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Lynn Nottage on the origins of SWEAT | The Public Theater - Duration: 4:03.
SWEAT really, for me, began with a friend of mine who was a single mom of
two, who wrote me an email, explaining her situation. She found herself after
working most of her life and being solidly middle class, without a job
and for six months without re, any really, any real resources. And it really
broke my heart because she's someone who I was very close to and I engaged with
on a regular basis, but I really had no idea that she was in such incredible dire straits.
So I really set about to figure out how poverty and economic
stagnation was really shifting the American narrative, and this was in 2011.
And I began doing research with my assistant at the time, and we came across
a city called Reading, Pennsylvania. The very first time that I went to Reading,
Pennsylvania was in, I believe, December of 2011. And in that moment, at least in
Reading and in many places like that a lot of factories were shutting down, and
steel workers and, and textile workers were finding themselves locked out, which
is very different than previous generations where, you know, if you had
labor issues, you were able to strike and, and sit down at the barden [sic],
bargaining table and use collective bargaining to really affect change. But
what was happening in Reading and a lot of places is that factories were
pre-empting strikes and locking workers out. And so that's very much the, the
environment that I entered Reading in. We first reached out to the mayor's
office. We reached out to United Way. We reached out to some homeless shelters.
We reached out to some businesses and really had this multi-pronged approach,
and our expectation is that people were not going to speak to us. Our expectation
is that people were going to be like why are these interlopers coming, but what we
found was quite the opposite. We found that people were really eager to engage
because they felt very invisible. They felt like they were suffering in
isolation, and the minute I would sit down with someone, suddenly there was
just this outpouring of information. And so my assumption is that I
was going to be in Reading maybe for two weeks max, and it ended up being a two
and a half-year journey.
I went in very much as an outsider, as, as an artist.
And as an artist, I know a great deal about economic insecurity, because that's the
place where I live. And so, I realized that there was a lot more that I had in
common with folks, then I initially suspected. You know, I thought, oh, these
folks are not going to be much like me, we're not going to find ways to dialogue.
But I realized there were so many commonalities in our experience. And once
we were able to sort of lean into each other and have that dialogue, I think
that the experience may, became deeper and more profound. One of the reasons
that I wanted to write SWEAT is that I really wanted to put this very fractured
city, a city in which everyone was hurting, in isolation, I wanted to put those
people into dialogue, so they all recognized that they shared this one
central narrative. SWEAT I really feel is, is the American story. It tells the
story of Reading, Pennsylvania, but it could be any place. It could be any
post-industrial city across the landscape.
My real real hope is that
after the audience sees the play that they want to sit down and talk to
someone who they've never had a conversation with before. I hope that
they will ask really tough conversations not just of themselves, but of the
legislators and the people who are in power, you know. I also hope that they
will understand the power of art and be more willing to engage with storytelling.
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