Artistic Statement
I can divide my writing into two broad thematic categories: 1) Musical plays that aren’t musicals, and 2) Plays dealing with the intersection of race, nationality, class and faith. While there is some overlap, these categories reflect my growing areas of specialization:
1) Musical plays that aren't musicals
I set out to write a series of plays that explore the ways in which hip-hop influenced America.
I call my series “the break beat plays” because they are infused with a pronounced rhythm. A break beat is a stripped down, rhythmic musical loop. They were born from the breakdown sections of funk, soul, disco, jazz and rock records. The break beat, a driving rhythm upon which others present dynamic movements of limbs and language, is the foundation of hip-hop performance.
These works blend traditional theatrical tropes and socio political themes with the rhythmic aesthetics of hip hop presentation. They are in the same breath as the raps I penned throughout most of my life. In step and in tune with the internal rhythms of my being. They are works to be heard, felt and moved to/with.
2) Plays dealing with the intersection of race, nationality, class and faith
Much of my oeuvre positions the theater as a venue for critical discourse about power. Given the recent racially motivated civil unrest, I’m interested community conversation around art and activism, as well as the theater’s role in responding to our political climate.
1) Musical plays that aren't musicals
I set out to write a series of plays that explore the ways in which hip-hop influenced America.
I call my series “the break beat plays” because they are infused with a pronounced rhythm. A break beat is a stripped down, rhythmic musical loop. They were born from the breakdown sections of funk, soul, disco, jazz and rock records. The break beat, a driving rhythm upon which others present dynamic movements of limbs and language, is the foundation of hip-hop performance.
These works blend traditional theatrical tropes and socio political themes with the rhythmic aesthetics of hip hop presentation. They are in the same breath as the raps I penned throughout most of my life. In step and in tune with the internal rhythms of my being. They are works to be heard, felt and moved to/with.
2) Plays dealing with the intersection of race, nationality, class and faith
Much of my oeuvre positions the theater as a venue for critical discourse about power. Given the recent racially motivated civil unrest, I’m interested community conversation around art and activism, as well as the theater’s role in responding to our political climate.
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Idris Goodwin
Artistic Statement
I can divide my writing into two broad thematic categories: 1) Musical plays that aren’t musicals, and 2) Plays dealing with the intersection of race, nationality, class and faith. While there is some overlap, these categories reflect my growing areas of specialization:
1) Musical plays that aren't musicals
I set out to write a series of plays that explore the ways in which hip-hop influenced America.
I call my series “the break beat plays” because they are infused with a pronounced rhythm. A break beat is a stripped down, rhythmic musical loop. They were born from the breakdown sections of funk, soul, disco, jazz and rock records. The break beat, a driving rhythm upon which others present dynamic movements of limbs and language, is the foundation of hip-hop performance.
These works blend traditional theatrical tropes and socio political themes with the rhythmic aesthetics of hip hop presentation. They are in the same breath as the raps I penned throughout most of my life. In step and in tune with the internal rhythms of my being. They are works to be heard, felt and moved to/with.
2) Plays dealing with the intersection of race, nationality, class and faith
Much of my oeuvre positions the theater as a venue for critical discourse about power. Given the recent racially motivated civil unrest, I’m interested community conversation around art and activism, as well as the theater’s role in responding to our political climate.
1) Musical plays that aren't musicals
I set out to write a series of plays that explore the ways in which hip-hop influenced America.
I call my series “the break beat plays” because they are infused with a pronounced rhythm. A break beat is a stripped down, rhythmic musical loop. They were born from the breakdown sections of funk, soul, disco, jazz and rock records. The break beat, a driving rhythm upon which others present dynamic movements of limbs and language, is the foundation of hip-hop performance.
These works blend traditional theatrical tropes and socio political themes with the rhythmic aesthetics of hip hop presentation. They are in the same breath as the raps I penned throughout most of my life. In step and in tune with the internal rhythms of my being. They are works to be heard, felt and moved to/with.
2) Plays dealing with the intersection of race, nationality, class and faith
Much of my oeuvre positions the theater as a venue for critical discourse about power. Given the recent racially motivated civil unrest, I’m interested community conversation around art and activism, as well as the theater’s role in responding to our political climate.