DOCSLIB.ORG

6 X 10.5 Long Title.P65

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6 X 10.5 Long Title.P65 Cambridge University Press 978-0-521-85051-3 - A History of Asian American Theatre Esther Kim Lee Index More information Index 18 Mighty Mountain Warriors 208–9, 210–11 Asian American actors 36, 37, 39–41, 42, 1980s 166 86, 198, 199 acting 162–6, 170, 171 Abe, Frank 79 activism 25, 33, 34, 41, 189 Abuba, Ernest 40, 41, 71, 88, 89 body 161, 171 The Dowager 89 discrimination 31, 32 academia 147, 153, 201 education (of audience) 162 accessibility 133 goals 25 Actors’ Equity Association 34, 38, 77, 85, 86, 88, Asian American Consciousness 113, 160 191, 195 Asian American Dance Theater 40 involvement with Miss Saigon 183–92, 186 Asian American Journalists Association 191 affirmative action 126, 127, 133, 136, 154, 178, 199 Asian American Movement 7, 25, 45, 54, African Americans 96, 147, 183, 227 67, 93, 202 actors 183, 203 Asian American playwrights 50, 209, 222 relationship with Koreans 219 first wave 50–1, 126, 140 theatre 99, 111, 136 label 145 Afro-Asian 151 second wave 125 Ah Sin! (1877) 12 third wave 203–6 Ahn, Philip 14 Asian American Repertory Theatre AIDS see HIV/AIDS (New York City) 84 alternative theatre 110–23, 124, 157 Asian American Repertory Theatre see also avant-garde theatre, multimedia art, (San Diego) 148, 223 performance art, and solo performance Asian American Studies 201 Amano, Karen 73 Asian American theatre Amerasian 146 audience 144 American Conservatory Theater (ACT) definition 4–6, 101 56, 60, 70, 119 “language” 144 American Indian Dance Theater 98 mainstreaming 127 American Place Theatre 46, 55, 59 Asian American Theater Center 72 Angel Island Theater Company 191 Earthquake 72 Aoki, Brenda Wong 166 Asian American Theater Company 42, 53–74, Arcenas, Loy 218 90, 129, 133, 138, 139, 140, 144, 148, 149, 160, Artaud, Antonin 102 207, 208, 209 Arthe 220 Artistic Committee 69–72, 140 Artistic Director 62–5, 200 Nishikawa-Hayashi period 72–3 Seattle conference 200 Asian American Theater Project 171 255 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85051-3 - A History of Asian American Theatre Esther Kim Lee Index More information 256 INDEX Asian American Theater Workshop 56, Black Revolutionary Theater 208 60, 77, 79, 108, 119, 162 Blumenthal, Eileen 157, 158–9 Advisory Board 62 body (culturally determined) 175, 176 Artistic Committee 71–2, 79 Boston, MA 170 see also Asian American Theater Company Boublil, Alain 178 Asian American Women Playwrights’ Scripts Brazell, Danielle 172 Collection 99 Brecht, Bertolt 222 Asian American Writers’ Conference 61, 79, 119 Bressenbrugge, Mei-Mei 80 Asian Americans for Fair Media 39 British Equity 177 Asian Americans for Action see Triple-A Broadway 145, 178, 182–92, 195, 198, 225 Asian Diaspora 147, 211–15 see also Tony Award Asian Exclusion Act (AEA) 66, 78–80 Brotherhood of Artists 32 see also Northwest Asian American Theater Bui-Doi 181, 193 Company Bulosan, Carlos 76, 77 Asian Lesbians of the East Coast Burnham, Linda Frye 167 (ALOEC) 196 Burns, Lucy Mae San Pablo 103, 119 Asian Multi Media Center 75–6 Byun, Harold 209, 211 see also Northwest Asian American Theater Company Cachapero, Emilya 69, 71, 72, 73 Asian Pacific Alliance for Creative Equality Canning, Charlotte 4 (APACE) 184, 190 Cantonese opera see Chinese opera Asian Stories in America 223 Carlos, Laurie 120 Asian theatre 102 casting Asian Theatre Workshop (Mark Taper Forum, multicultural 110 Los Angeles) 82, 227 nontraditional policy 188, 191 Asis, Stan 74, 76, 77 see also Miss Saigon, Nontraditional assimilation 55, 134 Casting Project Association of Asian Pacific American Cayuga, Cat 99 Artists 191 Cha, Bernadette 64, 69, 140 authenticity 137–46, 171, 176, 193 Chan, Janis 57, 60 autobiography 166–70, 171 Chan, Jeffery Paul 50, 57, 61, 62, 65, avant-garde theatre 112, 118 66, 79 see also solo performance Chan, Joanna 104–10 One Family One Child One Door 109 Bacalzo, Dan 170, 171 Chang, Tisa 33, 82–91, 190, 200 Bamboo (rock band) 138 on Miss Saigon 183, 189 Barnes, Clive 198 Chaudhuri, Una 102 Barroga, Jeannie 126 Chen, Eddie 85 Basement Theater Workshop 40 Chen, Kitty 85 Basement Workshop 120 Chen, Tina 80 Batayola, Maria 74, 79, 80 Cheng, Meiling 167 Battle, Hinton 183 Chi, Tseng Kwong 171 Belasco, David 179, 180 Chic Street Man 96 Berkeley Repertory Theatre 143, 144, 145 Chicano theatre 111 Berson, Misha 2, 125, 143 Chin, “Charlie” 94 Bhatt, Sujata Chin, Daryl 102, 117, 158, 159 Queen of the Remote Control 221 Chin, Douglas 75 bilingual productions 86, 218 Chin, Frank 1, 2, 34, 42, 46, 47, 50, Billy Rose Theatre 29 51, 53, 54, 59, 62, 68, 69, 73, 74, Black Arts West 75 79, 80, 97, 119, 125, 126, 140, 162, Black Panthers 94, 106 195, 200, 226–7 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85051-3 - A History of Asian American Theatre Esther Kim Lee Index More information INDEX 257 Chickencoop Chinaman 50, 53–4, 58, Combined Asian American Resources Project 112, 125, 225 (CARP) 58, 59 on Miss Saigon 194 Comedy see humor on “real” Asian American theatre 55, 67 Comedy Performance Group 207 Oofty, Goofty 66 community 100, 109 resignation from AATC 65–7, 140 Community Asian Theater of the Sierra 223 The Year of the Dragon 58, 59, 63, 78, Cornerstone Theater Company 220, 221 80, 125, 226 Cordova, Tim 75 Chin, Vincent 116, 127 Couser, Tom 156 Chinatown see Chinese Americans Creevey, Rae 27, 44, 49 Chinese Americans 216 cultural nationalism 53, 55, 67, 101, 126, 172, 202 Chinatowns 18, 83–4, 105, 107, 108, 111 ethnic-specific 216 exclusion laws 11–12, 13 see also Asian American Movement laborers 10, 57 culture war 153, 192, 208 Chinese Consolidated Benevolent culture clash 208 Association 106 Chinese Dance Company 107 dance 171, 214 Chinese opera 9, 18, 83, 84, 86, 106, 110, 112–13, Cambodian dance company 214 117, 118, 132, 134, 135, 157, 194 see also Asian American Dance Theater and theatre buildings 9 Chinese Dance Company Chinese Theater Group 85 Dang, Tim 52, 150, 226 see also Pan Asian Repertory Theater Davis, Thulani 120 Ching, Frank 24, 35 Dewhurst, Colleen 184 Chinn, Lori 85 Dexter, John 129 Cho, Margaret 206, 207 Diamond, Elin 111 I am All That I Want 207 Dinkins, David Norman (Mayor of Chong, Ping 1, 34, 86, 110, 111–18, 157, 171 New York City) 189, 195 After Sorrow 116 Disha Theater 220, 226 Angels of Swedenborg 114, 115 Domingo Jr., Nemesio 75 Chinoiserie 116 Donohue, Maura Nguyen 171 Deshima 115–16 Due East 223 Fear and Loathing 117 Dulaan Ng Mga Tao (Theater of Humboldt’s Current 114 the People) 74 Kind Ness 114–15 Dun, Dennis 69, 140, 