Steven S. Lee
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780231173520
- eISBN:
- 9780231540117
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231173520.003.0002
- Subject:
- Literature, Criticism/Theory
Chapter 2 focuses on Sergei Tret'iakov's futurist technique known as factography (emphasizing the journalistic "precise fixation of facts"), which Tret'iakov himself used to represent 1920s China. ...
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Chapter 2 focuses on Sergei Tret'iakov's futurist technique known as factography (emphasizing the journalistic "precise fixation of facts"), which Tret'iakov himself used to represent 1920s China. The chapter then focuses on the New York production of his play "Roar China," which was the first major Broadway production to feature a predominantly Asian American cast.Less
Chapter 2 focuses on Sergei Tret'iakov's futurist technique known as factography (emphasizing the journalistic "precise fixation of facts"), which Tret'iakov himself used to represent 1920s China. The chapter then focuses on the New York production of his play "Roar China," which was the first major Broadway production to feature a predominantly Asian American cast.
Joshua Takano Chambers-Letson
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814738399
- eISBN:
- 9780814745250
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814738399.001.0001
- Subject:
- Society and Culture, Asian Studies
Taking a performance studies approach to understanding Asian American racial subjectivity, this book argues that the law influences racial formation by compelling Asian Americans to embody and ...
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Taking a performance studies approach to understanding Asian American racial subjectivity, this book argues that the law influences racial formation by compelling Asian Americans to embody and perform recognizable identities in both popular aesthetic forms (such as theater, opera, or rock music) and in the rituals of everyday life. Tracing the production of Asian American selfhood from the era of Asian Exclusion through the Global War on Terror, the book explores the legal paradox whereby US law apprehends the Asian American body as simultaneously excluded from and included within the national body politic. Bringing together broadly defined forms of performance, from artistic works such as Madame Butterfly to the Supreme Court's oral arguments in the Cambodian American deportation cases of the twenty-first century, this book invites conversation about how Asian American performance uses the stage to document, interrogate, and complicate the processes of racialization in US law. Through his impressive use of a rich legal and cultural archive, the book articulates a robust understanding of the construction of social and racial realities in the contemporary United States.Less
Taking a performance studies approach to understanding Asian American racial subjectivity, this book argues that the law influences racial formation by compelling Asian Americans to embody and perform recognizable identities in both popular aesthetic forms (such as theater, opera, or rock music) and in the rituals of everyday life. Tracing the production of Asian American selfhood from the era of Asian Exclusion through the Global War on Terror, the book explores the legal paradox whereby US law apprehends the Asian American body as simultaneously excluded from and included within the national body politic. Bringing together broadly defined forms of performance, from artistic works such as Madame Butterfly to the Supreme Court's oral arguments in the Cambodian American deportation cases of the twenty-first century, this book invites conversation about how Asian American performance uses the stage to document, interrogate, and complicate the processes of racialization in US law. Through his impressive use of a rich legal and cultural archive, the book articulates a robust understanding of the construction of social and racial realities in the contemporary United States.
Eng-Beng Lim
- Published in print:
- 2013
- Published Online:
- March 2016
- ISBN:
- 9780814760895
- eISBN:
- 9780814760567
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814760895.001.0001
- Subject:
- Society and Culture, Gay and Lesbian Studies
A transnational study of Asian performance shaped by the homoerotics of orientalism, this book focuses on the relationship between the white man and the native boy. It unpacks this as the central ...
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A transnational study of Asian performance shaped by the homoerotics of orientalism, this book focuses on the relationship between the white man and the native boy. It unpacks this as the central trope for understanding colonial and cultural encounters in twentieth- and twenty-first-century Asia and its diaspora. Using the native boy as a critical guide, the book formulates alternative readings of a traditional Balinese ritual, postcolonial Anglophone theatre in Singapore, and performance art in Asian America. Tracing the transnational formation of the native boy as racial fetish object across the last century, the book follows this figure as he is passed from the hands of the colonial empire to the postcolonial nation-state to neoliberal globalization. Read through such figurations, the traffic in native boys among white men serves as an allegory of an infantilized and emasculated Asia, subordinate before colonial whiteness and modernity. Pushing further, the book addresses the critical paradox of this entrenched relationship that resides even within queer theory itself by formulating critical interventions around “Asian performance”.Less
A transnational study of Asian performance shaped by the homoerotics of orientalism, this book focuses on the relationship between the white man and the native boy. It unpacks this as the central trope for understanding colonial and cultural encounters in twentieth- and twenty-first-century Asia and its diaspora. Using the native boy as a critical guide, the book formulates alternative readings of a traditional Balinese ritual, postcolonial Anglophone theatre in Singapore, and performance art in Asian America. Tracing the transnational formation of the native boy as racial fetish object across the last century, the book follows this figure as he is passed from the hands of the colonial empire to the postcolonial nation-state to neoliberal globalization. Read through such figurations, the traffic in native boys among white men serves as an allegory of an infantilized and emasculated Asia, subordinate before colonial whiteness and modernity. Pushing further, the book addresses the critical paradox of this entrenched relationship that resides even within queer theory itself by formulating critical interventions around “Asian performance”.
