The dramatist and screenwriter always consults her brujas before making a big decision.
Tanya Saracho is a theater kid at heart, right down to her “Yes, and” attitude. And making theater was always the plan; she spent almost 15 years in Chicago working as a playwright, director, dramaturg, and actress — sometimes all at once — in theatrical productions, often at Teatro Luna, a local theater she co-founded with a collective of Latina thespians.
The strike has been crazy because I’ve had weekends. And I don’t know what to do with myself on Sundays. Sundays are for work, usually. It’s not balanced. I’m not saying to do it like this. But I’m saying it’s a lovely luxury that I get to do it like this because I’ve kept my life so clean of personal stuff, which is not a way to live, I’ve realized during the strike, because I’m like, “Wait, so without work, what am I?” Oh, shit, who knows. But it has worked for me.
I don’t know what “making it” looks like, and I almost don’t want to chase it, but I know what it will feel like to have access. I don’t feel like I have the access that I want to have for myself and my stories and to give. Because that was the most fulfilling thing about, the access I gave. We cannot have a movement until there’s more of us with access, and that’s bigger than any one of us. Just like the strike.I have [an assistant], Elizabeth Suarez, and she’s lovely.
I grew up with privilege in a certain culture where I wasn’t expected to think about money. I just asked the paternal figure. I didn’t have to worry about going to college — he paid. And even after college, until I was 26, he gave me an allowance. I never thought about it. And then the next thing I knew I was a starving artist in Chicago. My dad disowned me. And then I realized, shit, I have to think about it for the future.
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