166 Lazarus 113 Nosferatu 114 East Coast 145, 151 Nuit Blanche 114 East West Players 1, 4, 5, 20, 26–9, 32, 41, 42, Pojagi 116 43–53, 77, 79, 89, 94, 97, 103, 108, 127, 128, Chow, Alan 85 129, 137, 138, 144, 147, 190, 191, 203, 219, Chuh, Kandice 212 220, 221, 226 Chun, Bokyun 219 David Henry Hwang Writers Chun, Lynette 85, 88 Institute 219 Chung, Philip W. 219 playwriting competition 46, 53, 124 civil rights movement 127 Union Church building 52 Club O’Noodles 97, 208, 226 Ebihara, Rick 209 Cold Tofu 207 Eisenberg, Alan 183, 195 Collins, Scott 155 El Teatro Campesino 191, 208 Colo´n, Miriam 99 Elam, Harry J. 208 “Color-Blind” Society 127 Emoto, Michelle (Darling Narita) 165 colleges and universities 206, 207, 210–11 Eng, Alvin 2 see also academia Eng, Richard 79, 222 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85051-3 - A History of Asian American Theatre Esther Kim Lee Index More information 258 INDEX Escueta, Mel The Wash 142–3 Honeybucket 62, 70, 79 Yohen 144 Espaldon, Diane 212 Grain of Sand, A 94 Eth-Noh Tec Asian American Storytellers 208 grants see funding ethnic theatre 100, 101, 122, 144, Great Leap, Inc. 96 150, 151, 124 A Slice of Rice, Frijoles, and Greens 96 Eurasian characters 177, 191 Grimm, Henry Eureka Theater 142, 145 The Chinese Must Go (1879) 12, 116 exoticism 8, 10, 13, 19, 101, 135, 139, 195, 215 Group Theater (Seattle) 148 guerrilla theatre 93 Federal Theater Project 17 Gussow, Mel 87, 88, 89, 133, 140, 159, 158 feminism 146, 151 Third World Feminist Consciousness 164 Hagedorn, Jessica 86, 110, 111, 118–23, 130, 131, feminist theatre 111, 160–1 142, 157 Filipino Americans Airport Music 122 actors 199, 217, 225 Chiquita Banana 120 community 218 Dogeaters 119, 121–2 playwrights 122, 216, 218 Gangster Choir 120 theatre groups 74, 103 Mango Tango 120 first wave 127 see also Thought Music see also Asian American playwrights Hampshire College 98 Fischer-Lichte, Erika 175 Harada, Ernest 37 Flower Drum Song Hartman, Sadakichi 13 original by Rogers and Hammerstein 20–1, Hawaii 2, 5–61 24, 37, 82, 94, 185 Hayakawa, Sessue 14–15 see also Hwang, David Henry Hayashi, Eric 60, 61, 64, 65, 69, 70, 72, Fong, David 71 73, 99, 140, 162 Forbidden City 18–19 Hayashi, Marc 69, 70, 79, 133, 140, 162 Ford Foundation 46, 48, 100, 200 Hayes, Aleta 116 Four Seas Players 91, 104, 107–9, 211 hereandnow 207 funding 200 Heston, Charlton 188, 192 for multicultural theatre 154, 166 Higa, Lori 79 see also Ford Foundation and Rockefeller Highways Performance Space 155, 167, 172 Foundation Hill, Amy 69, 70, 71, 72, 73, 79, 140, 166 Hing, Thonnara 214 Gao, Xingjian 105 Hiroshima (rock band) 127 Gay Asian and Pacific Islander Men of New Hispanic Americans 191 York (GAPIMNY) 196 see also Chicano theatre, Latino Americans Gingi, Wu 84 HIV/AIDS 168, 173, 205 globalization 227 Hmong Americans 216 Glover, Danny 144 homophobia 168 Godzilla Theater 208 homosexuality 99 Goldoni, Carlo 86, 89 gay and lesbian performance art 173 Gotanda, Philip Kan 23, 69, 124, 137–46,
Load more

Recommended publications
  • Thanks and Congratulates
