A Quote by Trace Lysette
Trans folk are so often pushed to the margins and not afforded the resources and opportunities that some nontrans people are.
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A depressed person is often a person who will push others away. If you are pushed away and pushed away and pushed away, you have to have an enormous amount of inner resources to keep going back.
Anytime that we - and when I say "we," I mean feminine people, trans feminine folk, women - do anything that is centered on our own pleasure or desire, it's seen as frivolous. But learning how to love your own body and finding pleasure in something that has brought you pain [in the past] is so important. I think that it's probably a greater struggle for trans folk, because we struggle more with our bodies.
We understand that, in our communities, black trans folk, gender-nonconforming folk, black queer folk, black women, black disabled folk - we have been leading movements for a long time, but we have been erased from the official narrative.
So often, trans roles don't even go to trans actors. Most of the fabulous trans roles that have won people Oscars, we didn't get to play. A lot of folks have said we're not trained enough and that we're not prepared to do whatever.
Different people are afforded different opportunities. I've been given some awesome opportunities, and I feel that I've always knocked them out of the park. But I've always been scaled back after that.
People assume that trans people will only be accepted as trans characters, or that there aren't enough trans writers, or that there aren't any trans producers or directors, there's that attitude.
When we get to a point when trans folks are included in the creative process, the narrative will be much more authentic. Trans actors playing trans roles is a key part of that. But some of the trans talent is not even making it into the audition room, let's be honest.
I have always been aware that I can never represent all trans people. No one or two or three trans people can. This is why we need diverse media representations of trans folks to multiply trans narratives in the media and depict our beautiful diversities.
The opportunities and threats existing in any situation always exceed the resources needed to exploit the opportunities or avoid the threats. Thus, strategy is essentially a problem of allocating resources. If strategy is to be successful, it must allocate superior resources against a decisive opportunity.
Trans folk, especially of color, should not be obligated to help cis folk play catch-up on our experiences. The effort can detract from our work to protect and liberate ourselves.
I am really passionate about transparency and trans rights issues, so I embrace these opportunities to speak. I try to stay in touch with those who are prominent in both the trans and transparency movements, but more often than not, I am speaking out on a particular issue on my own. I certainly hope that people listen to me and think about these issues. But regardless of whether I had a public venue to speak in, I would still be passionate about them.
When we have trans actors play trans characters, people can look onscreen and say, 'OK, this is what trans is.'
I think that they had afforded me many opportunities to do good work there, and I think I did. It was a wonderful four years. I really worked with some great people, terrific producers, terrific editors
I think that they had afforded me many opportunities to do good work there, and I think I did. It was a wonderful four years. I really worked with some great people, terrific producers, terrific editors.
It's weird, in New York, it's like the big theme of everything is folk music and interacting with people. Maryland is where the landscape of our music comes from, it was more like, let's walk around. People are saying that we are part of some sort of folk scene. We don't feel connected with it. We do live in the city, and communicate with people. It's all folk music.
Trans voices are really underrepresented, and trans stories are really underrepresented, and when they are presented, they're often reductive. I was interested in putting a trans person and a trans narrative on stage that didn't fall into cliché, that thought a bit more deeply about the experience of being trans, and how those issues tie into things that we all experience. How we tell the story of our lives, versus what might have actually happened, and how we communicate to our former selves. All of those questions were really interesting to me.
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