Cultural Pluralism in American Theatre and Drama – Second Printing
Edited By Marc Maufort
Appendices This page intentionally left blank Across the Boundaries of Cultural Identity: An Interview with David Henry Hwang Robert Cooperman This interview is a transcript of a telephone conversation Robert Cooperman had with the playwright on 25 October, 1993. I have thought it appropriate to preserve the informal tone of the interview. [Ed.] COOPERMAN: I wanted to ask you this one background question: a couple of sources that I have suggest that you came upon theatre rather suddenly. I've read that Arthur Kopit's Indians was one source [which started your playwriting career], another was Wilder's The Matchmaker. This sort of gave you the playwriting bug. Is this still accurate? What I'm getting at is: you were never exposed to theatre while you were growing up? HWANG: Not particularly, no. The only way that I was exposed to theatre growing up was, since I was a musician, I had played in the pit orchestras of a lot of musicals. So, I had some familiarity with the basic repertoire of American musical theatre that's done in high school. But other than that not really, no. Indians was actually the first play that I saw-non-musical-and that was my senior year of high school. And then, well, there's The Matchmaker, I guess I did see that my freshman year in college, at the American Conservatory Theatre in San Francisco, but certainly it wasn't the only play I saw that year. And I wouldn't say that it's necessarily more influential than some of the other...
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