National Abjection: The Asian American Body Onstage

National Abjection: The Asian American Body Onstage
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全国性的落魄：舞台上的亚裔美国人身体

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发表时间：
2002
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影响因子：
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通讯作者：
Karen Shimakawa
Karen Shimakawa
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文献类型：
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作者：
Karen Shimakawa

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《国家堕落》通过对戏剧和表演艺术的关注，探讨了“亚裔美国人”和“美国人”之间令人烦恼的关系。Karen Shimakawa认为，出现在美国文化中的亚裔美国人的形式是民族堕落的结果——这一过程要求将亚裔美国人排除在外来定义美国人，亚裔美国人要么被视为无法融入或美国化的象征性外国人，要么被扭曲为“荣誉”白人。她研究了亚裔美国人在舞台上和舞台下如何在文化上变得可见，揭示了亚裔美国戏剧公司和艺术家如何应对这种落落的文化含义。
National Abjection explores the vexed relationship between "Asian Americanness" and "Americanness” through a focus on drama and performance art. Karen Shimakawa argues that the forms of Asian Americanness that appear in U.S. culture are a function of national abjection—a process that demands that Americanness be defined by the exclusion of Asian Americans, who are either cast as symbolic foreigners incapable of integration or Americanization or distorted into an “honorary” whiteness. She examines how Asian Americans become culturally visible on and off stage, revealing the ways Asian American theater companies and artists respond to the cultural implications of this abjection. Shimakawa looks at the origins of Asian American theater, particularly through the memories of some of its pioneers. Her examination of the emergence of Asian American theater companies illuminates their strategies for countering the stereotypes of Asian Americans and the lack of visibility of Asian American performers within the theater world. She shows how some plays—Wakako Yamauchi’s 12-1-A , Frank Chin’s Chickencoop Chinaman , and The Year of the Dragon —have both directly and indirectly addressed the displacement of Asian Americans. She analyzes works attempting to negate the process of abjection—such as the 1988 Broadway production of M. Butterfly as well as Miss Saigon , a mainstream production that enacted the process of cultural displacement both onstage and off. Finally, Shimakawa considers Asian Americanness in the context of globalization by meditating on the work of Ping Chong, particularly his East-West Quartet .