    ATHE Annual Awards Ceremony Thursday, August 1, 2013 – 5:00 PM – 6:00 PM Grand Cypress Ballroom DEF, Ballroom Level ATHE proudly salutes its nine award winners in this plenary, followed by the Keynote presentation . Vice President for Awards, Kevin Wetmore and his 2013 Awards Committee members will present the award recipients to the conference attendees . Ellen Stewart Career Achievement Subsequent plays include The House of Sleeping Beauties Award for Professional Theatre (adapted from a novel by Kawabata Yasunari), The Sound of a Voice (subsequently adapted into an opera with P David Henry Hwang is the 2013 recipient of the Ellen (L) Phillip Glass), Rich Relations, Face Value, Trying to Find (L) Stewart Career Achievement Award for Professional Chinatown, Golden Child and an adaptation of Peer Gynt, Theatre. among others. His play M. Butterfly premiered in 1988 at AY David Henry Hwang is an Obie-award winning playwright the Eugene O’Neill Theatre on Broadway, running for 777 Bill thanks Doan who is also the first Asian-American to win a Tony Award performances and winning the John Gassner Award, the for Best Play. Born in Los Angeles and Drama Desk Award, the Outer Critics Circle professor of theatre and associate dean educated at Stanford and Yale, Hwang Award, the Tony Award for Best Play and for administration, research & graduate studies studied playwriting under Sam Hwang’s second listing as a finalist Shepard and Maria Irene Fornes. for the Pulitzer Prize for Drama. FOB, his first professionally He has also written numerous produced play, premiered at books for musical and opera, the Stanford Asian American including a revised Flower Theatre Project in 1979 Drum Song, Tarzan, Aida president 2011–13 before being mounted and The Fly.
    [Show full text]
  • Fluidity of Religious Identity in David Henry Hwang's
    International Journal of Technical Research and Applications e-ISSN: 2320-8163, www.ijtra.com Volume 5, Issue 4, (July-August) 2017), PP. 36-42 FLUIDITY OF RELIGIOUS IDENTITY IN DAVID HENRY HWANG'S GOLDEN CHILD Rajiha Kamel Muthana (Ph.D) University of Baghdad/ College of Arts/ Department of English Language [email protected] Abstract— Religion plays a significant role in the lives of Both internal and external forces are at play in Hwang's human beings, yet, religious fluidity has its own consequences. Golden Child which depicts this change in religious identity, This paper aims at investigating the impact of religious fluidity as the protagonist Tieng-Bin converts from Confucianism to on the identity of an early twentieth-century Chinese family. Christianity. This change is triggered by Tieng-Bin's Golden Child illustrates how a devoted Confucian Chinese dissatisfaction in his religious beliefs and practices which is struggles to leave parts of his culture behind by converting to considered one of the strongest internal forces. Tieng-Bin's Christianity. Tieng-Bin's conversion brings good and bad consequences to his household. The story ends with the death of travel to the Philippines, his staying there for three years, the Tieng-Bin's two wives , on the one hand, and with rebirth of influence of the Western people he has met there, as well as Tieng-Bin's daughter, Ahn, on the other hand. the influence of Reverend Baines, the missionary, who pays many visits to Tieng-Bin's household are considered external Keywords— Religious Identity, Foot Binding, Christianity, forces. Baines' lectures are attended by Tieng-Bin's second Confucianism, Tieng-Bin.
