RafaelFajardo

Likewise, what passed largely unnoticed in Paul Chan’s production of Waiting for Godot in New Orleans was Chan’s peculiar positioning of the artist in relation to the work: he did not write the play, direct it, or act in it. The set was essentially a city street. Chan’s artistic involvement consisted largely of spending many months teaching as a volunteer in a local college, building close relationships with local community groups and grassroots organizations—in other words, creating the conditions necessary for the production and reception of the play, while ensuring that part of the money raised for the project would go to local needs other than culture.