b'T3 Journal - Student Writing in Drama, University of Exeter 2018-19Colour-blind Casting as a Solution for Colourism which not only racial assumptions but also prejudices and discriminatory beliefs that can serve as social obstacles Colour-blind casting, like equal opportunity andno longer exist (Young 2013: 58). While we have not affirmative action legislation, was intended to createarrived at the stage where it can be claimed we live in a professional opportunities that would counteract thecolour-blind society, many institutions such as the National historical prejudice against minority actors by hiringTheatre have adopted colour-blind policies in an attempt to based on talent alone regardless of race or skin complexionimplement equality in the audition room. Nevertheless, this (Pao 2010: 58). This practice has become most apparent inresearch project into colourism and colour-blindness has classical productions, such as Shakespearean drama. Whileled me to ask the question: To what extent is discrimination race and skin colour can play a significant role in shapingand prejudice against skin colour actually eradicated in the the context of classical texts, colour-blind productionscasting process? encourage the audience to look beyond the colour of the actor as it claims that skin colour is the least consequentialWhile individuals and institutions deny that they see color, or least significant element when evaluated alongside age,they do in fact see it; it is part of their cultural ontology physical ability, gender and that, as a result, it canto see race and to assess people according to race or skin be ignored or overlooked (Young 2013: 57).colour (Anderson 2006: 91). A stereotype is a simplistic image or distorted truth about a person or group based on Due to the frequency with which Shakespeares playsa prejudgment of habits, traits, abilities, or expectations are produced, it is thought that audiences eagerly lookand the more we use stereotypes to navigate the world, forward to seeing new interpretations and, therefore, areour response and use of stereotypes become automatic more receptive to color-blindness in those performancesand unconscious (Moule 2009: 321-322).Stereotypes of (Young 2013: 58). With British-Nigerian David Oyelowoskin colour shapes our attitudes, beliefs, experiences, OBE becoming the first black actor to play King Henryand, at times, choices, so while we can consciously choose VI in 2001, and three years later Black British actor Adriannot to acknowledge the complexion of someones skin, Lester playing King Henry V at the National Theatre, thereunconscious bias can influence our external practice - is evidence of positive steps on the part of leading nationalthe way in which we behave, treat and respond to social companies towards full inclusivity through colour-blindcategories such as skin colour (Wilder 2015: 2). casting (Rogers 2013: 418). As a growing multiracial society, there is also less importance placed on the skinThe Clark Doll Experiment, conducted by Dr Kenneth colour of many modern characters. A doctor, police officer,Clark and his wife Mamie Clark in 1939, illustrated how lawyer, judge etc. can be played by anyone regardless of racestereotypes produce unconscious bias. The experiment or skin shade. The growth of interracial families has alsoinvolved presenting a black child with two dolls which made it easier for audiences to accept a family whose skinwere identical except for skin colour and hair. One doll shades vary in colour. When working as an actress in 2015was white with blond hair and the other brown with Meghan Markle (now Her Royal Highness The Duchessblack hair. The child was then asked questions such as: of Sussex) addressed issues of colourism and shared herWhich doll is a nice colour? Which doll looks good/appreciation for colour-blind casting: One of the reasonsbad? etc. The childs answers showed a preference for the her role as Rachel Zane in the US legal drama Suits stolewhite doll. When this experiment was repeated in 2005 her heart was because it wasnt about the characters skinby 17-year-old student Kiri Davis, in her short film A colour. The shows producers werent looking for someoneGirl Like Me, fifteen out of twenty-one children showed a mixed, nor someone white or black for that matter.clear preference towards the white doll. This experiment They were simply looking for Rachel. (Wilson 2018: np)highlights how racist and colourist ideas are internalised and unconsciously influence our choices, attitudes and Casting in this way provides equal opportunities for actorsideas about individuals (Moule 2009: 322). of all skin tones. It diversifies our stages and television screens as it opens what was primarily a Euro-centric,A similar study was conducted by the BBC about bias Western repertoire to artists who had been systematicallyin recruitment. Two identical CVs were submitted with excluded and discriminated against for reasons such as thedifferent namesone using an English name and the colour of their skin (Jensen 2013: np). It is believed thatother a Muslim name. The experiment found that an blindness to colour offers a glimpse of a utopian future inEnglish-sounding name was offered three times the 8'