“My imagination has always been
a space of Yes, of the possible.”
— LEAP playwright Chana Porter
We asked Chana…
about the idea of fluidity in the play, not only of identity but of time and space. Chana once told us that seeing things uniquely is her self-described strength. How does that operate within the idea that LEAP projects itself into a world adjacent to the real world?
“I love this idea of fluidity as my superpower! Like, Water Woman? It used to be rather frustrating for me, I think. There is a kind of borderlessness around a lot of my identities which made me feel like an outsider in various communities. But there’s a lot of perspective in feeling outside. And then, to eventually realize, that most people go through life with a series of ill-fitting identities, or feel slightly out of time, or maybe like they’re from another planet all together. Questioning these personal assumptions, poking some breathing holes, makes them chafe less, in my opinion.
But my imagination has always been a space of Yes, of the possible. I started reading science fiction as a teenager and it felt so queer and revolutionary to me, and I couldn’t pinpoint why. It was because someone had taken the time to craft a world that was adjacent to ours but NOT ours, with political systems, social structures, family roles and dynamics that were different than the ones I saw playing out around me. This was a big A-ha moment! Particularly the work of Octavia Butler and Ursula K Le Guin. It helped me see the stitch work, to so speak, on the fabric of our lives. Our structures and systems weren’t particularly natural or human– they were just modes of living that had evolved for various reasons (and some of those reasons were based in atrocities, like much of the history of our country) and therefore they could be CHANGED.”