    [Show full text]
  • Animating Race the Production and Ascription of Asian-Ness in the Animation of Avatar: the Last Airbender and the Legend of Korra
    Animating Race The Production and Ascription of Asian-ness in the Animation of Avatar: The Last Airbender and The Legend of Korra Francis M. Agnoli Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Art, Media and American Studies April 2020 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. 2 Abstract How and by what means is race ascribed to an animated body? My thesis addresses this question by reconstructing the production narratives around the Nickelodeon television series Avatar: The Last Airbender (2005-08) and its sequel The Legend of Korra (2012-14). Through original and preexisting interviews, I determine how the ascription of race occurs at every stage of production. To do so, I triangulate theories related to race as a social construct, using a definition composed by sociologists Matthew Desmond and Mustafa Emirbayer; re-presentations of the body in animation, drawing upon art historian Nicholas Mirzoeff’s concept of the bodyscape; and the cinematic voice as described by film scholars Rick Altman, Mary Ann Doane, Michel Chion, and Gianluca Sergi. Even production processes not directly related to character design, animation, or performance contribute to the ascription of race. Therefore, this thesis also references writings on culture, such as those on cultural appropriation, cultural flow/traffic, and transculturation; fantasy, an impulse to break away from mimesis; and realist animation conventions, which relates to Paul Wells’ concept of hyper-realism.
    [Show full text]
  • Spring Preview Spring World Premiere Previewchildren’S Or Teens’ Show SAN FRANCISCO
    THEATRE BAY AREA 2016 spring preview spring World Premiere previewChildren’s or Teens’ Show SAN FRANCISCO 3Girls Theatre Company 3girlstheatre.org Thick House 1695 18th St. Z Below 470 Florida St. ` 2016 Salon Reading Series (By resident & associate playwrights) Thru 6/19 ` Low Hanging Fruit (By Robin Bradford) Z Below 7/8-30 ` 2016 New Works Festival Thick House David Naughton, Abby Haug & Lucas Coleman in 42nd Street Moon's production of 8/22-28 The Boys From Syracuse. Photo: David Allen 42nd Street Moon ` The Colored Museum American Conservatory Theater (By George C. Wolfe; dirs. Velina Brown, L. 42ndstreetmoon.org act-sf.org Peter Callender, Edris Cooper-Anifowoshe Geary Theater Eureka Theatre & Michael Gene Sullivan) 415 Geary St. 215 Jackson St. Thru 3/6 Strand Theater ` The Boys from Syracuse ` Antony and Cleopatra 1127 Market St. (By R. Rodgers, G. Abbott & L. Hart; dir. (By Shakespeare; dir. Jon Tracy) Greg MacKellan) 5/6-29 ` The Realistic Joneses 3/23-4/17 (By Will Eno; dir. Loretta Greco) Geary Theater ` The Most Happy Fella AlterTheater Ensemble 3/9-4/3 altertheater.org 4/27-5/15 ACT Costume Shop ` The Unfortunates (By Frank Loesser; dir. Cindy Goldfield) 1117 Market St. (By J. Beavers, K. Diaz, C. Hurt, I. Merrigan African-American Shakespeare & R.; dir. Shana Cooper) ` Vi [working title] Strand Theater Company (By Michelle Carter) Thru 4/10 african-americanshakes.org 6/2-19 Buriel Clay Theater 762 Fulton St. All information listed comes directly from publicity information supplied to Theatre Bay Area by the producing companies. Please contact companies or venues directly with questions.
    [Show full text]
  • Transnational Legitimization of an Actor: the Life and Career of Soon-Tek Oh1
    Transnational Legitimization of an Actor: The Life and Career of Soon-Tek Oh1 ESTHER KIM LEE He is the voice of the father in the Disney animation film Mulan (1998). He is Sensei in the Hollywood hit film Beverly Hills Ninja (1997). He is Lieutenant Hip in the 007 film The Man with the Golden Gun (1974). These examples may trigger memories of Soon-Tek Oh in the minds of many Americans.2 Some would vaguely remember him as the “oriental” actor whose face often gets confused with those of other Asian and Asian American actors, such as Mako and James Hong. Theatre aficionados may remember him for his award-winning role in Stephen Sondheim’s musical Pacific Overtures in the 1970s, but more Americans will know him as the quintessential “oriental” man in Hollywood. This is not the legacy Soon-Tek Oh wanted. He would prefer to be remembered as an artist, an actor who played Hamlet, Romeo, and Osvald Alving; who founded theatre companies; who promoted cultural awareness for Korean Americans; and who taught youths with all of his integ- rity. He wanted to be a “great actor,” who transcended all markings, especially racial ones, and who was recognized for his talent as an artist. He has sought what I describe in this essay as “legitimization” as a respected actor at every crucial point in his life.3 Soon-Tek Oh was the first Korean actor to appear in American mainstream theatre, film, or television.4 He left Korea for Hollywood in 1959 as a young man, seeking to learn the craft of filmmaking.
