“Where are all the Asian actors in mainstream New York theatre?” What began as a plaintive status update on Facebook launched a full-scale investigation by Asian American actors that culminated in a report titled “Ethnic Representation on New York City Stages” and the formation in the fall of 2011 of an advocacy group, the Asian American Performers Action Coalition (AAPAC). AAPAC's findings were disheartening. In the preceding five years, Asian Americans had received only 3 percent of all available roles in not-for-profit theatre and only 1.5 percent of all available roles on Broadway. The percentage of roles filled by African American and Latino actors, in contrast, had increased since 2009. According to the report, “Asian Americans were the only minority group to see their numbers go down from levels set five years ago.” The data AAPAC compiled were both surprising in their concreteness and unsurprising in their bleakness. The Facebook query sparked an active digital conversation that touched a collective sense of discord just below the surface for many Asian American theatre artists, especially actors. Ralph Peña, artistic director of Ma-Yi Theatre Company, invited key Facebook commenters to hold a more formal conversation about access, embodiment, and Asian American representation. This group, many of whom were artists in midcareer, trained at top conservatories, and fostered in New York City's vibrant Asian American theatre community, became the Steering Committee of AAPAC. The members of the Steering Committee channeled their frustration and anger into archive fever by researching and documenting ethnic representation on Broadway and in sixteen of the largest not-for-profit theatres in New York City over a five-year period. In front of an audience of three hundred, members of AAPAC presented their findings at a roundtable at Fordham University on 13 February 2012 that included prominent artistic directors, agents, directors, casting directors, and producers and was moderated by David Henry Hwang. With the report in hand, AAPAC members roused the New York theatre community with a series of town hall–style meetings and urged theatrical production gatekeepers to do, if not better, then, something.

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东西方球员及之后：表演和行动主义

“纽约主流剧院的所有亚洲演员都在哪里？” 最初是在 Facebook 上的悲痛状态更新，引发了亚裔美国演员的全面调查，最终形成了一份题为“纽约市舞台上的种族代表”的报告，并于 2011 年秋季成立了一个倡导组织亚裔美国人表演者行动联盟 (AAPAC)。AAPAC 的调查结果令人沮丧。在过去的五年里，亚裔美国人只获得了非营利剧院所有可用角色的 3% 和百老汇所有可用角色的 1.5%。相比之下，自 2009 年以来，由非裔美国人和拉丁裔演员担任的角色比例有所增加。根据该报告，“亚裔美国人是唯一一个人数低于五年前水平的少数群体。” AAPAC 编制的数据在具体性方面令人惊讶，在其黯淡方面也不足为奇。Facebook 的查询引发了一场活跃的数字对话，这触及了许多亚裔美国戏剧艺术家，尤其是演员的表面之下的集体不和谐感。Ma-Yi Theatre Company 的艺术总监拉尔夫·佩尼亚 (Ralph Peña) 邀请 Facebook 的主要评论者就访问、体现和亚裔美国人的代表性进行更正式的对话。这个团体中的许多人是处于职业生涯中期的艺术家，在顶级音乐学院接受过培训，并在纽约市充满活力的亚裔美国剧院社区中得到了培养，他们成为了 AAPAC 的指导委员会。指导委员会成员通过研究和记录百老汇和纽约市 16 家最大的非营利剧院在五年内的种族代表性，将他们的挫败感和愤怒转化为档案热。2012 年 2 月 13 日，AAPAC 成员在福特汉姆大学举行的圆桌会议上向三百名观众展示了他们的发现，其中包括著名的艺术总监、经纪人、导演、选角导演和制片人，并由 David Henry Hwang 主持。有了这份报告，AAPAC 成员通过一系列市政厅式的会议唤醒了纽约戏剧界，并敦促戏剧制作的看门人做一些事情，如果不是更好的话。2012 年 2 月 13 日，AAPAC 成员在福特汉姆大学的圆桌会议上展示了他们的发现，其中包括著名的艺术总监、经纪人、导演、选角导演和制片人，由 David Henry Hwang 主持。有了这份报告，AAPAC 成员通过一系列市政厅式的会议唤醒了纽约戏剧界，并敦促戏剧制作的看门人做一些事情，如果不是更好的话。2012 年 2 月 13 日，AAPAC 成员在福特汉姆大学的圆桌会议上展示了他们的发现，其中包括著名的艺术总监、经纪人、导演、选角导演和制片人，由 David Henry Hwang 主持。有了这份报告，AAPAC 成员通过一系列市政厅式的会议唤醒了纽约戏剧界，并敦促戏剧制作的看门人做一些事情，如果不是更好的话。