Directors' Notes

American Distortion is unlike any show I have ever been a part of. As a theater artist, it has not been easy finding work that represents people like me. Most often, the work involves adversity and trauma that portrays the “us against them” trope we often see in tv, film and theater. American Distortion gives power to the voices of those who the show represents on our own terms. There will never be enough time to represent every single community that has faced adversity at the hands of the privileged. If this show tried to voice every group who has been silenced we would probably be here for years. We have offered a platform for the student body representative of those who have been portrayed as stereotypes and freaks. We have offered this platform for those students who have shown enough bravery and vulnerability to bare their souls before you. What we ask is that you listen. What we hope is that you learn. What we expect is that you feel uncomfortable. 
 

We have grown weary with traditional American theater and its makers. We are tired of seeing the experience of the white American over and over and over again, wondering “when will I be seen? When will my story be told where I don’t have to die in the end? Where I don’t have to be defined by a hate crime? Or where my entire story doesn’t revolve around the hate everyone feels toward me?” The white American experience is the default. It always has been, and if we have to step out on this stage to speak up, we will. If we have to insert ourselves into the narrative, we will. If we have to take up space, we will. We are done asking for permission.

 

-Vanessa Mena, Director 

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American Distortion, to me, is like a political version of Disney’s Fantasia in a way that the piece itself is ever changing. The show combines multiple disciplines to help illustrate the current ensemble’s connection to American Distortion. The space also acts as a platform for people to touch on political topics without airing on the tone-deaf problematic stances that washed out white producers have taken by perpetuating the idea of trauma porn as the only means of representation.

 
In other words, it is a move towards making a healthy environment to explore these ideas by allowing artists to choose from their own experience. They are told throughout the process that their health is more important than the means of the production. It is a place where we can call people in rather than call out, in order to have the tough conversations to truly move forward as a community.

 
The key to this show, and theater like it, is to help people be seen, heard and above all comfortable to speak. While the work you have seen is on the stage, it is meant to extend long after the final cue of the show. I hope that an element of the show speaks to you and helps you feel seen and if not, I only wish that this inspires you to create and find a way to be seen.

We can no longer trust the industry or companies to create spaces for us to speak, if you have any idea, be it five minutes, five hours, five seconds, create it and put it out into the world.

 

-Ryan Manikowski, Creator/Director 

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Throughout my life, I have dedicated time to create safe spaces for Black, Brown, and Indiginous communities. Through art and direct action, I am able to help create those into reality. When signing on to American Distortion, creating a space for healing and storytelling was my number one priority. As a First Generation Mexican American, the fight for Liberation has guided me through how I live my life and what I create. 

Outside of this department I have studied under my mentor bree valle and her Dismantled Theater practice. Throughout those years, I have been certified in movement and devised theater practices among other things. Using this training, I was able to guide the actors in amplifying their stories together as an ensemble with devising, and exploring storytelling through movement. American Distortion is a story about us. Telling the stories “they” don’t like to hear. Showing our audience that Theater is more than American comfortability, more than white stories and actors on stage, more than stories of People of Color solely being perpetuated trauma. We have come together with personal stories and created them on the stage. Some moments can be uncomfortable to see, but that is our reality. This is a story of reality, community, direct action, and healing. 

We hope to inspire other artists to reflect and move their work beyond the white-centralized, theatrical norm. I hope American Distortion spurs conversation and suggests new forms of communication amongst each other. Enjoy the show! 

-Melissa Elizalde, Director / Movement & Choreography 

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