    [Show full text]
  • Metadrama and the Deconstruction of Stereotypes: David Henry Hwang's M. Butterfly and Bondage Haris Abdulwahab Fayez Noureldin
    Metadrama and the Deconstruction of Stereotypes: David Henry Hwang's M. Butterfly and Bondage Haris Abdulwahab Fayez Noureldin* Song: I'm an artist, Rene. You were my greatest . acting challenge. (She laughs.) (M. Butterfly 63)1 Song: But no. Men. You're like the rest of them. It's all in the way we dress, and make up our faces and bat our eyelashes. You really have so little imagination! (M. Butterfly 90) Representations of Asians in America have always been influenced by biased stereotypical images. According to James S. Moy, "Anglo-American playwrights have portrayed the Chinese in America as collections of fetishized parts and as exotics" (48). Though there were other attempts seemingly providing positive images of the East as 'wise' in contrast with the West as 'corrupt', these attempts -Eugene O'Neill's Marco Millions is a striking example- could do little more than present the East as 'exotic' and 'heathen'. With the rise of Asian-American studies in the 1960s, there appeared Asian writers, Chinese and Japanese, whose end goal was to dispel such stereotypes and present instead conscious self-representation. Notable among these is the Chinese-American playwright, David Henry Hwang (1957-), whose plays provide insightful explorations of how it feels to be Chinese or Asian in a racist society. Regarded as "the most renowned Asian-American dramatist of the twentieth century" (Trudeau 199), Hwang distinguishes himself as a dramatist by blending Eastern and Western subjects and theatrical styles. The theme of the fluidity of identity is recurrent in almost all his plays. Hwang posits the changeability of a person's identity according to the various contacts s/he experiences.
    [Show full text]
  • The Pleasure of His Company
    Welcome UPCOMING Dear Friends, Welcome to Summer Season 2008! And as the saying 2008 Summer goes, “pardon our dust”! As you’ve no doubt noticed, SHAKESPEARE we’ve begun construction of the Globe’s beautiful new FESTIVAL campus, including a new arena theatre, education center, June 14 - September 28, 2008 and re-designed plaza. We’ve even created a temporary pub Lowell Davies Festival Theatre across the plaza so we can continue serving our patrons while building continues. We’ve been telling you about this ROMEO AND JULIET facilities project over the past few months and we’re thrilled THE MERRY WIVES OF WINDSOR that it is now becoming a reality. We have exciting plans ALL’S WELL THAT ENDS WELL for theatre and education programs in the new center, and we thank you for being a part of the excitement during the construction period. I promise it will be worth any inconvenience. ❖ ❖ ❖ Summer is a time for pleasure, and Resident Artistic Director Darko Tresnjak has chosen the perfect summer fare in The Pleasure of His Company. We’re delighted to welcome back Patrick Page, the Globe’s 2008 Shiley Artist-in-Residence, who was last seen here in the spring’s SIGHT UNSEEN smash hit Dancing in the Dark. Just steps away, Donald Margulies’ Sight Unseen plays in the August 2 - September 7, 2008 Globe’s Arena Stage at the San Diego Museum of Art’s James S. Copley Auditorium (a tem- The Old Globe Arena Stage at James S. Copley Auditorium porary space specially built for our intimate productions).
