Such a feat is difficult to accomplish." - Claire Conceison, Asian Theatre Journal Her book functions effectively as a coherent narrative and as a group of essays with diverse subject matter. Shimakawa's application of abjection to Asian American dramaturgy and performance is a valuable contribution to the growing discourse in Asian American cultural studies. he offers a fresh perspective under the compelling rubric of abjection, presenting the most effective examination of this well-covered terrain to date. "I have anticipated the publication of Karen Shimakawa's book for quite some time now. National Abjection is a welcome addition to this growing body of criticism." - Mark Chiang, American Literature "Considering the relatively uncharted terrain of Asian American theater and performance. " clear-eyed, often elegant argument is one that demands attention." - Carol Fisher, Theatre Research International Finally, Shimakawa considers Asian Americanness in the context of globalization by meditating on the work of Ping Chong, particularly his East-West Quartet. Butterfly as well as Miss Saigon, a mainstream production that enacted the process of cultural displacement both onstage and off. She analyzes works attempting to negate the process of abjection-such as the 1988 Broadway production of M. 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.
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. Shimakawa looks at the origins of Asian American theater, particularly through the memories of some of its pioneers. 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. 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. Karen Shimakawa argues that the forms of Asian Americanness that appear in U.S. National Abjection explores the vexed relationship between "Asian Americanness" and "Americanness” through a focus on drama and performance art. Labor and Working-Class History Association.Association for Middle East Women's Studies.Author Resources from University Presses.Journals fulfilled by DUP Journal Services.Jan is delighted to be writing about the exciting North Texas theater scene…again. Ultimately, she traces the theater bug back to her dad, who had her run lines with him for his role in a Fort Worth community theater production of Christopher Fry’s Sleep of Prisoners. David Mamet was the hot Chicago playwright, and Steppenwolf, Organic, St. “For five bucks,” she remembers, “you could see John Malkovich onstage, Gary Sinise, Laurie Metcalf, William H. Her passionate interest in arts journalism dates to that decade in Chicago, when exciting new theater companies seemed to be opening up on every other street corner. She is the winner of nine “EdPress” awards for excellence in educational journalism. Jan has a journalism master’s from the Medill School of Journalism at Northwestern University, and began her career in Chicago as a writer/editor for a magazine publishing house. She is somewhat surprised, but happy, to find herself managing a brand-new performing arts website, Onstage NTX.
She was for many years a theater critic and feature writer for, and is a member of the American Theatre Critics Association.
Jan Farrington is a freelance writer and editor based in Fort Worth.
0 kommentar(er)
