The Plays of David Henry Hwang
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Performing American Identity: The Plays of David Henry Hwang Martha Johnson A thesis submitted for the degree of Doctor of Philosophy School of American Studies University of East Anglia 2017 © This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 7 Abstract What does it mean to perform an American identity? From the time of his breakout play, FOB, in 1980, playwright David Henry Hwang has grappled with this question. Over the 35 years of his career, he has consistently been described as a Chinese American, or Asian American, playwright and his work does indeed reflect aspects of the Asian American drama movement of the 1980’s and 1990’s, as it does also aspects of US multiculturalism in general. He has staged stories of the Chinese American experience and explored questions of race, culture, and identity. The term Asian American is itself, however, contested and complex. Meanwhile, Hwang’s privileged and Christian upbringing has bred suspicion of his right to interpret and stage the experience of the broader Asian American community. In his plays, Hwang reinforces stereotypes, while simultaneously undermining them. The result is a view of identity defined by, but resistant to, definitions based on race, culture, and gender. Few playwrights from marginalized ethnic groups have enjoyed mainstream success in the US. Hwang has. In contrast to previous Asian American playwrights, who have struggled to find an audience beyond their identity-based theatre companies, Hwang’s plays seem to transcend specific personal, racial, or cultural experience, and as a consequence have been widely produced, published, studied, and anthologized. Most of Hwang’s plays are inspired by works in the American dramatic canon, suggesting his desire to situate the Asian American experience in the broader American narrative. 8 In this study, I will analyze selected plays by David Henry Hwang. I will consider Hwang’s role as a voice for Asian Americans and the implications of that role. I will place his work in the context of the broader discourse on American identity and argue that is it insufficient to overly privilege his Asian identity in reading his work. Finally, I will explore some of the reasons his work transcends the confines of racial or cultural identity, and has found a place in the American dramatic canon. 9 Acknowledgements First and foremost, I would like to thank David Henry Hwang for his candor and generosity. It has been a privilege to have access to so many of his personal documents and opinions. I would like to thank Christopher Bigsby for his guidance, editorial coaching, and confidence in my ability to succeed in this program. I would also like to thank Jonathan Mitchell for his support and assistance. I have benefitted greatly throughout the process from the support of and conversations with an array of inspiring friends and colleagues, especially Mike W., Amy, Spence, Victoria, Nanette, Mark L., Cori, Joel, Michelle, BJ, Christine A., Seona, John C., and Bill B. I would like to thank my parents for always encouraging, and never devaluing, my love of theatre and literature, and to offer a special thanks to my dad for the electricity, wifi, and meals throughout my writing retreats. To my husband, Jeff, I am eternally grateful for your patience and unerring belief in my ability to do anything. Without your vision and “left brain” skills, I would not have had my “room of one’s own,” and this would have taken a lot longer. This is dedicated to Mike, who taught me to see America as only an outsider can, and without whom none of this would have been possible. 10 Table of Contents Introduction ..................................................................................................................... 1 Performing American Identity ................................................................................... 1 A Brief Overview of the Performance of Race, Culture, and Identity in American Drama ........................................................................................................................... 5 The Complexities of Performing an Asian American Identity .............................. 18 Thesis Intent, Methodology, and Biographical Notes ........................................... 23 Organization of Thesis ............................................................................................. 38 Chapter I: Creating a Chinese American Narrative ................................................... 48 FOB ............................................................................................................................ 56 The Dance and the Railroad .................................................................................... 76 Chapter II: Staging Intimacy ........................................................................................ 98 The Sound of a Voice ............................................................................................. 100 The House of the Sleeping Beauties ..................................................................... 106 Chapter III: M. Butterfly .............................................................................................. 120 Chapter IV: Exploring Face........................................................................................ 165 Bondage .................................................................................................................. 169 Face Value ............................................................................................................... 180 Trying To Find Chinatown ..................................................................................... 186 Chapter V: Re-claiming and Subverting Asian American Identity ......................... 192 Golden Child ........................................................................................................... 192 Jade Flowerpots and Bound Feet ......................................................................... 211 Yellow Face ............................................................................................................. 213 Chapter VI: Beyond Asian America .......................................................................... 245 Chinglish ................................................................................................................. 245 Kung Fu ................................................................................................................... 267 Conclusion .................................................................................................................. 280 Bibliography ................................................................................................................ 285 1 Introduction Performing American Identity What does it mean to perform a national, cultural or racial identity? How are national and cultural identities formed, represented, and contested in theatre? How do race and gender influence how we react to, and interact with, other people? Does the performance of stereotype disrupt subjugation or reinforce it? From the time of his breakout play, FOB, in 1979, David Henry Hwang has grappled with these questions. Over the 39 years of his career to date, he has consistently been described as a Chinese American, or Asian American, playwright. It is, in fact, almost impossible to find a reference to Hwang that does not include a reference to his “hyphenated” identity.1 His work does indeed reflect the influence of the Asian American culture movement of the 1970s,1980s and 1990s, as well as the general evolution of American multiculturalism. He has staged stories of the Chinese American experience, and explored questions of race, culture, and identity. His role, however, in representing previously marginalized cultures is controversial. David Henry Hwang is the most successful Asian American playwright to date. It is, therefore, appropriate, to view his plays through the lens of the Asian American story. Indeed, his family history, career, and success provide insights into the Asian American experience of the late 20th and early 21st centuries in America. Hwang came to prominence during an era defined by multicultural movements and demographic changes in American society that continue to challenge historic definitions and notions of American identity. Over the timespan of his career, he has come to accept his role as 2 a symbol of and, at times reluctant, spokesperson for, the Asian American community, often acting more as advocate than artist. It is not sufficient, though, to study his works purely in the context of his Chinese or Asian American identity. The success of Hwang’s plays with diverse audiences indicates his ability to transcend the potential limitations of writing for specific cultural communities, consistently finding commonalities and universal elements. In other words, it is important to consider his work and popularity n the context of the broader American dramatic canon. His “coming of age” and success coincides with a late 1980’s climate in mainstream theatre that saw unprecedented critical and commercial success for a generation of what I term “identity” playwrights. For my purposes, these include those playwrights who are strongly