    [Show full text]
  • By Kimber Lee
    51st Season • 488th Production JULIANNE ARGYROS STAGE / MARCH 8-29, 2015 Marc Masterson Paula Tomei ARTISTIC DIRECTOR MANAGING DIRECTOR David Emmes & Martin Benson FOUNDING ARTISTIC DIRECTORS presents the world premiere of tokyo fish story by Kimber Lee Neil Patel Christina Haatainen-Jones Elizabeth Harper John Zalewski SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Jason H. Thompson Jerry Patch Joshua Marchesi Jennifer Ellen Butler PROJECTION DESIGN DRAMATURG PRODUCTION MANAGER STAGE MANAGER Directed by Bart DeLorenzo Bill and Carolyn Klein Samuel and Tammy Tang Honorary Producers Developed at The Lark Play Development Center, New York City tokyo fish story • South CoaSt RepeRtoRy • P1 CAST OF CHARACTERS (In order of appearance) Koji ............................................................................................ Sab Shimono Takashi .............................................................................................. Ryun Yu Nobu ........................................................................................ Lawrence Kao Tuna Dealer Apprentice/Oishi/Toru/Daisuke/Yuji/Hirayama ..... Eddie Mui Ama Miyuk/Woman .......................................................................... Jully Lee SETTING Present day Tokyo, Japan. LENGTH Approximately 90 minutes with no intermission. PRODUCTION STAFF Casting ..................................................................................... Joanne DeNaut, CSA Production Assistant ...........................................................................
    [Show full text]
  • ATHE 2013 (L)AY Pperformance, Pleasure and Pedagogy August 1-4, 2013 Hyatt Regency Grand Cypress Hotel
    ATHE 2013 PPerformance,(L Pleasure)A and PedagogyY August 1-4, 2013 Hyatt Regency Grand Cypress Hotel Orlando, Florida Table of Contents Welcome Letters . 4, 5 ATHE Mission and Goals . 6 ATHE Governing Council 2012-2013 . 6 ATHE Focus Group Representatives and Conference Planners . 6 2013 Conference Committee . 7 P ATHE Leadership Institute ® Pre-Conference Workshop . 8 (L) First-time Attendees . 10 AY Keynote Presentation . 11 Opening Reception . 11 2014 Conference and Committee . 12 ATHE Annual Membership Meeting . 13 ATHE Annual Awards Ceremony . 15 3 | All-Conference PLAYnaries . 24 ATHE 2013 ATHE Exhibit Hall Information . 25 Performances . 26 | PLAYDates . 28 August 1–4, 2013 1–4, August Paid Workshops . 31 ATHE Focus Group Debut Panels . 33 Advertiser and Exhibitor Index . 35 Exhibit Hall and Hotel Floorplans . 37, 38 All-Conference Programming Schedule . 40 Concurrent Sessions . 52 Speaker Index . 122 Notes . 126 Welcome from Bill Doan, President Welcome from Chase Bringardner, Our commitment to gather data about Vice President for 2013 Conference the field in order to make informed ATHE has often functioned in a similar manner for many of us, beckoning us to cities far and wide with the promise decisions, implement strategic of interactions with colleagues and friends and the initiatives, and influence our collective opportunity to acquire and share information about the larger fields of theatre and performance . ATHE presents futures promises to keep the needs us with the opportunity to play together, to consider the of ATHE members at the heart of our past, contemplate the present, and discuss and dream the association . I want to futures of our field .
