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Quiara Alegria Hudes' Opening Remarks for 30/30/1

Welcome remarks by Quiara Alegría Hudes
for 30/30/1 in Philadelphia, March 22, 2014
[In collaboration with NoPassport and Dominic D'Andrea, 30/30/1 was presented in Philadelphia, PA on March 22, 2014 by Plays and Players, Directors Gathering, Power Street Theatre, Philadelphia New Play Initiative and Tamanya Garza. 30/30 US Latin@/NoPassport is a national reading festival celebrating new American plays. The remarks were delivered at the 30/30/1 event on Ms. Hudes' behalf by Gabriela Sanchez.]
A day celebrating Latino playwrights? Yeah, right. Ha ha. Very funny. Though today
does not appear to be April 1... Hm. And these flyers are pretty slick and well designed.
If someone wanted to prank me they really went out of their way to do so. Hm.
Do we get the entire twenty four hours? Or do they just give us like from noon to four
and then kick us out? Oh, hold on. “They” donʼt give “us” anything? We made the day
ourselves? And invited whoever was game to join in the fun? And people who werenʼt
Latino actually came? Holy shit, thatʼs amazing! Oops. I probably shouldnʼt curse on
Latino playwrights day. If I act too crazy theyʼll make sure this shit never happens again.
Theyʼll be like, “You give ʻem a day and see what happens?”
Iʼm just kidding. Obviously Iʼm giddy by the whole notion of this, this raucously exciting
gathering of true believers, of rabble rousers, of artistic mischief makers, of all of us.
So what exactly is a Latino playwright? Can you spot her in a crowded room? Is she a
new phenomenon or an endangered species? Does she write with an accent? Is she a
Latina by choice? A playwright by necessity? Does she require nontraditional casting or
is she casting a new mold? If a Latina writes a play in an empty forest and no one is
there to listen does she make a sound? Is she allowed to be ordinary not just
extraordinary? Is she Mr. Miyagi or the Karate Kid? Is she a grateful guest at someone
elseʼs table? Or is she a carpenter building a new damn table from scratch? And will you
come to her table when she invites you? Are Latino playwrights a “they” or a “we”?
Sometimes I brew my coffee, sit at my writing desk, and every fiber in my body quivers
for delight: hot damn, Iʼm a Latina playwright! Other mornings I sit at my writing desk
and the thought of any sort of label being put on me--by myself or anyone else--feels
like duct tape slapped over my lips. At times being a Latina playwright has felt
exhilarating, alive, pulsing, gritty, mischievous, furious, ferocious, unapologetic, and
limitless. Other times being a Latina playwright has felt humiliating, alienating, hopeless,
lonely, burdensome.
But today, oh 30/30 sisters and brothers, today, here, before you, using the wondrous
word “us,” it feels alive.
In the words of playwright Nilo Cruz, from Anna in the Tropics, “Everything in life
dreams. A bicycle dreams of becoming a boy, an umbrella dreams of becoming the rain,
a pearl dreams of becoming a woman, and a chair dreams of becoming a gazelle and
running back into the forest.”
My fellow Latino playwrights, we are the dreamers and the agitated nightmares. The
insomnia and the spa. Irrational bewitchers. Deserts who brew tropical storms. We use
words like cop cars use sirens. We use our pencil strokes to steer great ships through
agitated seas. We eat trash and shit gold. We are the word stupid misspelled s-t-o-o-p-id.
We stand in our ancestral kitchen, stirring the magma. We are hackers of the status
quo. Saturation bursters. We show up to the water balloon toss but our latex is filled
with honey and mud. Syncopators. Sixty niners. Smut mouthed cala lilies. Unhappy
prisoners, jilted strivers, we fall off the edge of the cliff and as we plummet we happen to
crack open a Neruda poem or hit play on a Lila Downs song and our landing is
cushioned. We repair our broken ankles and climb the cliff again. Every day in the
rehearsal room, at the writing desk--cliff climbers, we, with no ropes or rigging to shield
us from gravity. We are glass paneled walls facing the sea. Glass bottomed boats that
reveal cumulus clouds. We are the ninety nine percent of the forty seven percent of the
whole damn caramel flan. We are the edible desert, a mouthful of sand. We are the rot
that bears the ripest fruit. We are the canaries in the cage in our tiaʼs dark living room.
The sun-faded flags dangling from papiʼs rearview mirror. We are machos weeping for
wont of love. Cancer patients who are belly laughing for joy. We are montunos
possessed by Baptist gospel chords. Chopin nocturnes that are thunderstruck by
Chango. We are the hump-backed abuela who lifts the car with one finger. We are
lickable lightning.
We pledge allegiance. We pledge civil disobedience. Today, we pledge dramatic action.