Rhythm of the Trans-Pacific Waves in Asian American Theatre
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During the 1960s a handful of Asian American artists struggled to establish a foundation for Asian American theatre and attempted to make themselves visible in the theatre world and in American society, which regarded Asians as others or marginal residents. Since that time a growing number of Asian American playwrights have emerged and contributed to the development of a thriving Asian American theatre. Like waves crossing the ocean and rhythmically ebbing and flowing onto the western shore of America, Asian American dramatic literature ebbs and flows in relation to the needs and intent of the authors. Each wave of playwright; and collectively as co-existing fluctuations of beats they build the melody that is Asian American theater. Building on the idea of Velina Hasu Houston and Esther Kim Lee, this article methodologically identifies Asian American playwrights utilizing the categories: first wave, second wave, and third wave. These three designations are examined and defined according to the trend of the playwrights’ inner thoughts and intentions of what to bring to their readers and theater audience instead of being based on age, heritage, or locality.
Abstract
During the 1960s a handful of Asian American artists struggled to establish a foundation for Asian American theatre and attempted to make themselves visible in the theatre world and in American society, which regarded Asians as others or marginal residents. Since that time a growing number of Asian American playwrights have emerged and contributed to the development of a thriving Asian American theatre. Like waves crossing the ocean and rhythmically ebbing and flowing onto the western shore of America, Asian American dramatic literature ebbs and flows in relation to the needs and intent of the authors. Each wave of playwright; and collectively as co-existing fluctuations of beats they build the melody that is Asian American theater. Building on the idea of Velina Hasu Houston and Esther Kim Lee, this article methodologically identifies Asian American playwrights utilizing the categories: first wave, second wave, and third wave. These three designations are examined and defined according to the trend of the playwrights’ inner thoughts and intentions of what to bring to their readers and theater audience instead of being based on age, heritage, or locality.
참고문헌 (13)
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