The epic proportions of EverydayAfroplay—its variegated forms,
from the empty stage to the edge of the cosmos; its vast array of
characters, from foppish beekeepers to singing cellos; the
expansiveness of its central consideration, blackness and the black
body right here and now—bring with it a series of inherent
challenges when translating the work into performance. It is likely
that you will want to pare down from the seventy odd plays that
comprise Everyday Afroplay,
which triggers subsequent questions about focus and perspective,
intent, duration, space, logistics, and structure. The difficulty of
winnowing the body of work is amplified by the method of production
Daaimah Mubashshir has so far employed: to enlist
a sizable cohort of collaborators. With numerous directors to
identify and divvy up the material amongst themselves, selecting a
set of pieces and defining a framework—if there is to be any—become
longer but more vital processes.
