Philip Kan Gotanda, noted playwright and respected independent filmmaker, has shared his wide array of talents with the students at Berkeley through his playwriting class, offered this year during the fall semester through the generous donations of a number of individuals. Gotanda, a vivacious and charismatic individual, positively lights up when talking about his experiences teaching. For him, teaching playwriting is about finding and fostering the student’s individual stories.
“My approach is about the personal voice.” He explains. “I work with the students one on one to hear what they are interested in. What is their story? It’s not simply about how to write a play, it’s about a story with investment, continually drawing the self-portrait. It needs to be very clear, but very relevant.” He adds that another part of his process centers on craft. “There are rules.” He says emphatically. “It is a craft. There are other ways to teach this, but I teach that there are characters, plot…I supply the blueprints and then we build upon that together.”
When asked if anyone can learn playwriting, he offers a quiet smile as he ponders the question. “Well, yes. And no. Anyone can learn, but not everyone can learn.” He laughs at the crypticness of his answer, adding: “Truthfully, we all have areas we do better in. Some are just naturally better at self-expression, but the craft can be learned and it can go along with that. The point is: we all have a story. Every one of us. We all have something to say. If you learn the rules, if you examine the blueprints, you can learn the architecture.”
Since his class centers so much on personal expression, it is only natural to wonder what the guidelines are when bringing to life something as personal as one’s own unique story. “I tell my students initially that this is not therapy, and it’s not religious confession. It’s playwriting. It’s important to clarify that.” And Gotanda knows what he is talking about. His work has been shown in everything from large mainstream venues to experimental black boxes, internationally and locally. His films have been screened at film festivals around the world, and he is revered and respected for his immense contributions to the artistic world. Having his expertise at Berkeley provides a vital opportunity for students to learn a valuable discipline, and adds new depth the department of Theater, Dance and Performance’s course offerings.
Professor Gotanda worked with the department last year, supported by a grant from Creative Work Fund, in a yearlong residency to teach playwriting and finish his new play I Dream of Chang and Eng. During the residency, Gotanda made an impression on students, cast and faculty with his teaching style and incredible talent. When Gotanda’s residency ended, individual donors stepped forward to make it possible to have him back to teach an additional year. “We realized we couldn’t just let him go,” says department chair Peter Glazer. “His voice was so unique and he was such a great teacher. We needed to find a way to keep him around.” Gotanda was more than happy to stay, speaking emphatically about his love of teaching: “I love being around young playwriting students. I love being in a situation of teaching them. After 30 years as a playwright, it is important for me to offer stewardship to aspiring playwrights. Teaching lightens my heart.”
Thanks to key donations from individuals, Gotanda continues to teach and inspire the students around him. His presence in the department will be felt even after his time here is over – two of his playwriting students from last year will be presenting their work in April, and there are plans for his students this year to have a public reading of their work.
What remains the most special thing about Gotanda is his dedication to his students. A young girl pops her head into the office only seconds before Gotanda was supposed to rush off, but he smiles widely and ushers her in. “Do you have time?” she asks tentatively. “Of course.” He beams. “I always have time. Come in! Come in.”
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