of
different races and their relations, that is what precisely sparked
and inspired many forms of artwork. And, perhaps without
divisiveness there wouldn't be so much violence and hate, but as

4. with anything in life having two-sides, there's probably a cost
that has to be given up to attain it.