SKIN Cer ece” Ee oer Naomi lizuka WOE ANKO/ ADEA wa Fea Luawcg ‘t BY) CXWAD SUCH Win TeEsk an tas KE LO> “THE WRITER SPEAKS ‘Noo ince "nd het often uncomfortable speaking about ny work. have this sense hae you ty to ape aboot your wring Inthe contest of pressing categories and defsons tha are oot there inthe worl, you isk misrepresenting the work, ad rebling a difler ac ways of power Also, fm spice ofthe tendency fo pin down a wrters demographic or aesthete denny I die the way 1 pice of wing can gt clase, the label that are aed fo say ‘hat this person “this Kind of writen” and they'e wei “i kindof play” which wil peat “thisknd of adeno,” Ihink she expectation is that you wil depict youn and your wring in o> ‘gtzable and exentlly able way san expectation Tesi. 1 nexpectation that think, a od with elt, My experience ‘bots wer and an individ inthe word uggs ome that he way ity i configured x more completed and more interes ng) than the demographic sod sess lbs alloc us The word “poi” sa word that means both too litle ad foo muck Think at snes wring bas heen defined as “poll” by ‘ete of its abject mater or by vitae of its authors demographic lfiltion or tated ideology. For me, poialweting is politcal 0a ‘he level of fom and stsctue. How you're ying what you'e ty ing has tobe as sgnifcan as che content of wht you're saying 1 ‘hank woking that ges oe ve of familiar thoi grooves, that {Ges voice chat which islet oof daily icoace and that gies ‘Shape to thoughts and desis that ar otherene napaken by det. {niton, palseal wenn i form and stacy ie poy and Profanity political wing nado pose a alemaive tthe vison Of the word arsculated by more mainstream or covesional touces, Ieshoald unset. I hou are aed werng for hese esse [found that it et exponen ‘very vivid snd mula ways basic queons of what meas 0 bein the woe, how we engage with one snothes, how we come 19 sexms with or public ad private ave, bow we sr hgh our spective tore: Forme, thet eabour creating pes of wii {ng with elements from «known woe none to generate within {he conten of teal performance a experience thar aumirats the unknown, Is about working with language inorder to ge a ‘hat whic unspoken, inchoate Tis core [eink wring fo he tei and sould be) unparptrasale should ero the mote thas inexplicable eins of humaa expeciene, 2 the mame time ‘making pombe cenewed stenivenas 1 he concrete fats of the worldProduction History 101995, kin eevee fll production ashe Forum Taste, ‘Univesity of Calais Sen Deg. Robert Woodruff wa the die toc Later that year the play received a production at SOHO ‘Repertory Thane, New Yor Oty Joha McGrath wat the decoe “The play reeived production aio that year at Dallas Thster Cen. Matthew Wilder was the dectoz n 1998, Skin recived = Production st Printers DeSean. Kip Fagan was the decor. Scone 1 sn the dark. Marisa vic her words vel trough he eth and ‘ito te ai where the sound ie isa of ty nc big bom. Day: and hen lates this is way lates afer ie go dae, wed go dows to hisplace out by orl fl, was ike meadow, ll fat and long snd gras ad ety snd ibe me ad his guy stan Tuned to know Loge is lostoame, and and, Iwas ike maybe 14 and Iw alwens ing my hair all aed oat ack then and thi cary lack ual sound my eye ike a elie pak eventhough tere was mo ‘ch thing anymore aise ha appened ike «thous eae 2p, before was bor, befote even emembet ‘sed was runing al around the cy and banging ost vp by sision bay, diching and geting high, and everybody was all, do hs, do that, and Iwas all fick tht din even want to hea aby of ha shit 0 then sean-and me so ten sean and me, we'd go, we'd go dom to place out by merly ld, ost by where the spore was, and we'd ‘evoke some thal stick and we'd peel high and that was fy snd we'd leon our hacks for long tne, we'd i here and swatch he plies ake of and and ight above 0 coe that we could ee ight into he belies of thes ge pases cg aco ‘he engines andi was the mor amstng thing, aad he sud ras so loud cwat everywhere ad nie, ike omehing epic ‘ing apar inside me sd ic was was ike nothing ee, and th ater sean would soll en top of me and we'd make oo itle and get pave ‘nd diin my pai nd ine cut fo peving opal he ‘rocks aod ss and si on the ground, ad twas ok and Pd think about th planes aking off and landing above me, and bore the planes, he clouds and hey and above taal hesears and planes and glace millons of miles away, and on ‘nd oa ike ha uot all ere war wae black ‘Seone 2 ae mame Jone they nthe night inde hi bin tale ‘ed static and clase rock ond famoning = 90 and et twee! muse from bai california, mesiea. ‘ed thr the Pole slde out of he dark Jones dos’ ar thom. Jones das thom. the Pelice are ly nd ible nthe blacked white machine they have pls faces the color of fl ond they are america's inetd they eye ouicssehey shitbead Ihy pk ey motherfucker ‘olde righ here route be i ol it puske— route 1 dont more— outer whit are yo otter don you fackng more— {oUCE 3: what ae you—deae— totter x andertnd—do you vadersand— Pouce 2 wha is wit hs goy—you want fet smart—you wast to bea wartae—boy—=l fick you sp— route 1 watch t—pank— our = Twi ck you p— Pouce 1: you zed olsen up now—you need to see dows otic 2 rel the ick down subole— ote 1 do you hea me—do yoa bea whats Pn saying you~ Pouce 2 you wast eoyou want tl ack yo op wl fk youu ‘otic ese rome ID—we need tse some fou of eis Jonas: my name—you want to know —wait—you waat to ow soy ‘name same~held oot going tll yoo my ame—aay eae is supeeman—fackiag superaas— (and hve the dane begin) Pouce jones ouies this ere spermaa— roses 2:joes. sean ones, 33247-7106. 625167, owes 1 Wats the mater with You, upesman? ones noting Pouce = yoa roe aboot hat? soxns: yes se otic 1 ae you high jones? ouice 2: he asking you a queson, hitead, what the fac’ the rater with you? owes 1 ae you high? Pout 11 think you'r bigh, JONES: os Pouce 1:1 think you'r fing, bo. Jonas 0s once 2 et me se your ees, superman once tte domo outer me see Your fucking epea— ‘oues = id verde down— rouce 2: LET ME SEE YOUR FUCKING EYES, SUPERMAN— sows CAN'T SEE— (ibe dance ende. there ino oer std than tbe boy thas the aloes and ertres of the ody Jones Bleeds and hie lood ture ‘Be whole world slowly gorgeous sinking red) rotten you're fucked wp, you know that? you a fucked up inde vide ores yea Pouce wha were you doing back thee? Jones nothing ‘ouics 2m ping stk you again. what were you ding? ones sothine Poutcs 25, no, joes, dat an uerath,rignom se now you're yng me ones ei ‘rouice 21m ging orl you what, jones, ae ays ike you every ‘ight—t know you now what you at. kaow every thought ‘hat ges through your head. Tknow every deen. Tow what yourstory i do you understand se?ete 1: ony cre eo meee yo i Iwi ao 1 ‘rl now beac now evn that apps hr oe eed joe Totter yo Beeiag al ver eertig foe Tn being Foie 2 gon krone. owe wang mye. eto 1 tad pour efere. appe— Scone 3 bling he cy. Angels uring the hanna ofthe twice fl tcbncolor moving pars and chiy talking and laghs nd everything i ty and mating bad hoppers ever nt for rea. sonss: aod hea 20 ‘they bul this whole underground complex ou pastel cen- ‘wo ofthe 8 on the way to yuma onthe way co yuma when yuma was jos couple of shacks Ja the mide of he dese, nothing noting nothing or les ‘this being likin he ities, his being ‘eect ‘om the to poate snd othing for miles ‘lank space wide sky and al these pooe sis lieing in hese aes bythe ide of he fteeway, paving for their shipments of water and propane, wating for sen hing ih sud underground where yo cate, something i happening, ome high ech top sere ting, and the ony ling souls who know shi, hee singin some oom ia washington, de, and they coald gir foc, and all you kaw i sounds blasing, ase de cath where ou ean’ tar—fack—and ll above, he ound shaking and dust sng and the sky turnng weld yellow favo height. fick lace when they wear home, they got sick: thse kia tured ot ‘ea with l kids of sang cacy coughed up thins in line pees. hey dda port ogee for aoa ne. sum the of axcze wha? Jonas: tum the goddana tof ‘soa: wh th fk’ you problem? ones tu of lite. ie to hat the ais moving, everywhere ies moving, sifing, aging, somewhere, so high ke «ging, like some hing simmesing ‘avons: Ido’ hear anyeing. man, you need ro clax— sons tes ‘axes Ton Jonas sh tere. son: a plane allt, sows: when I clo my ee Ise all he ay ull of plan, in the ick, and Ise the way che igh ets through, everywhere fea see slicing through, Leas se right nto the el of ke some ‘ody went and cutie open with «Jn, and ie was Beding socal and igh here have you ever brent, angel? wheze have you ever been hats a bere? saxcas I don kaon. sowher, ova sometimes fy. Thave nobody, no bones, aad Tam fying in ‘he air al ee, al ight, invnbl, elated, rponaed wait [bee fine oa, ot: alight man, come 09 —~ Joss is lowe |ancHt come on, knock ff ons loo, is ight here ca’ you hea is? ‘vo: sid, knock of. fk (amd then Ags switches om thet amd everything is hap and oy ie a ehole party ering righ before your eye).