This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of the conditions under (...) which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (shrink)

When is it morally permissible for performers to portray characters from marginalized groups of which they are not a member? Although this question is philosophically underexplored, it has been commanding increasing attention in the public sphere, especially with respect to straight performers portraying queer characters. While the demand for increasing self-representation from marginalized communities is laudable, we argue that demanding performers to disclose their social identity is, in general, morally counterproductive. We make our case by focusing on recent instances where (...) fans demanded that a performer disclose their sexual orientation, putting vulnerable performers in a harmful trilemma. In short, it will force many to either out themselves against their will, subject themselves to intense public backlash by taking the role without outing themselves, or forgo taking a role they want and at which they would excel. Instead, we propose that performers have a general (epistemic) obligation to learn about what their characters’ corresponding real-world experiences would plausibly be like, representing what they learned in their performances. We will argue that meeting this obligation typically entails learning about the values, broadly construed, of the community in question. If we are right, there is not even a general obligation that performers only take roles that correspond to their own social identity. Just as importantly, there is a strong moral reason not to demand that performers disclose aspects of their social identity in order to take on a role. (shrink)