https://www.nyu.edu/about/news-publicat ... ersal.htmlQuote:
After watching the second televised debate between Donald Trump and Hillary Clinton in October 2016—a battle between the first female candidate nominated by a major party and an opponent who’d just been caught on tape bragging about sexually assaulting women—Maria Guadalupe, an associate professor of economics and political science at INSEAD, had an idea. Millions had tuned in to watch a man face off against a woman for the first set of co-ed presidential debates in American history. But how would their perceptions change, she wondered, if the genders of the candidates were switched? She pictured an actress playing Trump, replicating his words, gestures, body language, and tone verbatim, while an actor took on Clinton’s role in the same way. What would the experiment reveal about male and female communication styles, and the differing standards by which we unconsciously judge them?
Guadalupe reached out to Joe Salvatore, a Steinhardt clinical associate professor of educational theatre who specializes in ethnodrama—a method of adapting interviews, field notes, journal entries, and other print and media artifacts into a script to be performed as a play. Together, they developed Her Opponent, a production featuring actors performing excerpts from each of the three debates exactly as they happened—but with the genders switched. Salvatore cast fellow educational theatre faculty Rachel Whorton to play “Brenda King,” a female version of Trump, and Daryl Embry to play “Jonathan Gordon,” a male version of Hillary Clinton, and coached them as they learned the candidates’ words and gestures. A third actor, Andy Wagner, would play the moderator in all three debates, with the performances livestreamed. Andrew Freiband, a professor in the Department of Film/Animation/Video at the Rhode Island School of Design, provided the video design. (Watch footage from a Her Opponent rehearsal below.)
Salvatore says he and Guadalupe began the project assuming that the gender inversion would confirm what they’d each suspected watching the real-life debates: that Trump’s aggression—his tendency to interrupt and attack—would never be tolerated in a woman, and that Clinton’s competence and preparedness would seem even more convincing coming from a man.
But the lessons about gender that emerged in rehearsal turned out to be much less tidy. What was Jonathan Gordon smiling about all the time? And didn’t he seem a little stiff, tethered to rehearsed statements at the podium, while Brenda King, plainspoken and confident, freely roamed the stage? Which one would audiences find more likeable?
The two sold-out performances of Her Opponent took place on the night of Saturday, January 28, just a week after President Trump’s inauguration and the ensuing Women’s March on Washington. “The atmosphere among the standing-room-only crowd, which appeared mostly drawn from academic circles, was convivial, but also a little anxious,” Alexis Soloski, a New York Times reporter who attended the first performance, observed. “Most of the people there had watched the debates assuming that Ms. Clinton couldn’t lose. This time they watched trying to figure out how Mr. Trump could have won.”
Inside the evening’s program were two surveys for each audience member to fill out—one for before the show, with questions about their impressions of the real-life Trump–Clinton debates, and another for afterward, asking about their reactions to the King–Gordon restaging. Each performance was also followed by a discussion, with Salvatore bringing a microphone around to those eager to comment on what they had seen.
“I’ve never had an audience be so articulate about something so immediately after the performance,” Salvatore says of the cathartic discussions. “For me, watching people watch it was so informative. People across the board were surprised that their expectations about what they were going to experience were upended.”
Many were shocked to find that they couldn’t seem to find in Jonathan Gordon what they had admired in Hillary Clinton—or that Brenda King’s clever tactics seemed to shine in moments where they’d remembered Donald Trump flailing or lashing out. For those Clinton voters trying to make sense of the loss, it was by turns bewildering and instructive, raising as many questions about gender performance and effects of sexism as it answered.
Quote:
Based on the conversations after the performances, it sounded like audience members had their beliefs rattled in a similar way. What were some themes that emerged from their responses?
We heard a lot of “now I understand how this happened”—meaning how Trump won the election. People got upset. There was a guy two rows in front of me who was literally holding his head in his hands, and the person with him was rubbing his back. The simplicity of Trump’s message became easier for people to hear when it was coming from a woman—that was a theme. One person said, “I’m just so struck by how precise Trump’s technique is.” Another—a musical theater composer, actually—said that Trump created “hummable lyrics,” while Clinton talked a lot, and everything she was was true and factual, but there was no “hook” to it. Another theme was about not liking either candidate—you know, “I wouldn’t vote for either one.” Someone said that Jonathan Gordon [the male Hillary Clinton] was “really punchable” because of all the smiling. And a lot of people were just very surprised by the way it upended their expectations about what they thought they would feel or experience. There was someone who described Brenda King [the female Donald Trump] as his Jewish aunt who would take care of him, even though he might not like his aunt. Someone else described her as the middle school principal who you don’t like, but you know is doing good things for you.
A clip of the performance is in the article. I suggest you watch it.
I find pleasure in this. "There was a guy two rows in front of me who was literally holding his head in his hands, and the person with him was rubbing his back." I'm imagining these yuppie shitlibs with their Male Tears mugs and their Macklemore hair, and as they see Hillary Clinton's words and ideas from a man, they finally see themselves with their own eyes, and they see how ineffective and detestable they always were, and they cry, and they should.
_________________
Molly Lambert wrote:
The future holds the possibility to be great or terrible, and since it has not yet occurred it remains simultaneously both.
Login
Register
FAQ
Search