    [Show full text]
  • Annotated Catalog to Productions and Scripts in the Asian American Theater Company Archives
    http://oac.cdlib.org/findaid/ark:/13030/ft096n9854 No online items Guide to the Annotated Catalog to Productions and Scripts in the Asian American Theater Company Archives Project archivist: Salvador Güereña; principal processors: Cindy Kee; machine-readable finding aid created by Xiuzhi Zhou Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html © 1999 The Regents of the University of California. All rights reserved. 1 Guide to the Annotated Catalog to Productions and Scripts in the Asian American Theater Company Archives California Ethnic and Multicultural Archives Donald C. Davidson Library Department of Special Collections University of California, Santa Barbara Contact Information: Department of Special Collections Davidson Library University of California, Santa Barbara Santa Barbara, CA 93106 Phone: (805) 893-3062 Fax: (805) 893-5749 Email: [email protected] URL: http://www.library.ucsb.edu/speccoll/speccoll.html Project Archivist: Salvador Güereña Principal Processor: Cindy Kee Cover Photo: Dan Kuramoto and Philip Kan Gotanda in the play In the Dominion of Night from the Asian American Theater Company Archives Date Completed: July 1997 Encoded by: Xiuzhi Zhou © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Annotated Catalog to Productions and Scripts in the Asian American Theater Company Archives Creator: Asian American Theater Company Repository: University of California, Santa Barbara. Library. California Ethnic and Multicultural Archives Santa Barbara, CA 93106 Shelf location: For current information on the location of these materials, please consult the library's online catalog.
    [Show full text]
  • East West Players, Inc. Records PASC.0115
    http://oac.cdlib.org/findaid/ark:/13030/tf1489n74f No online items Finding Aid for the East West Players, Inc. Records PASC.0115 Processed by UCLA Library Special Collections staff; machine-readable finding aid created by D.MacGill UCLA Library Special Collections Online finding aid last updated on 2020 October 23. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections Finding Aid for the East West PASC.0115 1 Players, Inc. Records PASC.0115 Contributing Institution: UCLA Library Special Collections Title: East West Players, Inc. records Creator: East West Players (Los Angeles, Calif.) Identifier/Call Number: PASC.0115 Physical Description: 60.9 Linear Feet(113 boxes and 11 flat boxes) Date (inclusive): 1965-1992 Abstract: As the first Asian American theater founded in 1965, East West Players and its history provide valuable account of Asian Pacific American experience. The collection spans 1965 to 1992 and includes administrative files, financial records, and production related files consisting of scripts, photographic material, programs, publicity, sound recordings and videos. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: Materials are in English. Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Physical Characteristics and Technical Requirements CONTAINS AUDIOVISUAL MATERIALS: This collection contains both processed and unprocessed audiovisual materials. Audiovisual materials are not currently available for access, unless otherwise noted in a Physical Characteristics and Technical Requirements note at the series and file levels.
    [Show full text]
  • Contemporary Asian American Drama Esther Kim Lee
    2 3 Contemporary Asian American Drama Esther Kim Lee Introduction: The First Wave In 1968, the East West Players in Los Angeles held its fi rst playwriting competi- tion to encourage Asian Americans to write for theater. Founded in 1965, the East West Players originally aimed to promote the careers of Asian American actors, but it became clear that without original plays by and about Asian Americans the company would not last.1 In the 1960s, playwriting was not per- ceived as a possible profession for Asian American writers, and Asian American plays were virtually nonexistent. Plays, by defi nition, need to be produced and staged, and playwrights must work within an infrastructure and industry of theater. The East West Players’ playwriting competition lasted three years during which playwrights such as Momoko Iko and Frank Chin made their debut in theater. In 1973, Frank Chin led the founding of the Asian American Theatre Workshop (later renamed Asian American Theatre Company) in San Francisco with the explicit agenda to create and produce Asian American plays. Although Chin left the company in a few years, his infl uence as a play- wright has been lasting in Asian American theater. His two published plays, Chickencoop Chinaman (1972) and The Year of the Dragon (1974), are considered foundational in Asian American drama, and the Asian American Theatre Company has continued to support new Asian American playwrights. 2 Frank Chin belongs to the fi rst wave Asian American playwrights who pio- neered Asian American drama. Also in the fi rst wave are Jon Shirota, Momoko Iko, Dom Magwili, Wakako Yamauchi, Karen Tei Yamashita, Perry Miyake, Bill Shinkai, Paul Stephen Lim, Jeff ery Paul Chan, Garrett Hongo, and Edward Sakamoto.
    [Show full text]