Throughout our workshops, theatre professionals of Roma origin emphasised that Roma actors shouldn’t be confined to enjoying solely Roma roles; they’re equally able to portraying non-Roma characters. In writing, directing, or casting for performances involving Roma characters, it is vital to think about varied points of the characters—reminiscent of physique sort, social background, manner of talking, and character traits—past their Roma id.

Do I wish to maintain a mirror to actuality, or do I wish to painting a fictional, utopian world?

 An vital consideration is the steadiness between Roma and non-Roma characters in our play. If we characteristic a big variety of Roma characters, have we totally explored the opportunity of casting Roma actors for these roles? What message can we convey when a brown-skinned actor portrays a health care provider with none point out of their ethnic background? How can we problem or reinforce stereotypes if non-Roma actors are completely solid in roles depicting intellectuals, profitable people, and decision-makers? Moreover, what does it indicate about social mobility if Roma actors are solid solely in roles as criminals, offenders, beggars, or intercourse employees? These questions result in the primary query of theatremaking: what do I wish to say with my efficiency? Do I wish to spotlight systematic issues or do I wish to draw consideration to the challenges and successes of on a regular basis heroes? Do I wish to maintain a mirror to actuality, or do I wish to painting a fictional, utopian world?

We must always needless to say ethnic origin is probably not related for each character. Can we depict Roma characters in a way that prioritizes their particular person traits over their ethnic background? How can we foster social inclusion—by presenting complicated Roma characters that emphasize their similarities with the non-Roma majority, or by highlighting the variations that distinguish the Roma from the white, non-Roma majority? How can the members of a deprived, rural Roma group be empowered if we current Roma characters in victimized, passive conditions with stereotypical behaviors on stage? When contemplating our audience, it is essential to replicate on the importance of a personality being portrayed by a Roma or non-Roma actor. We should ponder which characters the viewers will understand as Roma when their ethnic background is just not explicitly talked about within the play. To what extent is it possible for artists to make use of color-blind casting, and the way succesful are audiences of adopting a color-blind perspective in the direction of a personality, actor, or group?

What can we do with stereotypes? How can we relate to them?

Similar to prejudices, stereotypes pervade our lives. Earlier than we get to know somebody, we understand them as a part of completely different teams (both recognizing or misinterpreting which group they belong to) and begin to suppose and really feel issues concerning the particular person primarily based on our information concerning the explicit group during which we classify them. That is inevitable. However we might be acutely aware about it and query the accuracy of our beliefs. When creating performances concerning the Roma or different susceptible teams, it is essential to think about our method to the stereotypes surrounding them. Ought to we keep away from these stereotypes totally, and what would this determination recommend about our deeply stereotyped society? If we select to include stereotypes, whether or not in content material or fashion, we should be deliberate about our causes and strategies. Which stereotypes are we depicting, and can we focus on their origins? Are we aiming to counter, caricature, refute, or scrutinize these stereotypes? It is important to make clear our targets.

What’s our aim with our efficiency? Do we wish the viewers to query their views or can we wish to reinforce them?

If we current Roma characters who don’t correspond with the stereotypes, can this result in a change in attitudes of the non-Roma white majority inhabitants or will every thing stay the identical? In any case, “the exception proves the rule.”

Alongside a stereotypical/detrimental/ridiculous/petty portrayal of the Roma characters, you will need to look at if the non-Roma characters are portrayed in an analogous crucial/detrimental manner. Is the fashion of illustration constant? Does each character get to be critiqued? Can the criticism of a high-status character increase comparable moral questions because the criticism of a low-status, marginalized group?

However most of all, what’s our aim with our efficiency? Do we wish the viewers to query their views or can we wish to reinforce them? Do we wish them to be embarrassed about their privileged lives? Do we wish them to really feel sympathy for the Roma characters? Do we wish them to affiliate with the Roma characters? Do we wish them to take motion?

What’s the kind?

When presenting Roma characters or communities on stage, an vital query we have to ask is what sort of theatrical kind or language can we wish to use? How does that kind relate to the types of realism, documentarism, ethno-cinema or different sorts of abstraction?

If we wish to symbolize a Roma group in a practical manner, we have to look at if now we have sufficient details about how the group chooses to indicate themself, on their manner of dressing and talking, on their music, or some other cultural points. The European Roma communities are very various. If we aren’t conscious of the precise group we wish to symbolize, we would inadvertently combine up cultural points belonging to very completely different communities. That is particularly vital when opting to create a efficiency with a practical or documentary method.